Psalm 4 Verse-by-Verse

Back to Psalm 4 overview page.

Welcome to the DRAFT Verse-by-Verse Notes for Psalm 4!

The Verse-by-Verse Notes present scholarly, exegetical materials (from all layers of analysis) in a verse-by-verse format. They often present alternative interpretive options and justification for a preferred interpretation. The Verse-by-Verse Notes are aimed at consultant-level users.

The discussion of each verse of this psalm includes the following items.

1. A link to the part of the overview video where the verse in question is discussed.
2. The verse in Hebrew and English.
3. An expanded paraphrase of the verse.
4. A grammatical diagram of the verse, which includes glosses for each word and phrase.
5. A series of notes on the verse, which contain information pertaining to the interpretation of the psalm (e.g., meaning of words and phrases, poetic features, difficult grammatical constructions, etc.).

Superscription (v. 1)

See the Overview Video on v. 1.

v. 1

v.	Hebrew	Close-but-clear
1	לַמְנַצֵּ֥חַ בִּנְגִינ֗וֹת מִזְמ֥וֹר לְדָוִֽד׃	For the director, with stringed instruments, a psalm by David.

Expanded Paraphrase

For the director, with stringed instruments, a psalm by David, the king, who is in a unique relationship with YHWH and privileged in prayer .

Grammatical Diagram

Notes

• See our discussion of לַמְנַצֵחַ and the Translation Challenges.
• See our discussion of לְדָוִד.

Distress (v. 2)

See the Overview Video on v. 2.

v. 2

v.	Hebrew	Close-but-clear
2a	בְּקָרְאִ֡י עֲנֵ֤נִי ׀ אֱלֹ֘הֵ֤י צִדְקִ֗י	Respond to me when I cry out, my righteous God,
2b	בַּ֭צָּר הִרְחַ֣בְתָּ לִּ֑י	who granted me relief in distress.
2c	חָ֝נֵּ֗נִי וּשְׁמַ֥ע תְּפִלָּתִֽי׃	Be merciful to me and hear my prayer.

Expanded Paraphrase

YHWH, you have made a covenant with me. Respond to me when I cry out for help in trouble and so fulfill your covenant obligation , my righteous God, when I was previously in a distressing situation, who granted me relief in distress. Because you helped in the past, you are sure to help me again in the present. Be merciful to me and hear my prayer.

Grammatical Diagram

Notes

• The first word of the psalm in Hebrew is the word translated when I cry out (בְּקָרְאִי). It refers to an "action by which humans or deities speak with a loud voice, often to draw attention to themselves or to their situation and expecting someone to respond in one way or another" (SDBH). Whereas the English gloss "cry out" might imply a non-verbal act like weeping or shouting in pain, the Hebrew word קָרָא almost always refers to verbal communication. Other English translations have "call" (NIV, ESV NET, NJPS, NET) or "pray" (GNT).

• This word "when I cry out" (בְּקָרְאִי) is an important word in the poem. Note that the word is exactly repeated in v. 4b: "YHWH hears when I cry (בְּקָרְאִי) out to him." Furthermore, in a poem where "light" is a prominent theme (see especially v. 7), it is probably not a coincidence that the word for "when I cry out" (בְּקָרְאִי) sounds similar to the Hebrew word for "morning" (בֹּקֶר). (See the final note on v. 5 for more about this poetic feature.)
• The phrase my righteous God (אֱלֹהֵי צִדְקִי) has been understood and translated in various ways. The NET, for example, says "God who vindicates me!," i.e., the God who recognizes my righteousness and declares me to be in the right. Other translations, however, say "my righteous God" (e.g., NIV), i.e., the God who is righteous and "committed to doing the right thing by people, especially when they are in need." Both options are grammatically possible, and both fit the context well. Because the next line (v. 2b, "who granted me relief in distress") highlights YHWH's past action, it seems likely that the focus of v. 2a is on the righteousness of YHWH himself ("my righteous God") rather than on the psalmist's righteousness ("God of my righteousness" >> "God who vindicates me").
• In v. 2b, David appeals to YHWH's past action in order to support his plea for help in v. 2a. Interpreters disagree on how to understand the tense and mood of the verb granted me relief (הִרְחַבְתָּ). The verb is a qatal verb, and qatal verbs are typically past tense. For this reason, the ESV translates the clause as "You have given me relief when I was in distress," and the GNT as "When I was in trouble, you helped me." Some interpreters have argued, however, that a past tense verb does not fit well in the context and that the qatal verb (הִרְחַבְתָּ) is more likely precative, i.e., "a directive mood that signals that the utterance is a request." Goldingay, for example, says that "the broader as well as the narrower context of the psalm supports the precative understanding," since there is no other "prayer" (תפלה, v.2c) in the psalm. Hence, the NIV translates this clause as "Give me relief from my distress", and the NLT as "Free me from my troubles." However, the category of "precative perfect" in Hebrew poetry is dubious, and, as in every other case of the so-called precative perfect, "it is also possible to postulate that one of the more typical senses of the qatal/perfect (e.g., present perfect) is involved." In v. 2b, the psalmist looks to past deliverance to ground his present requests (v. 2ac). The psalmist's actual deliverance does not come until v. 7b.
• The shift from imperative in v. 2a to past tense indicative in v. 2b is less jarring if v. 2b is a relative clause: who granted me relief in distress. The relative particle (אשר) is sometimes omitted in relative clauses, especially in poetry.
• The word granted relief (הִרְחַבְתָּ) means "literally: to enlarge (for someone); hence: = causative action by which humans or deities grant relief to (other) humans by alleviating difficult circumstances" (SDBH). Similarly, the word distress (צַר) is associated with "narrowness." The psalmist seems to be playing with a conceptual metaphor: "you gave me space when I was in a tight place."
• To hear someone's prayer means not only to perceive the sounds that someone is saying; it means to listen favorably and to grant their request.

