<\/p>\n\n\n\n
[Editor’s Note: This article on Psalm 22 is a companion piece to Brad Baugham’s piece “The\u00a0Messiah<\/em>\u00a0and Psalm 22: A Carol of The King<\/a>.” It was published in our December 2024 theme Handel\u2019s Messiah: Singing Scripture\u2019s Hallelujah<\/a>.]<\/p>\n\n\n\n Watching a loved one take his last breath is jarring. Then silence, like a long, narrow hallway, stands before you. It is the kind of feeling C.S. Lewis lamented after losing his wife to cancer: \u201cWhere is God? . . . . Go to him when your need is desperate, when all other help is vain, and what do you find? A door slammed in your face, and a sound of bolting and double bolting on the inside. After that, silence.\u201d[1]<\/a> \u201cHello darkness, my old friend,\u201d Simon and Garfunkel would say.[2]<\/a> What happens when such a lament arises not from the heart of a beleaguered believer, but from the maligned Messiah? Such a soulful song emerges in Psalm 22. It is the surprising carol of the King.<\/p>\n\n\n\n <\/p>\n\n\n\n Every line of Psalm 22 is a mineshaft of mercy, a rich quarry of grace. He who stares at Psalm 22 stares deep into the bottomless heart of Christ and beholds a \u201cphotograph of our Lord\u2019s saddest hours, the record of his dying words\u201d [3]<\/sup><\/a><\/sup> The reader must forgive if we only broadly explore this portrait of the King in his dying and rising hours. Before focusing on Psalm 22\u2019s content, a note about the context will help frame the sacred scene.<\/p>\n\n\n\n The Psalter contains more songs of lament than any other type.[4]<\/a> Such a statistical reality appears to contradict the Hebrew title of the Psalter as Tehillim<\/em> (praise songs). When one follows the symphonic flows of the Psalter, however, one realizes that the Psalter crescendos from lament to praise.[5]<\/a> The opening series of five Davidic laments in Book I (Pss. 3\u20137) climaxes with a cosmic chorus of five praise songs in Book V (Pss. 146\u2013150).<\/p>\n\n\n\n <\/p>\n\n\n\n The flow of Psalm 22 reflects the sweeping story of the Psalter. The Psalter\u2019s symphonic flow from lament to praise finds fullest expression in the life of Christ, David\u2019s son, whose Good Friday resolved to his resurrection day\u2014when his \u201cyou do not answer\u201d (Ps. 22:21a CSB) suddenly became \u201cyou have answered me\u201d (Ps. 22:21b CSB). Easter Sunday follows Good Friday. If it be so for God\u2019s messianic King, it is then true for all who trust in him (Ps. 22:27\u201331). Elizabeth Barrett Browning concludes:<\/p>\n\n\n\n Yea, once, Immanuel\u2019s orphaned cry<\/p>\n\n\n\n His universe hath shaken\u2014<\/p>\n\n\n\n It went up single, echoless,<\/p>\n\n\n\n \u2018My God, I am forsaken!\u2019<\/p>\n\n\n\n It went up from the Holy\u2019s lips<\/p>\n\n\n\n Amid His lost creation,<\/p>\n\n\n\n That, of the lost, no son should use<\/p>\n\n\n\n Those words of desolation![6]<\/a><\/p>\n<\/blockquote>\n\n\n\n This is what Psalm 22 is finally about. God\u2019s \u201cYes!\u201d on Easter morning was louder than his \u201cNo\u201d on Good Friday.<\/p>\n\n\n\n The superscription describes Psalm 22 as a \u201cPsalm of David.\u201d A scan of the psalm\u2019s contents reveals that, though written by David, it is not about him. True, David\u2019s position and experience as God\u2019s covenant king in the Psalter often foreshadow those of Jesus Christ (e.g., Ps. 35:19 \/\/ John 15:25). The arrangement of the Psalter also points to Christ through David. But Peter tells us that David was not only a king; he was also a prophet (Acts 2:30).<\/p>\n\n\n\n At times, David wrote prophetic poetry and sang directly of the Christ to come (Acts 1:16; 2:30\u201335; 4:24\u201326). Hearing the anguished cries of Psalm 22, Derek Kinder concludes that \u201cno incident recorded of David can begin to account for [the events of Psalm 22]. . . . It is \u2018not a description of illness, but of an execution<\/em>\u2019\u201d (italics original).