The Church Fathers on this verse

Psalm 88 (87):1Meaning & Commentary from the Church Fathers

A canticle of a psalm for the sons of Core: unto the end, for Maheleth, to answer understanding of Eman the Ezrahite.

Douay-Rheims · Hebrew numbering, Septuagint numbering in brackets.

שִׁ֥יר מִזְמ֗וֹר לִבְנֵ֫י קֹ֥רַח לַמְנַצֵּ֣חַ עַל־מָחֲלַ֣ת לְעַנּ֑וֹת מַ֝שְׂכִּ֗יל לְהֵימָ֥ן הָאֶזְרָחִֽי׃

Hebrew (Masoretic text)

The Church Fathers on this verse

9 Church Fathers comment on this verse

Augustine of Hippo

5th centuryChurch Father

The title of this eighty-seventh Psalm introduces a new area of exploration: the unique terminology within, specifically the reference to "Melech," which does not appear elsewhere. We have previously discussed the significance of the titles 'Psalmus Cantici' and 'Canticum Psalmi,' and the frequent mention of the 'sons of Corea,' often accompanied by explanations, but the subsequent wording in this title is noteworthy. The term 'Melech' can be translated into Latin as 'choir,' reflecting the original Hebrew meaning. This Psalm foreshadows the Lord's suffering. The apostle Peter states that Christ suffered for us, leaving us a pattern to follow (1 Peter 2:21). This illustrates the response. The apostle John also notes that as Christ laid down His life for us, we ought to do the same for our brethren (1 John 3:16), further emphasizing the response. Yet the choir represents an agreement that is rooted in love; thus, one who mimics the Lord’s suffering and gives their life without love does not participate in this chorus, and such an act is of no benefit (1 Corinthians 13:3). Likewise, in music, the roles of Precentor and Succentor designate those who sing the leading and following parts. Hence, in this song of suffering, the choir of martyrs follows Christ until the final crowning in heaven. It is sung by the sons of Corea, those who emulate the Passion of Christ; as Christ was crucified on Calvary, which is reflected in the Hebrew term ‘Cor’ (Matthew 27:33). Similarly, the term Aman signifies a connection to Israel: it indicates brotherhood, as Christ designates as His brethren those who comprehend the mystery of the Cross, embracing it without shame and glorifying it, not for their own virtues, but for His grace, so that each of them can be affirmed as “a true Israelite, in whom there is no guile” (John 1:47), as Scripture describes Israel itself as free from deceit (Genesis 25:27).

O Lord God of my salvation, I have cried out to You day and night (Psalm 86:1). Let us now listen to Christ’s voice speaking to us in prophecy, to which His choir should respond in imitation or gratitude. O let my prayer reach Your presence; incline Your ear to my cry (Psalm 87:2). Our Lord prayed, not as God, but in the form of a servant, enduring suffering. He prayed in prosperous times—during the day—and in distress—implied by the night. Prayer entering God's presence indicates His reception of it; His inclination of ear symbolizes His compassionate attention, for God does not have physical ears like us. Additionally, this text is repetitive as is customary.

For my soul is filled with trouble, and my life is at the brink of destruction (Psalm 86:3). Can we truly speak of Christ’s soul being filled with evil when suffering affected only His body? Therefore, the soul feels pain independent of the body, but the body cannot exist without the soul. We could assert that Christ’s soul was burdened with humanity's anguish, although not with individual sins. Another prophet mentions His sorrow for us (Isaiah 53:4), and the Evangelist recounts that He took Peter and the two sons of Zebedee with Him and became deeply distressed (Matthew 26:37-38). The prophet who authored this psalm foresaw this occurrence, illustrating it with the statement, "My soul is troubled, and my life is near death." The expressions 'My soul mourneth' resonate with 'My soul is filled with trouble,' reinforcing that as He groans even to death, His life approaches the grave. These aspects of human weakness He embraced, similar to how He assumed human flesh and mortality—not by compulsion of His nature, but willingly out of mercy to transform us into Himself. His own body, which is the Church, with Him as its head, is constituted of His holy and faithful disciples, so that if any among them experiences sorrow and tribulation amidst human trials, they need not presume they are abandoned by Him. This body acts as a choir that learns from its Head that these afflictions are not sins but rather true reflections of human frailty. The apostle Paul, a principal member of this body, articulated his own soul’s heaviness and constant grief for his brethren, the Israelites. If we perceive that our Lord grieved for them as His Passion approached, recognizing their grave plight, we are not mistaken. Ultimately, what our Savior proclaimed on the cross—“Father, forgive them, for they know not what they do” (Luke 23:34)—is expressed here: “I am counted with those who descend into the pit” (Psalm 87:4)—by those who were unaware of their actions, believing Him to be merely dead like other men, helpless and defeated. The term pit signifies the depths of sorrow or hell. I am as one without aid.

