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Psalm 31
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Psalm 31
"In thee, O LORD, do I put my trust"
German words from Psalms 31:15 ("My times are in thy hand") on a sundial on the tower of the Marienkirche in St. Johann
Other name
  • Psalm 30 (Vulgate)
  • "In te Domine speravi"
Related"In dich hab ich gehoffet, Herr"
LanguageHebrew (original)
Psalm 31
BookBook of Psalms
Hebrew Bible partKetuvim
Order in the Hebrew part1
CategorySifrei Emet
Christian Bible partOld Testament
Order in the Christian part19

Psalm 31 is the 31st psalm of the Book of Psalms, beginning in English in the King James Version: "In thee, O LORD, do I put my trust". In Latin, it is known as "In te Domine speravi".[1] The Book of Psalms is part of the third section of the Hebrew Bible,[2] and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint version of the Bible, and in its Latin translation, the Vulgate, this psalm is Psalm 30. The first verse in the Hebrew text indicates that it was composed by David.

The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. Metrical hymns in English and German were derived from the psalm, such as "In dich hab ich gehoffet, Herr" and "Blest be the name of Jacob's God". The psalm has often been set to music, both completely and using specific sections such as "Illumina faciem tuam" (Make thy face to shine). Vocal settings were written by Johann Crüger, Heinrich Schütz, Joseph Haydn, and Felix Mendelssohn, among others.

"Into thine hand I commit my spirit" were the last words of many Christian figures, including Jesus, Saint Bernard, Jerome of Prague, and Martin Luther. "My times are in Thy hand" also became a frequently quoted phrase. Psalm 31:24 be strong and take heart all you who hope in the Lord.

"In te Domine speravi", the Psalm's first line in Latin, is also the final line of the ancient Te Deum hymn. Rendered in English frequently as, "O Lord, in thee have I trusted: let me never be confounded," the Te Deum in both the Latin and English texts have been set numerous times to music, notably by Hector Berlioz in Latin and John Rutter in English.

Background and themes

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The author of the psalm is identified by the first verse in the Hebrew, "To the chief musician, a song of David". It was likely written while David was fleeing from Saul.[3][4] On the basis of the wording of the Psalm, Charles and Emilie Briggs claim that "The author certainly knew Jeremiah, Isaiah, Ezekiel, and many Psalms of the Persian period. We cannot put the composition earlier than the troubles of Israel preceding the reforms of Nehemiah".[5] The Persian period began in 539 BC, and Nehemiah's reforms are dated to about 445 BC.[6][7]

In the psalm, David calls God his "rock" (which shields him from attack) and his "fortress" (which protects him on all sides). David also cites his physical ailments—"[h]is eyesight has dimmed from his troubles, and he has endured physical as well as spiritual deprivation. His life has been a continuous flow of trouble, causing him to age prematurely"—and acknowledges that these afflictions were sent by Heaven to encourage him to atone for his sins. The psalm ends on a note of hope: "The faithful should love G-d because He protects them, but He carefully repays the arrogant what they deserve".[3]

In the New Testament, the four evangelists each cite the last words of Jesus; according to Luke the Evangelist, these last words came from verse 5 (KJV) of Psalm 31, "Into thine hand I commit my spirit".[8] Similarly, according to nineteenth-century English Anglican bishop John James Stewart Perowne, this verse constituted the last words of many Christian figures, including Polycarp, Saint Bernard, Jerome of Prague, Martin Luther, and Philip Melanchthon.[9] James Limburg notes that this makes the psalm suitable for preaching, and that it is often intoned at the time of death.[10]

Uses

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Old Testament

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Verses 2–4 (in the Hebrew) are also the first 3 verses of Psalm 71. Jeremiah repeats the words magor mesaviv (Hebrew: מגור מסביב, "terror on all sides") from verse 14 (in the Hebrew; verse 13 in English Bibles) in Jeremiah and Lamentations.[11]

New Testament

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Verse 5 (KJV) is quoted in Luke 23:46, as the last words of Jesus before he dies.[12]

Saint Stephen prays a similar but modified version of Psalm 31:6 in Acts 7:59 "Lord Jesus receive my spirit".[13] Stephen also prays for forgiveness for those causing his death, as Jesus did.

Judaism

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Verse 6 (in the Hebrew) is part of Baruch Adonai L'Olam in the evening prayer.[14] It is also part of the Bedtime Shema.[15][16] The phrase be-yado afkid ruchi ("Into his hand I commit my spirit") [17] starts the last verse of Adon Olam.[18]

Verses 15 and 17 are included in the preliminary morning prayers.[16]

Verse 20 is one of the verses said after learning Mishnayos for a deceased person.[16]

In the Siddur Sfas Emes, this psalm is said as a prayer for the well-being of an ailing person.[16]

Catholic

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The first line of the Psalm in Latin, "In te Domine speravi", became the final line of the Te Deum, which has often been set to music. Verses 15 and 16, "Illumina faciem tuam" (Make thy face to shine), is a communion verse for Septuagesima.[19]

Protestant

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Text and melody of the hymn "In dich hab ich gehoffet, Herr", from Das Gros Kirchen Gesangbuch (The Main Church Hymnbook), Strasburg, 1565

Adam Reusner wrote a rhymed paraphrase of the first six verses of Psalm 31, "In dich hab ich gehoffet, Herr" ("literally: "For you I have hoped, Lord") as a Psalmlied, a song in the native language to be sung in place of the Latin psalm recitation in the former church, published in 1533. It was translated to English in several versions,[20] including "In Thee, Lord, have I put my trust" by Catherine Winkworth.[21]

In the Church of England's Book of Common Prayer, this psalm is appointed to be read on the morning of the sixth day of the month.[22] Verses 1 to 5 are used in the Church of England's Office of Night Prayer (Compline).[23]

Other

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Verse 15 (KJV), "My times are in Thy hand", became a frequently quoted phrase. A hymn with the title "My times are in thy hand" by William Freeman Lloyd was published in 1873.[24] In 1891, the preacher Charles Haddon Spurgeon based an essay on the thought.[25] In a 2013 article in the German weekly Die Zeit, Margot Käßmann quoted "Meine Zeit steht in deinen Händen" as a call to see that a lifetime is a gift, and of unknown duration, to be used responsibly in free decision, for the community.[26]

Musical settings

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Classical

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Heinrich Isaac composed a setting of verses 15 and 16, "Illumina faciem tuam" for four-part choir, published in Choralis Constantinus in 1550.[27] Carlo Gesualdo composed a setting of these verses for five-part choir (SATTB), published in his Sacrae cantiones in 1603.[28]

Hans Leo Hassler composed a setting of the complete psalm in Latin for three four-part choirs, published in Sacrae Symphoniae in 1598.[29] Heinrich Schütz set the same hymn in the Becker Psalter, SWV 128, published in 1628.[30] He set the complete psalm in Latin for solo voice and instruments, published in Symphoniae sacrae in 1629.[31] In 1648, Johann Rosenmüller published a setting of the first six verses in Latin for two sopranos and two tenors, two violins and continuo, in Kern-Sprüche.[32] In te Domine speravi (Johann Rosenmüller) Johann Crüger set the German rhymed version, "In dich hab ich gehoffet, Herr", for four-part choir with optional instruments, published in 1649. In 1699, Marc-Antoine Charpentier composed 3e psalm du 1er nocturne du Mercredi saint, for soloists, chorus, strings and bc, H.228.