[7]<\/a> David\u2019s experiences in Psalm 22 might be present \u201cin a modified sense, but . . . he who sees Jesus will probably neither see nor care to see David.\u201d[8]<\/sup><\/a> Psalm 22 is written by David, but it is not about David.[9]<\/a> This is the surprising carol of the King.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n David set Psalm 22 to the tune \u201cThe Doe of the Dawn\u201d (Ps 22:[1]). We are not sure what this means precisely, let alone how it sounded. It is natural to wonder what such a tune would have sounded like to capture the cry of the King. Was it like the haunting theme from Schindler\u2019s List <\/em>played by an Israeli violinist?[10]<\/a> Did it sound like the lament of Henryk G\u00f3recki\u2019s Symphony of Sorrowful Songs<\/em>?[11]<\/a> Maybe it was more common, like the mournful music of Johnny Cash as he sang a song simply titled, \u201cHurt.\u201d[12]<\/a> What music must have accompanied the derelict cry of the sovereign Son of God?<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n David arranges his carol of the King in two main stanzas. The first stanza records the surprising suffering of the Savior (Ps. 22:1\u201321a). The second stanza records the surprising success of the Savior (Ps. 22:21b\u201331).<\/em><\/p>\n\n\n\n The first stanza moves in two main sections. Christ is deserted (Ps. 22:1\u201311). Christ is despised (Ps. 22:12\u201321a).<\/p>\n\n\n\n First, in Psalm 22:1\u201311, God appears to desert Christ: \u201cWhy have you abandoned me? . . . . Do not remain far away from me,\u201d Christ yells into the darkness (Ps. 22:1, 11 NET). This orphaned outburst of the eternal Son of God sent a sonic boom that split the sky and darkened the heavens (Matt. 27:45\u201346).<\/p>\n\n\n\n Hanging between heaven and earth, rejected by men and abandoned by God, Christ recalls how God delivered those who trusted in him in the past (Ps. 22:3\u20135).<\/p>\n\n\n\n Did you not deliver Abraham, Moses, and Elijah? Did not you deliver David? You even delivered Lot and Samson. \u2018They trusted you, and you delivered them; they cried to you, and you rescued them.\u2019 So, if you rescued them<\/em>, then \u2018my God, my God, why have you forsaken me<\/em>,\u2019 the Son in whom are well pleased?<\/p>\n<\/blockquote>\n\n\n\n \u201cThis is by far the most antagonizing interrogation of God that we have heard or will hear in the totality of the Psalter,\u201d reflects C. Hassell Bullock. \u201cThe entire Old Testament [and New] will not \u2026 articulate a more painful question than this one, because it represents the lowest rung of human despair.\u201d[13]<\/a> This is the surprising carol of the deserted King.<\/p>\n\n\n\n Second, in Psalm 22:12\u201321a, God and men despise Christ. God\u2019s King rests not on a throne but spread-eagled on a tree. We descend to the gates of hell; the king now lies in \u201cthe dust of death\u201d (Ps. 22:15).<\/p>\n\n\n\n The crowds smell blood. They encircle him like beasts (Ps. 22:12\u201313, 16\u201318). The King cries, but God does not answer (Ps. 22:2). This is not the blessed man and king of Psalms 1 and 2 that we expected to behold. Neither is this what we have come to expect of God. \u201cYou delivered others who trusted in you,\u201d the King stammers into the silence, (Ps. 22:3\u20135), \u201cbut I am left as a worm\u201d (Ps. 22:6). The mocking crowds know it, too: \u201cThey sneer at me, saying, \u2018He trusts in the Lord; let him deliver him\u2019\u201d (Ps. 22:6\u20138 \/\/ Matt. 27:43).<\/p>\n\n\n\n Then, centuries before the practice was known, David describes the execution of the crucifixion with eyewitness precision: \u201cThey pierced my hands and feet\u201d (Ps. 22:16 ESV).