Psalm 25 is the 25th psalm of the Book of Psalms, beginning in English in the King James Version: "Unto thee, O LORD, do I lift up my soul.". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 24. In Latin, it is known as "Ad te Domine levavi animam meam". The psalm, attributed to David, has the form of an acrostic Hebrew poem. The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and Nonconformist Protestant liturgies. Metrical hymns in English and German were derived from the psalm, such as "Zu dir, o Gott, erheben wir". The psalm has often been set to music. Orlando Gibbons composed an anthem in English, O Lord, I lift my heart to thee. Heinrich Schütz composed a setting in German "Nach dir verlangt mich", as part of the Becker Psalter. Johann Sebastian Bach used verses from the psalm in his early cantata, Nach dir, Herr, verlanget mich, BWV 150.

Place in the structure of the Psalms

Preceding Psalm 25, O. Palmer Robertson identifies a sequence of five Psalms that pertinently contribute to the establishment narrative of David's dynasty. The immediate prior Psalms are 'The Cross, The Crook and The Crown Psalms:

• The Cross (Psalm 22): Psalm 22 is often regarded as a Messianic Psalm, prophetically describing the suffering and crucifixion of Jesus Christ. The vivid depiction of agony and the plea for God's presence align with the crucifixion narrative.
• The Crook (Psalm 23): Psalm 23, known as the Shepherd's Psalm, shifts to a pastoral metaphor. It portrays God as the caring shepherd, guiding and providing for His people. The crook, or shepherd's staff, symbolizes guidance, care, and protection.
• The Crown (Psalm 24): Psalm 24 emphasizes the kingship of God and His glory. It is often seen as a coronation Psalm, celebrating the triumphant entry of the King of Glory. The theme of sovereignty and kingship relates to the crown. In the context of acrostic Psalms, scholars, exemplified by O. Palmer Robertson, perceive them as transitional components between distinct subjects. Additionally, these acrostic Psalms serve a dual purpose, functioning as mnemonic tools and pedagogical instruments for conveying instruction. Psalm 25:8 affirms the inherent goodness and uprightness of the LORD, thereby elucidating His commitment to instructing those who transgress in the path of righteousness. Subsequent to Psalm 25, the thematic thread pertaining to instruction becomes discernible, marking a notable emergence of terms associated with teaching. Prior to this juncture in Psalm 25, the terms "teach" or "teaching" are conspicuously absent, a phenomenon extending through Psalm 34.

Text

Hebrew

The following table shows the Hebrew text of the Psalm with vowels alongside an English translation based upon the JPS 1917 translation (now in the public domain). This psalm has a strong formal relationship with Psalm 34. Both are alphabetic acrostics, with missing each time the verse Waw, which was added a verse to Pe a prayer of deliverance of Israel. As an acrostic, the verses in the psalm are arranged according to the Hebrew alphabet, with the exception of the letters Bet, Waw and Qoph which together, according to Jewish interpreters, made reference to the word gehinom (hell).

King James Version

Structure

The psalm is into three parts. In the first portion of the psalm, David: In the middle portion, he addresses his own iniquities; In the concluding portion, he pleads:

Dating

In the International Critical Commentary, Charles and Emilie Briggs date this psalm to "the Persian period prior to Nehemiah", that is, between about 539 and 445 BCE. The 19th-century Baptist preacher Charles Spurgeon claims "it is evidently a composition of David's later days, for he mentions the sins of his youth, and from its painful references to the craft and cruelty of his many foes, it will not be too speculative a theory to refer it to the period when Absalom was heading the great rebellion against him."

Uses

Judaism

Catholic Church

This psalm is characterized by confidence of David the penitent king. That is why, from the sixth century, the Church begins the first Sunday of Advent with the first verses sung of it, namely the Introit in Old Roman and Gregorian, pending the Nativity.

Eastern Orthodox Church

In the Eastern Orthodox Church, Psalm 24 (Psalm 25 in the Masoretic Text) is read daily at the Third Hour and at Great Compline. It is part of the fourth Kathisma division of the Psalter, read at Matins on Monday mornings, as well as on Wednesdays during Lent at the Sixth Hour.

Book of Common Prayer

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.

Protestant Christianity

A survey of organists in the Dutch Reformed denomination (from May 2000 to May 2001) revealed that Psalm 25 is the third most sung Psalm in Reformed worship services. Only Psalm 119 and Psalm 89 are sung more frequently.

Musical settings

Hymns derived from Psalm 25 include Heinrich Bone's "Zu dir, o Gott, erheben wir", published in 1851. Orlando Gibbons composed a five-part anthem in English, O Lord, I lift my heart to thee. Heinrich Schütz composed a setting of metred German text, "Nach dir verlangt mich", SWV 122, as part of the Becker Psalter. Johann Sebastian Bach composed an early cantata, Nach dir, Herr, verlanget mich, BWV 150, which alternates verses from Psalm 25 and poetry by an unknown librettist. Czech composer Antonín Dvořák set verses 16-18 and 20 to music in his Biblical Songs (1894). German composer Lili Wieruszowski (1899-1971) also set Psalm 25 to music.