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Psalm 145
New English Translation

Psalm 145[a]

A psalm of praise; by David.

145 I will extol you, my God, O King.
I will praise your name continually.[b]
2 Every day I will praise you.
I will praise your name continually.[c]
3 The Lord is great and certainly worthy of praise.
No one can fathom his greatness.[d]
4 One generation will praise your deeds to another,
and tell about your mighty acts.[e]
5 I will focus on your honor and majestic splendor,
and your amazing deeds.[f]
6 They will proclaim[g] the power of your awesome acts.
I will declare your great deeds.
7 They will talk about the fame of your great kindness,[h]
and sing about your justice.[i]
8 The Lord is merciful and compassionate;
he is patient[j] and demonstrates great loyal love.[k]
9 The Lord is good to all,
and has compassion on all he has made.[l]
10 All your works will give thanks to you, Lord.
Your loyal followers will praise you.
11 They will proclaim the splendor of your kingdom;
they will tell about your power,
12 so that mankind[m] might acknowledge your mighty acts,
and the majestic splendor of your kingdom.
13 Your kingdom is an eternal kingdom,[n]
and your dominion endures through all generations.
14 [o] The Lord supports all who fall,
and lifts up all who are bent over.[p]
15 Everything looks to you in anticipation,[q]
and you provide them with food on a regular basis.[r]
16 You open your hand,
and fill every living thing with the food it desires.[s]
17 The Lord is just in all his actions,[t]
and exhibits love in all he does.[u]
18 The Lord is near all who cry out to him,
all who cry out to him sincerely.[v]
19 He satisfies the desire[w] of his loyal followers;[x]
he hears their cry for help and delivers them.
20 The Lord protects all those who love him,
but he destroys all the wicked.
21 My mouth will praise the Lord.[y]
Let all who live[z] praise his holy name forever.

Footnotes

  1. Psalm 145:1 sn Psalm 145. The psalmist praises God because he is a just and merciful king who cares for his people.
  2. Psalm 145:1 tn Or, hyperbolically, “forever.”
  3. Psalm 145:2 tn Or, hyperbolically, “forever.”
  4. Psalm 145:3 tn Heb “and concerning his greatness there is no searching.”
  5. Psalm 145:4 tn The prefixed verbal forms in v. 4 are understood as imperfects, indicating how the psalmist expects his audience to respond to his praise. Another option is to take the forms as jussives, indicating the psalmist’s wish, “may one generation praise…and tell about.”
  6. Psalm 145:5 tn Heb “the splendor of the glory of your majesty, and the matters of your amazing deeds I will ponder.”
  7. Psalm 145:6 tn The prefixed verbal form is understood as an imperfect, indicating how the psalmist expects his audience to respond to his praise. Another option is to take the forms as a jussive, indicating the psalmist’s wish, “may they proclaim.”
  8. Psalm 145:7 tn Heb “the fame of the greatness of your goodness.”
  9. Psalm 145:7 tn The prefixed verbal forms in v. 7 are understood as imperfects, indicating how the psalmist expects his audience to respond to his praise. Another option is to take the forms as jussives, indicating the psalmist’s wish, “may they talk…and sing.”
  10. Psalm 145:8 tn Heb “slow to anger” (see Pss 86:15; 103:8).
  11. Psalm 145:8 tn Heb “and great of loyal love” (see Pss 86:15; 103:8).
  12. Psalm 145:9 tn Heb “and his compassion is over all his works.”
  13. Psalm 145:12 tn Heb “the sons of man.”
  14. Psalm 145:13 tn Heb “a kingdom of all ages.”
  15. Psalm 145:14 tc Psalm 145 is an acrostic psalm, with each successive verse beginning with a successive letter of the Hebrew alphabet. However, in the traditional Hebrew (Masoretic) text of Psalm 145 there is no verse beginning with the letter nun. One would expect such a verse to appear as the fourteenth verse, between the (מ) (mem) and (ס) (samek) verses. Several ancient witnesses, including one medieval Hebrew manuscript, the Qumran scroll from cave 11, the LXX, and the Syriac, supply the missing (נ) (nun) verse, which reads as follows: “The Lord is reliable in all his words, and faithful in all his deeds.” One might paraphrase this as follows: “The Lord’s words are always reliable; his actions are always faithful.” Scholars are divided as to the originality of this verse. L. C. Allen argues for its inclusion on the basis of structural considerations (Psalms 101-150 [WBC], 294-95), but there is no apparent explanation for why, if original, it would have been accidentally omitted. The psalm may be a partial acrostic, as in Pss 25 and 34 (see M. Dahood, Psalms [AB], 3:335). The glaring omission of the nun line would have invited a later redactor to add such a line.
  16. Psalm 145:14 tn Perhaps “discouraged” (see Ps 57:6).
  17. Psalm 145:15 tn Heb “the eyes of all wait for you.”
  18. Psalm 145:15 tn Heb “and you give to them their food in its season” (see Ps 104:27).
  19. Psalm 145:16 tn Heb “[with what they] desire.”
  20. Psalm 145:17 tn Heb “in all his ways.”
  21. Psalm 145:17 tn Heb “and [is] loving in all his deeds.”
  22. Psalm 145:18 tn Heb “in truth.”
  23. Psalm 145:19 tn In this context “desire” refers to the followers’ desire to be delivered from wicked enemies.
  24. Psalm 145:19 tn Heb “the desire of those who fear him, he does.”
  25. Psalm 145:21 tn Heb “the praise of the Lord my mouth will speak.”
  26. Psalm 145:21 tn Heb “all flesh.”
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Psalm 146
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Song of Solomon 4:9-5:1
New English Translation