[14]<\/a> The Gospel writers quote Psalm 22 more than any other psalm as they capture Christ\u2019s excruciating pain and emotional agony as he reigns from the cross (\u039catt. 27:46; Mark 15:34; John 19:24).[15]<\/a> Not one part of his body or soul lay free of pain. God\u2019s King was singing the blues.<\/p>\n\n\n\n <\/p>\n\n\n\n As painful as the crucifixion and despising calls of the crowd were, however, \u201cthe deepest stroke that pierced Him, was the stroke that Justice gave.\u201d[16]<\/a> Isaiah had foreseen a dark day when it would be \u201cthe will of Lord to crush him [and] . . . put him to grief\u201d (Isa. 53:10). As Christ bleeds out on the cross, that time had come: \u201cYou<\/em> lay me in the dust of death,\u201d he sobs (Ps. 22:15). Like a sudden series of flares firing into the night sky, the King on the cross erupts in a final volley of desperate pleas.<\/p>\n\n\n\n \u201cDo not be far off!\u201d<\/p>\n\n\n\n \u201cCome quickly to my aid!\u201d<\/p>\n\n\n\n \u201cDeliver my soul from the sword!\u201d<\/p>\n\n\n\n \u201cSave me from the mouth of the lion!\u201d (Ps. 22:19\u201321a)<\/p>\n<\/blockquote>\n\n\n\n The deserted and despised King pushed out his last ragged breaths. The surprising suffering of the Savior was being accomplished. Good Friday had fallen.<\/p>\n\n\n\n The King began the first stanza with a distressing cry: \u201cI cry by day, but you do not answer (\u2018anah<\/em>)\u201d (Ps. 22:1\u20132 CSB). Then, right in the middle of a strophe, David writes a Picardy third into the score\u2014a minor progression suddenly turns major. The King declares, \u201cYou answered (\u2018anah<\/em>) me!\u201d (Ps. 22:21b). Deserted. Despised. Delivered. This is a surprising carol of the King, indeed. On the day of his death, Christ sang the day of his resurrection.<\/p>\n\n\n\n As God\u2019s King breathed his last, he foresaw his vindication. Christ\u2019s final cry on the cross (mirroring his cries at the end of Psalm 22:18\u201321a) was a cry of faith. Leave it to a beloved physician to record the dying words, \u201cFather, into your hands I commit my spirit\u201d (Luke 23:46). Christ was quoting another Davidic psalm in that moment, Psalm 31:5. Peter says that, with those final words, Christ \u201ccontinued entrusting himself to him who judges justly\u201d (1 Pet. 2:25). If Christ sings of his crucifixion in part one of his carol, then he sings of his sudden resurrection in part two. This is the carol of the delivered<\/em> King.<\/p>\n\n\n\n John Donne once preached a Christmas Day sermon declaring that \u201c[Christ\u2019s] birth and his death were but one continual act, and his Christmas day and his Good Friday are but evening and morning of one and the same day.\u201d[17]<\/a> The same is true of Christ in Psalm 22. The cries of his Good Friday and Easter Sunday rest in the same verse (Ps. 22:21). His cry of the cruel cross and shout of the empty tomb inhabit the same breath. On the day of his death, Christ sang the day of his resurrection. This is a carol of the successful King, indeed.<\/p>\n\n\n\n As stanza two concludes, Christ holds an Easter feast of praise. We hear a voice of congregational praise (Ps. 22:22\u201326). We also hear voice of global praise (Ps. 22:27\u201331).<\/p>\n\n\n\n When Christ sings the praise of God\u2019s name in Psalm 22:22, he sings of God\u2019s power to save. God answered Christ\u2019s cry for vindication after all: \u201cHe has not hidden his face from him, but has heard, when he cried to him\u201d (Ps. 22:26). God\u2019s King praises God\u2019s name and his power to save, so that others will hope in God as well.