Catholic Commentary
Call to Praise
1Rejoice in Yahweh, you righteous! Praise is fitting for the upright.2Give thanks to Yahweh with the lyre. Sing praises to him with the harp of ten strings.3Sing to him a new song. Play skillfully with a shout of joy!
Psalms 33:1–3 calls the righteous to exultant praise of God through thanksgiving and song, emphasizing that authentic worship flows from obedient, covenant-faithful living. The passage establishes that praise is not performative emotion but an irrepressible response rooted in moral uprightness, involving the whole person and creation in glorifying God.
Authentic praise explodes from a life of covenant fidelity—these three imperatives (rejoice, give thanks, sing) are not optional flourishes but proof that your interior conversion has reached the surface.
Psalms 33:1 — "Rejoice in Yahweh, you righteous!" The opening imperative, rannû (רַנְּנוּ), is stronger than a polite invitation; it is a shout, a ringing cry of exultation. The Hebrew root rnn connotes the kind of loud, embodied joy that bursts from a person who can no longer contain an interior delight. Crucially, this joy is directed in Yahweh — not in circumstance, success, or sentiment, but in the divine Person himself. The addressees are "the righteous" (ṣaddîqîm), those who are upright in their dealings with God and neighbor, whose lives are shaped by covenant fidelity. The Psalmist implies that righteous living and authentic praise are inseparable: only those who know God through obedient love can truly rejoice in him. Praise that is merely performative, disconnected from moral conversion, is hollow. This verse thus establishes that liturgical worship is the flowering of an entire way of life.
Psalms 33:2 — "Give thanks to Yahweh with the lyre." The second imperative, hôdû (הוֹדוּ), means to give public acknowledgment, confession, or thanksgiving. It carries a declaratory, even juridical quality — one does not merely feel gratitude but confesses it openly. The instrument named is the kinnôr (כִּנּוֹר), the lyre associated with David himself, the presiding genius of the Psalter. Its mention is not incidental: it signals that bodily, material creation — strings, wood, resonance — is caught up into the act of divine praise. The whole of the created order, not just the human voice, participates in glorifying God. This anticipates a rich theology of sacred music that will be developed throughout Israel's worship and, later, in the Church.
Psalms 33:3 — "Sing to him a new song." The phrase "new song" (shîr ḥādāsh) is one of the most theologically charged phrases in the entire Psalter (cf. Pss 40:3; 96:1; 98:1; 144:9; 149:1). In the ancient Near Eastern context, a "new song" was composed for a specific, recent act of divine deliverance — it was not novel for novelty's sake but responsive, born of a fresh encounter with God's saving power. The newness is eschatological and moral, not merely aesthetic. Each genuine experience of God's grace demands a new articulation, a deeper song. The verse thus implies that the life of praise is never static: as God continues to act, the worshipper is summoned to ever-deeper, ever-fresher response.
Typological and Spiritual Senses: At the spiritual (allegorical) level, the "righteous" are understood by the Fathers to prefigure those justified by Christ's grace — the baptized, who alone possess the inner righteousness needed for true worship. The lyre becomes, in patristic exegesis, a type of the human body and soul working in harmony (see below). And the "new song" finds its ultimate fulfilment in the canticum novum of the redeemed, the praise of the Lamb described in Revelation 5:9 and 14:3 — a song only the elect can learn. Thus these three verses move from moral uprightness → embodied praise → eschatological fulfilment, tracing the entire arc of salvation.
Catholic tradition finds extraordinarily rich material in these three verses. St. Augustine, in his Expositions of the Psalms (Enarrationes in Psalmos), meditates at length on the "new song," arguing that it is nothing less than the song of the New Covenant: "He who has learnt to love a new life has learnt to sing a new song." For Augustine, the canticum novum is inseparable from interior conversion; it is the song of charity itself, of the homo interior remade in Christ. Singing the new song, then, is not an act one performs but a state of being one inhabits through grace.
St. Thomas Aquinas, commenting on this Psalm, notes the ordered progression of the three imperatives: interior joy (gaudium) precedes external thanksgiving (gratiarum actio), which is then expressed in song (canticum). This mirrors his account of the theological virtue of charity, which moves outward from an interior act of love to its expression in worship and, ultimately, in the whole of one's life.
The Catechism of the Catholic Church (§§ 1156–1158) explicitly grounds sacred music in this trajectory, teaching that "the composition and singing of inspired psalms... were already inseparably linked to the liturgical celebration." The lyre of verse 2 is thus a prototype of the Church's entire tradition of sacred music — from Gregorian chant to polyphony — all of which the Second Vatican Council (in Sacrosanctum Concilium §112) calls a "treasure of inestimable value" precisely because it is ordered to the glorification of God and the sanctification of the faithful.
The stipulation that praise belongs to "the righteous" connects to the Catholic teaching on the intrinsic unity of liturgy and moral life. One cannot authentically worship while living in grave contradiction to the Gospel (cf. CCC §2101). Worship and ethics are not parallel tracks but a single movement of the whole person toward God.
For a contemporary Catholic, these three verses offer a pointed challenge to the tendency to separate Sunday worship from the shape of one's daily life. The Psalmist's insistence that the "righteous" are the proper subjects of praise is not elitist — it is a summons to ongoing conversion. Before entering the liturgy, we are implicitly asked: is my life oriented toward God? Am I in right relationship with those around me?
Practically, verse 2's lyre invites Catholics to take sacred music seriously — not as a decorative element of Mass but as a constitutive act of worship. Parishes and individuals alike might recover a more intentional relationship with the Church's musical treasury: learning the Church's hymns, participating actively in sung liturgy, resisting the reduction of music to entertainment.
Verse 3's "new song" is perhaps most personally searching: it asks whether our faith has become routine, whether we have ceased to be surprised by grace. It calls us to cultivate what the Carmelite tradition calls beginners' mind — approaching God each day as if encountering his goodness for the first time, because in a real sense, we always are. A daily examination of conscience that culminates in a moment of genuine gratitude for a specific gift received that day is one concrete way to practice singing the "new song" of verse 3.
Commentary