miserere

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mis·e·re·re

 (mĭz′ə-râr′ē, -rîr′ē)
n.
1. Miserere
a. The 51st Psalm.
b. A musical setting of this psalm.
2.
a. A prayer for mercy.
b. An expression of lamentation or complaint.

[Latin miserēre, have mercy, the first word of the psalm, imperative sing. of miserērī, to feel pity, from miser, wretched.]

miserere

(ˌmɪzəˈrɛərɪ; -ˈrɪərɪ)
n
(Ecclesiastical Terms) another word for misericord1

Miserere

(ˌmɪzəˈrɛərɪ; -ˈrɪərɪ)
n
(Ecclesiastical Terms) the 51st psalm, the Latin version of which begins "Miserere mei, Deus" ("Have mercy on me, O God")

Mis•e•re•re

(ˌmɪz əˈrɛər i, -ˈrɪər i)

n.
1. the 51st Psalm, or the 50th in the Douay Bible.
2. (l.c.) a prayer or expression of appeal for mercy.
[< Latin miserēre literally, have pity (imperative), first word of the psalm]
References in periodicals archive ?
The bass singer, who exhibited confidence in his appearance, stage craft and composure, rendered the self-composed hymn Have Mercy on Me, inspired by Psalm 51.
The best known biblical reference is Psalm 51 -- Purge me with hyssop, and I shall be clean.
After the May 9, 2016, elections, I have kept an upbeat outlook, invoking for Filipinos these words from Psalm 51:10-Create in me a clean heart, O God; and renew a right spirit within me.
Psalm 51, known to many by its opening lines in Latin, Miserere mei, Deus--"Have mercy upon me, O God," in the King James Version--is couched in penitential humility: "For the lead player, a David psalm, upon Nathan the prophets coming to him when he had come to bed with Bathsheba." In a note to his 2007 translation, Robert Alter points out the barbed pun in these lines: "The Hebrew verb used for both Nathan and David is 'to come to [or 'into'],' but in the former instance it refers to the prophet's entering the king's chambers, whereas the latter instance reflects its sexual sense, to have intercourse with a woman (probably intercourse for the first time).
"Psalm 51, Miserere mei Deus, one or the seven penitential psalms was sung or recited at Lauds on the three days of Holy Week and in the Office of the Dead'.', writes Catherine Cessac in the excellent CD essay.
The translation or reinterpretation of traditional models is also explored in Patricia Demers' reflections on 16th-century women's translations and commentaries on the Penitential Psalms, particularly Psalm 51 or the Miserere, as well as in Renee-Claude Breitenstein's study of Madeleine and Georges de Scudery's Femmes illustres ou les harangues heroiques.
Patricia Demers studies both highly individual and gendered responses to Psalm 51 in misereres by Anne Vaughan Lock, Mary Sidney Herbert, and Elizabeth I in her translation of Marguerite de Navarre's Miroir.
Is it really true that there is no reason to doubt that Psalm 51 was written after the Bathsheba affair?
|The planned meetings for the coming week are as follows: at the Bible class on Wednesday, May 28 at 7.30pm, the study will be "Psalm 51" The talk at the Sunday evening lecture at 6pm will be "The problem with Jerusalem." As always visitors are very welcome to come along to our meetings and services.
In one passage, she inserts her name into Psalm 51, making it into a lament concerning her own sinfulness (p.
The topics include wisdom is the preservation of life, comparing Psalm 51 in the Masoretic Hebrew compared to the Septuagint Greek, searching for divine wisdom in Provers 8:22-31 in its interpretive context, self-negation as authentication in the prophetic tradition, and the function of hyperbole in Ezekiel 1.
Ringing through the chapel is one of Europe's most famous pieces of sacred music, Gregorio Allegri's 17th-century work Miserere Mei, a polyphonous choral setting of Psalm 51. Among the rapt pilgrims are 14-year-old Wolfgang Mozart and his father, Leopold.