Joseph Haydn set three verses from a rhymed paraphrase in English by James Merrick, "Blest be the name of Jacob's God", for three voices, which was first published in 1794 in Improved Psalmody.[33] Felix Mendelssohn set Psalm 31 to music a capella in English using the King James Version.[34] Arthur Sullivan wrote an anthem for four voices and organ, setting the final two verses, "O love the Lord", first published in 1864.[35]

Contemporary

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Contemporary compositions which incorporate verses from Psalm 31 include "Two Sacred Songs" (1964) for voice and piano by Robert Starer,[36] "In Thee O Lord Do I Put My Trust" (1964) by Jan Bender,[37] and "Blessed be the Lord" (1973), an introit and anthem by Nancy Lupo.[38]

In the 21st century, the hymn "Weite Räume meinen Füßen" is based on verse 8b which it uses as a refrain. Nobuaki Izawa set "Illumina faciem tuam" as a four-part motet, published in 2016.[39] The Salisbury Cathedral Choir sang Psalm 31, with music composed by Walter Alcock, Richard Shephard, and Charles Frederick South, for a 2012 recording.[40] The Psalms Project released its musical composition of Psalm 31 on the fourth volume of its album series in 2019.[41]

Text

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The following table shows the Hebrew text[42][43] of the Psalm with vowels, alongside the Koine Greek text in the Septuagint[44] 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 30.

