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Psalms 13
Four times the prayer hammers the same word: "How long?" (vv.1-2) — forgotten, hidden from, sorrowing, outdone by an enemy. David fears he may "sleep in death" before God answers (v.3). Then verse 5 turns on a single "But": trust replaces the questions, and the psalm ends singing (v.6). Read it as a hinge. Watch how the volume of complaint in the first half collapses into two quiet lines of confidence — the same voice, no new information, only a decision to trust the "loving kindness" it cannot yet see.
- 1
How long, LORD? Will you forget me forever? How long will you hide your face from me?
- 2
How long shall I take counsel in my soul, having sorrow in my heart every day? How long shall my enemy triumph over me?
- 3
Behold, and answer me, LORD, my God. Give light to my eyes, lest I sleep in death;
- 4
lest my enemy say, “I have prevailed against him;” lest my adversaries rejoice when I fall.
- 5
But I trust in your loving kindness. My heart rejoices in your salvation.
- 6
I will sing to the LORD, because he has been good to me.
- 1
Até quando, SENHOR? Você se esquecerá de mim para sempre? Até quando esconderá o seu rosto de mim?
- 2
Até quando tomarei conselho em minha alma, tendo tristeza em meu coração todos os dias? Até quando o meu inimigo triunfará sobre mim?
- 3
Olhe para mim e responda-me, SENHOR, meu Deus. Ilumine os meus olhos, para que eu não durma na morte;
- 4
para que o meu inimigo não diga: “Eu prevaleci contra ele”; e para que os meus adversários não se alegrem quando eu cair.
- 5
Mas eu confio no seu amor leal. Meu coração se alegra na sua salvação.
- 6
Cantarei ao SENHOR, porque ele tem sido bom para mim.
Three movements in six verses
The psalm divides cleanly: questioning God (vv.1-2), pleading with God (vv.3-4), then trusting God (vv.5-6). The middle prayer names the stakes — "give light to my eyes" against the gloating enemy — and the last names no rescue at all.
What changes is not the circumstance but the posture. "I trust" (v.5) and "I will sing" (v.6) are spoken before any answer arrives, which is the model the surrounding laments keep returning to.
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