<\/p>\n\n\n\n The writer of Hebrews hears the congregational praise of the King in Psalm 22:22 coming directly from the lips of Christ: \u201c[Jesus] is not ashamed to call them brothers, saying, \u2018I will tell of your name to my brothers; in the midst of the congregation I will sing your praise\u2019\u201d (Heb. 2:12 \/\/ Ps. 22:22). The pastor of Hebrews also comforts us by saying that Jesus Christ so identified with us in our humanity as \u201csons\u201d that he \u201c[brought] many sons to glory\u201d through his suffering (Heb. 2:10). Just as Psalm 22:22\u201326 predicted, Christ is now our fellow brother who leads the congregation in praise to God for his great salvation. The preacher of Hebrews assures us that Christ\u2019s suffering and success in Psalm 22 is both a comfort in our weakness and salvation from our sin. Christ is a sympathetic priest and king for his people; he is the atoning one, too (Heb. 2:17\u201318). This is the surprising carol of the suffering and successful<\/em> King.<\/p>\n\n\n\n The King\u2019s congregational praise builds to the assurance of global praise (Ps. 22:27\u201331). The solitary voice of the suffering King crescendos to a countless chorus of worshippers from \u201call the ends of the earth,\u201d \u201call the families of the earth,\u201d and even from \u201cpeople yet unborn\u201d (Ps. 22:27\u201331). This is covenant language, taken from the promises to the patriarchs (Abraham, Gen. 12:2\u20133; Isaac, Gen. 26:4; Jacob, Gen. 28:13\u201314).[18]<\/a> King David, as the inheritor and keeper of those covenant promises (2 Sam. 2:9, 12, 19\u201320; Ps. 2:6), now sings the unexpected way they will be fulfilled\u2014through a suffering King. This is the surprising carol of the suffering and successful King.<\/p>\n\n\n\n The Old Testament scholar Bruce Waltke once vacationed at an inn in Victoria. He was struck by a painting that portrayed a battle scene of Waterloo that captured the end of the war between Duke Wellington and Napoleon. When Waltke inquired of the proprietor, she relayed the story behind the painting.[19]<\/sup><\/a><\/p>\n\n\n\n England\u2019s life lay in the balance. News of the battle\u2019s end was carried first by ship to the southern coast. From there, signal flags relayed the news to London. As the report was first given at Winchester Cathedral, a heavy fog set in. The flags on the cathedral spelled out ominous news: \u201cWellington defeated.\u201d And the fog fell.<\/p>\n\n\n\n Gloom filled the hearts of the people as the news spread throughout the countryside. The painting that Waltke saw, the innkeeper reporter, captured the look of the blacksmith\u2019s face when he heard, \u201cWellington defeated.\u201d All was lost.<\/p>\n\n\n\n But as the London fog began to lift, the full message was revealed. The signals of Winchester Cathedral had actually spelled out this message: \u201cWellington defeated . . . the enemy!\u201d[20]<\/sup><\/a> This is the surprising carol of the King in Psalm 22.<\/p>\n\n\n\n The news of \u201cChrist defeated\u201d (Ps. 22:1\u201321a) becomes the news that \u201cChrist defeated . . . the enemy\u201d (Ps. 22:22b\u201331). \u201cIt is finished,\u201d the Gospel writers declared (John 19:30). Or, as David predicted long ago, \u201cHe has done it!\u201d (Ps. 22:31). Good Friday became Easter morning. He had done it indeed.<\/p>\n","protected":false},"excerpt":{"rendered":" From Good Friday to Easter Sunday, Psalm 22 sings the story of Christ, the suffering and successful King.<\/p>\n","protected":false},"author":2,"featured_media":19826,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"none","_seopress_titles_title":"","_seopress_titles_desc":"From Good Friday to Easter Sunday, Psalm 22 sings the story of Christ, the suffering and successful