# Hebrew English Greek
[a] לַמְנַצֵּ֗חַ מִזְמ֥וֹר לְדָוִֽד׃‎ (To the chief Musician, A Psalm of David.) Εἰς τὸ τέλος· ψαλμὸς τῷ Δαυΐδ· ἐκστάσεως.
1 בְּךָֽ־יְהֹוָ֣ה חָ֭סִיתִי אַל־אֵב֣וֹשָׁה לְעוֹלָ֑ם בְּצִדְקָתְךָ֥ פַלְּטֵֽנִי׃‎ In thee, O LORD, do I put my trust; let me never be ashamed: deliver me in thy righteousness. ΕΠΙ σοί, Κύριε, ἤλπισα, μὴ καταισχυνθείην εἰς τὸν αἰῶνα· ἐν τῇ δικαιοσύνῃ σου ῥῦσαί με καὶ ἐξελοῦ με.
2 הַטֵּ֤ה אֵלַ֨י ׀ אׇזְנְךָ֮ מְהֵרָ֢ה הַצִּ֫ילֵ֥נִי הֱיֵ֤ה לִ֨י ׀ לְֽצוּר־מָ֭עוֹז לְבֵ֥ית מְצוּד֗וֹת לְהוֹשִׁיעֵֽנִי׃‎ Bow down thine ear to me; deliver me speedily: be thou my strong rock, for an house of defence to save me. κλῖνον πρός με τὸ οὖς σου, τάχυνον τοῦ ἐξελέσθαι με· γενοῦ μοι εἰς Θεὸν ὑπερασπιστὴν καὶ εἰς οἶκον καταφυγῆς τοῦ σῶσαί με.
3 כִּֽי־סַלְעִ֣י וּמְצֽוּדָתִ֣י אָ֑תָּה וּלְמַ֥עַן שִׁ֝מְךָ֗ תַּֽנְחֵ֥נִי וּֽתְנַהֲלֵֽנִי׃‎ For thou art my rock and my fortress; therefore for thy name's sake lead me, and guide me. ὅτι κραταίωμά μου καὶ καταφυγή μου εἶ σὺ καὶ ἕνεκεν τοῦ ὀνόματός σου ὁδηγήσεις με καὶ διαθρέψεις με·
4 תּוֹצִיאֵ֗נִי מֵרֶ֣שֶׁת ז֭וּ טָ֣מְנוּ לִ֑י כִּי־אַ֝תָּ֗ה מָעוּזִּֽי׃‎ Pull me out of the net that they have laid privily for me: for thou art my strength. ἐξάξεις με ἐκ παγίδος ταύτης, ἧς ἔκρυψάν μοι, ὅτι σὺ εἶ ὁ ὑπερασπιστής μου, Κύριε.
5 בְּיָדְךָ֮ אַפְקִ֢יד ר֫וּחִ֥י פָּדִ֖יתָ אוֹתִ֥י יְהֹוָ֗ה אֵ֣ל אֱמֶֽת׃‎ Into thine hand I commit my spirit: thou hast redeemed me, O LORD God of truth. εἰς χεῖράς σου παραθήσομαι τὸ πνεῦμά μου· ἐλυτρώσω με, Κύριε ὁ Θεὸς τῆς ἀληθείας.
6 שָׂנֵ֗אתִי הַשֹּׁמְרִ֥ים הַבְלֵי־שָׁ֑וְא וַ֝אֲנִ֗י אֶל־יְהֹוָ֥ה בָּטָֽחְתִּי׃‎ I have hated them that regard lying vanities: but I trust in the LORD. ἐμίσησας τοὺς διαφυλάσσοντας ματαιότητας διακενῆς· ἐγὼ δὲ ἐπὶ τῷ Κυρίῳ ἤλπισα.
7 אָגִ֥ילָה וְאֶשְׂמְחָ֗ה בְּחַ֫סְדֶּ֥ךָ אֲשֶׁ֣ר רָ֭אִיתָ אֶת־עׇנְיִ֑י יָ֝דַ֗עְתָּ בְּצָר֥וֹת נַפְשִֽׁי׃‎ I will be glad and rejoice in thy mercy: for thou hast considered my trouble; thou hast known my soul in adversities; ἀγαλλιάσομαι καὶ εὐφρανθήσομαι ἐπὶ τῷ ἐλέει σου, ὅτι ἐπεῖδες τὴν ταπείνωσίν μου, ἔσωσας ἐκ τῶν ἀναγκῶν τὴν ψυχήν μου
8 וְלֹ֣א הִ֭סְגַּרְתַּנִי בְּיַד־אוֹיֵ֑ב הֶעֱמַ֖דְתָּ בַמֶּרְחָ֣ב רַגְלָֽי׃‎ And hast not shut me up into the hand of the enemy: thou hast set my feet in a large room. καὶ οὐ συνέκλεισάς με εἰς χεῖρας ἐχθρῶν, ἔστησας ἐν εὐρυχώρῳ τοὺς πόδας μου.
9 חׇנֵּ֥נִי יְהֹוָה֮ כִּ֤י צַ֫ר־לִ֥י עָשְׁשָׁ֖ה בְכַ֥עַס עֵינִ֗י נַפְשִׁ֥י וּבִטְנִֽי׃‎ Have mercy upon me, O LORD, for I am in trouble: mine eye is consumed with grief, yea, my soul and my belly. ἐλέησόν με, Κύριε, ὅτι θλίβομαι· ἐταράχθη ἐν θυμῷ ὁ ὀφθαλμός μου, ἡ ψυχή μου καὶ ἡ γαστήρ μου.
10 כִּ֤י כָל֪וּ בְיָג֡וֹן חַיַּי֮ וּשְׁנוֹתַ֢י בַּאֲנָ֫חָ֥ה כָּשַׁ֣ל בַּעֲוֺנִ֣י כֹחִ֑י וַעֲצָמַ֥י עָשֵֽׁשׁוּ׃‎ For my life is spent with grief, and my years with sighing: my strength faileth because of mine iniquity, and my bones are consumed. ὅτι ἐξέλιπεν ἐν ὀδύνῃ ἡ ζωή μου καὶ τὰ ἔτη μου ἐν στεναγμοῖς· ἠσθένησεν ἐν πτωχείᾳ ἡ ἰσχύς μου, καὶ τὰ ὀστᾶ μου ἐταράχθησαν.
11 מִכׇּל־צֹרְרַ֨י הָיִ֪יתִי חֶרְפָּ֡ה וְלִ֥שְׁכֵנַ֨י ׀ מְאֹד֮ וּפַ֢חַד לִֽמְיֻדָּ֫עָ֥י רֹאַ֥י בַּח֑וּץ נָדְד֥וּ מִמֶּֽנִּי׃‎ I was a reproach among all mine enemies,[b] but especially among my neighbours, and a fear to mine acquaintance: they that did see me without fled from me. παρὰ πάντας τοὺς ἐχθρούς μου ἐγενήθην ὄνειδος καὶ τοῖς γείτοσί μου σφόδρα, καὶ φόβος τοῖς γνωστοῖς μου· οἱ θεωροῦντες με ἔξω ἔφυγον ἀπ᾿ ἐμοῦ.
12 נִ֭שְׁכַּחְתִּי כְּמֵ֣ת מִלֵּ֑ב הָ֝יִ֗יתִי כִּכְלִ֥י אֹבֵֽד׃‎ I am forgotten as a dead man out of mind: I am like a broken vessel. ἐπελήσθην ὡσεὶ νεκρὸς ἀπὸ καρδίας, ἐγενήθην ὡσεὶ σκεῦος ἀπολωλός.
13 כִּ֤י שָׁמַ֨עְתִּי ׀ דִּבַּ֥ת רַבִּים֮ מָג֢וֹר מִסָּ֫בִ֥יב בְּהִוָּסְדָ֣ם יַ֣חַד עָלַ֑י לָקַ֖חַת נַפְשִׁ֣י זָמָֽמוּ׃‎ For I have heard the slander of many: fear was on every side: while they took counsel together against me, they devised to take away my life. ὅτι ἤκουσα ψόγον πολλῶν παροικούντων κυκλόθεν· ἐν τῷ ἐπισυναχθῆναι αὐτοὺς ἅμα ἐπ᾿ ἐμὲ τοῦ λαβεῖν τὴν ψυχήν μου ἐβουλεύσαντο.
14 וַאֲנִ֤י ׀ עָלֶ֣יךָ בָטַ֣חְתִּי יְהֹוָ֑ה אָ֝מַ֗רְתִּי אֱלֹהַ֥י אָֽתָּה׃‎ But I trusted in thee, O LORD: I said, Thou art my God. ἐγὼ δὲ ἐπὶ σοὶ ἤλπισα, Κύριε, εἶπα· σὺ εἶ ὁ Θεός μου.
15 בְּיָדְךָ֥ עִתֹּתָ֑י הַצִּ֘ילֵ֤נִי מִיַּד־א֝וֹיְבַ֗י וּמֵֽרֹדְפָֽי׃‎ My times are in thy hand: deliver me from the hand of mine enemies, and from them that persecute me. ἐν ταῖς χερσί σου οἱ κλῆροί μου· ῥῦσαί με ἐκ χειρὸς ἐχθρῶν μου καὶ ἐκ τῶν καταδιωκόντων με.
16 הָאִ֣ירָה פָ֭נֶיךָ עַל־עַבְדֶּ֑ךָ ה֖וֹשִׁיעֵ֣נִי בְחַסְדֶּֽךָ׃‎ Make thy face to shine upon thy servant: save me for thy mercies' sake. ἐπίφανον τὸ πρόσωπόν σου ἐπὶ τὸν δοῦλόν σου, σῶσόν με ἐν τῷ ἐλέει σου.
17 יְֽהֹוָ֗ה אַל־אֵ֭בוֹשָׁה כִּ֣י קְרָאתִ֑יךָ יֵבֹ֥שׁוּ רְ֝שָׁעִ֗ים יִדְּמ֥וּ לִשְׁאֽוֹל׃‎ Let me not be ashamed, O LORD; for I have called upon thee: let the wicked be ashamed, and let them be silent in the grave. Κύριε, μὴ καταισχυνθείην, ὅτι ἐπεκαλεσάμην σε· αἰσχυνθείησαν οἱ ἀσεβεῖς καὶ καταχθείησαν εἰς ᾅδου.
18 תֵּ֥אָלַ֗מְנָה שִׂפְתֵ֫י־שָׁ֥קֶר הַדֹּבְר֖וֹת עַל־צַדִּ֥יק עָתָ֗ק בְּגַאֲוָ֥ה וָבֽוּז׃‎ Let the lying lips be put to silence; which speak grievous things proudly and contemptuously against the righteous. ἄλαλα γενηθήτω τὰ χείλη τὰ δόλια τὰ λαλοῦντα κατὰ τοῦ δικαίου ἀνομίαν ἐν ὑπερηφανίᾳ καὶ ἐξουδενώσει.
19 מָ֤ה רַֽב־טוּבְךָ֮ אֲשֶׁר־צָפַ֢נְתָּ לִּירֵ֫אֶ֥יךָ פָּ֭עַלְתָּ לַחֹסִ֣ים בָּ֑ךְ נֶ֝֗גֶד בְּנֵ֣י אָדָֽם׃‎ Oh how great is thy goodness, which thou hast laid up for them that fear thee; which thou hast wrought for them that trust in thee before the sons of men! ὡς πολὺ τὸ πλῆθος τῆς χρηστότητός σου, Κύριε, ἧς ἔκρυψας τοῖς φοβουμένοις σε, ἐξειργάσω τοῖς ἐλπίζουσιν ἐπὶ σὲ ἐναντίον τῶν υἱῶν τῶν ἀνθρώπων.
20 תַּסְתִּירֵ֤ם ׀ בְּסֵ֥תֶר פָּנֶיךָ֮ מֵרֻכְסֵ֫י־אִ֥ישׁ תִּצְפְּנֵ֥ם בְּסֻכָּ֗ה מֵרִ֥יב לְשֹׁנֽוֹת׃‎ Thou shalt hide them in the secret of thy presence from the pride of man: thou shalt keep them secretly in a pavilion from the strife of tongues. κατακρύψεις αὐτοὺς ἐν ἀποκρύφῳ τοῦ προσώπου σου ἀπὸ ταραχῆς ἀνθρώπων, σκεπάσεις αὐτοὺς ἐν σκηνῇ ἀπὸ ἀντιλογίας γλωσσῶν.
21 בָּר֥וּךְ יְהֹוָ֑ה כִּ֥י הִפְלִ֘יא חַסְדּ֥וֹ לִ֝֗י בְּעִ֣יר מָצֽוֹר׃‎ Blessed be the LORD: for he hath shewed me his marvellous kindness in a strong city. εὐλογητὸς Κύριος, ὅτι ἐθαυμάστωσε τὸ ἔλεος αὐτοῦ ἐν πόλει περιοχῆς.
22 וַאֲנִ֤י ׀ אָ֘מַ֤רְתִּי בְחׇפְזִ֗י נִגְרַזְתִּי֮ מִנֶּ֢גֶד עֵ֫ינֶ֥יךָ אָכֵ֗ן שָׁ֭מַעְתָּ ק֥וֹל תַּחֲנוּנַ֗י בְּשַׁוְּעִ֥י אֵלֶֽיךָ׃‎ For I said in my haste, I am cut off from before thine eyes: nevertheless thou heardest the voice of my supplications when I cried unto thee. ἐγὼ δὲ εἶπα ἐν τῇ ἐκστάσει μου· ἀπέῤῥιμμαι ἀπὸ προσώπου τῶν ὀφθαλμῶν σου. διὰ τοῦτο εἰσήκουσας τῆς φωνῆς τῆς δεήσεώς μου ἐν τῷ κεκραγέναι με πρὸς σέ.
23 אֶ֥הֱב֥וּ אֶֽת־יְהֹוָ֗ה כׇּֽל־חֲסִ֫ידָ֥יו אֱ֭מוּנִים נֹצֵ֣ר יְהֹוָ֑ה וּמְשַׁלֵּ֥ם עַל־יֶ֝֗תֶר עֹשֵׂ֥ה גַאֲוָֽה׃‎ O love the LORD, all ye his saints: for the LORD preserveth the faithful, and plentifully rewardeth the proud doer. ἀγαπήσατε τὸν Κύριον πάντες οἱ ὅσιοι αὐτοῦ, ὅτι ἀληθείας ἐκζητεῖ Κύριος καὶ ἀνταποδίδωσι τοῖς περισσῶς ποιοῦσιν ὑπερηφανίαν.
24 חִ֭זְקוּ וְיַאֲמֵ֣ץ לְבַבְכֶ֑ם כׇּל־הַ֝מְיַחֲלִ֗ים לַֽיהֹוָֽה׃‎ Be of good courage, and he shall strengthen your heart, all ye that hope in the LORD. ἀνδρίζεσθε, καὶ κραταιούσθω ἡ καρδία ὑμῶν, πάντες οἱ ἐλπίζοντες ἐπὶ Κύριον.

