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Psalm 50
"The mighty God, even the LORD, hath spoken"
A Latin phrase from Psalm 50 in the coat of arms of Spain
Other name
  • Psalm 49
  • "Deus deorum"
LanguageHebrew (original)
Psalm 50
BookBook of Psalms
Hebrew Bible partKetuvim
Order in the Hebrew part1
CategorySifrei Emet
Christian Bible partOld Testament
Order in the Christian part19

Psalm 50, a Psalm of Asaph, is the 50th psalm from the Book of Psalms in the Bible, beginning in English in the King James Version: "The mighty God, even the LORD, hath spoken, and called the earth from the rising of the sun unto the going down thereof." In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 49. The opening words in Latin are Deus deorum, Dominus, locutus est / et vocavit terram a solis ortu usque ad occasum.[1] The psalm is a prophetic imagining of God's judgment on the Israelites.

The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. It has been set to music completely and in single verses. The phrase A solis ortu usque ad occasum, taken from verse 1,[2] or Psalm 113:3 is part of a Spanish coat of arms.

Composition

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The psalm has been variously dated to either the 8th century BC, the time of the prophets Hosea and Micah, or to a time after the Babylonian captivity. The latter date is supported by the reference to "gathering" in verse 5, but is problematic because verse 2 describes Zion (another name for Jerusalem) as "the perfection of beauty", even though Jerusalem was destroyed in 587 BC.[3]

Uses

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Judaism

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Psalm 50 is recited on the fourth day of Sukkot.[4]

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 tenth day of the month.[5]

Musical settings

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In a Scottish Psalter of 1650, Psalm 50 was paraphrased rhymed in English as "The mighty God, the Lord, Hath spoken, and did call".[6] The 1863 hymn "For the Beauty of the Earth" by Folliott Sandford Pierpoint issues verse 14.[7]

Heinrich Schütz set Psalm 50 in a rhymed version in the Becker Psalter, as "Gott unser Herr, mächtig durchs Wort", SWV 147. The last verse is used in German in the opening chorus of Bach's cantata Wer Dank opfert, der preiset mich, BWV 17, composed in 1726.

F. Melius Christiansen created a famous choral arrangement of Psalm 50 in 1922. This setting was dedicated to the St. Olaf Choir for the 10th anniversary of the choir's formation.[8]

Text

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The following table shows the Hebrew text[9][10] of the Psalm with vowels, alongside the Koine Greek text in the Septuagint[11] 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 49.

