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Revised Common Lectionary (Semicontinuous)

Daily Bible readings that follow the church liturgical year, with sequential stories told across multiple weeks.

Duration: 1245 days

Psalm 145

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

Footnotes

Psalm 145:1 sn Psalm 145. The psalmist praises God because he is a just and merciful king who cares for his people.
Psalm 145:1 tn Or, hyperbolically, “forever.”
Psalm 145:2 tn Or, hyperbolically, “forever.”
Psalm 145:3 tn Heb “and concerning his greatness there is no searching.”
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.”
Psalm 145:5 tn Heb “the splendor of the glory of your majesty, and the matters of your amazing deeds I will ponder.”
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.”
Psalm 145:7 tn Heb “the fame of the greatness of your goodness.”
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.”
Psalm 145:8 tn Heb “slow to anger” (see Pss 86:15; 103:8).
Psalm 145:8 tn Heb “and great of loyal love” (see Pss 86:15; 103:8).
Psalm 145:9 tn Heb “and his compassion is over all his works.”
Psalm 145:12 tn Heb “the sons of man.”
Psalm 145:13 tn Heb “a kingdom of all ages.”
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.
Psalm 145:14 tn Perhaps “discouraged” (see Ps 57:6).
Psalm 145:15 tn Heb “the eyes of all wait for you.”
Psalm 145:15 tn Heb “and you give to them their food in its season” (see Ps 104:27).
Psalm 145:16 tn Heb “[with what they] desire.”
Psalm 145:17 tn Heb “in all his ways.”
Psalm 145:17 tn Heb “and [is] loving in all his deeds.”
Psalm 145:18 tn Heb “in truth.”
Psalm 145:19 tn In this context “desire” refers to the followers’ desire to be delivered from wicked enemies.
Psalm 145:19 tn Heb “the desire of those who fear him, he does.”
Psalm 145:21 tn Heb “the praise of the Lord my mouth will speak.”
Psalm 145:21 tn Heb “all flesh.”

Song of Solomon 4:1-8

The Wedding Night: Praise of the Bride^[a]

The Lover to His Beloved:

4 Oh,^[b] you are beautiful, my darling!^[c]
Oh, you are beautiful!
Your eyes behind your veil are like doves.^[d]
Your hair is like a flock of female goats
descending^[e] from Mount Gilead.
²Your teeth are like a flock of newly shorn sheep
coming up from the washing place;^[f]
each of them has a twin,
and not one of them is missing.
³Your lips are like a scarlet thread;^[g]
your mouth is lovely.
Your forehead^[h] behind your veil
is like a slice of pomegranate.
⁴Your neck is like the tower^[i] of David
built with courses of stones;^[j]
one thousand shields are hung on it—
all shields of valiant warriors.^[k]
⁵Your two breasts are like two fawns,
twins of the gazelle
grazing among the lilies.
⁶Until the dawn arrives^[l]
and the shadows flee,
I will go up to the mountain of myrrh,
and to the hill of frankincense.
⁷You are altogether beautiful, my darling!
There is no blemish in you!

The Wedding Night: Beautiful as Lebanon

⁸Come with me from Lebanon, my bride,
come with me from Lebanon.
Descend from the crest of Amana,
from the top of Senir, the summit of Hermon,
from the lions’ dens
and the mountain haunts of the leopards.