Free among the dead (Psalm 86:5). These words distinctly reveal the nature of our Lord, for who else is truly free among the dead but He, who, though taking on the likeness of sinful flesh, remained sinless? (Romans 8:3). Thus, He is free among the dead, possessing the power to lay down His soul and take it back, which no one could do against His will, as He revived His body akin to the temple they destroyed, as per His will. When all abandoned Him before His Passion, He was not truly alone, for, as He asserts, His Father did not forsake Him (John 8:29). Yet His adversaries, for whom He prayed, who were ignorant of their actions, by their perceptions, treated as without support, like the wounded lying in the grave. He adds, “Whom you do not yet recall,” distinguishing Himself from the rest of the dead. Although He was hurt and buried (Matthew 27:50, 60), they who were unaware of His identity placed Him in the same category as others who died from wounds and rested in the grave, having not yet recognized God—those destined for resurrection had not yet arrived at their moment. This explains why Scripture depicts the dead as sleeping, intending for them to be seen as poised for awakening, that is, for resurrection. But He, though wounded and resting in the tomb, arose the third day, likened to a solitary bird perched high up—the right hand of His Father in heaven—where death will no longer rule over Him (Romans 6:9). Thus, He is profoundly distinguished from those whom God had yet to remember for their resurrection, as what was to happen in the Head was reserved for the Body later on. It’s also noted that when God acts, He is said to remember, and conversely, when He does not, He is termed to forget. However, God cannot forget since He is immutable, nor can He remember, as He can never forget. Those who are oblivious to their actions regard Him as one without aid, while He stands as free among the dead; they perceive Him as wounded while He lies in the grave. Nevertheless, it is further stated of those who utter such words that they are estranged from Your hand; for in making Him thus, they themselves were separated from Your grasp; the ones who saw Him as powerless are devoid of Your support; for they, as articulated in another Psalm, have dug a pit for me, and have fallen into it themselves.

They placed Me in the lowest pit (Psalm 86:6), or as indicated in the Greek, the deepest pit. What then is the lowest pit save the utmost suffering, beyond which there is none? Hence it is stated in another psalm—You have drawn me up out of the depths of despair. In darkness and the shadow of death, unbeknownst to their actions, they laid Him there, thus honoring Him; they did not recognize Him, whom none of the rulers of this world understood (1 Corinthians 2:8). The shadow of death may relate to the death of the body, or it may refer to that darkness in which they sat, but for those brought forth from the dark to light and life, faith illuminated their understanding, embodying those who considered our Lord as one who needed help, thus failing to see Him among those He intended to assist.

Your anger rests upon Me (Psalm 87:7), or in some translations, Your wrath, or even Your fury; the Greek word θυμὸς includes various interpretations. Where the Greek manuscripts state ὀργὴ, translators have consistently rendered it as ira in Latin; however, when the word is θυμὸς, most exhibit reluctance to use ira, despite many renowned Latin authors using it in translations of Greek philosophy. I will not extend this discussion excessively; if I were to suggest an alternative term, I would find indignation preferable to rage, as the latter is not conventionally applied to men in common parlance. What does it mean, “Your wrath is upon me,” but the disbelief harbored by those who do not know the Lord of Glory (1 Corinthians 2:8), who believed that God’s wrath was kindled and directed against Him, whom they dared to execute, not only dealing with death but what they saw as the utmost disgrace—death upon the cross? Hence, the apostle remarks that Christ has redeemed us from the curse of the law, having become a curse for us, for it is written, “Cursed is everyone who hangs on a tree” (Galatians 3:13). To affirm His obedience, which reached the ultimate humility, He stated that He humbled Himself and became obedient unto death, and to emphasize its significance, He specified even death upon the Cross (Philippians 2:8). It seems this Psalm implies as much with, “The pains You have inflicted upon me,” as some render it waves, while others refer to stirrings; both terms differ in meaning but highlight the suffering imposed by God’s judgment. Here, it is articulated, “All Your storms have come upon me”; in the other instance, he states, “All things have passed over me.” In that prior context, though some afflictions arose, it was articulated that these merely passed, yet here it is asserted that all have been imposed upon Me. Evil passes by without impacting a person, similarly to being overhanging, or when it strikes in a wave-like manner. When he mentions ‘suspension,’ he does not say they simply passed by, but “You have brought them upon Me,” meaning all that was forecast about His Passion was in the process of fulfillment as anticipated in the prophecies.