# Hebrew English Greek
1 מִזְמ֗וֹר לְאָ֫סָ֥ף אֵ֤ל ׀ אֱֽלֹהִ֡ים יְֽהֹוָ֗ה דִּבֶּ֥ר וַיִּקְרָא־אָ֑רֶץ מִמִּזְרַח־שֶׁ֝֗מֶשׁ עַד־מְבֹאֽוֹ׃‎ (A Psalm of Asaph.) The mighty God, even the LORD, hath spoken, and called the earth from the rising of the sun unto the going down thereof. Ψαλμὸς τῷ ᾿Ασάφ. - ΘΕΟΣ θεῶν Κύριος ἐλάλησε καὶ ἐκάλεσε τὴν γῆν ἀπὸ ἀνατολῶν ἡλίου μέχρι δυσμῶν.
2 מִצִּיּ֥וֹן מִכְלַל־יֹ֗פִי אֱלֹהִ֥ים הוֹפִֽיעַ׃‎ Out of Zion, the perfection of beauty, God hath shined. ἐκ Σιὼν ἡ εὐπρέπεια τῆς ὡραιότητος αὐτοῦ,
3 יָ֤בֹ֥א אֱלֹהֵ֗ינוּ וְֽאַל־יֶ֫חֱרַ֥שׁ אֵשׁ־לְפָנָ֥יו תֹּאכֵ֑ל וּ֝סְבִיבָ֗יו נִשְׂעֲרָ֥ה מְאֹֽד׃‎ Our God shall come, and shall not keep silence: a fire shall devour before him, and it shall be very tempestuous round about him. ὁ Θεὸς ἐμφανῶς ἥξει, ὁ Θεὸς ἡμῶν, καὶ οὐ παρασιωπήσεται· πῦρ ἐνώπιον αὐτοῦ καυθήσεται, καὶ κύκλῳ αὐτοῦ καταιγὶς σφόδρα.
4 יִקְרָ֣א אֶל־הַשָּׁמַ֣יִם מֵעָ֑ל וְאֶל־הָ֝אָ֗רֶץ לָדִ֥ין עַמּֽוֹ׃‎ He shall call to the heavens from above, and to the earth, that he may judge his people. προσκαλέσεται τὸν οὐρανὸν ἄνω καὶ τὴν γῆν τοῦ διακρῖναι τὸν λαὸν αὐτοῦ·
5 אִסְפוּ־לִ֥י חֲסִידָ֑י כֹּרְתֵ֖י בְרִיתִ֣י עֲלֵי־זָֽבַח׃‎ Gather my saints together unto me; those that have made a covenant with me by sacrifice. συναγάγετε αὐτῷ τοὺς ὁσίους αὐτοῦ, τοὺς διατιθεμένους τὴν διαθήκην αὐτοῦ ἐπὶ θυσίαις,
6 וַיַּגִּ֣ידוּ שָׁמַ֣יִם צִדְק֑וֹ כִּֽי־אֱלֹהִ֓ים ׀ שֹׁפֵ֖ט ה֣וּא סֶֽלָה׃‎ And the heavens shall declare his righteousness: for God is judge himself. Selah. καὶ ἀναγγελοῦσιν οἱ οὐρανοὶ τὴν δικαιοσύνην αὐτοῦ, ὅτι ὁ Θεὸς κριτής ἐστι. (διάψαλμα).
7 שִׁמְעָ֤ה עַמִּ֨י ׀ וַאֲדַבֵּ֗רָה יִ֭שְׂרָאֵל וְאָעִ֣ידָה בָּ֑ךְ אֱלֹהִ֖ים אֱלֹהֶ֣יךָ אָנֹֽכִי׃‎ Hear, O my people, and I will speak; O Israel, and I will testify against thee: I am God, even thy God. ἄκουσον, λαός μου, καὶ λαλήσω σοι, ᾿Ισραήλ, καὶ διαμαρτύρομαί σοι· ὁ Θεὸς ὁ Θεός σού εἰμι ἐγώ.
8 לֹ֣א עַל־זְ֭בָחֶיךָ אוֹכִיחֶ֑ךָ וְעוֹלֹתֶ֖יךָ לְנֶגְדִּ֣י תָמִֽיד׃‎ I will not reprove thee for thy sacrifices or thy burnt offerings, to have been continually before me. οὐκ ἐπὶ ταῖς θυσίαις σου ἐλέγξω σε, τὰ δὲ ὁλοκαυτώματά σου ἐνώπιόν μου ἐστὶ διαπαντός.
9 לֹא־אֶקַּ֣ח מִבֵּיתְךָ֣ פָ֑ר מִ֝מִּכְלְאֹתֶ֗יךָ עַתּוּדִֽים׃‎ I will take no bullock out of thy house, nor he goats out of thy folds. οὐ δέξομαι ἐκ τοῦ οἴκου σου μόσχους οὐδὲ ἐκ τῶν ποιμνίων σου χιμάρους.
10 כִּי־לִ֥י כׇל־חַיְתוֹ־יָ֑עַר בְּ֝הֵמ֗וֹת בְּהַרְרֵי־אָֽלֶף׃‎ For every beast of the forest is mine, and the cattle upon a thousand hills. ὅτι ἐμά ἐστι πάντα τὰ θηρία τοῦ δρυμοῦ, κτήνη ἐν τοῖς ὄρεσι καὶ βόες·
11 יָ֭דַעְתִּי כׇּל־ע֣וֹף הָרִ֑ים וְזִ֥יז שָׂ֝דַ֗י עִמָּדִֽי׃‎ I know all the fowls of the mountains: and the wild beasts of the field are mine. ἔγνωκα πάντα τὰ πετεινὰ τοῦ οὐρανοῦ, καὶ ὡραιότης ἀγροῦ μετ᾿ ἐμοῦ ἐστιν.
12 אִם־אֶ֭רְעַב לֹא־אֹ֣מַר לָ֑ךְ כִּי־לִ֥י תֵ֝בֵ֗ל וּמְלֹאָֽהּ׃‎ If I were hungry, I would not tell thee: for the world is mine, and the fulness thereof. ἐὰν πεινάσω, οὐ μή σοι εἴπω· ἐμὴ γάρ ἐστιν ἡ οἰκουμένη καὶ τὸ πλήρωμα αὐτῆς.
13 הַ֭אוֹכַל בְּשַׂ֣ר אַבִּירִ֑ים וְדַ֖ם עַתּוּדִ֣ים אֶשְׁתֶּֽה׃‎ Will I eat the flesh of bulls, or drink the blood of goats? μὴ φάγομαι κρέα ταύρων, ἢ αἷμα τράγων πίομαι;
14 זְבַ֣ח לֵאלֹהִ֣ים תּוֹדָ֑ה וְשַׁלֵּ֖ם לְעֶלְי֣וֹן נְדָרֶֽיךָ׃‎ Offer unto God thanksgiving; and pay thy vows unto the most High: θῦσον τῷ Θεῷ θυσίαν αἰνέσεως καὶ ἀπόδος τῷ ῾Υψίστῳ τὰς εὐχάς σου·
15 וּ֭קְרָאֵנִי בְּי֣וֹם צָרָ֑ה אֲ֝חַלֶּצְךָ֗ וּֽתְכַבְּדֵֽנִי׃‎ And call upon me in the day of trouble: I will deliver thee, and thou shalt glorify me. καὶ ἐπικάλεσαί με ἐν ἡμέρᾳ θλίψεώς σου, καὶ ἐξελοῦμαί σε, καὶ δοξάσεις με. (διάψαλμα).
16 וְלָ֤רָשָׁ֨ע ׀ אָ֘מַ֤ר אֱלֹהִ֗ים מַה־לְּ֭ךָ לְסַפֵּ֣ר חֻקָּ֑י וַתִּשָּׂ֖א בְרִיתִ֣י עֲלֵי־פִֽיךָ׃‎ But unto the wicked God saith, What hast thou to do to declare my statutes, or that thou shouldest take my covenant in thy mouth? τῷ δὲ ἁμαρτωλῷ εἶπεν ὁ Θεός· ἱνατί σὺ διηγῇ τὰ δικαιώματά μου καὶ ἀναλαμβάνεις τὴν διαθήκην μου διὰ στόματός σου;
17 וְ֭אַתָּה שָׂנֵ֣אתָ מוּסָ֑ר וַתַּשְׁלֵ֖ךְ דְּבָרַ֣י אַחֲרֶֽיךָ׃‎ Seeing thou hatest instruction, and castest my words behind thee. σὺ δὲ ἐμίσησας παιδείαν καὶ ἐξέβαλες τοὺς λόγους μου εἰς τὰ ὀπίσω.
18 אִם־רָאִ֣יתָ גַ֭נָּב וַתִּ֣רֶץ עִמּ֑וֹ וְעִ֖ם מְנָאֲפִ֣ים חֶלְקֶֽךָ׃‎ When thou sawest a thief, then thou consentedst with him, and hast been partaker with adulterers. εἰ ἐθεώρεις κλέπτην, συνέτρεχες αὐτῷ, καὶ μετὰ μοιχοῦ τὴν μερίδα σου ἐτίθεις.
19 פִּ֭יךָ שָׁלַ֣חְתָּ בְרָעָ֑ה וּ֝לְשׁוֹנְךָ֗ תַּצְמִ֥יד מִרְמָֽה׃‎ Thou givest thy mouth to evil, and thy tongue frameth deceit. τὸ στόμα σου ἐπλεόνασε κακίαν, καὶ ἡ γλῶσσά σου περιέπλεκε δολιότητα·
20 תֵּ֭שֵׁב בְּאָחִ֣יךָ תְדַבֵּ֑ר בְּבֶֽן־אִ֝מְּךָ֗ תִּתֶּן־דֹּֽפִי׃‎ Thou sittest and speakest against thy brother; thou slanderest thine own mother's son. καθήμενος κατὰ τοῦ ἀδελφοῦ σου κατελάλεις καὶ κατὰ τοῦ υἱοῦ τῆς μητρός σου ἐτίθεις σκάνδαλον.
21 אֵ֤לֶּה עָשִׂ֨יתָ ׀ וְֽהֶחֱרַ֗שְׁתִּי דִּמִּ֗יתָ הֱיֽוֹת־אֶהְיֶ֥ה כָמ֑וֹךָ אוֹכִיחֲךָ֖ וְאֶעֶרְכָ֣ה לְעֵינֶֽיךָ׃‎ These things hast thou done, and I kept silence; thou thoughtest that I was altogether such an one as thyself: but I will reprove thee, and set them in order before thine eyes. ταῦτα ἐποίησας, καὶ ἐσίγησα· ὑπέλαβες ἀνομίαν, ὅτι ἔσομαί σοι ὅμοιος· ἐλέγξω σε καὶ παραστήσω κατὰ πρόσωπόν σου τὰς ἁμαρτίας σου.
22 בִּינוּ־נָ֣א זֹ֭את שֹׁכְחֵ֣י אֱל֑וֹהַּ פֶּן־אֶ֝טְרֹ֗ף וְאֵ֣ין מַצִּֽיל׃‎ Now consider this, ye that forget God, lest I tear you in pieces, and there be none to deliver. σύνετε δὴ ταῦτα, οἱ ἐπιλανθανόμενοι τοῦ Θεοῦ, μήποτε ἁρπάσῃ, καὶ οὐ μὴ ᾖ ὁ ῥυόμενος.
23 זֹבֵ֥חַ תּוֹדָ֗ה יְֽכַ֫בְּדָ֥נְנִי וְשָׂ֥ם דֶּ֑רֶךְ אַ֝רְאֶ֗נּוּ בְּיֵ֣שַׁע אֱלֹהִֽים׃‎ Whoso offereth praise glorifieth me: and to him that ordereth his conversation aright will I shew the salvation of God. θυσία αἰνέσεως δοξάσει με, καὶ ἐκεῖ ὁδός, ᾗ δείξω αὐτῷ τὸ σωτήριόν μου.