Footnotes

Song of Solomon 4:1 sn Song 4:1-7 is often compared to ancient Near Eastern wasfs songs sung by the groom to his new bride, praising her beauty from head to foot. Examples have been found in Egyptian, Syrian, Sumerian, and Arabic love literature. The wasfs song is a poetic celebration by the groom of his bride’s physical beauty. The typical form has three parts: (1) introductory words by the wedding guests, (2) invitation by the bride to the groom to celebrate her physical beauty, and (3) the groom’s poetic comparative praise of his bride’s beauty from head to foot—comprising the bulk of the song. The groom’s praise typically is characterized by three movements: (1) introductory summary praise of his bride’s beauty, (2) lengthy and detailed figurative description of her physical beauty, and (3) concluding summary praise which reiterates the introductory words of the song. Although the introductory words of the wedding guests and the invitation by the bride are absent, the form of the Lover’s praise of his bride is identical, as are the types of comparative praise. His song falls into the same three movements: (1) introductory summary praise of his bride’s beauty in 4:1a, (2) lengthy and detailed figurative description of her beauty in 4:1b-6, and (3) concluding summary praise in 4:7. See K&D 18:174-76; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125.
Song of Solomon 4:1 sn The introductory demonstrative particle הִנֵּךְ (hinneh, “Behold!”) is repeated for rhetorical effect. This particle is often used with verbs of seeing or discovering, making the narrative graphic and vivid. It enables the reader to enter into the surprise, wonder, and delight of the speaker (BDB 243 s.v. הִנֵּךְ c).
Song of Solomon 4:1 sn The repetition of יָפָה רַעְיָתִי (yafah raʿyati, “You are beautiful, my darling”) in 4:1 and 4:7 forms an inclusion, marking off the song of descriptive praise in 4:1-7.
Song of Solomon 4:1 sn The expression “your eyes [are] doves” is a metaphor (implied comparison). Like most of the other metaphors in 4:1-7, this is probably a comparison of sight rather than sense: (1) the shape of a woman’s eyes, especially in Egyptian art, resemble the shape of a dove, and (2) the white color of the eyeballs resemble the white color of a dove’s body. On the other hand, many Jewish and Christian interpreters have suggested that this is a comparison of sense, usually suggesting that the dove is a symbol for purity and that the eyes of a person are the windows of their soul or character, that is, the bride has a pure character as can be seen through her eyes.
Song of Solomon 4:1 tn Heb “flowing down” or “descending.” The verb שֶׁגָּלְשׁוּ (sheggal^eshu, “flowing down”) may be nuanced “descending.” The most recent lexicons define גָּלַשׁ (galash) as “to flow, leap” (DCH 2:357 s.v. גלשׁ); “to hop, move down” (HALOT 195 s.v. גלשׁ); and “to go down, glide down” (E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 102). Earlier lexicons suggested the meanings “to sit, sit up, recline” (BDB 167 s.v. גָּלַשׁ). The Hebrew root is probably related to Arabic jalasa “to go up, to go down, sit up” (HALOT 195).
Song of Solomon 4:2 tn Alternately, “the watering-hole” or “watering-place.” The noun רַחְצָה (rakhtsah) may be nuanced “washing-place” (BDB 934 s.v. רַחְצָה) or “watering-hole, watering-place” (HALOT 1221 s.v. רַחְצָה). The related verb רָחַץ (rakhats) means “to wash, bathe, rinse off” (BDB 934 s.v. רָחַץ; HALOT 1220-21 s.v. רחץ). The metaphor describing the beautiful teeth of the bride probably pictures freshly washed sheep rather than freshly watered sheep. He praises his bride’s teeth by comparing them to freshly washed sheep. In the ancient Near East it was customary to wash sheep before shearing them. The picture of freshly washed sheep depicts the whiteness of the bride’s teeth.
Song of Solomon 4:3 tn The phrase חוּט הַשָּׁנִי (khut hashani, “thread of scarlet”) is a genitive construct with the genitive functioning adjectivally. This phrase is used three times in classical Hebrew to denote a scarlet colored “thread” or “cord” (Josh 2:18; Song 4:3; 11 QT 49:3) (HALOT 296-97 s.v. חוּט; DCH 3:170-71 s.v. חוּט). This is a comparison of sight, describing the color and shape of her lips.
Song of Solomon 4:3 tn Alternately, “cheek,” or “temple” (see Judg 4:21).
