The English word “atonement” comes from an Anglo-Saxon word, “onement,” with the preposition “at”; thus “at-onement,” or “at unity.” In some ways this word has more in common with the idea of reconciliation than our modern concept of atonement, which, while having “oneness” as its result, emphasizes rather the idea of how that unity is achieved, by someone “atone-ing” for a wrong or wrongs done. Atonement, in Christian theology, concerns how Christ achieved this “onement” between God and sinful humanity.

The need for atonement comes from the separation that has come about between God and humanity because of sin. In both Testaments there is the understanding that God has distanced himself from his creatures on account of their rebellion. Isaiah tells the people of Judah, “Your iniquities have separated you from your God” (59:2). And Paul talks about how we were “God’s enemies” (Rom. 5:10). So atonement is the means provided by God to effect reconciliation. The atonement is required on account of God’s holiness and justice.

Old Testament

In the OT, the sacrificial system was the means by which sins were atoned for, ritual purity was restored, iniquities were forgiven, and an amicable relationship between God and the offerer of the sacrifice was reestablished. Moses tells the Israelites that God has given them the blood of the sacrificial animals “to make atonement for yourselves on the altar; it is the blood that makes atonement for one’s life” (Lev. 17:11). In essence, this is the basic operating principle for atonement in the OT—the offering of the blood of a slaughtered animal in place of the life of the offerer. However, there have been significant scholarly debates regarding whether this accurately portrays the ancient Israelite understanding of atonement.

The meaning of “to atone.” First, there is disagreement over the precise meaning of the Hebrew word kapar (“to atone”). Among the more popular suggestions are these: to cover, to remove, to wipe out, to appease, to make amends, to redeem or ransom, to forgive, and to avert/divert. Of late, one very influential theory is that atonement has little or nothing to do with the individual offerer, but serves only to purify the tabernacle or temple and the furniture within from the impurities that attach to them on account of the community’s sin. This theory, though most probably correct in what it affirms, unnecessarily restricts the effects of atonement to the tabernacle and furniture. There are, to be sure, texts that specifically mention atonement being made for the altar (e.g., Exod. 29:36–37; Lev. 8:15). But the repeated affirmation for most of the texts in Leviticus and Numbers is that the atonement is made for the offerer (e.g., Lev. 1:4; 4:20, 26); atonement results in forgiveness of sin for the one bringing the offering. As far as the precise meaning of kapar is concerned, it may be that some of the suggested meanings overlap and that a particular concept is more prevalent in some passages, and another one in others.

There has also been debate over the significance of the offerer laying a hand on the head of the sacrificial animal (e.g., Lev. 1:4; 3:2). This has traditionally been understood as an identification of the offerer with the sacrifice and a transference of the offerer’s sins to the sacrifice. Recently this has been disputed and the argument made instead that it only signifies that the animal does indeed belong to the offerer, who therefore has the right to offer it. But again, this is unduly restrictive; it should rather be seen as complementary to what has traditionally been understood by this gesture. Indeed, in the rite for the Day of Atonement, when the priest lays his hands on the one goat, confesses Israel’s sin and wickedness, and in doing so is said to be putting them on the goat’s head (Lev. 16:21), this would seem to affirm the correctness of the traditional understanding. The sacrifice is thus best seen as substitutionary: it takes the place of the offerer; it dies in his stead.

The relationship between God and the offerer. Second, granted that the word kapar has to do with the forgiveness of sins, the question arises as to the exact effect that it has on the relationship between God and the offerer. The question here is whether the effect is expiation or propitiation. Does the offering expiate the sin—wipe it out, erase it, remove it? Or does it propitiate the one to whom the sacrifice is offered? That is, does it appease and placate God, so that the threat of God’s wrath is removed? In one respect, the distinction seems artificial; it seems logical that expiation naturally results in propitiation. On the other hand, the modern-day tendency to deny that God could possibly be a God of wrath makes the question relevant. In any case, there are certainly, in both religious and nonreligious contexts, passages where something like “appease” or “pacify” appears to be a proper rendering of kapar (Gen. 32:20; Exod. 32:30; Num. 16:46–47; 25:1–13; 1 Sam. 3:14). The effect of atonement is that sins are removed and forgiven, and God is appeased.