The psalm can be divided into an introduction (verses 1-6), two separate orations in which God testifies against the Jews (verses 7-15 and 16-21), and a conclusion (verses 22-23).[12] The imagery of the introduction evokes the revelation of the Ten Commandments at Mount Sinai, where God's appearance was accompanied by thunder and lightning.[13] God summons the heavens and the earth to act as witnesses, and the rest of the psalm takes the form of a legal proceeding, with God acting as both plaintiff and judge.[14] The same metaphor of a divine tribunal occurs in chapter 1 of the Book of Isaiah and chapter 6 of the Book of Micah.[13]

Cattle grazing in a high-elevation environment at the Big Pasture Plateau, Slovenia: cf. verse 10: The cattle on a thousand hills are mine.[15]

In God's first oration, he tells the people that he is not satisfied with material sacrifices alone, since he does not require food or drink.[13] Rather, he desires his people to worship him with thanksgiving and sincere prayer.[16] Verse 13, "Do I eat the flesh of bulls, or drink the blood of goats?" may be an allusion to the goddess Anat, since in one fragmentary text Anat eats the flesh and drinks the blood of her brother Baal, who sometimes appears as a bull.[17]

God's second oration is warning against hypocrisy.[13] Though the hypocrites often recite God's commandments, they inwardly hate them and make no effort to live by them, and God will surely bring them to judgment.[16]

The psalm closes with a final warning against iniquity and a promise that God will bless the righteous and make them "drink deeply of the salvation of God".[18] This last is an appearance of the common biblical theme of the "Messianic banquet," which also occurs in Psalm 23, Psalm 16, and Luke 14, among other places.[19]

Notes

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References

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Bibliography

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Psalm 50

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Psalm 50 is a psalm in the within the and Christian , attributed to Asaph, a musician and chief of the temple singers during the reign of King David. It serves as the first of twelve psalms ascribed to Asaph or his descendants, forming part of Book II of the (Psalms 42–72). The psalm portrays a dramatic in which , described as the "Mighty One" (El Elohim YHWH), summons the heavens and earth as witnesses to judge his people, highlighting themes of divine sovereignty, covenant faithfulness, and authentic worship. Structurally, the psalm divides into three main sections: verses 1–6 depict God's majestic appearance from to the far horizons, establishing the courtroom scene for ; verses 7–15 address the covenant community, critiquing reliance on sacrifices while affirming that God desires offerings of and fulfilled vows rather than material tribute; and verses 16–23 rebuke the wicked for their in reciting God's laws while living in sin, warning of impending and promising deliverance to those who order their way rightly. This chiastic arrangement centers on the theme of honoring God's name through ethical obedience, blending elements of , covenant lawsuit (), and prophetic . Scholars date the psalm to either the late pre-exilic period, reflecting concerns over ritualism in monarchic , or the early post-exilic era, amid temple restoration and renewed covenant emphasis, though its exact historical context remains debated. Asaph's authorship underscores its liturgical origins, likely intended for temple worship to exhort toward genuine piety over superficial religion. In Jewish and Christian traditions, Psalm 50 has influenced interpretations of judgment and worship, often read in light of prophetic critiques like those in and , and it continues to inspire reflections on the heart of devotion.