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Psalm 31

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Psalm 31 is a psalm in the Book of Psalms of the and Christian , traditionally attributed to King David and addressed "To the choirmaster," in which the psalmist cries out for God's protection and deliverance from distress, enemies, and shame while affirming profound trust in divine righteousness and steadfast love. The psalm's structure divides into three main sections: an initial plea for refuge and confidence in (verses 1-8), a central expression of personal and renewed trust amid suffering (verses 9-18), and a concluding of God's goodness with encouragement for the faithful (verses 19-24). This organization blends elements of —such as , complaint, and —with , creating a dynamic movement from sorrow to joy that highlights the covenantal relationship between and the faithful through themes of (steadfast love) and resilience against opposition. Notable for its liturgical and theological depth, Psalm 31 is quoted by on the cross in Luke 23:46 ("Into your hand I commit my spirit," from verse 5), linking it to Christian reflections on and redemption, and it has been used in Jewish and , particularly during , to emphasize God's role as a rock and fortress. While no specific historical event is tied to its composition, it reflects the broader experiences of prophetic opposition and personal trials in ancient .

Background

Authorship and dating

Psalm 31 bears the superscription "To the choirmaster. A Psalm of " (לַמְנַצֵּ֥חַ מִזְמ֗וֹֹר לְדָוִֽד), which traditionally attributes its composition to King of . In Jewish and Christian interpretive traditions, this heading links the psalm to events in 's life, particularly his period of flight from King Saul as described in 1 Samuel 21–23, where sought refuge in caves and wilderness areas while evading capture. For instance, the psalm's expressions of distress and divine protection align with 's narrow escapes, such as at and the wilderness of Maon, suggesting a composition during his fugitive years around the 11th–10th century BCE. The term lədāwīd in the superscription is widely interpreted by scholars as denoting authorship rather than mere dedication or collection, a view supported by syntactic analysis and parallels in other Davidic psalms within the . This attribution contributes to the 's compilation, where such headings organize psalms into thematic and historical groupings, particularly in I ( 3–41), emphasizing David's role as poet, , and exemplar of amid . However, debates persist on the historical reliability of these superscriptions; while some scholars affirm their pre-exilic origins based on intertextual links to narratives in and Chronicles, others view them as later editorial additions from the post-exilic period to enhance the Davidic covenant's theological framework. Scholarly dating of Psalm 31 remains contested, with arguments for a pre-exilic composition (10th–8th century BCE) rooted in its archaic Hebrew language, lament structure, and themes of personal trust in Yahweh that echo early monarchic experiences. Conversely, proponents of a post-exilic date (5th–4th century BCE) point to linguistic features potentially influenced by Persian-period vocabulary and intertextual dependencies on prophetic texts like Jeremiah 20 and Jonah 2, suggesting redaction by exilic or post-exilic editors. For example, Frank-Lothar Hossfeld and Erich Zenger propose a late pre-exilic core (verses 10–19) expanded through exilic and post-exilic layers (verses 2–9, 20–25), reflecting evolving communal piety. Evidence from the Dead Sea Scrolls, including fragments in manuscripts like 4QPs^q (4Q98, ca. 50 BCE–50 CE), attests to the psalm's textual stability from at least the Second Temple period, with no significant variants altering its core content or superscription. While these scrolls do not confirm Davidic authorship directly, their preservation of Psalm 31 alongside other Davidic works underscores the Psalter's early canonical shape and the enduring tradition of its attribution, without introducing contradictions to the .

Historical context

Psalm 31 is positioned within Book I of the Book of Psalms (Psalms 1–41), a collection predominantly attributed to that features individual laments addressing personal affliction amid the turbulent royal and communal crises of ancient Israel's monarchy period. This genre, common in the , captures the suppliant's plea for divine intervention during times of and instability, reflecting the socio-political upheavals faced by leaders and individuals in the pre-exilic era. Traditional connects the psalm to specific episodes in David's life, such as his flight from Saul's pursuit (1 Samuel 19–26), where he sought refuge in wilderness strongholds, or his escape from Absalom's rebellion (2 Samuel 15–18), evoking themes of and ; however, these links remain conjectural, as the superscription provides no explicit historical notation beyond Davidic attribution. The imagery of God as a "rock" and "fortress" (Psalm 31:3) draws from the rugged Judean landscape and David's experiences hiding in caves and cliffs, symbolizing unassailable divine protection in a context of mortal danger. The psalm also bears traces of broader ancient Near Eastern literary influences, particularly in its lament structure—encompassing , complaint, petition, and —that parallels forms found in , Hittite, and Sumerian texts, where deities are invoked as refuges amid chaos; the fortress motif, for instance, echoes protective divine imagery in Canaanite poetry from . While most scholars date it to the monarchic period based on linguistic features and thematic ties to Davidic narratives, a minority view posits a post-exilic composition in the Persian era (ca. 539–333 BCE), interpreting its expressions of isolation and restoration as responses to the Babylonian exile's trauma and the community's rebuilding efforts under figures like and .