In conjunction with this last point, it is also important to note that there are a number of places where it is said that God does the kapar, that God is the one who makes atonement. Deuteronomy 21:8 calls upon God, literally, to “atone [NIV: “accept this atonement”] for your people, Israel.” In Deut. 32:43 God will “make atonement for his land and people.” Psalm 65:3 (ESV) states that God “atone[s] for our transgressions” (ESV). Hezekiah prays in 2 Chron. 30:18, “May the Lord, who is good, pardon [atone for] everyone.” In Ps. 78:38 (ESV), God is said to have “atoned” for Israel’s iniquity. Psalm 79:9 (ESV) asks God to “atone for our sins for your name’s sake.” In Isa. 43:3 kapar is translated as “ransom,” and God says to Israel that he gave “Egypt for your ransom.” In Ezek. 16:63 God declares that he will “make atonement” for all the sins that Israel has committed. It may be that in most of these passages “atone” is to be understood as a synonym of “forgive.” However, as many commentators have noted, in at least some of these passages, the thought is that God is either being called upon to take or is taking upon himself the role of high priest, atoning for the sins of the people. It is important to remember God’s declaration in Lev. 17:11 that he has given to the Israelites the blood of the sacrificial animals to make atonement for their sins. Atonement, no matter how it is conceived of or carried out, is a gift that God graciously grants to his covenant people.

That leads to a consideration of one particularly relevant passage, Isa. 52:13–53:12. In this text a figure referred to as “my [the Lord’s] servant” (52:13) is described as one who “took up our pain and bore our suffering” (53:4). He was “pierced for our transgressions” and “crushed for our iniquities” (53:5). “The Lord has laid on him the iniquity of us all” (53:6). And then we are told, “Yet it was the Lord’s will to crush him and cause him to suffer,” and that “the Lord makes his life an offering for sin [NASB: “guilt offering”]” (53:10). There are many issues with regard to the proper interpretation of this “Servant Song” (as it is often called), one of them being whether the term translated “guilt offering” should really be thought of along the lines of the guilt offering described in the book of Leviticus (5:14–6:7; 7:1–10). But if the traditional Christian understanding of this passage is correct, we have here a picture of God himself assuming the role of priest and atoning for the sins of his people by placing their iniquities and sins on his servant, a figure regarded by Jesus and the apostles in the NT to be God’s very own son, Christ Jesus.

New Testament

The relationship between the Testaments. When we come to the NT, four very important initial points should be made.

First, God’s wrath against sin and sinners is just as much a NT consideration as an OT one. God still considers those who are sinful and unrighteous to be his “enemies” (Rom. 5:10; Col. 1:21). Wrath and punishment await those who do not confess Jesus Christ as Lord (John 3:36; Rom. 2:5; Eph. 2:3). Atonement is the means of averting this wrath.

Second, salvation is promised to those who come to God by faith in Christ Jesus, but there is still the problem of how God can, at the same time, be “just” himself and yet also be the one who “justifies” sinners and declares them righteous (Rom. 3:26). God will not simply declare sinners to be justified unless his own justness is also upheld. Atonement is the way by which God is both just and justifier.

Third, as we saw in the OT that, ultimately, God is the one who atones, so also in the NT God is the one who provides the means for atonement. It is by his gracious initiative that atonement becomes possible. If Jesus’ death is the means by which atonement is achieved, it is God himself who “presented Christ as a sacrifice of atonement” (Rom. 3:25). It was God himself who “so loved the world that he gave his one and only Son” (John 3:16). God himself “sent his Son as an atoning sacrifice for our sins” (1 John 4:10). God “did not spare his own Son, but gave him up for us all” (Rom. 8:32). Additionally, Christ himself was not an unwilling victim; he was actively involved in the accomplishing of atonement by his death (Luke 9:31; John 10:15–18; Heb. 9:14).