9 You have stolen my heart,[a] my sister,[b] my bride!
You have stolen my heart with one glance of your eyes,[c]
with one jewel of your necklace.
10 How delightful is your love, my sister, my bride!
How much better is your love than wine;
the fragrance of your perfume is better than any spice!
11 Your lips drip sweetness like the honeycomb, my bride,
honey and milk are under your tongue.
The fragrance of your garments is like the fragrance of Lebanon.

The Wedding Night: The Delightful Garden

The Lover to His Beloved:

12 You are a locked garden,[d] my sister, my bride;
you are an enclosed spring, a sealed-up fountain.
13 Your shoots are a royal garden[e] full of pomegranates
with choice fruits:
henna with nard,
14 nard and saffron,
calamus and cinnamon with every kind of spice,
myrrh and aloes with all the finest spices.[f]
15 You are a garden spring,[g]
a well[h] of fresh water[i] flowing down from Lebanon.

The Beloved to Her Lover:

16 Awake, O north wind; come, O south wind!
Blow on my garden so that its fragrant spices may send out their sweet smell.[j]
May my beloved come into his garden
and eat its delightful fruit!

The Lover to His Beloved:

5 I have entered my garden, O my sister, my bride;
I have gathered my myrrh with my balsam spice.
I have eaten my honeycomb and my honey;
I have drunk my wine and my milk!

The Poet to the Couple:[k]

Eat, friends, and drink![l]
Drink freely, O lovers!