Text and translations

Hebrew original

Psalm 31 is preserved in the (MT), the authoritative Hebrew version of the standardized between the 7th and 10th centuries CE, as reflected in the . The psalm comprises a superscription followed by 24 verses of and , characterized by its lyrical intensity and theological depth. The original Hebrew employs classical , with vocabulary drawn from the broader Psalter tradition, emphasizing themes of divine protection through vivid imagery. Unlike acrostic psalms such as , Psalm 31 lacks alphabetical structuring, relying instead on other poetic techniques for cohesion. The full Hebrew text, including niqqud (vowel points) and cantillation marks for liturgical chanting, is as follows (superscription and verses 1–24, using standard English numbering aligned with the MT): Superscription: לַמְנַצֵּחַ מִזְמוֹר לְדָוִד (lamnaṣṣēaḥ mizmôr lədāwīd) – To the choirmaster. A Psalm of David.
  1. בְּךָ יְהוָה חָסִיתִי אַל־אֵבוֹשָׁה לְעוֹלָם בְּצִדְקָתְךָ פַלְּטֵנִי׃
  2. הַטֵּה אֵלַי אָזְנְךָ מְהֵרָה הַצִּילֵנִי הֱיֵה־לִי לְצוּר־מָעוֹז לְבֵית מְצוּדוֹת לְהוֹשִׁיעֵנִי׃
  3. כִּי־סַלְעִי וּמְצוּדָתִי אָתָּה וּלְמַעַן שִׁמְךָ תַּנְחֵנִי וּתְנַהֲלֵנִי׃
  4. תּוֹצִיאֵנִי מֵרֶשֶׁת זוּ טָמְנוּ לִי כִּי־אַתָּה מָעוּזִּי׃
  5. בְּיָדְךָ אַפְקִיד רוּחִי פָּדִיתָה אוֹתִי יְהוָה אֵל אֱמֶת׃
  6. שָׂנֵאתִי הַשֹּׁמְרִים הַבְּלֵי־שָׁוְא וַאֲנִי אֶל־יְהוָה בָּטָחְתִּי׃
  7. אָגִילָה וְאֶשְׂמְחָה בְחַסְדֶּךָ אֲשֶׁר־רָאִיתָ עָנְיִי יָדַעְתָּ בְּצָרוֹת נַפְשִׁי׃
  8. וְלֹא־הִסְגַּרְתַּנִי בְּיַד־אוֹיֵב הֶעֱמַדְתָּ בַמֶּרְחָב רַגְלָי׃
  9. חָנֵּנִי יְהוָה כִּי צַר־לִי עָשְׁשָׁה בְכַעַס עֵינַי נַפְשִׁי וּבִטְנִי׃
  10. כִּי־כָלוּ בְיָגוֹן חַיַּי וּשְׁנוֹתַי בָּאֲנָחָה כָּשַׁל בַּעֲוֹנִי כֹחִי וַעֲצָמַי עָשֵׁשׁוּ׃
  11. מִכָּל־צֹרְרַי הָיִיתִי חֶרְפָּה וְלִרֵעַי מְאֹד וְלַמְיֻדָּעִים אִישׁ חוּצָה נִדַּחְתִּי׃
  12. נִשְׁכַּחְתִּי כְּמֵת מִלֵּב נִהְיֵיתִי כְּכְלִי אֹבֵד׃
  13. כִּי שָׁמַעְתִּי דִּבַּת רַבִּים מָגוֹר מִסָּבִיב בְּהִוָּסְדָם יַחַד עָלַי יִגְמוּרוּ נַפְשִׁי׃
  14. וַאֲנִי עָלֶיךָ בָטַחְתִּי יְהוָה אָמַרְתִּי אֱלֹהַי אָתָּה׃
  15. בְּיָדְךָ עִתּוֹתָי הַצִּילֵנִי מִיַּד־אוֹיְבַי וּמֵרֹדְפָי׃
  16. הָאִיר פָּנֶיךָ עַל־עַבְדֶּךָ הוֹשִׁיעֵנִי בְחַסְדֶּךָ׃
  17. יְהוָה אַל־אֵבוֹשָׁה כִּי־קְרָאתִךָ יֵבֹשׁוּ רְשָׁעִים יִדְּמוּ לִשְׁאוֹל שָׂפָה׃
  18. יִאָלְמוּ שִׂפְתֵי שָׁקֶר הַדֹּבְרִים עַל־צַדִּיק עָתָק בְּגַאֲוָה וּבוּז׃
  19. מַה־רַב־טוּבְךָ אֲשֶׁר־צָפַנְתָּ לִּירֵאֶיךָ פָּעַלְתָּ לַחֹסִים בָּךְ נֶגֶד בְּנֵי אָדָם׃
  20. תַּסְתִּירֵם בְּסֵתֶר פָּנֶיךָ מֵרִכְסוֹת אִישׁ תִּצְפְּנֵם בְּסֻכָּה מֵרִיב לְשׁוֹנוֹת׃
  21. בָּרוּךְ יְהוָה כִּי הִפְלִיא חַסְדּוֹ לִי בְּעִיר מָצוֹר׃
  22. וַאֲנִי אָמַרְתִּי בְחַפְזִי נִגְרַזְתִּי מִנֶּגֶד עֵינֶיךָ אָכֵן שָׁמַעְתָּ קוֹל תַּחֲנוּנַי בְּשַׁוְעִי אֵלֶיךָ׃
  23. אִהֲבוּ אֶת־יְהוָה כָּל־חֲסִידָיו אֱמוּנִים שֹׁמֵר נַפְשׁוֹ מַשַׁלֵּם עַל־יֶתֶר עֹשֵׂה גָאוֹהַּ׃
  24. חִזְקוּ וְיַאֲמֵצוּ לֵבָבְכֶם כָּל־הַמְּיַחֲלִים לַיהוָה׃
Key linguistic features of the Hebrew include extensive use of parallelism, the hallmark of , where adjacent cola (half-lines) reinforce ideas through synonymy or . For instance, synonymous parallelism appears in verse 3, pairing "my rock" (סַלְעִי, səlaʿî) with "my fortress" (מְצוּדָתִי, məṣûdātî) to evoke unassailable divine . Antithetic parallelism structures contrasts, such as in verse 6, opposing the psalmist's trust in (בָּטַחְתִּי, bāṭaḥtî) against those who observe vain idols (הַשֹּׁמְרִים הַבְּלֵי־שָׁוְא, haššōmərîm habbəlê-šāwʾ). Repetition intensifies pleas for , with imperatives like "deliver me" (פַלְּטֵנִי, pälləṭēnî in v. 1; הַצִּילֵנִי, haṣṣîlēnî in vv. 2 and 15) creating rhythmic urgency and liturgical echo. These devices, absent of form, contribute to the psalm's oral-aural appeal through (e.g., recurring ā sounds in refuge ) and for conciseness. Notable terms highlight the psalm's theology of refuge. The verb חָסִיתִי (ḥāsîtî, "I have taken refuge," v. 1) derives from חָסָה (ḥāsāh), implying active trust in a shelter, akin to the noun form מַחְסֶה (maḥseh, "refuge") used elsewhere in Psalms for divine hiding places. Similarly, צוּר (ṣûr, "rock," v. 2) connotes an immovable foundation, often metaphorically applied to God as an impregnable defense (cf. Deut 32:4), appearing here in construct with מָעוֹז (māʿôz, "stronghold") to amplify stability. In verse 7, חֶסֶד (ḥesed, "steadfast love") denotes covenantal faithfulness, a recurring Psalter term for God's enduring kindness derived from the root חסד (ḥ-s-d); scholars interpret it as "steadfast love" to capture its relational depth beyond mere mercy. The MT shows minor variants in medieval manuscripts, such as orthographic differences in spelling (e.g., plene vs. defective forms), but no major disruptions. Scholarly emendations are proposed sparingly; for verse 5, the perfect tense פָּדִיתָה (pādîtāh, "you have redeemed") has been suggested by some to be revocalized or emended to the תִּפְדֵּנִי (tippədēnî, "you will redeem") to better align with the surrounding petitionary context, though the MT's form is retained in critical editions for its attestation in ancient versions. Another minor adjustment appears in verse 13, where יִגְמוּרוּ (yigmûrû, "they devise") may reflect a scribal , but the MT reading prevails. Fragments of Psalm 31 are preserved among the Dead Sea Scrolls (e.g., in 4QPs^a), showing close alignment with the MT and no major variants, attesting to its early stability. For readability, the following table presents select verses (1, 2, 5, 7, 15) in parallel columns: original Hebrew, transliteration (approximate Sephardic pronunciation), and literal English rendering (word-for-word where feasible, without interpretive expansion).
VerseHebrewTransliterationLiteral Translation
1בְּךָ יְהוָה חָסִיתִי אַל־אֵבוֹשָׁה לְעוֹלָם בְּצִדְקָתְךָ פַלְּטֵנִיBəkā YHWH ḥāsîtî ʾal-ʾēbôšāh ləʿôlām bəṣidqāṯəkā pälləṭēnîIn-you O-Lord I-have-taken-refuge not-be-ashamed forever in-righteousness-your deliver-me
2הַטֵּה אֵלַי אָזְנְךָ מְהֵרָה הַצִּילֵנִי הֱיֵה־לִי לְצוּר־מָעוֹז לְבֵית מְצוּדוֹת לְהוֹשִׁיעֵנִיHaṭṭēh ʾēlay ʾāzənəkā məhērāh haṣṣîlēnî hēyēh-lî ləṣûr-māʿôz ləbêṯ məṣûdôṯ ləhôšîʿēnîIncline to-me ear-your quickly deliver-me be-to-me to-rock-stronghold to-house fortresses to-save-me
5בְּיָדְךָ אַפְקִיד רוּחִי פָּדִיתָה אוֹתִי יְהוָה אֵל אֱמֶתBəyāḏəkā ʾapqîḏ rûḥî pādîṯāh ʾôṯî YHWH ʾēl ʾĕmeṯIn-hand-your I-entrust spirit-my you-have-redeemed me O-Lord God truth
7אָגִילָה וְאֶשְׂמְחָה בְחַסְדֶּךָ אֲשֶׁר־רָאִיתָ עָנְיִי יָדַעְתָּ בְּצָרוֹת נַפְשִׁיʾāḡîlāh wəʾeśməḥāh bəḥasdeḵā ʾăšer-rāʾîṯā ʿānyî yāḏaʿtā bəṣārôṯ nafšîI-will-rejoice and-I-will-be-glad in-loyal-love-your because you-have-seen affliction-my you-have-known in-distresses soul-my
15בְּיָדְךָ עִתּוֹתָי הַצִּילֵנִי מִיַּד־אוֹיְבַי וּמֵרֹדְפָיBəyāḏəkā ʿittôṯāy haṣṣîlēnî miyad-ʾôyəḇay ûmēṯrôdəfayIn-hand-your times-my deliver-me from-hand enemies-my and-from-pursuers-my