Fourth, the atoning sacrifice of the Son was necessary because, ultimately, the OT sacrifices could not really have provided the necessary atonement: “it is impossible for the blood of bulls and goats to take away sins” (Heb. 10:4).

Portrayals of Christ’s work of atonement. It has become common of late to refer to the different “images” or “metaphors” of atonement that appear in the NT. This is understandable on one level, but on another level there is something misleading about it. So, for example, when the NT authors speak of Christ as a sacrifice for sin, it is not at all clear that they intend for the reader to take this as imagery. Rather, Christ really is a sacrifice, offered by God the Father, to take away sins, and to bear in his own body the penalty that should have been placed on the sinner. Christ’s sacrifice has an organic connection to the OT sacrificial system, as the “full, final sacrifice.” The author of Hebrews would not have considered this to be imagery. In fact, a better case could be made that, from his perspective, Christ was the real sacrifice, and all the instances of sacrifice in the OT were the imagery (Heb. 10:1). So as we look at the different portrayals of Christ in his work of atonement in the NT, some of these may best be categorized as imagery or metaphor, while others perhaps are better described as a “facet” of, or a “window” on, the atonement. It should also be noted that the individual portrayals do not exclude the others, and in some cases they overlap.

• Ransom. Some passages in the NT speak of Christ’s death as a ransom paid to set us free (Matt. 20:28; Mark 10:45; 1 Tim. 2:6; Heb. 9:15). The same Greek word translated “ransom” in these passages is rendered as “redeem” or “redemption” in other passages (Eph. 1:7; Col. 1:14). Other forms of the same word are also translated “redeem” or “redemption” in Gal. 3:13–14; 4:5; Titus 2:14; Heb. 9:12; 1 Pet. 1:18–19; Rev. 14:3. A near synonym of these words is used in Rev. 5:9; 14:4, referring to how Christ “purchased” people by his blood. In most of these cases the picture is that of slaves who have been ransomed, redeemed, or purchased from the slave market. Sometimes this is referred to as an “economic” view of atonement, though this label seems a bit crass, for the purchase is not of a commodity but of human lives at the expense of Christ’s own life and blood. To ask the question as to whom the ransom was paid is probably taking the picture too far. But those who are ransomed are redeemed from a life of slavery to sin and to the law.

• Curse bearer. In Gal. 3:13–14, noted above, there is also the picture of Christ as one who bore the curse of the law in our place. The language is especially striking because rather than saying that Christ bore the curse, Paul says that Christ became “a curse.” This is an especially forceful way of saying that Christ fully took into his own person the curse that was meant for us.

• Penalty bearer. Closely related to “curse bearer,” this portrayal depicts Christ as one who has borne the legal consequences of our sins, consequences that we should have suffered; rather, because Christ has borne the penalty, we are now declared to be righteous and no longer subject to condemnation. This idea stands behind much of the argumentation that Paul uses in Romans and Galatians, and it also intersects with the other portrayals. Passages representative of this picture are Rom. 3:24–26; 4:25; 5:8–21; 8:32–34; Gal. 3:13–14; Eph. 2:15. It is also what should be understood by Peter’s description of Christ’s death as “the just for the unjust” in 1 Pet. 3:18 (NASB, NET), as well as in 2 Cor. 5:21, where Paul states that Christ has become “sin for us” so that we might become the “righteousness of God.”