Authorship and Composition

Attribution to Asaph

Psalm 50 bears the superscription "A Psalm of Asaph" (Hebrew: mizmor leʾāsāph), which traditionally associates it with the biblical figure Asaph and places it within a collection of twelve psalms ( 50 and 73–83) attributed to him or his tradition. This heading implies potential authorship by Asaph himself, composition by his descendants or a of associated poets, or a later editorial attribution to link the psalm to a revered liturgical lineage, reflecting the fluid nature of ancient Near Eastern ascriptions where "of" could denote origin, dedication, or collection membership rather than strict individual creation. Scholars note that such superscriptions often served organizational purposes in the , grouping works by thematic or cultic associations rather than verifying historical authorship. Asaph is depicted in the Hebrew Bible as a prominent from the Gershonite clan, appointed by King as chief musician and seer for temple worship. In 1 Chronicles 6:39, he is identified as the son of Berekiah and grandson of Shimea, chosen alongside Heman and Jeduthun to minister before the . Further, 1 Chronicles 15:17 records Asaph's selection as one of the principal musicians for the procession bringing the Ark to , and 1 Chronicles 16:5–7 describes him leading the singers with cymbals of , harps, and lyres, while delivered the first psalm to him for communal praise. This role positioned Asaph as a key figure in establishing organized sacred music, blending prophetic with liturgical performance. The tradition of Asaph extended through his descendants, who continued as temple musicians into the post-exilic period. Ezra 2:41 lists "the singers: the descendants of Asaph" numbering 128 among the returning exiles, while Nehemiah 7:44 records 148 such descendants serving in the rebuilt temple's worship. These references underscore the hereditary nature of the Asaphite guild, preserving musical and poetic practices across generations. Scholarly consensus leans against direct authorship by the historical Asaph, favoring composition by a "school" or guild of his descendants, though debates persist. Proponents of individual authorship, such as Franz Delitzsch and Ivan Engnell, argue the superscription points to Asaph's personal involvement, citing linguistic and thematic consistencies like divine judgment motifs across the Asaph psalms. In contrast, Michael Goulder, Harry Nasuti, and Frank-Lothar Hossfeld with Erich Zenger propose an Asaphite guild active from David's era through the monarchy, adapting psalms for northern Israelite liturgy, as evidenced by recurring Elohim terminology and shepherd imagery in Psalms 50 and 73–83. Others, including Gerald Wilson and David Mitchell, view the attribution as a post-exilic editorial device to unify the Psalter's collections, possibly linking Psalm 50 to the adjacent Davidic psalms for theological cohesion. J. Clinton McCann and Krister Illman further emphasize this guild tradition, highlighting pre- and post-exilic layers in the Asaph psalms' prophetic tone. No single view dominates, but the guild model accounts for the psalms' stylistic unity and historical continuity.

Historical Dating and Context

Scholars debate the dating of Psalm 50, with proposals ranging from the 8th century BCE in the pre-exilic period to the 6th-5th century BCE in the post-exilic era. The pre-exilic dating aligns the psalm with prophetic traditions emphasizing ethical critique over ritual, potentially tying it to the reigns of kings or , whose temple reforms sought to purify worship by prioritizing moral righteousness. In contrast, a post-exilic composition reflects the restoration community's focus on theology and ethical monotheism amid rebuilding efforts. Linguistic features provide key evidence for these debates, including archaic Hebrew elements such as covenantal phrasing reminiscent of Sinaitic traditions, which suggest an early origin, alongside Deuteronomistic influences like echoes of the Decalogue in verses 16-20. The psalm's use of past tenses in addressing sins (vv. 18-20) points to an entrance context, possibly linked to covenant renewal ceremonies at festivals like Tabernacles, supporting a pre-exilic cultic setting before the Babylonian destruction in 587 BCE. Contextual parallels with prophetic literature further anchor the psalm in pre-exilic Judah, particularly the critique of empty sacrifices in , which rejects festivals and offerings amid social injustice, and , which declares divine disdain for rituals unaccompanied by . These similarities indicate Psalm 50 as part of an 8th-7th century BCE prophetic (lawsuit) tradition, where summons the people for judgment on hypocritical worship. Scholars like Mowinckel and Weiser propose this framework, viewing the psalm as a cultic from the period after Samaria's fall in 722 BCE but before Jerusalem's . Post-exilic arguments, advanced by Gerstenberger, emphasize the psalm's instructional tone on observance and Levitical , fitting a time when the Judean state had collapsed and community renewal centered on moral fidelity rather than national sovereignty. The idealized portrayal of as "the perfection of beauty" (v. 2) may reflect exilic hopes rather than pre-exilic reality, though this is contested given the absence of explicit references. Overall, the psalm's composition likely draws from Asaph's traditional role in temple worship, adapting prophetic motifs to address ongoing tensions between ritual and across these periods.