Ancient versions

The ancient versions of Psalm 31 represent early translations from the Hebrew into Greek, Latin, Aramaic, and Syriac, each preserving the psalm's core themes of trust and deliverance while introducing interpretive nuances that influence subsequent readings. The Septuagint (LXX), produced in Alexandria between the 3rd and 2nd centuries BCE, renders Psalm 31 as Psalm 30, reflecting differences in psalm numbering due to the combination of Hebrew Psalms 9 and 10 into a single psalm and other structural variations. This Greek version generally follows the Hebrew closely but occasionally employs smoother phrasing to convey the text's emotional intensity. For instance, in verse 13, the Hebrew's vivid expression of terror—"slander of many, terror on every side"—is translated in the LXX as "I heard the whispering of many dwelling around," emphasizing encirclement by detractors. Such adjustments highlight social isolation and conspiracy. In verse 5, the LXX's wording underscores faith by using terminology akin to belief and commitment, reinforcing the psalmist's reliance on divine redemption. Jerome's , the late 4th-century Latin translation that became authoritative in , also numbers the psalm as 30 and closely aligns with the , influencing medieval and . The opening verse exemplifies this with "In te, Domine, speravi" ("In you, , I have hoped"), capturing the Hebrew's emphasis on refuge while adopting a rhythmic Latin suitable for . Minor divergences appear in phrasing for poetic flow, such as in descriptions of affliction, but the largely preserves interpretive elements from the LXX, like moderated emotional tones, to aid doctrinal teachings on divine protection. The Syriac Peshitta, an early Aramaic translation from the 2nd century CE onward, provides a more literal rendering close to the Hebrew , serving Syriac-speaking Christian communities. It includes slight expansions for clarity, such as elaborating on the psalmist's enemies to highlight , but maintains the structure and numbering of the Hebrew (Psalm 31). These additions underscore themes of under , with verse 13 depicting slander as organized opposition without the LXX's multitude . The , a paraphrastic for use dating to the 1st-7th centuries CE, expands the Hebrew with interpretive elements, often enriching laments with theological reflections on hope amid suffering. Numbered as Psalm 31, it aligns with broader targumic tendencies to add depth to expressions of divine favor and deliverance.

Modern translations

The King James Version (KJV), published in 1611, renders the opening of Psalm 31 in archaic English to emphasize poetic formality and fidelity to earlier Tyndale influences: "In thee, O LORD, do I put my trust; let me never be ashamed: deliver me in thy righteousness." This prioritizes majestic language suited for liturgical use, influencing subsequent English versions while preserving a literal approach to the Hebrew . The (NIV), first released in 1978 and revised in 2011, adopts a dynamic equivalence method for contemporary readability, as seen in verse 5: "Into your hands I commit my spirit; deliver me, , my faithful ." This phrasing highlights accessibility for modern audiences, drawing on idiomatic English to convey emotional immediacy while balancing accuracy to the Hebrew. The Jewish Publication Society Tanakh (JPS 1985) emphasizes a direct, non-Christian interpretive lens faithful to rabbinic traditions and the Hebrew original, opening with: "In You, O , I seek refuge; let me never be put to shame; in Your righteousness deliver me." For verse 5, it states: "Into Your hand I entrust my spirit; You redeem me, O , of truth," avoiding messianic connotations prevalent in Christian renderings by using "entrust" and " of truth" to reflect emet () in the Hebrew. This approach underscores Jewish exegetical priorities, such as contextual integrity over doctrinal overlay. Modern translations often diverge on ambiguous phrases like verse 15's "times" (Hebrew 'ittotai), which can imply appointed moments, fate, or life circumstances. The KJV uses "My times are in thy hand," suggesting temporal seasons under divine control. The NIV modernizes to "My times are in your hands," maintaining a sense of personal destiny. In non-English versions, such as the Chinese New Version (CNVS), it becomes "我的一生都在你的手中" ("My life is in your hands"), broadening to encompass one's entire existence. Other renderings, like the New Jerusalem Bible's "my fate," interpret it as predetermined outcomes, highlighting how translators navigate the Hebrew's poetic ambiguity to suit cultural and theological contexts.