• Propitiation. There are four passages where the NIV uses “atonement” or “atoning” in the translation to reflect either the Greek verb hilaskomai or related nouns hilastērion or hilasmos. This is the word group that the LXX regularly uses to translate the Hebrew verb kapar and related nouns. There has been much debate about the precise meaning of the word in these four NT texts, in particular, as to whether it means to “expiate” (“remove guilt”) or to “propitiate” (“appease” or “avert wrath”). The better arguments have been advanced in favor of “propitiate”; at the very least, propitiation is implied in expiation. The wrath that we should have suffered on account of our sins has been suffered by Jesus Christ instead. Although the specific word is not used, this is the understanding as well in those passages where it is said either that Christ died “for our sins” (1 Cor. 15:3), “gave himself for our sins” (Gal. 1:4), “bore our sins” (1 Pet. 2:24), or that his blood was poured out “for the forgiveness of sins” (Matt. 26:28; cf. Eph. 1:7).

• Passover. In 1 Cor. 5:7 Paul states that “Christ, our Passover lamb, has been sacrificed.” Although the Passover has not traditionally been thought of as a sacrifice for sin (though many scholars would argue that it was), at the very least we should recognize a substitutionary concept at play in Paul’s use of the Passover idea. A lamb died so that the firstborn would not. The Gospel of John seems to have the same understanding. Early in the Gospel, Jesus is proclaimed as the “Lamb of God, who takes away the sin of the world” (John 1:29). And then in his account of Jesus’ passion, John narrates that his crucifixion was precisely at the same time as the slaying of the Passover lambs (John 19:14).

• Sacrifice. This theme has already been touched on in the other portraits above, but it is important to recognize the significance of this concept in the NT and especially in the book of Hebrews. There, Christ is portrayed as both sacrifice and the high priest who offers the sacrifice (2:17; 7:27; 9:11–28; 10:10–21; 12:24). He came, not as some have argued, to show the uselessness of the sacrificial system, but rather to be the “full, final sacrifice” within that system, “that he might make atonement for the sins of the people” (2:17).

Of course, it is not just the death of Christ that secures our redemption. His entire earthly life, as well as his resurrection and heavenly intercessory work, must also be recognized. But with regard to the work of atonement per se, Christ’s earthly life, his sinless “active obedience,” is what qualifies him to be the perfect sacrifice. His resurrection is the demonstration of God’s acceptance of Christ’s sacrifice (he “was raised to life for our justification” [Rom. 4:25]). But it was particularly his death that provided atonement for our sins.

An arid environment challenging to life. Desert comprises about a third of the earth’s land surface, often overtaking verdant areas and squeezing human beings and animals into narrower oases. The deserts of the Bible—Negev, Sinai, Paran, and Zin—are part of the greater Saharo-Arabian desert system, the largest and driest in the world. Most of the land east (areas of present-day Jordan, Iraq, Saudi Arabia) and south (Egypt) of Palestine is desert. However, the desert experience of most Israelites was not vast sands but rather arid environments that could otherwise flourish with sufficient water. In this regard, the biblical “wilderness” and “desert” semantically overlap, but they are not the same environments.

With average precipitation of ten inches or less, these regions typically have sparse vegetation and little or no agriculture (Jer. 2:2). Pliny the Elder (AD 23/24–79) describes the Essenes, who lived near the Dead Sea, as having only “the company of palm trees” (Nat. 5.73). Temperatures are severe, often exceeding 110°F on summer days, but also falling below freezing on winter nights. The limited winter rains provide short-lived grass for grazing (1 Sam. 17:28; Ps. 65:13; Jer. 23:10), along with thorns and briers (Judg. 8:7). Cisterns were dug to collect the precious rain (Gen. 37:22).

The severity of the environment is not conducive for animal and human life. The Bible mentions wild asses (Job 24:5; Jer. 48:6), jackals (Mal. 1:3), ostriches (Lam. 4:3), owls (Ps. 102:7), poisonous snakes (Isa. 30:6), panthers, and wolves (Hab. 1:8). The desert came to be viewed as the haunt of demons (Matt. 12:43) but also as a place for spiritual refreshment. By definition, a desert is untouched by human hands. The patterns and sounds go back to God, not the noisy neighbors of urban life. The desert therefore can facilitate communion with God because of the absence of distractions and the inevitable deepening awareness of the fragility of existence. Scarcity of resources also requires communal sharing and cooperation for survival.