Rebuke (vv. 3-6)

See the Overview Video on vv. 3-6.

• The first section shift in the psalm comes in v. 3, where David turns to address the "mortal humans." The address continues through v. 6.

• There are three sub-sections within this section (vv. 3-6). Each is demarcated by selah (v. 3b and v. 5b) and reinforced by an inclusio that binds together vv. 4-5 (v. 4a: ודעו / v. 5b: ודמו). Both ודעו (v. 4a) and ודמו (v. 5b) are imperatives prefixed by waw that begin with the consonant ד (d) and end with the vowel ו (u).

v. 3

v.	Hebrew	Close-but-clear
3a	בְּנֵ֥י אִ֡ישׁ עַד־מֶ֬ה כְבוֹדִ֣י לִ֭כְלִמָּה	You mortal humans, how long will my honor become shame?
3b	תֶּאֱהָב֣וּן רִ֑יק תְּבַקְשׁ֖וּ כָזָ֣ב סֶֽלָה׃	[How long] will you love vanity? [How long] will you seek falsehood? Selah.

Expanded Paraphrase

As the king, I am charged to admonish You mortal humans. As you know, I am responsible for the land's fertility. Now that there is drought in the land and your crops have failed, you question my right standing with YHWH. [How long] will my honor become shame? And not only have you rejected me, you have rejected YHWH, your God. [How long] will you love idols which epitomize vanity in a vain effort to bring rain on the land ? How long will you seek gods who epitomize falsehood? YHWH is the only true God.

Grammatical Diagram

Notes

• Verse 3 introduces a new character into the discourse: mortal humans (בְּנֵי אִישׁ, lit.: "sons of a man"). Many interpreters have understood this phrase as a reference to "men of rank." The CSB, for example, has "exalted ones," and the GWT has "important people." The main evidence for this view is in Pss 49:3 and 62:10, where "men of high degree (בְּנֵי אִישׁ) are contrasted with those of no rank (בְּנֵי אָדָם)." In the context of Ps 4, however, where David is rebuking arrogant people, it makes more sense that he would use a derogatory phrase like "mortal humans" than a respectful phrase like "exalted ones" (unless, of course, he is being sarcastic). Furthermore, in Pss 49:3 and 62:10 the phrase "exalted ones" (בְּנֵי אִישׁ) is paired and contrasted with the phrase "common ones" (בְּנֵי אָדָם). In Ps 4, however, there is no contrast to "common ones." Instead, the usage in Ps 4:3 is more similar to the usage of the phrase in Lam 3:33, where the same phrase "sons of man" (בְּנֵי אִישׁ) stands on its own and "refers to people or mankind in general." In conclusion, it seems likely that David is addressing the people as those who are "mortal as distinct from God" (DCH). The NEB accurately translates the phrase as "mortal men."
• The following visual shows how the people (the "mortal humans") relate to the other characters in the psalm. The people dishonor David, and David rebukes and exhorts the people to repent and trust in YHWH. The question which the psalm leaves open is whether or not the people will trust in YHWH and receive YHWH's blessing.