Song of Solomon 4:4 tn The term מִגְּדַל (migg^edal, “tower”) refers to a military structure, such as a stronghold, arsenal, or defensive tower on the walls of a city (e.g., Judg 8:9, 17; 9:51; 2 Kgs 9:17; 17:9; 18:8; 2 Chr 14:6; 26:15; 27:4; 32:5).
Song of Solomon 4:4 tn The feminine noun לְתַלְפִּיּוֹת (l^etalpiyyot) is a hapax legomenon of uncertain etymology. Various attempts have been made to find the origin of this word, but they are all uncertain. LXX εἰς θαλπιωθ (eis thalpiōth) simply transliterated the word, taking it as a proper name of a locality (Tel Pivoth). Similarly, Dom Calmet treated תלפיות as a compound word (תֵּל, tel, “hill,” and פֵּיוֹת, peyot, “mouths”) as a reference to a tower built by David on a height in the valleys of Lebanon. The Talmud suggests that the term refers to Jerusalem as the hill (תֵּל) to which all mouths (פיות) turn (b.Berakhot 30a). Aquila reads εἰς ἐπάλξεις (eis epalxeis) and Symmachus εἰς ὓψη (eis hupsē), while Vulgate has cum propugnaculis. Ibn Ezra redivided לתלפיות as ל תל פיות “for suspending weapons” by taking פֵּיוֹת (“mouths” = edge of swords) as a reference to weaponry. This is reflected in several translations: “armoury” (KJV, AV, ASV), “arsenal” (RSV), and “fortress” (JB). The noun may be related to the Arabic root tlp (“to perish”) in a metonymical sense: “a cause of perishing,” i.e., a weapon. The Hebrew Piel verb תִּלֵּף (tillef) means “to hang up for display,” thus NEB suggests that it is derived from lpy which means “to arrange in courses,” i.e., “layered,” as a reference to the Bride’s layered necklace she wears. The NIV nuances it as “with elegance” and NEB “winding courses.” Perles connects תַלְפִּיּוֹת to Akkadian tilpanu (“bow”), while Haupt connects the word with the Shaphel stem of the Akkadian labu (“to fortify”). Honeyman suggests that לְתַלְפִּיּוֹת is a feminine plural noun of the taqtilat nominal pattern from the root לפי which means “to arrange in courses.” HALOT notes that the phrase בָּנוּי לְתַלְפִּיּוֹת (banuy l^etalpiyyot) has been rendered in several ways: (1) “built with turrets,” (2) “built with siege-towers,” (3) “built in rows (of stones)” or “built in terraces.” Haupt and Krauss suggest that לְתַלְפִּיּוֹת בָּנוּי denotes “constructed for siege-towers” or “built for an armory.” Honeyman suggests that תַלְפִּיּוֹת is a feminine plural noun with a standard nominative prefix ת and is derived from the verbal root לפא (“to arrange in stones”). Probably, the best solution is to relate this Hebrew root to Akkadian lapu (“to surround, enclose”), Arabic laffa or lifafah (“to envelope”), and Aramaic lpp and lpʾ (“to interlace, entwine, plait”). This is the simplest solution and does not demand emending the text. The preposition ל (lamed) could denote “in respect to” and the colon בָּנוּי לְתַלְפִּיּוֹת could be translated “built in rows (of stones)” or “built in terraces.” Thus, the phrase “built in rows of stones” refers to the outer walls of a tower built in spiraling rows of stones or built in terraces. This is a comparison of sight: (1) her neck was long and symmetrical or (2) she was wearing a strand of beads or necklaces wrapped around her neck like a tower built in spiraling rows of stones. See P. Haupt, “Heb. talpiʾot, Siege-Towers,” JBL 38 (1919): 186-88; S. Krauss, “The Archaeological Background of Some Passages in the Song of Songs,” JQR 32 (1941-42): 125-29; A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; K. Crim, “‘Your Neck is Like the Tower of David’ (The Meaning of a Simile in Song of Solomon 4:4),” BT 22:2 (1977): 72-74; E. Klein, Comprehensive Etymological Dictionary of the Hebrew Language, 704.
Song of Solomon 4:4 tn Scholars debate whether this refers to (1) the interior walls of a tower upon which warriors would hang their shields when not in use or (2) the external upper wall of a military fortress upon which warriors would hang their shields to add to their protection during battle. A few scholars suggest that what is pictured here are the internal walls of the tower and, on the basis of Ezek 27:10-11, posit that in the ancient world there was a practice in which mercenaries, who had joined themselves to a king, would hang their shields upon his fortress wall as a sign of their allegiance. Following Crim, Deere suggests, “the custom of hanging shields on the tower was symbolic of the warriors’ allegiance to and valor for a particular king.” Crim suggests that the point of comparison of his praise would be something similar to what