Instead of in major urban centers in Mesopotamia, Egypt, and Palestine, the Bible presents God as training people in the desert by testing their faith, beginning with the patriarchs (Gen. 12–50). God redeems Israel out of Egypt into the desert (Exod. 15:22; 16:1; 17:1), leading them to Sinai (Exod. 18:5; 19:1–2) and then a forty-year sojourn (Num. 14:33; 32:13; Deut. 2:7). Following seasons of testing, concerning which the people routinely fail, God provides freshwater and manna, the “grain of heaven” (Ps. 78:24). However, except on the Sabbath, people are not allowed to store the food but must cultivate complete dependence upon God’s provision for their daily bread. Elijah flees into the wilderness and is provided for by an angel (1 Kings 19:1–8). He returns to Mount Sinai (Horeb) and experiences the immediate presence of God in a “thin silence” (1 Kings 19:8–13; NIV: “gentle whisper”).

This pattern is repeated in the NT, beginning with John the Baptist, who dresses like a desert nomad and subsists on locusts and wild honey—foods near at hand and not subject to agricultural tithing (Matt. 3:4; Mark 1:6). After John’s baptism, Jesus departs into the wilderness, where he fasts and is tempted for forty days and nights among the wild beasts but is also provided for by angels (Matt. 4:1–11 pars.). Paul, after his experience on the road to Damascus, departs into Arabia (Nabatea, present-day Jordan), the place “where the nomads live” and the traditional site of Mount Sinai (Pliny the Elder, Nat. 5.72; Gal. 1:17; 4:25). (Damascus, perhaps the oldest city in the world, is an oasis bordering the Arabian Desert on a highway connecting Egypt with Mesopotamia.) The author of Revelation depicts a woman, who represents the people of God, fleeing into the wilderness to escape the red dragon, Satan (Rev. 12:1–6).

A lush area of grassland or a piece of low ground near a river. The KJV uses the term at Gen. 41:2, 18, where the reference is to the tall, reedy grass near the banks of the Nile River, as well as in Judg. 20:33 in reference to the “meadows of Gibeah.” Modern translations use “meadow(s)” when referring to a pleasant, grassy place (Isa. 44:4; Jer. 25:37; cf. Hos. 9:13), often a metaphor for the blessing of God. Although this word may refer to a place where animals graze (Ps. 65:13; Isa. 30:23; Hos. 4:16), it is used in Scripture much less frequently than the word “pasture.”

The word “providence” comes from the Latin word providentia, which means “foresight.” However, the modern theological use of the term refers not to foresight or foreknowl-edge per se but rather to how God continues to sustain and guide his creation. There is no single term in either the OT or the NT that translates as “providence.” The one time the word occurs in the NIV (Job 10:12), the Hebrew word (peqqudah) is one that the NIV in other places usually translates with words such as “care,” “charge,” or “oversight.” The concept of divine providence comes not from any one word but rather from numerous statements in the Bible that speak of God’s continuing supervision of his world. The biblical data can perhaps best be organized under four headings: created order, world history, salvation history, and individual history. These headings are, however, not discrete; they continually intersect.

Created Order

Scripture testifies in numerous places to God’s ongoing supervision of his creation. The psalms play a special role here. As one commentator has remarked, there are no nature lyrics in the psalms, only admiration and awe at how God runs his world. God actively cares for the land and waters it, causes grass to grow, plants trees, and makes sure that they are well watered (Pss. 65:9; 104:14, 16). God brings darkness on the land and tells the sun when to set and when to rise (Ps. 104:19–20). God is the zookeeper who makes sure all the animals are fed (Ps. 104:27). Every birth of every living creature is regarded as a new creative work of God, and he constantly renews the face of the earth (Ps. 104:30).