• The syntax of v. 3a is ambiguous. The phrase my honor (כְבוֹדִי) could be either the subject or the object of the verbless clause. In either case, English translations are forced to make the verbal idea explicit. The simplest interpretation (i.e., the one involving the fewest assumptions) is to read כְבוֹדִי לִכְלִמָּה as a verbless clause: how long will my honor become shame? Even so, the implication is that the "mortal humans" are the ones who have caused David's honor to "become shame". The NIV gives an accurate translation when it says "How long will you people turn my glory into shame?"
• In what sense are the people turning David's honor into shame? The following verse implies that they were questioning David's relationship with YHWH (v. 4a), specifically whether or not YHWH listened to his prayers (v. 4b). If v. 7 implies a situation of dearth—note the people's wish for "good" in v. 7a and the past tense reference to grain and wine abounding in v. 7b—then the people might have been questioning David's ability to intercede and secure YHWH's provision. In the ANE, the king was held responsible for the land's fertility. As John Eaton writes, "If a satisfactory king meant fertility in his kingdom, dearth might well contribute to criticisms of the king."
• The question how long...? in v. 3a is a rhetorical question. David is not soliciting information. Rather, he is expressing impatience at their behavior and rebuking them for it.
• The phrases love vanity (תֶּאֱהָבוּן רִיק) and seek falsehood (תְּבַקְשׁוּ כָזָב) in v. 3b probably refer to the worship of false gods. The words "vanity" (רִיק) and "falsehood" (כָזָב) are euphemisms for idols. The REB, for example, says "setting your hearts on empty idols and resorting to false gods?" Similarly, the NIV has "love delusions and seek false gods." Most translations, however, interpret "vanity" and "falsehood" as a reference to false accusations which the people are bringing against the psalmist. The NLT, for example, says "How long will you make groundless accusations? How long will you continue your lies?" But if "falsehood" (כָזָב) refers to "groundless accusations" (NLT), then we would not expect it to be the object of the verb "seek" (תְּבַקְשׁוּ). As Wilson notes, "elsewhere in the OT, humans are said to 'speak' lies, never to 'seek' them." The word "seek" (בּקשׁ) is used, however, for seeking after a god, and so is the verb "love" (אהב). Likewise, the word "falsehood" (כָזָב) is elsewhere used to refer to false gods. The prophet Amos, for example, says that the people "have been led astray by false gods, the gods their ancestors followed" (NIV). Although the word "vanity" (רִיק) does not elsewhere refer to idols, some of its synonyms (other words belonging to the same semantic domain of 'emptiness') are used in this sense. Thus, the "mortal humans" appear to be engaging in "a perversion of pious Israelite practice — namely, 'to love Yahweh' and 'to seek Yahweh.'"
• At this point, the "Story Behind the Psalm" begins to become clear. It appears that there has been some kind of national calamity which has caused a failure of crops and a lack of contentment. In response, the people have rejected YHWH and his king and have sought recourse to other gods. Beginning in v. 3, King David calls the people to repentance (vv. 3-6), and he prays to YHWH on their behalf (v. 7b). Having trusted in YHWH and performed his duty, David can sleep in peace (see v. 9). The psalm envisions a future in which the people repent, YHWH hears David's prayer, and the land is restored. The following visual summarizes this "story." For a more thorough defense of this interpretation of the psalm (and an exploration of an alternative interpretation), see the following exegetical issue: The Problem of Psalm 4.

v. 4

v.	Hebrew	Close-but-clear
4a	וּדְע֗וּ כִּֽי־הִפְלָ֣ה יְ֭הוָה חָסִ֣יד ל֑וֹ	But know that YHWH has set apart for himself a loyal person.
4b	יְהוָ֥ה יִ֝שְׁמַ֗ע בְּקָרְאִ֥י אֵלָֽיו׃	YHWH hears when I cry out to him.

Expanded Paraphrase

But know that YHWH the one true God has set apart for himself a loyal person. I have been loyal to the covenant YHWH made with me. YHWH has set me apart, and YHWH hears when I cry out to him.

Grammatical Diagram

Notes

• In v. 4, David continues to address the people. In this verse, however, he shifts from rebuking them (v. 3) to instructing and exhorting them (vv. 4-6). The verb know (דְעוּ) is the first of seven imperatives aimed at bringing the people to repentance.

• The word translated "loyal person" (חָסִיד) is not merely someone who is "godly" (cf. KJV, NLT, ESV, NASB, NET) but "someone who practices חֶסֶד, who is committed towards fulfilling his/her (covenant) obligations" (SDBH). Thus the translation "faithful" (NIV, CSB, CEV) might be more accurate. John Eaton translates the term as "covenant fellow," and he notes that, in the biblical world, "the king is God's preeminent covenant fellow (hasid)." In this context, the reference is to David as YHWH's anointed king.
• There is a textual problem in v. 4a. Some of the early versions apparently read "made marvelous" (הִפְלִיא) instead of set apart (הִפְלָה). The LXX, for example, says, "And know that the Lord made marvelous (ἐθαυμάστωσεν) his devout one." The LXX reading is probably an assimilation to the more common verb פלא. For this reason, Barthélemy and the CTAT committee give the MT reading an A rating.
• Note that the words cry out and hears from the beginning of the psalm (v. 2) are repeated here.

v. 5

v.	Hebrew	Close-but-clear
5a	רִגְז֗וּ וְֽאַל־תֶּ֫חֱטָ֥אוּ	Tremble and do not sin.
5b	אִמְר֣וּ בִ֭לְבַבְכֶם עַֽל־מִשְׁכַּבְכֶ֗ם וְדֹ֣מּוּ סֶֽלָה׃	Think in your minds on your beds and be silent. Selah.