King.","_seopress_robots_index":"","inline_featured_image":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"[]","_links_to":"","_links_to_target":""},"categories":[1970,32,12,38],"tags":[695,217,823,57,282,1381,661,474,53,2006],"scripture-reference":[2056,2055,1037],"post_folder":[],"ppma_author":[1962],"class_list":["post-19825","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-april-2025","category-article","category-concise","category-theme","tag-atonement","tag-biblical-theology","tag-christ","tag-christ-as-center","tag-christ-over-all","tag-cross","tag-resurrection","tag-sin","tag-song","tag-work-of-christ","scripture-reference-2056","scripture-reference-exodus","scripture-reference-genesis"],"acf":[],"jetpack_featured_media_url":"https:\/\/christoverall.com\/wp-content\/uploads\/2025\/04\/Baugham-Ps-22-scaled.jpg","jetpack_sharing_enabled":true,"publishpress_future_action":{"enabled":false,"date":"2026-01-13 11:39:05","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"authors":[{"term_id":1962,"user_id":0,"is_guest":1,"slug":"brad-baugham","display_name":"Brad Baugham","avatar_url":{"url":"https:\/\/christoverall.com\/wp-content\/uploads\/2024\/12\/Baugham-author-e1734561258907.jpg","url2x":"https:\/\/christoverall.com\/wp-content\/uploads\/2024\/12\/Baugham-author-e1734561258907.jpg"},"author_category":"","job_title":"","church_city_state":"","last_name":"","first_name":"","church_site":"","user_url":"","description":"Brad Baugham is the senior pastor of Emmanuel Bible Church, Mauldin, South Carolina, which he planted nineteen years ago. He received his DMin from Southeastern Baptist Theological Seminary, where he wrote on the implications of the canonical shape of the Psalter for hermeneutics. Dr. Baugham has published articles in the Southern Baptist Journal of Theology<\/i>, and he also serves as a small group facilitator for Charles Simeon Trust Preaching workshops. In addition to pastoral and academic work, Dr. Baugham is a classically trained tenor who has enjoyed singing supporting roles in opera, solos in choral masterworks, and participating in numerous choirs. SDG.\r\n"}],"_links":{"self":[{"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/posts\/19825","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/comments?post=19825"}],"version-history":[{"count":15,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/posts\/19825\/revisions"}],"predecessor-version":[{"id":19851,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/posts\/19825\/revisions\/19851"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/media\/19826"}],"wp:attachment":[{"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/media?parent=19825"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/categories?post=19825"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/tags?post=19825"},{"taxonomy":"scripture-reference","embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/scripture-reference?post=19825"},{"taxonomy":"post_folder","embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/post_folder?post=19825"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/christoverall.com\/wp-json\/wp\/v2\/ppma_author?post=19825"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}A Prelude of Silence<\/h2>\n\n\n\n
1. C. S. Lewis, A Grief Observed<\/em> (San Francisco: HarperOne, 2015), 5\u20136.<\/h6>\n\n\n\n
2. Paul Simon and Art Garfunkel, \u201cThe Sound of Silence,\u201d Columbia Records, 1964.<\/h6>\n<\/div>\n\n\n\n
The Context of Psalm 22<\/h2>\n\n\n\n
3. C. H. Spurgeon, The Treasury of David, Volume 1: Psalms 1\u201357<\/em> (Peabody, MA: Hendrickson Publishers, 1988), 324.<\/h6>\n\n\n\n
The Flow of the Psalter and Psalm 22: Lament to Praise<\/em><\/h3>\n\n\n\n
4. Claus Westermann, Praise and Lament in the Psalms<\/em>, trans. Keith R. Crim and Richard N. Soulen (Atlanta: John Knox, 1981), 257.<\/h6>\n\n\n\n
5. Gerald Wilson explains: \u201cThe clear shift from dominant lament in the first half of the Psalter to predominant praise and thanksgiving in the last half indicates that we are called to live in a real world of undeniable suffering and pain. Yet lament is not God\u2019s final word. Thus, it is appropriate that the Hebrew title of the Psalter is Tehillim<\/em>, \u2018Praises.\u2019\u201d Gerald H. Wilson, \u201cThe Structure of the Psalter,\u201d in Interpreting the Psalms: Issues and Approaches<\/em>, ed. Philip Johnston and David G. Firth (Downers Grove, IL: InterVarsityPress, 2005), 246.<\/h6>\n<\/div>\n\n\n\n