follows: “Just as the fame of Tyre in Ezek. 27:11 attracted mercenaries, the fame of the tower of David has attracted soldiers to come and enter its service. The shields hanging there show that they have given their allegiance to the tower. Your neck is like that tower. It is so beautiful that it could win the allegiance of a thousand heroic soldiers.” We would then translate something like this: “Your neck attracts men as the tower of David attracts warriors. A thousand heroic soldiers would swear allegiance to your beauty.” J. S. Deere suggests that the point of the comparison is that the bride’s neck was so beautiful and majestic that mighty warriors from near and far would have given their allegiance to her…It is as if he were saying that these soldiers would be willing to surrender their shields to her beauty. On the other hand, most scholars suggest that it refers to the common practice in the ancient Near East of lining the top wall of a military fortress tower with shields, behind which the soldiers could stand for protection leaving both hands free for bow and arrows (Note: It is possible to view Ezek 27:10-11 and 2 Chr 32:5 in this manner). This is supported by ancient Near Eastern art which pictures such a practice, especially by the relief of Sennacherib’s siege of Lachish which shows the top wall of Lachish lined with shields. The Illustrated Family Encyclopedia of the Living Bible, 10:56, notes: “The art of the ancient East often shows us the shields that were, in time of war, set in position on the towers of the city walls, so that defenders could safely fire arrows and hurl stones while standing upright behind them.” Those who see this as the imagery all agree that the point of comparison is to jeweled necklaces with pendants which could be compared to shields, as in 1:10-11 (A. Robert, T. J. Meek, G. Gerlemann, A. M. Honeyman, B. S. J. Isserlin, J. McKenzie). McKenzie expresses this view when he posits that she was wearing jewelry around her neck and that this was being compared to the shields hung around this military tower: “One of the many physical charms that the Beloved finds in his mistress (Song of Sol. 4:1-4) is her long neck which, with its stately poise, reminds him of the lofty tower of David. Just as this tower is hung all round with shields placed there by mighty men of valor, so is his mistress’ neck adorned with chains and strings of jewels. This is supported by the fact that 4:9 explicitly mentions a necklace with a multitude of jewels in it which she was wearing at this time. And Isserlin suggests that the complete image in view fits the evidence of both ancient Near Eastern military towers and jewelry which has been recovered archaeologically: “It seems to the present writer that a reading of the verse…can be taken to refer to the presence not of one, but two elements on the tower: there is the coursed masonry, and on top of it there are the shields. If we keep the idea that a multiple necklace is alluded to, then this should be made up of two kinds of elements: on top there should be a series of beads resembling round shields; below we should find something resembling either the short or the long side of building stones (according to whether the masonry is laid in headers or stretchers). Can necklaces of this type be found in the ancient Near East? It seems to the writer that the well-known sculpture from Arsos in Cyprus (Pl. VI) represents just this type of necklace. The upper beads do look like a row of round shields, as shown on the tower in the relief slab representing Sennacherib’s siege of Lachish, while the lower elements do evoke roughly bossed headers, as found in ancient Palestinian defence works” (B. S. J. Isserlin, The Israelites, 59, and plate VI). Composite necklaces such as this one might be referred to in Prov 1:9. In any case, it is quite unlikely that the point of comparison was that she had a large, muscular neck, as some have suggested (M. Jastrow, L. Waterman, and R. Gordis). See A. M. Honeyman, “Two Contributions to Canaanite Toponymy,” JTS 50 (1949): 51; B. S. J. Isserlin, “Song of Songs IV, 4: An Archaeological Note,” PEQ 90 (1958): 59-61; The Illustrated Family Encyclopedia of the Living Bible, 10:56; K. R. Crim, “Your Neck is Like the Tower of David (The Meaning of a Simile in the Song of Solomon 4:4),” BT 22:2 (April 1977): 70-74.
Song of Solomon 4:6 tn Heb “until the day breathes.”