Structure and Content

Verse Division

Psalm 50 consists of 23 verses in the , with the same verse numbering maintained in the translation. Scholars commonly divide the psalm into four structural parts: an introduction depicting a divine (verses 1–6), the first address to the faithful regarding proper (verses 7–15), the second address confronting the wicked (verses 16–21), and a concluding exhortation (verses 22–23). This division highlights the psalm's progression from cosmic summons to personal accountability, framed by divine speech. The introduction employs imagery, portraying God speaking from amid fire and tempest, evoking a divine where and serve as witnesses. motifs appear in the calls to judgment (verse 4) and the affirmation of divine (verse 6), underscoring a legal assembly of the covenant people. Poetic features include synonymous parallelism, as seen in verse 1 with the triple invocation "The Mighty One, God, the LORD" (Hebrew: ’ēl ’ĕlōhîm YHWH), emphasizing divine authority through repetition. The psalm lacks an structure but incorporates repetitive refrains, such as calls to "hear" and "consider" (verses 7, 16, 22), to reinforce the addresses. In terms of meter, the Hebrew text features approximate syllable cola in many lines, such as verse 1's balanced phrasing, contributing to its rhythmic flow without strict quantitative patterns.

Summary of Key Passages

Psalm 50 begins with an introductory scene in verses 1–6, where the Mighty One, the , speaks and summons the earth from the rising of the sun to its setting. Out of , the perfection of beauty, shines forth, calling the heavens above and the earth to witness his judgment over his people and gathering his faithful ones who covenanted with him by ; the heavens proclaim his , as himself is . In the first oration, verses 7–15, addresses directly, stating that he will not rebuke them for their sacrifices or offerings, for every beast of the forest is his, the cattle on a thousand hills, and if he were hungry he would not tell them since the world and its fullness are his. Instead, he calls for the sacrifice of , fulfillment of vows, and calling upon him in the day of trouble, promising deliverance in response. The second oration in verses 16–21 condemns the wicked who recite God's statutes and covenant but hate and instruction, engaging in , , and slander against their kin; God notes that he has kept silent until now, allowing them to think him like themselves, but he now rebukes them and sets their sins before them. The psalm concludes in verses 22–23 with a warning to those who forget , lest he tear them in pieces with none to deliver, followed by a blessing: whoever offers as honors him, and to one who orders their conduct rightly, will show the way of .

Themes and Interpretation

Critique of Sacrificial Practices

Psalm 50 presents a theological of sacrificial practices by asserting that offerings alone are insufficient without genuine inner devotion and acknowledgment of 's . In verses 8-13, the psalmist declares that does not rebuke for failing to offer sacrifices, as these are already performed regularly, but rather emphasizes that , as the creator and owner of all creation, has no need for them: "If I were hungry, I would not tell you, for the world and its fullness are mine" (v. 12). This rejection underscores that material sacrifices cannot manipulate divine favor or meet 's needs, highlighting a shift from transactional ritualism to relational . The psalm echoes the prophetic critiques of temple practices during the monarchic period in Judah, where prophets like and condemned the abuse of amid social and empty formalism. 6:6 states, "For I desire steadfast love and not , the knowledge of rather than burnt offerings," prioritizing ethical commitment over ritual, while 6:6-8 questions the value of extravagant offerings when , , and are neglected. These eighth-century BCE prophets addressed corruptions in Jerusalem's cultic system under kings like , where were performed hypocritically alongside and , a concern mirrored in Psalm 50's call to authentic covenant fidelity. In verse 14, the psalm redefines true as the " offering" (todah), which represents and fulfillment of vows from a heart aligned with , rather than mere . This emphasis on todah as the acceptable form of ties into the of the covenant community in verse 5—"Gather to me my faithful ones, who made a covenant with me by "—evoking the Sinaitic covenant where relational obedience, not alone, defined faithfulness (cf. Exodus 19:5). Such ideas contributed to a broader interpretive shift in toward spiritualized , where post-exilic communities, facing temple reconstruction and realities, increasingly valued inner repentance and communal over physical offerings.

Divine Judgment and Righteousness

Psalm 50 portrays as the supreme judge in a cosmic , summoning the heavens and as witnesses to His impending . In verses 1-6, the psalm depicts a dramatic where shines forth from , accompanied by fire and tempest, to gather His faithful covenant people like a flock for evaluation. This imagery evokes a divine , with the heavens proclaiming as the ultimate arbiter of . A key element of this is God's previous , which the wicked have misinterpreted as divine indifference or approval of their actions. Verse 21 explicitly states, "These things you have done, and I have been silent; you thought that I was one just like yourself," alluding to a period of delayed that now culminates in God's intervention to "rend" the heavens and expose . This motif underscores the tension between God's and His inevitable reckoning, positioning the psalm within a broader prophetic tradition of covenant enforcement. The psalm's call to intensifies in verses 16-23, where directly confronts the wicked among His people for their duplicity in reciting His laws while living in opposition to them. is exposed through specific accusations, such as in and (v. 18), and the misuse of the for slander and deceit (vv. 19-20), demanding instead a life that honors through ethical integrity rather than mere verbal profession. True , in this context, involves aligning one's conduct with divine commands, transforming sacrificial practices from formalism into expressions of genuine . Theologically, Psalm 50 balances a universal scope of judgment—evident in the earth's role as witness and the cosmic —with God's particular covenant relationship to , whom He addresses as His "saints" bound by (v. 5). This duality highlights God's over all creation while emphasizing accountability within the covenant community, with eschatological overtones suggesting a final, purifying reckoning that reveals divine justice. Finally, verse 23 promises to those who "order their way rightly," linking moral rectitude to in a manner resonant with literature's emphasis on the path of righteousness leading to life and divine favor. This concluding assurance frames judgment not merely as condemnation but as an invitation to covenant renewal through obedient living.