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Athanasius the Great

4th centuryChurch Father

This psalm illustrates the suffering endured by Christ for our sake, enabling Him to bestow resurrection through His proclamation to the spirits in the realm of the dead. The psalmist expresses grief for Jerusalem, symbolizing its lost faith in Christ. Historically, Jerusalem, representing the Jewish people, embodied a certain divine presence, earning it the title of the Lord's inheritance. Thus, the psalm is dedicated to Maeleph, meaning for the presence or aspect.

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However, since the mystery surrounding Christ is profound, a high spiritual understanding is necessary to grasp it; therefore, the title indicates ‘of the mind.’ Additionally, Heman, who authored the psalm, was a descendant of Israel, tracing his lineage back to Zara, the son of Judah, who was the son of Israel.

Jerome of Stridon

4th centuryChurch Father

From the very title, complexities arise, and before we delve into its interpretation, we face perplexing questions. “A song, a psalm of the sons of Korah, for the director of music, according to the way of mourning, a teaching of Heman the Ezrahite” (Psalms 87:1). Each term presents a distinct inquiry. "A song, a psalm" is not overly challenging. “Of the sons of Korah” refers to the lineage of Kohath, a branch of the Levites. “For the director of music” is noteworthy; it appears not at the outset, nor in the midst, but at the conclusion: this is a proclamation not initiated by the patriarchs or amidst the prophets but offered at the culmination of the apostles as a song of exaltation.

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The term “Maeleph” translates to “choir” in Hebrew. In a choir, various elements unite harmoniously, similar to how a psaltery with its multiple strings produces a singular melody. Hence, recognizing that “Maeleph” signifies “choir,” leads us to see it as “to answer,” where all the diverse voices of the choir resonate in unified praise to God. This reflects the mystery of the Church, drawn from different nations to form a singular choir composed of varied backgrounds and characteristics.

“The teaching of Heman the Ezrahite” indicates that Heman was among the choral leaders, akin to Asaph and others. The term “Ezrahite” implies one who has found assistance from the Lord (as “Ezra” translates to “helper”), suggesting that this united choir of worshippers is bolstered by divine support. Now, let us proceed through each verse and interpret them succinctly, given our time constraints.

Theodoret of Cyrus

5th centuryChurch Father

Heman held leadership over a group of individuals dedicated to singing praises to God. The term 'answer' evokes the idea of faces responding to one another in mutual recognition. This prophecy anticipates the misfortunes of the Jewish people and their subsequent captivity in Babylon, while also illustrating the affliction that sin has inflicted upon all humanity. Additionally, the prophecy articulated in the psalm is presented as a prayer directed to God, offered both by the Jews and by all people in general. Such a prayer is appropriate for the devout.

Euthymios Zigabenos

11th centuryCommentator

A Psalm of David, attributed to the sons of Korah, intended for the conclusion. This particular psalm is referred to as "to the end" because the prophecy it contains speaks to the final days. While the preceding Psalm 86 foretold the birth of Christ, this psalm, as indicated by Eusebius, prophesies His death and His descent into Hades, according to Athanasius. The term "of Maelei" is interpreted as "of joy" (in other contexts it suggests a spiritual rejoicing), as it implies a choir's involvement in the psalm's rendition. The phrase "Ezeh answering" suggests a response, denoting that the choir sang along with instrumental accompaniment, specifically from the organs, thus creating a musical dialogue between the choir and the instruments.

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The phrase "of the mind" indicates that the reader must engage in thoughtful reflection, for within this psalm, profound truths about the Lord's enigmatic death are concealed. The label "To Haman the Israelite" denotes that this psalm was presented by David to Haman, not only for the sons of Korah but also for Haman, who led another choir. The sons of Korah performed together as one choir, while Haman led a separate one; thus, the psalm could be sung by both ensembles either jointly or independently. Some versions mention Epham instead of Heman, but it is more accurate to use Heman as found here and in the subsequent psalm referring to Epham. The book of Chronicles states: "And David said to the leaders of the Levites, appoint their fellow Levites as singers with instruments of music, harps, and lyres" (1 Chronicles 15:16). In the final note, "To an Israelite" is specified, not to exclude other singers who were Israelites, but to distinguish them from foreigners who also shared faith with Heman and Epham.