God blankets the earth with snow and lays down a sheet of frost (Ps. 147:16). When the snow and frost melt, it is because God commanded it by his word and sent breezes to make the melting waters flow (Ps. 147:18). Hail, snow, clouds, and stormy winds do their Master’s bidding (Ps. 148:8). God commands the morning to dawn and keeps the snow and hail in storehouses, ready to be deployed on the day of battle (Job 38:12, 22–23). The sea waves roar because God stirs them up (Jer. 31:35). God even speaks of being in a covenant relationship with his creation (Jer. 33:20, 25).

In the NT, we find that Jesus Christ himself sustains “all things by his powerful word” (Heb. 1:3). In him “all things hold together” (Col. 1:17).

World History

What happens on the world scene is under God’s sovereign control. If the nations are scattered over the world and speak different languages, it is because God made it so (Gen. 11:1–9). God determines whether the nations are blessed or cursed (Gen. 12:3). God is the one who has apportioned each nation’s inher-i-tance and has established their boundaries (Deut. 32:8). Yahweh is the God of Israel, which is his special possession, but he has also appointed deities for the other nations to worship (Deut. 4:19 [evidently false gods, but still under Yahweh’s sovereignty]). He judges the world and carries out justice for the peoples, foils the plans of the nations, forms the hearts of all people, reigns over the nations and guides them (Pss. 9:8; 33:10, 15; 47:8; 67:4).

It is by God’s sanction that kings reign, and a king’s heart is like a watercourse, which God can redirect at will (Prov. 8:15; 21:1). God “does as he pleases with the powers of heaven and the peoples of the earth” (Dan. 4:35). All thrones, powers, rulers, and authorities “were created through him and for him” (Col. 1:16). God is actively working to bring the whole universe and all peoples and nations under one head, his Son, Christ Jesus (Eph. 1:10).

Salvation History

Within world history, God has also worked through one particular people, the Israelites, to accomplish his redemptive purposes. When Joseph told his brothers that what they had intended to do to him for evil, God had intended for good, for “the saving of many lives” (Gen. 50:20), he may not have fully realized how much his words were in accord with, and could even be said to summarize, redemptive history. God took the harm that Joseph’s brothers intended and used it to fulfill the promises that he had made years earlier to Abraham with regard to what would happen to his descendants (Gen. 12:1–3). In the early chapters of Exodus, God’s sovereignty over the “forces of nature” intersects with his deliverance of the Israelites in the plagues that he brings on the Egyptians. Of course, God had raised up Pharaoh for the very purpose of displaying his own glory in victory over Pharaoh and “all the gods of Egypt” (Exod. 9:16; 12:12; cf. Rom. 9:17).

Throughout the ensuing Israelite history, God demonstrates his providential care for the Israelites. The Jews return from their Babylonian captivity because God raised up Cyrus, even though Cyrus did not acknowledge him (Isa. 44:28–45:13), for the very purpose of issuing the decree that allowed them to return. Even in narratives in which God’s name is not mentioned, such as the book of Esther, we are to understand that God is directing the action, and certainly the narrator wants us to connect the account of the origin of the festival of Purim (“lots”) with the idea that “the lot is cast into the lap, but its every decision is from the Lord” (Prov. 16:33).

In the NT the act that secures our redemption, the crucifixion of Jesus, is not an unforeseen occurrence that God makes the best of; rather, the death of Jesus is that which he himself would “accomplish” (Luke 9:31 NRSV [NIV: “bring to fulfillment”]). No one takes Jesus’ life from him; he lays it down of his own accord (John 10:18). Jesus even gives Judas Iscariot directions on the night of his betrayal (John 13:27). What happens in the crucifixion is in accord with “God’s deliberate plan and foreknowledge” (Acts 2:23) and with what his “power and will had decided beforehand should happen” (4:28).