Expanded Paraphrase

Because YHWH is the one true God and you have rejected him, and because YHWH is on my side and you have dishonored me, Tremble in fear and do not sin anymore by going after idols and by refusing to acknowledge my right standing with YHWH. Think in your minds about YHWH's singular ability to make things right and about my status before YHWH on your beds, the place of your innermost thoughts and be silent. Selah.

Grammatical Diagram

Notes

• The second imperative in vv. 3-6 is a call to tremble (רִגְזוּ). Translations differ in how they render this word. Some say "tremble" (NIV, cf. CEV, JPS85, GNT, NET, ELB, GNB, RVR95, DHH94I). Others say "stand in awe" (KJV, cf. REB, GNT, NET, EÜ), and still others says "be angry" (RSV, cf. ESV, NLT, NEB, LUT, HFA, NGÜ, NVI, BTX4, BDS, PDV2017, NFC, S21). The basic meaning of the verb רָגַז is a "process by which humans or objects shake involuntarily (SDBH), which is why some translations render the verb in Ps. 4 as "tremble." This physical act of "shaking"/"trembling", however, can be associated with different emotions, including "fear, insecurity, shock, excitement, or other emotions" (SDBH). Where the translations of Ps. 4:5 differ is in the identification of the emotion associated with the trembling. According to the RSV and others, the emotion which causes the trembling is anger. According to the KJV and others, the emotion which causes the trembling is fear or awe. The Amplified Bible presents both options: "Tremble [with anger or fear]." In this context, however, the emotion of fear "seems more appropriate as a warning to the psalmist’s enemies." The emotion of fear fits especially well with the second imperative, "do not sin", because 'fearing' naturally leads to 'not sinning.' For a more in depth discussion of the issue, see The Meaning of רגזו in Ps. 4:5.
• The third imperatival clause, translated do not sin (אַל־תֶּחֱטָאוּ), might also be rendered "sin no more" (NJPS) or "stop sinning" (GNT), since in the context it is clear that the people are already engaged in sin (see v. 3.
• The fourth and fifth imperatival clauses are an exhortation to think in your minds on your beds and be silent (אִמְרוּ בִלְבַבְכֶם עַל־מִשְׁכַּבְכֶם וְדֹמּוּ). Or, as the NIV says, "when you are on your beds, search your hearts and be silent." As Leland Ryken notes, bedrooms in the Bible "commonly offer a picture of that private, internal place where a person ponders, meditates, or plots. The bedroom is the place of the most personal, secret thoughts. So when Solomon advises his hearers not to curse the rich in their bedrooms, he is urging them to take care for their most private thoughts and words (Eccl 10:20). The psalms contain multiple pictures of people on their beds, opening their hearts before God (e.g., Pss 4:4; 63:6)."
• There is some disagreement about the final imperative in v. 5, and be silent (וְדֹמּוּ). Most modern translations say "be silent" (NIV, ESV, cf. NLT, CEV, GNT, LUT, NGÜ, ELB, EÜ, GNB, ZÜR, RVR95, BTX4). The NET Bible, however, interprets דֹמּוּ as a different word (a homonym) that means "to wail" or "to lament," and they translate it as "repent of your ways!" (NET).
• The last line of v. 5 is poetically prominent. Not only is this line the longest line of the psalm, but nearly every root in this line ("think אמר...minds לבב... beds שׁכב") is repeated in vv. 7-9 in the same order in which they appear in v. 5b.
  • אמר - v. 7a ("saying") - v. 5b ("think)
  • לבב - v. 8a ("heart") - v. 5b ("minds")
  • שכב - v.9a ("lie down") - v. 5b ("beds")
• The following visual shows how the words and roots in vv. 5b-6 are repeated elsewhere in the psalm.

• The image of a "bed" (מִשְׁכָּב v. 5b) and its associations with night-time is also thematically significant in the psalm. The psalm also ends with the image of lying down (שׁכב, presumably in a bed) and falling asleep (v. 9). In fact, the images of light and dark, day and night, appear to alternate throughout the psalm (see the image below). First, the word בְּקָרְאִי ("when I call"), which sounds like the word for "morning" (בֹּקֶר) occurs as the very first word of the psalm (v. 2) and is repeated again in v. 4. Next, in v. 5, the image shifts to a night-time image, as the people lie on their beds in silence. Then, v. 7 gives the image of YHWH's face dawning like the morning sun. Finally, the psalm ends with the image of a darkness and night (v. 9).

v. 6

v.	Hebrew	Close-but-clear
6a	זִבְח֥וּ זִבְחֵי־צֶ֑דֶק	Sacrifice right sacrifices
6b	וּ֝בִטְח֗וּ אֶל־יְהוָֽה׃	and trust in YHWH.