Textual Tradition

Hebrew Text

Psalm 50, known in Hebrew as Mizmor le'Asaf, comprises 23 verses in the and is situated in Book II of the (Psalms 42–72), a collection often associated with themes of communal lament and praise following . The textual tradition of the psalm demonstrates high stability across ancient witnesses, with no significant variants in the Masoretic codices. While minor orthographic variations occur, such as spelling differences, no substantive textual variants alter the psalm's content or meaning in ancient witnesses. Fragments from the , such as those preserved in 4QPs^c (4Q85), align closely with the Masoretic reading, attesting to its transmission fidelity from the Second Temple period. The original Hebrew text, as standardized in the Masoretic Text, is presented below verse by verse, accompanied by a phonetic transliteration based on standard scholarly conventions for readability. This transcription draws from the Leningrad Codex, the primary basis for modern editions.
VerseHebrew TextTransliteration
1מִזְמוֹר לְאָסָף אֵל אֱלֹהִים יְהוָה דִּבֶּר וַיִּקְרָא־אָרֶץ מִמִּזְרַח־שֶׁמֶשׁ עַד־מְבוֹאוֹmizmôr ləʾāsāp ʾēl ʾĕlōhîm YHWH dibbēr wayyiqrāʾ-ʾāreṣ mimmizrāḥ-šemeš ʿad-məbôʾô
2מִצִּיּוֹן מִקְהַל־יוֹפִי אֱלֹהִים זָרַחmiṣṣiyyôn miqhal-yôpî ʾĕlōhîm zāraḥ
3יִקְרַב אֱלֹהֵינוּ וְלֹא־יֶחֱרִשׁ אֵשׁ דֹּבֵר לְפָנָיו וְסָבִיב לוֹ לַהֲבוֹתyiqraḇ ʾĕlōhênû wəlōʾ-yeḥărîš ʾēš dōḇēr ləpānāyw wəsāḇîḇ lô lahaḇôṯ
4יִקְרָא לַשָּׁמַיִם מִמָּעַל וְלָאָרֶץ לְדִין עַמּוֹyiqrāʾ laššāmayim mimmāʿal wəlāʾāreṣ lədîn ʿammô
5אִסְפוּ־לִי חֲסִידָי כֹּרְתֵי בְרִיתִי עֲלֵי־זָבַחʾispû-lî ḥăsîday kōrəṯê bərîtî ʿalê-zāḇaḥ
6וְשָׁמַיִם יַגִּידוּ צְדַקְתּוֹ כִּי־אֱלֹהִים שׁוֹפֵט סֶלָהwəšāmayim yaggîdû ṣədaqətô kî-ʾĕlōhîm šôpēṭ selā
7שִׁמְעָה עַמִּי וַאֲדַבֵּרָה יִשְׂרָאֵל וְאָעִידָה בָךְ אֱלֹהִים אֱלֹהֶיךָ אָנֹכִיšimʿâ ʿammî waʾdabbērâ yiśrāʾēl wəʾāʿîdâ bāḵ ʾĕlōhîm ʾĕlōheyḵā ʾānōḵî
8לֹא עַל־זִבְחֵי רְאוּתְךָ אֶוֹקֵר מוֹלָדְךָ אֵלlōʾ ʿal-zibḥê rəʾûtəḵā ʾĕwōqēr môlādəḵā ʾēl
9לֹא־תִקַּח מִבֵּיתְךָ נָזִיר לֹא מִמֵּעָלֶיךָ עוֹלָהlōʾ-tiqqaḥ mibbêtəḵā nāzîr lōʾ mimmēʿāleyḵā ʿôlâ
10כִּי־לִּי כָּל־חַיְתוֹ־יָעַר בְּהֵמוֹת בְּהָרִים־אַלְפֵי הָרִיםkî-lî kol-ḥayətô-yāʿar bəhēmôt bəhārim-ʾalpê hārîm
11יֹדַעְתִּי כָּל־עוֹף הַהָרִים וְיֵשַׁר הַשָּׂדַי עִמָּדִיyōdaʿtî kol-ʿôp hāhārîm wəyēšar haśśāday ʿimmādî
12אִם־אֶרְעַב לֹא־אֹמַר לָךְ כִּי־לִּי תֵבֵל וּמְלֹאָהּʾim-ʾerʿāḇ lōʾ-ʾōmar lāḵ kî-lî têḇēl ûməlōʾāh
13הַאֲכַל בְּשַׂר אַבִּירִים וְדַם עַתּוּדִים אֶשְׁתֶּהhăʾăḵal bəśar ʾabbîrîm wədām ʿattûdîm ʾeštēh
14זִבְחֵה לֵאלֹהִים תּוֹדָה וְשַׁלֵּם לְעֶלְיוֹן נְדָרֶיךָzibḥēh lēʾlōhîm tôdâ wəšallēm ləʿelyôn nədāreyḵā
15וּקְרָאֵנִי בְּיוֹם צָרָה אֲחַלְּצְךָ וְתְכַבְּדָנְנִיûqərāʾēnî bəyôm ṣārâ ʾăḥalləṣəḵā wətəḵabbədannî
16וְלָרָשָׁע אָמַר־אֱלֹהִים לָמָּה־תַסְפֹּר חֻקָּי וַתִּשָּׂא בְרִיתִי עַל־פִּיהוּwəlārāšāʿ ʾāmar-ʾĕlōhîm lāmmâ-taspor ḥuqqāy watissāʾ bərîtî ʿal-pîhû
17כִּי שָׂנֵאת מוּסָר וַתַּשְׁלֵךְ דְּבָרַי אַחֲרֶיךָkî śānēʾ mûsār wattašlēk dəḇāray ʾaḥăreyḵā
18אִם־תִּרְאֶה גַנָּב וַתָּרָץ עִמּוֹ וְעִם מְנָאֲפִים חֶלְקֶךָʾim-tirʾeh gannāḇ watārāṣ ʿimmô wəʿim mənāʾāpîm ḥelqəḵā
19פִּיהֲךָ שָׁלַחְתָּ וַתַּרְפֵּה לְשֹׁנְךָ תִּפְתַּל־בָּדָנִיםpîhā šālaḥtā wat tarpēh ləšōnəḵā tiftal-bādānîm
20תֵּשֵׁב לְרֵעֲךָ תְדַבֵּר תִּתָּה אָחִיךָtēšēḇ lərēʿăḵā tədaḇḇēr tittâ ʾāḥîḵā
21אֵלֶּה תַעֲשֶׂה וְהַחֲרַשְׁתִּי תַּחְשֹׁב לְרָשָׁע כִּי־אָנֹכִי אֵלֶךָ אֲנִי אוֹכִיחֲךָ וְעָרֵךְ לְעֵינֶיךָʾēlleh taʿăśeh wəhaḥărāšətî taḥšōḇ lərāšāʿ kî-ʾānōḵî ʾēleyḵā ʾănî ʾôkîḥāḵā wəʿārēk ləʿêneyḵā
22הָבִינוּ נָא זֹאת פֹּשְׁעֵי רוּחַ פֶּן־אֶטְרֹף וְאֵין מַצִּילhāḇînû nāʾ zōʾt pōšəʿê rûaḥ pen-ʾeṭrōp wəʾên maṣṣîl
23זֹבֵחַ תּוֹדָה יְכַבְּדָנְנִי וְשָׂם דֶּרֶךְ אַרְאֶנּוּ בְּיֵשַׁע אֱלֹהִיםzōḇēaḥ tôdâ yəḵaḇbədannî wəśām derek ʾarʾennû bəyēšaʿ ʾĕlōhîm
Linguistically, the psalm opens with the distinctive triad "El YHWH" in verse 1, a rare accumulation of divine epithets that intensifies the portrayal of 's majestic authority and unity, combining the generic "El" (mighty one), the plural "" (divine beings or God), and the covenantal YHWH. In verse 2, the term "miqhal" (from the root q-h-l, to assemble) is used in a poetic sense denoting "perfection of beauty," underscoring as the epitome of beauty in poetic . The vocabulary includes other notable forms, such as "ʾēš dōḇēr" in verse 3 (a devouring fire), evoking theophanic imagery with roots in storm-god motifs. Poetically, Psalm 50 adheres to classical Hebrew , lacking end-—a feature rare in —but employing rhythmic patterns through syllable stress and parallelism. The meter predominantly follows bicola with 3+3 or 3+2 accents per hemistich, creating a prophetic suited to divine speech, as seen in verses 7–15 where synonymous parallelism reinforces God's address to . Antithetic parallelism appears in contrasts like verses 8–13, juxtaposing ritual offerings against divine ownership, while in words like "zibḥēh" () and "tôdâ" () enhances auditory flow without strict .

