Then will I go unto the altar of God, unto God my exceeding joy: yea, upon the harp will I praise thee, O God my God. This verse describes the anticipated outcome of divine guidance—restoration to worship. Following the request for light and truth to lead him (v.3), the psalmist envisions arriving at the altar, encountering God, and offering praise. The future tense expresses confident expectation that God will answer, separation will end, and worship will resume. The verse moves from petition to promise, from longing to anticipated fulfillment.
"Then will I go" (ve'avoa, וְאָבוֹאָה) indicates sequence: when God sends light and truth (v.3), then I will go. Bo means to come, enter, arrive. The cohortative mood expresses determination: "I will go," "I am resolved to go," "let me go." This isn't passive hoping but active intention—when God provides way, the psalmist will eagerly seize opportunity to return to worship.
"Unto the altar of God" (el-mizbach Elohim, אֶל־מִזְבַּח אֱלֹהִים) specifies worship's center. Mizbeach means altar—place of sacrifice, central fixture in tabernacle and temple worship. The altar represented atonement, consecration, thanksgiving. Approaching God required sacrifice addressing sin's barrier. The psalmist longs not merely to visit Jerusalem as tourist but to participate in sacrificial worship, drawing near to God through prescribed means. This anticipates Christ who became both altar and sacrifice, making permanent atonement (Hebrews 13:10-12).
"Unto God my exceeding joy" (el-El simchat gili, אֶל־אֵל שִׂמְחַת גִּילִי) is remarkable phrase appearing only here. Simchah means joy, gladness, mirth. Gil means rejoicing, exultation, circling dance. The construct phrase simchat gili (joy of my rejoicing) intensifies: "exceeding joy," "joyful exultation," "utmost gladness." The repetition of el (unto God, unto God) emphasizes that God Himself—not merely worship experiences or religious activities—is the source of exceeding joy. This recalls verse 2's thirst for "God, for the living God." The psalmist desires God Himself, finding in Him ultimate satisfaction and delight.
"Yea, upon the harp will I praise thee" (ve'odekha bekinnor, וְאוֹדְךָ בְכִנּוֹר) describes worship's form. Kinnor is lyre or harp, stringed instrument prominent in temple worship. David was skilled harpist (1 Samuel 16:23). The sons of Korah, as Levitical musicians, led temple music. Yadah (praise, give thanks) indicates vocal and instrumental praise combined. The direct address shifts from third person ("God") to second person ("thee")—in worship's intimacy, the psalmist speaks directly to God, not merely about Him.
"O God my God" (Elohim Elohai, אֱלֹהִים אֱלֹהָי) concludes with emphatic personal claim. Elohim (God) is repeated with possessive suffix (Elohai—my God). This echoes the refrain's conclusion (42:11). Despite prolonged separation, abandonment feelings (42:9), and enemies' taunts (42:10), the psalmist maintains personal covenant relationship: "MY God." This is faith's defiant declaration—asserting relationship despite contrary evidence, claiming God as one's own when circumstances suggest abandonment.
Historical & Cultural Context
The altar was Israel's worship center from patriarchal times through temple period. Abraham, Isaac, and Jacob built altars wherever God appeared (Genesis 12:7-8, 26:25, 35:1-7). Moses built altar after Red Sea deliverance (Exodus 17:15). The tabernacle's bronze altar (Exodus 27:1-8) and later temple's altar (2 Chronicles 4:1) were massive structures where daily sacrifices occurred. Morning and evening sacrifices (Exodus 29:38-42), festival offerings, personal sacrifices for sin, thanksgiving, and vows—all centered on the altar.
Approaching the altar required ritual purity and proper sacrifice. Leviticus details elaborate procedures for various offerings. Yet within prescribed forms, genuine heart worship was essential. Amos condemned those who brought sacrifices while oppressing the poor (Amos 5:21-24). Isaiah declared God's displeasure with mere ritual divorced from righteousness (Isaiah 1:11-17). The psalmist's longing for the altar reflected desire for genuine encounter with God through proper worship, not mere external observance.
Music was integral to temple worship. David organized musicians into divisions (1 Chronicles 25), establishing elaborate musical liturgy. Instruments included harps, lyres, trumpets, cymbals, and others (Psalm 150). The sons of Korah were among chief musicians. Psalm 33:2-3 commands: "Praise the LORD with harp: sing unto him with the psaltery and an instrument of ten strings. Sing unto him a new song; play skilfully with a loud noise." Music wasn't mere aesthetic addition but essential worship expression—declaring God's worth, celebrating His works, expressing emotions from lament to joy.
The phrase "God my exceeding joy" captures worship's essence—not duty or obligation but delight. Philippians 4:4 commands: "Rejoice in the Lord alway: and again I say, Rejoice." 1 Peter 1:8 describes believers "rejoicing with joy unspeakable and full of glory." Yet Scripture also validates honest lament—Psalms 42-43 model holding together honest struggle with confident hope, present sorrow with anticipated joy.
Christian interpretation sees altar imagery fulfilled in Christ. Hebrews 13:10 declares: "We have an altar, whereof they have no right to eat which serve the tabernacle." Christ is both sacrifice and priest, offering Himself on the cross's altar (Hebrews 9:11-14). Believers no longer approach physical altar in Jerusalem but come "boldly unto the throne of grace" (Hebrews 4:16) through Christ's blood. Yet the longing remains—desire for God's presence, hunger for worship, determination to offer praise. The form changes (spiritual sacrifices, Romans 12:1; praise offerings, Hebrews 13:15) but essential movement toward God continues.