Structure and content

Poetic divisions

Psalm 31 is classified as an individual psalm, incorporating elements of a trust psalm and , where the suppliant expresses distress and while affirming in divine and concluding with . The psalm's structure divides into three main strophes: verses 1–8, which form the and initial complaint expressing refuge in God; verses 9–18, focusing on amid descriptions of suffering; and verses 19–24, shifting to , , and exhortation to others. This progression reflects a typical movement in from distress to resolution through . Hebrew poetic techniques in Psalm 31 include synonymous parallelism, where ideas are reiterated in successive lines for emphasis, as seen in verses 1–2: "In you, O , I seek refuge; let me never be put to shame; in your deliver me." The psalm also employs an framing device centered on the theme of trust, beginning with the suppliant's declaration of refuge in (verse 1) and ending with an exhortation to the faithful to trust in the (verse 24). Regarding meter and rhythm, the psalm follows general patterns of , with lines typically consisting of two versets each carrying 3+3 or 3+2 accented beats, contributing to a rhythmic flow without strict syllabic meter. The composition comprises 24 verses in the Hebrew text, often featuring symmetrical pairs of lines averaging six words for balanced lineation.

Verse-by-verse overview

Psalm 31 begins in verses 1–5 with the psalmist's urgent plea for to be a refuge and deliverer, expressing unwavering trust and requesting from , by enemies, and falsehood, culminating in the commitment of his spirit into 's hands. In verses 6–8, the psalmist rejects those who cling to worthless idols, reaffirming sole trust in , and praises divine awareness, redemption, and preservation in a broad, secure place despite surrounding distress. Verses 9–13 describe the psalmist's profound physical and emotional , including wasting his eyes, , and body; reproach from neighbors; of terror on every side; and slander from hidden foes plotting his demise. Turning to verses 14–18, the psalmist renews his declaration of trust in as his , petitioning for , guidance, and vindication while calling for the wicked's , of lying lips, and destruction of arrogant boasts against the righteous. The psalm concludes in verses 19–24 with praise for God's abundant goodness stored up for those who fear Him, hidden protection amid public scorn, and merciful hearing of cries; it exhorts the faithful to love the Lord, as He preserves the upright and rewards the proud, encouraging all who hope in God to be strong and take heart.

Themes

Trust and refuge in God

Psalm 31 centers on the psalmist's unwavering reliance on as a source of protection amid personal distress, beginning with the declaration, "In you, O Lord, I seek refuge; do not let me be put to " (v. 1). This motif of trust underscores a profound dependence on divine intervention, positioning as the ultimate sanctuary against threats of enemies and . The psalm employs vivid imagery to portray as a "rock of refuge," a "fortress," and a "hiding place," evoking natural formations of stability and defense in the ancient Near Eastern landscape. In verses 2–3, the plea "Be a rock of refuge for me, a strong fortress to save me" draws on the of as tsur (rock), symbolizing unyielding strength and , a rooted in earlier covenantal such as Deuteronomy 32, where is repeatedly called "the Rock" to affirm divine faithfulness amid Israel's frailty. Verse 20 further intensifies this with the image of concealing the faithful "in the shelter of your presence, safe from human schemes," highlighting refuge as an intimate, enveloping divine care that contrasts sharply with human vulnerability. Expressions of confidence permeate the psalm, most notably in verse 15: "My times are in your hand," which signifies a complete surrender to God's sovereign providence over 's uncertainties, including deliverance from persecutors. This act of entrusting one's ruach (spirit or ) to (v. 5) reflects covenantal theology, where God's hesed (steadfast love) ensures protection for those who rely on the divine-human bond established in texts like Deuteronomy, countering the psalmist's depicted frailty through affirmations of Yahweh's righteousness and mercy. Scholars interpret this theme of trust as a potent antidote to despair, transforming potential isolation into hopeful reliance on God's shelter during affliction. The psalm's emphasis on divine refuge prefigures expressions of , particularly ' quotation of verse 5 on the —", into your hands I commend my spirit" (Luke 23:46)—modeling ultimate surrender to amid suffering.

Suffering and deliverance

In Psalm 31, the psalmist vividly portrays the depths of affliction through descriptions of social persecution and personal deterioration, particularly in verses 9–13. The speaker laments being surrounded by deceitful enemies who spread lies and plot harm, leading to a profound sense of isolation and fear, as if death itself encircles them like a trap. This external threat manifests physically, with the psalmist's eyes wasting away from sorrow and their body consumed by grief, evoking the image of bones deteriorating under the weight of anguish. Such imagery underscores the holistic toll of betrayal, where communal rejection exacerbates individual torment. The plea for vindication intensifies in verses 17–18, where the psalmist implores to bring shame upon the adversaries and restore dignity to the faithful. This cry seeks not merely survival but a reversal of fortunes, with the wicked silenced in and their lying lips muted to prevent further insolence against the righteous. Scholars interpret this as a call for divine that affirms the psalmist's amid false accusations, transforming personal into communal validation. The "restoration of face" here symbolizes reintegration into the covenant community, countering the shame inflicted by plots and slander. Deliverance is evoked through protective in verses 19–20, where God's abundant goodness is stored up for those who revere Him, hiding them in a secret pavilion from human conspiracies. The psalmist anticipates being shielded like guests in a , with the wicked cut off by divine counsel, emphasizing God's proactive from affliction. This language shifts from to assurance, portraying salvation as an intimate, enveloping refuge that preserves the faithful from the "strife of tongues." Throughout these verses, the psalm reveals psychological depth, particularly in the metaphor of "bone-wasting grief," which illustrates soul-level distress as a corrosive force akin to physical decay. This somatic expression of inner turmoil—where iniquity and sighing drain vitality—highlights the psalmist's and , yet it also serves as a catalyst for turning to amid despair. Such metaphors convey the integrated nature of spiritual, emotional, and bodily , fostering a of resilience through divine intervention. This motif of crisis and promised complements broader themes of unwavering faith in the psalm.

Uses

Scriptural references

Psalm 31 exhibits notable echoes in other texts, particularly within the and prophetic literature, reflecting shared motifs of refuge, trust, and persecution. Verses 1–3 of Psalm 31, which invoke as a rock of refuge and fortress, are nearly identical to Psalm 71:1–3, where the psalmist similarly pleads, "In you, Lord, I have taken refuge; let me never be put to shame; rescue me and deliver me in your ." This close verbal parallelism suggests that Psalm 71 draws directly from Psalm 31, adapting its language to emphasize lifelong dependence on in . Such intertextual borrowing underscores the Psalter's editorial process, where later compositions reuse earlier motifs to create thematic continuity across the collection. In the , 17:17 adapts the trust expressed in Psalm 31:14, portraying God as a refuge amid terror and evil: "Do not be a terror to me; you are my refuge in the day of disaster." This adaptation aligns with broader confessional elements in , including the phrase "terror on every side" in 20:10, which mirrors Psalm 31:13's depiction of whispered slanders and conspiracies against the faithful. These links highlight Psalm 31's influence on prophetic laments, where personal suffering is framed as a test of fidelity to . Intertextually, Psalm 31 shares structural and thematic similarities with , particularly in their cries of distress amid encirclement by enemies and pleas for divine vindication. Both psalms transition from to praise, embodying the lament tradition's pattern of articulating anguish while affirming God's ultimate deliverance, though without direct quotations. Psalm 31 lacks explicit prophetic fulfillments but serves as a foundational text in this tradition, contributing to the Psalter's layered compilation that integrates individual laments into a cohesive of amid adversity.