Translations and Variants

Psalm 50 has been rendered in numerous English translations, each reflecting different approaches to fidelity, readability, and interpretive traditions. The King James Version (KJV), published in 1611, employs archaic language characteristic of its era, as seen in verse 5: "Gather my saints together unto me; those that have made a covenant with me by sacrifice." In contrast, the New International Version (NIV), first released in 1978 and revised in 2011, modernizes phrasing for contemporary audiences while aiming for dynamic equivalence, rendering the same verse as: "Gather to me this consecrated people, who made a covenant with me by sacrifice." The Jewish Publication Society's 1917 translation (JPS 1917), rooted in Jewish scholarly traditions, closely parallels the KJV in verse 5—"Gather My saints together unto Me; Those that have made a covenant with Me by sacrifice"—emphasizing a covenantal focus aligned with rabbinic exegesis. The (LXX), the ancient Greek translation of the completed by the 2nd century BCE, maintains identical verse numbering to the Hebrew for Psalm 50, unlike some other psalms where divisions differ. Its rendering of verse 1 expands slightly on the geographic scope for interpretive clarity: "The God of gods, the , has spoken, and called the earth from the rising of the sun to the going down thereof," echoing the Hebrew but with a theocentric emphasis on divine sovereignty. This version influenced early Christian interpretations, introducing subtle interpretive additions that highlight universal summons, such as reinforcing the call "from the east and west" in broader contextual readings. Other ancient versions exhibit minor variations. The Latin , Jerome's 4th-century translation primarily based on the LXX for the , numbers this psalm as 49 due to differing divisions but closely follows the Hebrew content, with phrasing like "Fortis Deus Dominus locutus est et vocavit terram ab ortu solis usque ad occasum eius" in verse 1, influencing medieval Western and . The Syriac , a 2nd-century translation from the Hebrew, shows small differences, such as in verse 14 where it stresses "Offer thanksgiving to God and fulfill your vows to The Highest," amplifying the psalm's theme of gratitude over ritual through idiomatic Syriac expressions. A notable translation challenge arises in verse 10, where the Hebrew "behemot beharim-alfe harim" is idiomatically rendered as "the upon a thousand hills" in the KJV, conveying abundance, while the NIV opts for "the on a thousand hills" to clarify possession; variants like the Jubilee Bible 2000 use "upon" to preserve poetic imagery, reflecting debates over whether "hills" implies location or hyperbolic scale. Recent editions, such as the Updated Edition (NRSVue) released in 2021 with print editions in 2022 and further formats as of 2025, incorporate updates where applicable, enhancing accessibility in diverse contexts without altering core meaning in this psalm.