Footnotes

  1. Song of Solomon 4:9 tn The Piel denominative verb לבב is derived from the noun לֵבָב (levav, “heart”), and occurs only here. Its meaning is debated: (1) metonymical sense: “you have encouraged me,” that is, given me heart (BDB 525 s.v. לֵב; AV, RSV); (2) intensive sense: “you have made my heart beat faster” (KBL 471 s.v. I לבב); and (3) privative sense: “you have ravished my heart” or “you have stolen my heart” (HALOT 515 s.v. I לבב; GKC 141-42 §52.h) (NIV). While the Niphal stem has a metonymical nuance (cause for effect): to get heart, that is, to get understanding (Job 11:12), the Piel stem may have a privative nuance: to take away heart, that is, to take away the senses. Her beauty was so overwhelming that it robbed him of his senses (e.g., Hos 4:11). This is paralleled by a modern Palestinian love song: “She stood opposite me and deprived me of reason (literally, “took my heart”), your dark eyes slew me while I was singing, your eyebrows drove shame from me…the darkness of your eyes have slain me; O one clad in purple clothes, it is worthwhile falling in love with you, for your eyes are black and sparkle, and have slain me indeed.” Less likely is the proposal of Waldeman who relates this to Akkadian lababu (“to rage, be aroused to fury”), suggesting that Song 4:9 means “to become passionately aroused” or “to be aroused sexually.” See S. H. Stephan, “Modern Palestinian Parallels to the Song of Songs,” JPOS 2 (1922): 13; R. Gordis, Song of Songs and Lamentations, 85-86; N. M. Waldman, “A Note on Canticles 4:9, ” JBL 89 (1970): 215-17; H. W. Wolff, Anthropology of the Old Testament, 40-58.
  2. Song of Solomon 4:9 sn It is clear from Song 8:1 that the young man and his bride were not physical brother and sister, yet he addresses his bride as אֲחֹתִי (ʾakhoti, “my sister”) several times (4:9, 10, 12; 5:1). This probably reflects any one of several ancient Near Eastern customs: (1) The appellatives “my sister” and “my brother” were both commonly used in ancient Near Eastern love literature as figurative descriptions of two lovers. For instance, in a Ugaritic poem when Anat tried to seduce Aqhat, she says, “Hear, O hero Aqhat, you are my brother and I your sister” (Aqhat 18 i. 24). In the OT Apocrypha husband and wife are referred to several times as “brother” and “sister” (Add Esth 15:9; Tob 5:20; 7:16). This “sister-wife” motif might be behind Paul’s perplexing statement about a “sister-wife” (1 Cor 9:5). (2) In several Mesopotamian societies husbands actually could legally adopt their wives for a variety of reasons. For instance, in Hurrian society husbands in the upper classes sometimes adopted their wives as “sisters” in order to form the strongest of all possible marriage bonds; a man could divorce his wife but he could not divorce his “sister” because she was “family.” At Nuzi a husband could adopt his wife to give her a higher status in society. See M. Held, “A Faithful Lover in Old Babylonian Dialogue,” JCS 15 (1961): 1-26 and S. N. Kramer, The Sacred Marriage Rite, 103-5; T. Jacobsen, “The Sister’s Message,” JANESCU 5 (1973): 199-212; E. A. Speiser, “The Wife-Sister Motif in the Patriarchal Narratives,” Oriental and Biblical Studies, 15-28; G. R. Driver, Canaanite Myths and Legends, 111.
  3. Song of Solomon 4:9 tn Alternately, “eye-stone [of your necklace].” The term עִינַיִךְ (ʿinayikh, “your eyes”) probably refers to her physical eyes (e.g., 4:1). However, in Sumero-Akkadian literature the term “eye” sometimes refers to the eye-stone of a necklace. Agate-stones were cut so that white stripes appeared around the black or brown core to look like the pupil on the eye. M. H. Pope (Song of Songs [AB], 482-83) suggests that the parallelism between the A and B lines suggests the following: “with one of your eye-stones” and “with one jewel of your necklace.” See W. G. Lambert, “An Eye Stone of Esarhaddon’s Queen and Other Similar Gems,” RA 63 (1969): 65-71.
  4. Song of Solomon 4:12 sn The twin themes of the enclosed garden and sealed spring are highlighted by the wordplay (paronomasia) between the Hebrew expressions גַּן נָעוּל (gan naʿul, “a garden locked up”) and גַּל נָעוּל (gal naʿul, “an enclosed spring”).
  5. Song of Solomon 4:13 sn The noun פַּרְדֵּס (pardes, “garden, parkland, forest”) is a foreign loanword that occurs only 3 times in the Hebrew Bible (Song 4:13; Eccl 2:5; Neh 2:8). The original Old Persian (Avestan) term pairidaeza designated the enclosed parks and pleasure-grounds which were the exclusive domain of the Persian kings and nobility in the Achaemenid period (HALOT 963 s.v. פַּרְדֵּס; LSJ 1308). The Babylonian term pardesu means “marvelous garden,” in reference to the enclosed parks of the kings (AHw 2:833. a and 3:1582. a). The term passed into Greek as παραδείσος (paradeisos, “enclosed park, pleasure-ground”), referring to the enclosed parks and gardens of the Persian kings (LSJ 1308). The Greek term was transliterated into English as “paradise.”