Theodoret notes that this psalm historically refers to the Israelites' captivity in Babylon, with the choir's repeated renditions representing the cyclical nature of their suffering. This psalm was entrusted to the sons of Korah for performance under Haman’s leadership, further emphasizing its purpose for communal worship. This prayer is particularly significant for the devout among the Jewish people. Eusebius identifies Heman as a Zaraite, a descendant from the house of Zara of Judah, and according to Hebrew texts, Heman was in Egypt before the time of Moses. Apollinarius characterizes Haman as descended from Korah, who, in turn, was from the lineage of Kohath, a son of Levi.

Hesychius of Jerusalem

5th centuryChurch Father

You are aware that the descendants of Korah served as psalmists. It is important to recognize that this hymn constitutes a song of praise, as it relates to the prophecies concerning Christ. Regarding the title, “at the end,” other translators have rendered it as “a song of triumph by the choir,” which indicates that this hymn was performed not by a single psalmist but by the entire choir, initiated by Heman the Israelite, with the choir responding harmoniously in unity with him. This is evident from the title: “To respond. For instruction. Heman the Israelite.”

Irenaeus (Klementjewsky)

18th centuryCommentator

Psalm by the sons of Korah, intended for the chief musician using the stringed instrument of maheleth, serves as a plea and a dialogue for the people of Israel. This Psalm expresses the profound anguish of a person who is in deep sorrow and feels nearly hopeless, yet it simultaneously reveals the unwavering strength of faith with which the righteous confront their adversaries. Even amidst the profound shadows of death, the faithful cry out to God, earnestly seeking His assistance.

Ireneus (Orda)

19th centuryCommentator

This psalm stands out as one of the most poignant in the entire collection, yet it should not be viewed merely as a manifestation of despair. The Psalmist, identified as a descendant of Korah in the heading, specifically names himself as Heman. The term "Maeleph" lacks clear meaning in the Septuagint and is primarily translated as "affliction"; it may metaphorically convey a representation of anguish akin to a fatal illness. The phrase "Jehovah to answer" literally refers to seeking a divine response, highlighting the desire for God to hear one's pleas. This psalm serves as a cry for divine intervention and guidance, effectively teaching readers how to respond in times of trial.

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Heman, a notable figure from David’s era (1 Chronicles 6:18; 15), along with Ephah, belongs to the lineage of Korah, a Kohathite. The references to them being "Ezrahites" (descendants of Zerah, as per 1 Chronicles 2:6) should be understood to indicate their residency within the tribe of Judah, not their lineage. This misunderstanding likely resulted in the alteration of the title from "Ezrahite" to "Israelite," as seen in the Greek translations and some Slavic versions. In his prayer, he extends his hands in supplication to God for aid (vv. 2-3, 10, 14), reflecting his faith and hope in God, whom he acknowledges as his salvation and from whom he anticipates a miraculous rescue from the threat of death (vv. 11-13). The weight of suffering and adversity bears down on this supplicant, yet he remains fixated on the Lord, despite feeling abandoned by God during prolonged trials, and despite his fervent prayers yielding no relief. Whether the psalmist faced a severe and painful affliction, such as leprosy, that brought him to death’s doorstep, or if these descriptors symbolize profound torment, remains uncertain.

Psalter with Commentaries (Cave Monastery in Kiew)

19th centuryCommentator

This composition is a psalm by David, assigned to the sons of Korah, intended to be sung continuously with the organ of atonement, referred to as Maeleph, or resembling a song of mourning. The term Maeleph reflects a customary practice of the time, where responses in song were exchanged between singers: as one sang, the other would respond in kind. The insights of Heman the Israelite, a renowned chief musician, guided the performance of this penitential psalm, aiming to reveal the profound mystery of Christ's suffering, characterized by deep sorrow and lamentation. Understanding the mystery of Christ requires a refined spiritual insight, hence the reference to the mind.

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The prophetic nature of the text is presented in the form of a prayer directed to God, illustrating the afflictions of humanity following the original sin. This prayer resonates with every devout individual enduring hardships yet remaining steadfast in prayer and relying on the support of God.

Cross references

Passages read together with this verse.