Liturgical and Cultural Uses

In Judaism

In , Psalm 50 holds a prominent place in and , particularly through its in the daily Shacharit service as the opening psalm of Pesukei D'Zimra, a section of biblical verses from the Book of Psalms designed to inspire praise and preparation for . This practice continues during the festival of , where the psalm's themes of divine summons and resonate with the holiday's emphasis on joy and judgment. In the era of the Second Temple, the psalm was associated with the water libation ceremony (nisukh ha-mayim) during ; according to the baraita cited in the (Sukkah 55a), the Levites sang Psalm 50 on the second day of the festival as part of the "song of the day" accompanying the musaf offerings and the joyous Simchat Beit HaShoeva celebrations. The psalm is attributed to Asaph, a from the family of appointed by King David as chief musician in the Temple, responsible for leading the sacred songs and prophecies during worship (1 Chronicles 6:39, 15:17, 16:4-7). This connection underscores its role in the Temple's musical and prophetic traditions, where Asaph's descendants continued to perform psalms like this one during festivals and daily services. Rabbinic sources further enrich its interpretation. In modern observance, Psalm 50 is included in standard siddurim (prayer books) for weekday and festival , serving as a foundational text for daily spiritual alignment. Its critique of empty sacrifices in favor of thanksgiving, ethical conduct, and genuine repentance (verses 8-15, 23) informs High Holiday reflections, where teachings draw on the psalm to urge teshuvah—turning back to through moral action rather than ritual alone—during and services. Hasidic commentary amplifies these ethical dimensions.

In Christianity

In Christian liturgy, Psalm 50 is assigned as a reading in the Revised Common for Proper 14 in Year C, where verses 1-8 and 22-23 are paired with :1, 10-20 and :1-3, 8-16 to emphasize themes of authentic worship over ritualistic offerings. Sermons on this passage often highlight the psalm's call for "sacrifice of " as a model for true devotion, contrasting external sacrifices with inner and obedience. Within Anglican tradition, Psalm 50 forms part of the appointed for Morning Prayer on the tenth day of the monthly cycle in the , reflecting its historical role in structuring daily offices for personal and communal reflection on divine judgment and mercy. Early , such as , interpreted Psalm 50 as a depiction of God's direct address to humanity, urging self-examination and conversion before divine judgment, with the psalm's imagery of God summoning the earth underscoring the universality of his call to . This patristic reading connects the psalm to teachings, particularly Hebrews 13:15, which reinterprets the "sacrifice of praise" from Psalm 50:14, 23 as the continual offering of lips confessing Christ's name through believers. In Eastern Orthodox practice, Psalm 50 is integrated into the for daily services, including the Hours and , where it serves as a penitential emphasizing God's and the rejection of mere in favor of a contrite heart. During the Reformation, drew on the psalm to stress by grace alone, portraying its critique of sacrifices as evidence that human works cannot merit divine favor, but rather point to reliance on God's provision.

Musical Settings

Historical Compositions

One of the earliest notable musical adaptations of Psalm 50 is found in the , where French Claude Goudimel provided a four-part harmonization of the psalm in 1564, based on the original melody from the 1562 edition; this setting was intended for congregational singing in Reformed worship and emphasized the psalm's themes of divine summons and ethical faithfulness through homophonic texture. In the era, contributed a German-language setting of Psalm 50 in the Becker Psalter, published in 1628 as "Gott unser Herr, mächtig durchs Wort" (SWV 147); this simple, strophic composition for four voices adapted Cornelius Becker's metrical paraphrase to Lutheran hymn tunes, highlighting the psalm's judgment motifs with clear, declamatory lines suitable for domestic or church use. Johann Sebastian Bach incorporated verse 23 of Psalm 50 into his BWV 17, "Wer Dank opfert, der preiset mich," composed in 1726 for the 14th after ; the opening chorus is a grand polyphonic for double that underscores the psalm's critique of ritual sacrifice in favor of true , blending fugal entries with dramatic contrasts to evoke divine . These historical compositions often employed polyphonic to accentuate the psalm's themes of judgment and moral accountability, with Schütz and Bach particularly integrating them into Lutheran liturgical traditions, including and ordinary services, where the music reinforced doctrinal emphases on inner over external rites.

Modern Interpretations

In the early , F. Melius Christiansen composed a three-movement choral setting of Psalm 50 in 1922 for mixed voices and organ, emphasizing the psalm's themes of divine summons and judgment through lush harmonies and dynamic contrasts typical of the American choral tradition. This work, published by Augsburg Publishing House, became a staple in Lutheran repertoires and exemplifies the era's blend of Scandinavian influences with emerging American sacred music styles. In the late 20th and early 21st centuries, composers continued to adapt Psalm 50 for . The Australian band Sons of Korah, formed in the , released albums such as in 2005, featuring acoustic guitar-driven settings of that reinterpret biblical imagery in a folk-rock style accessible to modern Christian audiences. Their arrangements prioritize textual fidelity while incorporating rhythmic elements that evoke calls to , contributing to a broader revival of psalmody in evangelical circles during the . In 2025, digital adaptations embraced AI to generate innovative interpretations of Psalm 50, including chant-like vocalizations that fuse ancient modal structures with synthetic harmonies. Similarly, AI-generated Orthodox-style renditions of Psalm 50/51 from mid-2025 emphasize penitential tones with virtual choirs, expanding access to sacred music in formats. Ecumenical initiatives have produced blended Jewish-Christian musical projects promoting through shared psalmody. The 2024 "Search Me, O God: An Interfaith Musical Exploration of the " at College's for Christian-Jewish Learning featured collaborative compositions merging with Christian hymnody, highlighting universal calls to ethical living. These efforts, extended into 2025 workshops, foster unity by adapting psalm texts for joint choirs, incorporating influences alongside gospel rhythms to underscore interfaith themes of .

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  47. https://www.liturgy.io/orthodox-psalter?chapter=50&style=LINED&trans=KJV&psalt=DEF
  48. https://www.modernreformation.org/resources/articles/from-his-fullness-reflecting-gods-aseity
  49. https://www.emmanuelmusic.org/bach-notes/bwv-17
  50. https://www.windrep.org/F._Melius_Christiansen
  51. https://music.apple.com/us/album/resurrection/322936681
  52. https://sonsofkorah.com/
  53. https://www.youtube.com/watch?v=zp4xewnjz4U
  54. https://www.delvyncase.com/music-and-christianity
  55. https://www.deus-ex-musica.com/the-psalms-project-wickford
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