\n
6. Elizabeth Barrett Browning, \u201cCowper\u2019s Grave<\/a>,\u201d Stanzas 13\u201314, 1838.<\/h6>\n\n\n\n
The Content of Psalm 22<\/h2>\n\n\n\n
The King\u2019s Superscription<\/em><\/h3>\n\n\n\n
7. Derek Kidner, Psalms 1\u201372: An Introduction and Commentary<\/em>, TOTC 15 (Downers Grove, IL: InterVarsity Press, 1973), 122.<\/h6>\n\n\n\n
8. C. H. Spurgeon, The Treasury of David, Volume 1: Psalms 1\u201357<\/em> (Peabody, MA: Hendrickson Publishers, 1988), 324.<\/h6>\n\n\n\n
9. Not all interpreters see Psalm 22 as directly prophetic as hinted at in this article, e.g., John Calvin, Commentary on the Book of Psalms<\/em>, trans. John King, Accordance electronic edition, Calvin\u2019s Commentaries (Complete) (Edinburgh: Calvin Translation Society, 1847), Psalm 22. Other interpreters do, however. For two examples, see Michael P. V. Barrett, Beginning at Moses: A Guide to Finding Christ in the Old Testament<\/em> (Grand Rapids, MI: Reformation Heritage Books, 2018), 290\u2013294 and Hung Kim, \u201cA Literary and Theological Analysis of Psalm 22\u201d (PhD diss., Bob Jones University, 2010).<\/h6>\n<\/div>\n\n\n\n
The King\u2019s Carol<\/em><\/h3>\n\n\n\n
10. John Williams, comp., \u201cTheme from Schindler\u2019s List,\u201d Schindler’s List: Original Motion Picture Soundtrack<\/em>, MCA, 1993.<\/h6>\n\n\n\n11. Henryk G\u00f3recki, Symphony No. 3: II. Lento E Largo\u2014Tranquillissimo, Symphony of Sorrowful Songs<\/em>, 1976.<\/h6>\n\n\n\n
12. Johnny Cash, \u201cHurt,\u201d American Records, 2003.<\/h6>\n<\/div>\n\n\n\n
The King\u2019s First Stanza: A Carol of Good Friday<\/em><\/h3>\n\n\n\n
\n
13. C. Hassell Bullock, Encountering the Book of Psalms<\/em>, Encountering Biblical Studies (Grand Rapids: Baker Academic, 2001), 157.<\/h6>\n\n\n\n
14. Although pierced<\/em> is a disputed reading in Psalm 22:16b [17b], the earliest Hebrew evidence, discourse analysis, and ancient translations strongly support the verbal reading. See \u201cThe Text of Ps. 22:17b,\u201d Psalms: Layer by Layer<\/a>. David began to reign unopposed around 1,000 BCE. John Donahue mentions the earliest record of crucifixion occurring when Darius crucified 3,000 prisoners of Babylon in 519 BCE. John R. Donahue, \u201cCrucifixion,\u201d Eerdmans Dictionary of the Bible<\/em>, ed. David Noel Freedman (Grand Rapids: Eerdmans, 2000), 298.<\/h6>\n\n\n\n
15. Bruce K. Waltke and James M. Houston, The Psalms as Christian Worship: An Historical Commentary<\/em> (Grand Rapids: Eerdmans, 2010), 377.<\/h6>\n<\/div>\n\n\n\n
16. This line comes from the song by Thomas Kelly, \u201cStricken, Smitten, and Afflicted,\u201d 1804.<\/h6>\n\n\n\n\n
The King\u2019s Second Stanza: A Carol of Easter Sunday<\/em><\/h3>\n\n\n\n
17. John Donne, \u201cSermon IV: Luke 2:29\u201330 (Preached at St. Paul\u2019s on Christmas Day, 1626),\u201d Bible Study Tools: The Works of John Donne<\/em>,<\/a> 7 April 2020.<\/h6>\n\n\n\n
18. See the numerous linguistic connections between Psalm 22 and the covenants in Robert L. Cole, \u201cPsalm 22: The Suffering of the Messianic King,\u201d in The Moody Handbook of Messianic Prophecy: Studies and Expositions of the Messiah in the Old Testament<\/em>, ed. Michael Rydelnik and Edwin Blum (Chicago: Moody Publishers, 2019), 538\u2013540.<\/h6>\n\n\n\n
A Postlude of Promise<\/h2>\n\n\n\n
19. The following is adapted from Waltke\u2019s lecture. Bruce K. Waltke, \u201cLecture 16: Petition Psalms, Lament, Psalm 22,\u201d<\/a> Biblical eLearning<\/em>, 22 October 2020.<\/h6>\n\n\n\n
20. See Waltke\u2019s lecture. Bruce K. Waltke, \u201cLecture 16: Petition Psalms, Lament, Psalm 22,\u201d<\/a> Biblical eLearning<\/em>, 22 October 2020.<\/h6>\n\n\n\n