Leonard Cohen’s Hallelujah has a life of its own Western culture. I have lost count of the covers I have heard, and the number of films it has been used in. It is a riff on Psalm 51, the ultimate evolution from Allegri who we met in the first of these posts.
It opens with David as the psalmist:
David might be the celebrated psalmist, but all is not well because he’s a bewildered composer of prayers. There is something of Cohen as well as David here. The biblical David is of course multidimensional. Throughout these reflections on Psalm 51 we have the interplay of David as songwriter, the worst of sinners, and the chief of penitents. There are times when for some he has been one of these to the point that his other facets are eclipsed or entirely displaced. But for Cohen we have David is all his rich perplexity, warts and all. A later verse clearly makes reference to his fall:
David’s temptation which led to both adultery and murder is here, along with the domestication that followed in his new marriage. The hallelujah is no longer a cry of abandoned worship but the words of sexual satisfaction. A very different reference to the sexual act than Psalm 51’s, see verse 5. The close of the song refers to a very different cry on David’s lips—his miserere. His cry for mercy has been heard. This is evident in both Psalm 51 and the narrative in 2 Samuel 12.
Here we have the same merciful outcome as the original miserere. The sinner is free, having journeyed from being a sinner to an abandoned worshipper, via Psalm 51 and its words of penitence.