1 Corinthians 1:3-17

³Grace and peace to you^[a] from God our Father and the Lord Jesus Christ!

Thanksgiving

⁴I always thank my God for you because of the grace of God that was given to you in Christ Jesus. ⁵For you were made rich^[b] in every way in him, in all your speech and in every kind of knowledge^[c]— ⁶just as the testimony about Christ has been confirmed among you— ⁷so that you do not lack any spiritual gift as you wait for the revelation^[d] of our Lord Jesus Christ. ⁸He^[e] will also strengthen you to the end, so that you will be blameless on the day of our Lord Jesus Christ. ⁹God is faithful, by whom you were called into fellowship with his son, Jesus Christ our Lord.

Divisions in the Church

¹⁰I urge you, brothers and sisters,^[f] by the name of our Lord Jesus Christ, to agree together,^[g] to end your divisions,^[h] and to be united by the same mind and purpose.^[i] ¹¹For members of Chloe’s household have made it clear to me, my brothers and sisters,^[j] that there are quarrels^[k] among you. ¹²Now I mean this, that^[l] each of you is saying, “I am with Paul,” or “I am with Apollos,” or “I am with Cephas,”^[m] or “I am with Christ.” ¹³Is Christ divided? Paul wasn’t crucified for you, was he?^[n] Or were you in fact baptized in the name of Paul?^[o] ¹⁴I thank God^[p] that I did not baptize any of you except Crispus and Gaius, ¹⁵so that no one can say that you were baptized in my name! ¹⁶(I also baptized the household of Stephanus. Otherwise, I do not remember whether I baptized anyone else.) ¹⁷For Christ did not send me to baptize, but to preach the gospel—and not with clever speech, so that the cross of Christ would not become useless.^[q]

Footnotes

1 Corinthians 1:3 tn Grk “Grace to you and peace.”
1 Corinthians 1:5 sn Made rich refers to how God richly blessed the Corinthians with an abundance of spiritual gifts (cf. v. 7).
1 Corinthians 1:5 sn Speech and knowledge refer to the spiritual gifts God had blessed them with (as v. 7 confirms). Paul will discuss certain abuses of their gifts in chapters 12-14, but he thanks God for their giftedness.
1 Corinthians 1:7 sn The revelation of our Lord Jesus Christ refers to the Lord’s return, when he will be revealed (cf. the reference to the day of our Lord Jesus Christ in v. 8).
1 Corinthians 1:8 tn Grk “who,” referring to Christ. Because of the length and complexity of the Greek sentence, a new sentence was started here in the translation.
1 Corinthians 1:10 tn Grk “brothers,” but the Greek word may be used for “brothers and sisters” or “fellow Christians” as here (cf. BDAG 18 s.v. ἀδελφός 1, where considerable nonbiblical evidence for the plural ἀδελφοί [adelphoi] meaning “brothers and sisters” is cited).
1 Corinthians 1:10 tn Grk “that you all say the same thing.”
1 Corinthians 1:10 tn Grk “that there be no divisions among you.”
1 Corinthians 1:10 tn Grk “that you be united in/by the same mind and in/by the same purpose.”
1 Corinthians 1:11 tn Grk “brothers.” See note on the phrase “brothers and sisters” in 1:10.
1 Corinthians 1:11 tn Or “rivalries, disputes.”
1 Corinthians 1:12 tn Or “And I say this because.”
1 Corinthians 1:12 sn Cephas. This individual is generally identified with the Apostle Peter (L&N 93.211). Both the Aramaic name “Cephas” and the Greek name “Peter” are related to words in each language which mean “rock.”
1 Corinthians 1:13 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 the tag is “was he?”).
1 Corinthians 1:13 tn This third question marks a peak in which Paul’s incredulity at the Corinthians’ attitude is in focus. The words “in fact” have been supplied in the translation to make this rhetorical juncture clear.
1 Corinthians 1:14 tc The oldest and most significant witnesses to this text, as well as a few others (א* B 6 1739 sa^ms bo^pt), lack the words τῷ θεῷ (tō theō, “God”), while the rest have them. An accidental omission could well account for the shorter reading, especially since θεῷ would have been written as a nomen sacrum (eucaristwtwqMw). However, one might expect to see, in some mss at least, a dropping of the article but not the divine name. Internally, the Pauline introductory thanksgivings elsewhere always include τῷ θεῷ after εὐχαριστῶ (eucharistō, “I thank”; cf. Rom 1:8; 1 Cor 1:4; Phil 1:3; Phlm 4; in the plural, note Col 1:3; 1 Thess 1:2). However, both the fact that this is already used in 1 Cor 1:4 (thus perhaps motivating scribes to add it ten verses later), and that in later portions of his letters Paul does not consistently use the collocation of εὐχαριστῶ with τῷ θεῷ (Rom 16:4; 1 Cor 10:30), might give one pause. Still, nowhere else in the corpus Paulinum do we see a sentence begin with εὐχαριστῶ without an accompanying τῷ θεῷ. A decision is difficult, but on balance it is probably best to retain the words.
1 Corinthians 1:17 tn Grk “would not be emptied.”

New English Translation (NET)

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Revised Common Lectionary (Semicontinuous)

Psalm 145[a]

A psalm of praise; by David.

Footnotes

The Wedding Night: Praise of the Bride[a]

The Lover to His Beloved:

The Wedding Night: Beautiful as Lebanon

Footnotes

Thanksgiving

Divisions in the Church

Footnotes

Psalm 145^[a]

The Wedding Night: Praise of the Bride^[a]