Jewish liturgy

In Jewish liturgy, Psalm 31 plays a prominent role in expressions of trust, protection, and supplication during personal and communal distress. The verse "Into your hand I commit my spirit; you have redeemed me, O Lord, faithful " (Psalm 31:6, English numbering) is incorporated into the Bedtime , a nightly recited before to entrust one's soul to , and it also appears in evening prayers such as the Baruch Adonai L'Olam section of the service. This usage underscores the psalm's theme of divine safeguarding, providing spiritual reassurance as one transitions into vulnerability. The full psalm is recited in the as part of penitential prayers, particularly during times of and on minor fast days, where it serves as a for from . Additionally, Psalm 31 is customarily read when praying for the recovery of the ill, included among the thirty-six chapters of Tehillim recommended for healing rituals to invoke God's compassion and restoration. In modern Orthodox practice, these liturgical uses remain central, often chanted in Hebrew during hospital visits or fast-day services like Ta'anit Esther. Reform variations may adapt the psalm into English readings or shorter excerpts in healing services, emphasizing its themes of resilience while aligning with contemporary ethical reflections.

Christian liturgy

In Christian liturgy, Psalm 31 holds particular significance due to its verse 5, which states, "Into your hand I commit my spirit," a phrase directly quoted by on the in Luke 23:46 as his final words before . This same verse is echoed by the in Acts 7:59 during his , underscoring themes of trust and surrender that resonate in observances across denominations. In the Roman Catholic tradition, the psalm's opening line from verse 1, "In te Domine speravi" (In you, O Lord, I have trusted), forms the concluding verse of the ancient hymn, a of praise sung at on Sundays and solemn feasts, as well as during ordinations and services. Additionally, verses 15–16 serve as the Communion antiphon for Sunday in the traditional , with the text "Illumina faciem tuam super servum tuum et salvum me fac in misericordia tua" (Make your face shine on your servant; save me in your mercy), emphasizing deliverance amid pre-Lenten penitence. Among Protestants, the psalm inspired the 16th-century Lutheran chorale "In dich hab' ich gehoffet, Herr" by Adam Reusner, a metrical that became integral to evening and , later adapted by J.S. Bach in cantatas like BWV 22 for Sunday. In Anglican worship, Psalm 31 is prescribed in the for the Daily Office, appearing in (verses 1–6) and the 30-day cycle (full psalm on day 6 evening), fostering regular recitation in personal and communal . In the , Psalm 31 features in Great and Holy Friday services, including the Royal Hours and , where its lament over suffering and plea for refuge align with the Passion narrative, evoking Christ's agony and trust in the Father.

Musical settings

Classical compositions

In the period, composed the motet Esto mihi (c. 1500–1510), a three-voice setting drawing from verses 1–3 of Psalm 31 in Latin, emphasizing themes of trust and refuge through intricate typical of early 16th-century sacred music. set verses from Psalm 31 (e.g., "Timor et tremor" from verses 10-18) in compositions around 1565, employing expressive to depict anguish and , though his renowned Psalmi Davidis poenitentiales (1584) covers the standard seven (6, 32, 38, 51, 102, 130, 143) in five-part structures across multiple choirs, showcasing Lasso's mastery of expressive and emotional depth in themes of penitence and protection. The Baroque era saw Heinrich Schütz engage with Psalm 31 in his Cantiones sacrae (1625), particularly through the motet SWV 66, In te, Domine, speravi, a concise Latin setting of the opening verses that employs verse-specific polyphony with contrasting textures for soloists and chorus, reflecting Schütz's Venetian influences and his focus on textual clarity in German sacred music traditions. This work, part of Schütz's broader exploration of psalmody in collections like the Psalmen Davids (1619), highlights the psalm's role in Lutheran devotional music, though full settings appear in later publications such as the Becker Psalter (SWV 128, 1628). Additionally, J.S. Bach incorporated verse 5 in his St. John Passion (BWV 245, 1724), heightening the dramatic surrender in the recitative. Transitioning to the Classical and Romantic periods, incorporated Psalm 31's verse 5 ("Into thy hands I commit my spirit") into his Last Words of Our Saviour on the Cross (Hob. XX:2, 1796), an meditation where the movement serves as a poignant choral interlude, underscoring the verse's liturgical significance in Passion narratives and linking it to Christ's final words in Luke 23:46. , in the 1840s, produced settings of Psalm 31 within his adaptations of Ambrosius Lobwasser's German metrical psalms, including a four-part choral that captures the psalm's pleas for through lyrical, homophonic lines suited for Protestant worship. A recurring feature in these classical compositions is the emphasis on verse 5, frequently adapted for Passion settings due to its resonance with Christian ; composers like Haydn, Schütz, and Bach used it to evoke surrender and redemption, often isolating it for dramatic solo or ensemble climaxes amid broader psalm structures.

Contemporary adaptations

In the , American composer Robert Starer created choral settings from the , emphasizing themes of distress and divine protection in works like his psalm compositions for mixed chorus and piano, integrating melodic styles with Hebrew texts in contemporary . The 21st century has seen diverse indie and adaptations, often in acoustic and modern genres. The Project released an acoustic rendition titled "Psalm 31 (You Are My Refuge)" featuring Ben Loper in 2019, part of their album Vol. 4: Psalms 31-38, which sets the full psalm to gentle folk-inspired music aimed at personal devotion and congregational use. Similarly, The Worship Initiative released "In His Hands (Psalm 31)" featuring Aaron Williams on the 2024 album Psalms from the Well (Deluxe Edition), blending indie elements with lyrics focused on refuge amid chaos to support emotional healing in contemporary Christian settings. Emerging genres include hip-hop interpretations, such as the AI-generated track "Psalm 31" released in 2025, which reimagines the psalm's plea for deliverance in a futuristic gospel-rap style to appeal to younger audiences. Non-Western adaptations highlight global , particularly in African contexts where renditions emphasize deliverance. For instance, South African performer Arie Troost's 2022 setting of Psalm 31 in integrates rhythmic elements akin to local praise traditions, underscoring trust in during hardship. Psalm 31's themes of anxiety and refuge have influenced cultural applications beyond performance, including therapeutic music. Tracks like "Psalms Anxiety Cleanse + Calm Music" (2020) incorporate sung verses from the psalm into ambient soundscapes designed for stress relief and overthinking reduction. In , the psalm appears in the of the 2025 sci-fi feature Myth of Man, where "31 Psalm" underscores motifs of protection and existential struggle. These uses extend the psalm's emotional , aiding modern listeners in processing fear and seeking solace.

References

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