  6. Song of Solomon 4:14 tn Or “with all the finest balsam trees.” The Hebrew term בֹּשֶׂם (bosem) can refer either to the balsam tree, the spice associated with it, or by extension any fragrant aroma used as perfuming oil or incense.
  7. Song of Solomon 4:15 tn Heb “a fountain of gardens” or “a headwaters for gardens.” The term מַעְיַן (maʿyan, “fountain”) denotes “source, headwaters” as the place of origin of streams (HALOT 612 s.v. מַעְיַן). The term does not refer to a water fountain such as commonly found in modern cultivated gardens or parks; rather, it refers to the headwaters of streams and rivers, such as the headwaters of the Jordan. The genitive construct מַעְיַן גַּנִּים (maʿyan gannim, “a fountain of gardens”) is an unusual expression that has been treated in various ways: (1) “a garden fountain,” that is, a fountain located in a garden (HALOT 198 s.v. גַּן); (2) “a fountain of gardens,” that is, the headwaters of many spring-watered gardens. The latter is preferred. In Song 4:12-14 the bride is figuratively described as a garden with exotic plants; however, in 4:15 the metaphor shifts to the source of the water for the garden: מַעְיַן (“headwaters”) and בְּאֵר (beʾer, “well”) of fresh water flowing down from Lebanon.
  8. Song of Solomon 4:15 tn Heb “a watering place” or “well of underground water.” The term בְּאֵר (beʾer, “well”) refers to an underground well that is dug in the ground to provide fresh water for humans and beasts (e.g., Gen 21:19, 25, 30; 26:15, 18, 19, 22, 32) (HALOT 106 s.v. I בְּאֵר; DCH 2:87 s.v. I בְּאֵר). The term is often used in parallelism with בּוֹר (bor, “cistern”), עַיִן (ʿayin, “spring”), and שׁוּחָה (shukhah, “water-hole”).
  9. Song of Solomon 4:15 tn Heb “living water.” The phrase מַיִם חַיִּים (mayim khayyim, “living water”) refers to flowing, fresh water in contrast to standing, stagnant water (Gen 26:19; Lev 14:5-6, 50-52; 15:13; Num 19:17; Jer 2:13; 17:13; Zech 14:8; Song 4:15; 1QH 8:7, 16; 4Q418 103.2:6; 4QDibHama 1.5:2; 11QT 45:16) (DCH 3:202 s.v. I חַי 1; HALOT 308 s.v. חיה 1; BDB 312 s.v. חַי f). The adjective חַיִּים (“living”) frequently refers to what is fresh (Gen 26:19), healthy (Sir 30:14), or thriving (Gen 43:7, 27). Fresh, flowing water is pictured as pure (Lev 14:5-6, 50-52; 15:13) and a source of refreshment (Gen 26:19). See P. Reymond, L’eau, sa vie, et sa signification dans l’Ancien Testament (VTSup), 136.
  10. Song of Solomon 4:16 tn Heb “may flow.”
  11. Song of Solomon 5:1 sn There is no little debate about the identity of the speaker(s) and the audience addressed in 5:1b. There are five options: (1) He is addressing his bride. (2) The bride is addressing him. (3) The wedding guests are addressing him and his bride. (4) He and his bride are addressing the wedding guests. (5) The poet is addressing him and his bride. When dealing with this issue, the following factors should be considered: (1) the form of both the exhortations and the addressees are plural. This makes it unlikely that he is addressing his bride or that his bride is addressing him. (2) The exhortation has an implicitly sexual connotation because the motif of “eating” and “drinking” refers to sexual consummation in 5:1a. This makes it unlikely that he or his bride are addressing the wedding guests—an orgy is quite out of the question! (3) The poet could be in view because as the writer who created the Song, only he could have been with them—in a poetic sense—in the bridal chamber as a “guest” on their wedding night. (4) The wedding guests could be in view through the figurative use of apostrophe (addressing an audience that is not in the physical presence of the speaker). While the couple was alone in their wedding chambers, the wedding guests wished them all the joys and marital bliss of the honeymoon. This is supported by several factors: (a) Wedding feasts in the ancient Near East frequently lasted several days and after the couple had consummated their marriage, they would appear again to celebrate a feast with their wedding guests. (b) The structure of the Song is composed of paired-dialogues which either begin or conclude with the words of the friends or daughters of Jerusalem (1:2-4, 5-11; 3:6-11; 5:9-16; 6:1-3, 4-13; 7:1-10) or which conclude with an exhortation addressed to them (2:1-7; 3:1-5; 8:1-4). In this case, the poetic unit of 4:1-5:1 would conclude with an exhortation by the friends in 5:1b.
  12. Song of Solomon 5:1 sn The physical love between the couple is compared to eating and drinking at a wedding feast. This is an appropriate figure of comparison because it would have been issued during the feast which followed the wedding and the consummation. The term “drink” refers to intoxication, that is, it compares becoming drunk on wine with enjoying the physical love of one’s spouse (e.g., Prov 5:19-20).
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Luke 5:33-39
New English Translation