Expanded Paraphrase

Whereas you have been offering wrong sacrifices to other gods Sacrifice right sacrifices i.e., sacrifices to YHWH, a heart of repentance first among them, and trust in YHWH who is the only true God and the only one who will help us).

Grammatical Diagram

Notes

• Verse 6 marks the climax of the psalmist's prophetic message to the people and the poetic heart of the psalm. The central position of this verse within the psalm's overall poetic structure is indicated especially by the roots righteous (צדק) and trust (בטח) which are repeated in the first and last lines of the psalm.

• The psalmist's sixth exhortation is an exhortation to sacrifice right sacrifices. If it is correct to assume that the people have been worshipping false gods (cf. v. 3), then the phrase right sacrifices probably refers to literal sacrifices offered to YHWH (and not to another god) in accordance with YHWH's law (cf. Deut 33:19; Ps 51:21).

Blessing (vv. 7-9)

See the Overview Video on vv. 7-9

• Verse 7 marks the beginning of a new section, where the psalmist is no longer addressing the "mortal humans" but instead addresses YHWH. This section is bound together by its allusion to the Aaronic blessing in Numbers 6:24-26, specifically vv. 25-26: "the Lord make his face to shine upon you and be gracious to you; the Lord lift up his countenance upon you and give you peace" (ESV).

• Within vv. 7-9, vv. 7-8 are bound by an inclusio: רבִּים is the first word of v. 7 and רָבּוּ is the last word of v. 8.

v. 7

v.	Hebrew	Close-but-clear
7a	רַבִּ֥ים אֹמְרִים֮ מִֽי־יַרְאֵ֪נ֫וּ ט֥וֹב	Many are those who say, “Who will show us good?”
7b	נְֽסָה־עָ֭לֵינוּ א֨וֹר פָּנֶ֬יךָ יְהוָֽה׃	Cause the light of your face to shine on us, YHWH!

Expanded Paraphrase

Many who are lacking rain and who have rejected YHWH and his king are those who say, "Who will show us rain, which is good" so that our crops can grow and we can flourish in the land? YHWH will show us good. Cause the light of your face to shine on us, YHWH you who are like the sun, the source of all life, and send rain!

Grammatical Diagram

Notes

• Verse 7a introduces the direct speech of many. These "many" who speak in v. 7a are probably the same people whom David addresses in vv. 3-6. Their question of "who...?" suggests their openness to divine assistance from gods other than YHWH (cf. v. 3). "The hypothesis that they are a totally different group is unnecessary and falls to Occam's razor ('entities are not to be multiplied')."
• The question who will show us good? (מִֽי־יַרְאֵ֪נ֫וּ ט֥וֹב) in v. 7a is not given to solicit information but to express a wish. The RSV, for example, says, "Oh, that we might see some good!" (cf. GNT, NEB). Even though the question is rhetorical, the interrogative form is significant. In fact, the question "who will show us good?" nicely summarizes the main tension in the psalm. Will YHWH show the people good? Will David's intercession be successful so that he secures YHWH's provision of good? Or will the people reject YHWH and his king and turn instead to "vanity" and "falsehood" (i.e., idols, cf. v. 3)? The following visual summarizes the psalm with a focus on this question. (References to David are yellow; references to YHWH are purple; references to the people are grey; and references to their idols are dark grey.)

• The word good is probably a metonymy for "rain" as it is in Jer 5:25 and Ps 85:13 As Dahood notes, "the 'good' par excellence in Palestine is the rain, so that in a number of texts tov without further modification concretely signifies 'rain'" For an in-depth discussion about the situation of distress presupposed in the psalm, see The Problem of Psalm 4.
• The second half of v. 7—Cause the light of your face to shine on us, YHWH—is difficult to interpret for multiple reasons. For an in-depth discussion of the problems, see our exegetical issue page on The Grammar of Ps. 4:7b. In summary, there are two main issues in this line: (1) the morphology of the verb translated cause to shine (נְסָה) (an imperative meaning "lift" or a qatal verb meaning "has fled"?) and (2) the question of who is speaking in v. 7b (the "many" or the psalmist?). With regard to the first issue, the verb נְסָה is probably an orthographic variant of נְשָׂא ("lift"), since the psalmist here alludes to the Aaronic blessing of Numbers 6 which uses the verb נשׂא. With regard to the second issue, David is probably the one who utters this prayer. The extent of the speech of the "many," in other words, ends in v. 7a. Otherwise, if David is not the speaker in v. 7b, then the psalm has no actual "prayer" which YHWH is called to "hear" and "answer" (v. 2). If David is the speaker of v. 7b, however, then v. 7b is the main petition of the psalm.
• The image of light in v. 7 contributes powerfully to the themes of light and darkness, day and night in the psalm (see notes on v. 5b). The image here stands for divine favor (cf. Num. 6:23-27), which, in this context, translates specifically to "agricultural bounty."

v. 8

v.	Hebrew	Close-but-clear
8a	נָתַ֣תָּה שִׂמְחָ֣ה בְלִבִּ֑י	You have put joy in my heart greater than what you put in their hearts
8b	מֵעֵ֬ת דְּגָנָ֖ם וְתִֽירוֹשָׁ֣ם רָֽבּוּ׃	at the time in which their grain and wine multiplied.