The Superiority of the New

33 Then[a] they said to him, “John’s[b] disciples frequently fast[c] and pray,[d] and so do the disciples of the Pharisees,[e] but yours continue to eat and drink.”[f] 34 So[g] Jesus said to them, “You cannot make the wedding guests[h] fast while the bridegroom[i] is with them, can you?[j] 35 But those days are coming, and when the bridegroom is taken from them,[k] at that time[l] they will fast.” 36 He also told them a parable:[m] “No one tears a patch from a new garment and sews[n] it on an old garment. If he does, he will have torn[o] the new, and the piece from the new will not match the old.[p] 37 And no one pours new wine into old wineskins.[q] If he does, the new wine will burst the skins and will be spilled, and the skins will be destroyed. 38 Instead new wine must be poured into new wineskins.[r] 39 [s] No[t] one after drinking old wine wants the new, for he says, ‘The old is good enough.’”[u]

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Footnotes

  1. Luke 5:33 tn Here καί (kai) has been translated as “then” to indicate the implied sequence of events within the narrative.
  2. Luke 5:33 tc Most mss (א*,2 A C D Θ Ψ ƒ1,13 M latt sy) read διὰ τί (dia ti, “Why do John’s…?”) here, turning the statement into a question. But such seems to be a motivated reading, assimilating the text to Mark 2:18 and Matt 9:14. The reading represented in the translation is supported by P4 א1 B L W Ξ 33 892* 1241 sa.sn John refers to John the Baptist.
  3. Luke 5:33 sn John’s disciples and the disciples of the Pharisees followed typical practices with regard to fasting and prayer. Many Jews fasted regularly (Lev 16:29-34; 23:26-32; Num 29:7-11). The zealous fasted twice a week on Monday and Thursday.
  4. Luke 5:33 tn Grk “and offer prayers,” but this idiom (δέησις + ποιέω) is often simply a circumlocution for praying.
  5. Luke 5:33 sn See the note on Pharisees in 5:17.
  6. Luke 5:33 tn Grk “but yours are eating and drinking.” The translation “continue to eat and drink” attempts to reflect the progressive or durative nature of the action described, which in context is a practice not limited to the specific occasion at hand (the banquet).
  7. Luke 5:34 tn Here δέ (de) has been translated as “so” to indicate that Jesus’ pronouncement is a result of their statements about his disciples.
  8. Luke 5:34 tn Grk “the sons of the wedding hall,” an idiom referring to guests at the wedding, or more specifically, friends of the bridegroom present at the wedding celebration (L&N 11.7).
  9. Luke 5:34 sn The expression while the bridegroom is with them is an allusion to messianic times (John 3:29; Isa 54:5-6; 62:4-5).
  10. Luke 5:34 tn Questions prefaced with μή (mē) in Greek anticipate a negative answer. This can sometimes be indicated by using a “tag” at the end in English (here it is “can you?”).
  11. Luke 5:35 sn The statement when the bridegroom is taken from them is a veiled allusion by Jesus to his death, which he did not make explicit until the incident at Caesarea Philippi in 9:18ff.
  12. Luke 5:35 tn Grk “then in those days.”
  13. Luke 5:36 sn The term parable in a Semitic context can cover anything from a long story to a brief wisdom saying. Here it is the latter.
  14. Luke 5:36 tn Grk “puts,” but since the means of attachment would normally be sewing, the translation “sews” has been used.
  15. Luke 5:36 tn Grk “he tears.” The point is that the new garment will be ruined to repair an older, less valuable one.
  16. Luke 5:36 sn The piece from the new will not match the old. The imagery in this saying looks at the fact that what Jesus brings is so new that it cannot simply be combined with the old. To do so would be to destroy what is new and to put together something that does not fit.
  17. Luke 5:37 sn Wineskins were bags made of skin or leather, used for storing wine in NT times. As the new wine fermented and expanded, it would stretch the new wineskins. Putting new (unfermented) wine in old wineskins, which had already been stretched, would result in the bursting of the wineskins.
  18. Luke 5:38 tc Most mss (A C [D] Θ Ψ ƒ13 M latt sy) have καὶ ἀμφότεροι συντηροῦνται (kai amphoteroi suntērountai, “and both will be preserved”), assimilating the text to Matt 9:17. The earliest and best witnesses, as well as many others (P4,75vid א B L W ƒ1 33 579 700 1241 2542 co), however, lack the words.sn The meaning of the saying new wine…into new skins is that the presence and teaching of Jesus was something new and signaled the passing of the old. It could not be confined within the old religion of Judaism, but involved the inauguration and consummation of the kingdom of God.
  19. Luke 5:39 tc The Western textual tradition (D it) lacks 5:39. The verse is unique to Luke, so the omission by these witnesses looks like assimilation to the other synoptic accounts.
  20. Luke 5:39 tc ‡ Although most mss begin the verse with καί (kai, “and”), beginning the sentence without a conjunction is both a harder reading and is found in early and significant witnesses (P4,75vid א2 B 579 700 892 1241). NA28 puts the word in brackets indicating doubts as to its authenticity.
  21. Luke 5:39 tc Most mss, especially the later ones (A C Θ Ψ ƒ1,13 33 M lat), read χρηστότερος (chrēstoteros, “better”), a smoother reading. The reading of the text (found in P4 א B L W 1241) is preferred as the more difficult reading. This reading could suggest that the new thing Jesus brings is not even considered, since the “old wine” is already found quite acceptable.tn Grk “good.”sn The third illustration points out that those already satisfied with what they have will not seek the new (The old is good enough).
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