Expanded Paraphrase

Even now, during a time of dearth, You have put joy in my heart greater than what you put in their hearts at the time in which there was sufficient rain, and their grain and wine multiplied.

Grammatical Diagram

Notes

• The verb translated you have put (נָתַתָּה) has been understood in different ways. Although most translations render the verb as past tense ("you have put", e.g., KJV, RSV, NLT, ESV, NASB, CSB, GNT), the NIV interprets it as a precative perfect and translates it as an imperative: "Fill my heart with joy." On the problems with the so-called precative perfect, see the note on the verb "you granted relief" (הִרְחַ֣בְתָּ) in v. 2.
• Most interpreters understand the prepositional phrase at the beginning of v. 8b (at the time, lit.: "from the time") as comparative ("greater than" [NLT], "more than" [KJV, RSV, ESV, NASB, CEV, GNT, CSB, NEB]), though a temporal understanding is also possible ("when their grain and new wine abound" [NIV]).

v. 9

v.	Hebrew	Close-but-clear
9a	בְּשָׁל֣וֹם יַחְדָּו֮ אֶשְׁכְּבָ֪ה וְאִ֫ישָׁ֥ן	In peace I will both lie down and fall asleep,
9b	כִּֽי־אַתָּ֣ה יְהוָ֣ה לְבָדָ֑ד	for you alone, YHWH,
9c	לָ֝בֶ֗טַח תּוֹשִׁיבֵֽנִי׃	make me dwell securely.

Expanded Paraphrase

In peace, I will both lie down and fall asleep confident that you will answer my prayer, for you alone, YHWH, make me dwell securely.

Grammatical Diagram

Notes

• The Psalm ends (as it began) with a three-line verse (tricolon/triplet). The line length of this last verse (measured in terms of stress count) gradually decreases across the three lines (4-3-2). The last two lines of the verse contain a single clause, with the subject in one line (9b) and the verb in another (9c). The verb does not appear until the very end of the last word of the clause. The sound "sh" occurs four times in the verse. Repetition of other consonant clusters also occur (sh + b; l + b + dental) in a chiastic pattern. The various features of this verse (decreasing stress, enjambment, phonological chiasm, "shh" sound, the delayed appearance of the verb) work together to produce a feeling of shalom ("peace," v. 9a) and a sense of closure. It’s as though David is already drifting off to sleep. The Psalm, which began in distress and anger, ends now in peaceful rest.

• The phrase in peace (בְּשָׁלוֹם) refers to a "condition in which there is no conflict, war, danger, sickness, famine, or anything to fear, but where one can live at ease and with confidence" (SDBH). In this context, it appears that famine continues to be a real threat. Yet David is so confident in the fact that YHWH will hear him (cf. v. 4b) that after he prays he can lie down "in peace," knowing that YHWH will make everything right. It is YHWH and YHWH alone (not any false god, cf. v. 3) who makes him dwell securely.
• The phrase "in peace" is poetically significant. It continues to allude to the Aaronic blessing, which similarly concludes with a prayer for "peace" (שָׁלוֹם). Also, the beth preposition in בְּשָׁלוֹם hearkens back to the beginning of the psalm, which began with a beth preposition ("when I call" בְּקָרְאִי). The psalm begins with distressed calling (v. 2), and it ends with peace (v. 9). The intensity of the psalmist's emotions wanes as the psalm unfolds. Distress, impatience, and anger (vv. 2-5) give way to joy (vv. 7-8) and peace (v. 9). In this evening psalm, David does not let the sun go down on his anger (cf. Eph. 4:26).

Legends

Grammatical diagram

The grammar layer visually represents the grammar and syntax of each clause. It also displays alternative interpretations of the grammar. (For more information, click "Grammar Legend" below.)

Grammar Legend

Visualization	Description
	The clause is represented by a horizontal line with a vertical line crossing through it, separating the subject and the verb.
	The object is indicated by a vertical line that does not cross the horizontal line of the clause. Infinitives and participles may also have objects. If the direct object marker (d.o.m.) is present in the text, it appears in the diagram immediately before the object. If the grammar includes a secondary object, the secondary object will appear after the object, separated by another vertical line that does not cross the horizontal line of the clause.
	The subject complement follows the verb (often omitted in Hebrew) separated with a line leaning toward the right. It can be a noun, a whole prepositional phrase or an adjective. The later two appear modifying the complement slot.
	When a noun further describes or renames the object, it is an object complement. The object complement follows the object separated by a line leaning toward the right.
	In a construct chain, the noun in the absolute form modifies the noun in the construct form.
	Participles are indicated in whatever position in the clause they are in with a curved line before the participle. Participles can occur as nominal, where they take the place of a noun, predicate, where they take the place of a verb, or attributive, where they modify a noun or a verb similar to adjectives or adverbs.
	Infinitives are indicated by two parallel lines before the infinitive that cross the horizontal line. Infinitive constructs can appear as the verb in an embedded clause. Infinitive absolutes typically appear as an adverbial.
	The subject of the infinitive often appears in construct to it. In this situation, the infinitive and subject are diagrammed as a construct chain.
	The object of the infinitive is indicated by a vertical line that does not cross the horizontal line of the infinitival clause.
	Modifiers are represented by a solid diagonal line from the word they modify. They can attach to verbs, adjectives, or nouns. If modifying a verb or adjective, it is an adverb, but if modifying a noun, it is an adjective, a quantifier, or a definite article. If an adverb is modifying a modifier, it is connected to the modifier by a small dashed horizontal line.
	Adverbials are indicated by a dashed diagonal line extending to a horizontal line. These are nouns or infinitives that function adverbially (modifying either a verb or a participle), but are not connected by a preposition.
	Prepositional phrases are indicated by a solid diagonal line extending to a horizontal line. The preposition is to the left of the diagonal line and the dependent of the preposition is on the horizontal line. They can modify verbs (adverbial) or nouns (adjectival).
	Embedded clauses are indicated by a "stand" that looks like an upside-down Y. The stand rests in the grammatical position that the clause fulfills. Extending from the top of the stand is a horizontal line for the clause. If introduced by a complementizer, for example כִּי, the complementizer appears before the stand. Embedded clauses can stand in the place of any noun.
	When clauses are joined by a conjunction, they are compound clauses. These clauses are connected by a vertical dotted line. The conjunction is placed next to the dotted line.
	Within a clause, if two or more parts of speech are compound, these are represented by angled lines reaching to the two compound elements connected by a solid vertical line. If a conjunction is used, the conjunction appears to the left of the vertical line. Almost all parts of speech can be compound.
	Subordinate clauses are indicated by a dashed line coming from the line dividing the subject from the predicate in the independent clause and leading to the horizontal line of the subordinate clause. The subordinating conjunction appears next to the dashed line.
	Relative clauses also have a dashed line, but the line connects the antecedent to the horizontal line of the relative clause. The relative particle appears next to the dashed line.
	Sentence fragments are represented by a horizontal line with no vertical lines. They are most frequently used in superscriptions to psalms. They are visually similar to discourse particles and vocatives, but most often consist of a noun phrase (that does not refer to a person or people group) or a prepositional phrase.
	In the body of the psalm, a horizontal line by itself (with no modifiers or vertical lines) can indicate either a discourse particle or a vocative (if the word is a noun referring to a person or people group). A discourse particle is a conjunction or particle that functions at the discourse level, not at the grammatical level. Vocatives can appear either before or after the clause addressed to them, depending on the word order of the Hebrew.
	Apposition is indicated by an equal sign equating the two noun phrases. This can occur with a noun in any function in a sentence.

Hebrew text colors
Default preferred text	The default preferred reading is represented by a black line. The text of the MT is represented in bold black text.
Dispreferred reading	The dispreferred reading is an alternative interpretation of the grammar, represented by a pink line. The text of the MT is represented in bold pink text, while emendations and revocalizations retain their corresponding colors (see below).
Emended text	Emended text, text in which the consonants differ from the consonants of the Masoretic text, is represented by bold blue text, whether that reading is preferred or dispreferred.
Revocalized text	Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is represented by bold purple text, whether that reading is preferred or dispreferred.
(Supplied elided element)	Any element that is elided in the Hebrew text is represented by bold gray text in parentheses.
( )	The position of a non-supplied elided element is represented by empty black parentheses. For example, this would be used in the place of the noun when an adjective functions substantivally or in the place of the antecedent when a relative clause has an implied antecedent.

Gloss text colors
Gloss used in the CBC	The gloss used in the Close-but-Clear translation is represented by bold blue text.
Literal gloss >> derived meaning	A gloss that shows the more literal meaning as well as the derived figurative meaning is represented in blue text with arrows pointing towards the more figurative meaning. The gloss used in the CBC will be bolded.
Supplied elided element	The gloss for a supplied elided element is represented in bold gray text.

Shapes and colours on grammatical diagram

(For more information, click "Phrase-level Legend" below.)

Phrase-level Legend

Visualization	Description
	The prepositional phrase is indicated by a solid green oval.
	The construct chain is indicated by a solid yellow oval.
	When the conjunction ו appears at the phrase-level (not clause-level), it is indicated by a solid light purple oval.
	The article is indicated by a solid blue oval.

Expanded paraphrase

(For more information, click "Expanded Paraphrase Legend" below.)

Expanded Paraphrase Legend

Expanded paraphrase legend
Close but Clear (CBC) translation	The CBC, our close but clear translation of the Hebrew, is represented in bold text.
Assumptions	Assumptions which provide background information, presuppositions, entailments, and inferences are represented in italics.

Bibliography

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Barré, Michael L. 1995. “Hearts, Beds, and Repentance in Psalm 4,5 and Hosea 7,14.” Biblica 76 (1): 53–62.

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Brown, William P. 2002. Seeing the Psalms: A Theology of Metaphor. Louisville, KY: Westminster John Knox Press.

Buttenwieser, Moses. 1938. The Psalms: Chronologically Treated with a New Translation. University of Chicago Press.

Craigie, Peter C. 1983. Psalms 1–50. WBC 19. Waco, TX: Word.

Dahood, Mitchell. 1966. Psalms. Vol. 1. Anchor Bible Commentary. New York: Doubleday.

DeClaisse-Walford, Nancy L., Rolf A. Jacobson, and Beth LaNeel Tanner. 2014. The Book of Psalms. New International Commentary on the Old Testament. Grand Rapids, MI: Eerdmans.

Eaton, John. 1964. “Hard Sayings.” Theology 67 (530): 355–57.

Eaton, John. 1976. Kingship and the Psalms. Studies in Biblical Theology, 2d ser., 32. London: S.C.M. Press.

Eaton, John H. 2003. The Psalms: A Historical and Spiritual Commentary with an Introduction and New Translation. London: T&T Clark.

Geller, Stephen. 2018. “The ‘Precative Perfect’ in Psalms and the Struggle for Faith.” In The Unfolding of Your Words Gives Light: Studies on Biblical Hebrew in Honor of George L. Klein, edited by Ethan C. Jones. University Park, PA: Eisenbrauns.

Goldingay, John. 2006. “Psalm 4: Ambiguity and Resolution.” Tyndale Bulletin 57 (2): 161–72.

Hossfeld, Frank-Lothar, and Erich Zenger. 1993. Die Psalmen I: Psalm 1–50. Neue Echter Bibel. Würzburg: Echter.

John Chrysostom. 1998. St. John Chrysostom Commentary on the Psalms. Translated by Robert C. Hill. Brookline, MA: Holy Cross Orthodox Press.

Keel, Othmar. 1997. The Symbolism of the Biblical World: Ancient Near Eastern Iconography and the Book of Psalms. Winona Lake, IN: Eisenbrauns.

Mannati, M. 1970. “Sur Le Sens de Min En Ps IV 8.” Vetus Testamentum 20 (3): 361–66.

Perowne, J. J. Stewart. 1870. The Book of Psalms: A New Translation, with Introductions and Notes Explanatory and Critical. London: Bell.

Pritchard, James Bennett. 1969. Ancient Near Eastern Texts Relating to the Old Testament with Supplement. Third. Princeton: Princeton University Press.

Raabe, Paul. 1991. “Deliberate Ambiguity in the Psalter.” Journal of Biblical Literature 110 (2): 213–27.

Reyburn, William David. 1992. A Handbook on Lamentations. UBS Helps for Translators. New York: United Bible Societies.

Robar, Elizabeth. 2020. “Ethan C. Jones (Ed.), The Unfolding of Your Words Gives Light: Studies on Biblical Hebrew in Honor of George L. Klein.” Journal of Semitic Studies 65 (2): 633–39.

Ryken, Leland, et al., eds. 1998. Dictionary of Biblical Imagery. Downers Grove, Ill: InterVarsity Press.

Vaux, Roland de. 1965. Ancient Israel. Vol. 1. New York: McGraw-Hill.

Waltke, Bruce K., J. M. Houston, and Erika Moore. 2010. The Psalms as Christian Worship: A Historical Commentary. Grand Rapids, MI: William B. Eerdmans Pub. Co.

Wilson, Gerald H. 2002. Psalms. Vol. 1. NIVAC. Grand Rapids: Zondervan.

Zenger, Erich. 1990. “‘Gib Mir Antwort, Gott Meiner Gerechtigkeit’ (Ps 4,2): Zur Theologie Des 4. Psalms.” In Die Alttestamentliche Botschaft Als Wegweisung, edited by Josef Zmijewski, 377–403. FS H. Reinelt: Stuttgart.

References

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