Individual History

Jesus promises that for those who seek the kingdom of God, “all these things will be given to you as well” (Matt. 6:33). If God feeds the birds of the air and clothes the grass of the field, much more will he take care to feed and clothe us (Matt. 6:26, 30). Indeed, “in all things God works for the good of those who love him, who have been called according to his purpose” (Rom. 8:28).

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

The KJV uses “Sion” to translate the Hebrew word si’on in Deut. 4:48, referring to Mount Hermon (NIV: “Sirion”); the Hebrew word tsiyyon in Ps. 65:1, referring to Zion (NIV: “Zion”); and the Greek form of “Zion,” Siōn, in Matt. 21:5; John 12:15; Rom. 9:33; 11:26; Heb. 12:22; 1 Pet. 2:6; Rev. 14:1 (NIV: “Zion”).

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

The huge bronze basin that was placed in the courtyard of Solomon’s temple (1 Kings 7:23–26; 2 Chron. 4:2–6 KJV, NRSV [NIV: “Sea of cast metal”]). It was approximately fifteen feet in diameter, seven and a half feet in height, and forty-five feet in circumference. There is a discrepancy in the biblical texts as to how much water it could contain, but it was probably anywhere from ten to fifteen thousand gallons. It rested on twelve cast bulls, three each facing north, west, east, and south. It was ornamented on the outside with figures of bulls and gourds. Scholars estimate that empty it would have weighed between twenty-five and thirty tons.

Functionally, the molten sea served as a basin for priests to wash in (2 Chron. 4:6), but most scholars are convinced that an even greater symbolic value was attached to it. Throughout the ancient Near East, gods were conceived of as having won great victories over the primeval waters. The God of Israel is portrayed this way as well in the OT, especially in the Psalter (Pss. 29:3, 10; 65:7; 74:13; 77:16; 89:9; 93:3–4; 104:7). The presence of the molten sea in the courtyard of the temple would have reminded worshipers of God’s sovereignty over the sea, the forces of nature, and over all the nations (see Ps. 65:7).

The huge bronze basin that was placed in the courtyard of Solomon’s temple (1 Kings 7:23–26; 2 Chron. 4:2–6 KJV, NRSV [NIV: “Sea of cast metal”]). It was approximately fifteen feet in diameter, seven and a half feet in height, and forty-five feet in circumference. There is a discrepancy in the biblical texts as to how much water it could contain, but it was probably anywhere from ten to fifteen thousand gallons. It rested on twelve cast bulls, three each facing north, west, east, and south. It was ornamented on the outside with figures of bulls and gourds. Scholars estimate that empty it would have weighed between twenty-five and thirty tons.

Functionally, the molten sea served as a basin for priests to wash in (2 Chron. 4:6), but most scholars are convinced that an even greater symbolic value was attached to it. Throughout the ancient Near East, gods were conceived of as having won great victories over the primeval waters. The God of Israel is portrayed this way as well in the OT, especially in the Psalter (Pss. 29:3, 10; 65:7; 74:13; 77:16; 89:9; 93:3–4; 104:7). The presence of the molten sea in the courtyard of the temple would have reminded worshipers of God’s sovereignty over the sea, the forces of nature, and over all the nations (see Ps. 65:7).

The huge bronze basin that was placed in the courtyard of Solomon’s temple (1 Kings 7:23–26; 2 Chron. 4:2–6 KJV, NRSV [NIV: “Sea of cast metal”]). It was approximately fifteen feet in diameter, seven and a half feet in height, and forty-five feet in circumference. There is a discrepancy in the biblical texts as to how much water it could contain, but it was probably anywhere from ten to fifteen thousand gallons. It rested on twelve cast bulls, three each facing north, west, east, and south. It was ornamented on the outside with figures of bulls and gourds. Scholars estimate that empty it would have weighed between twenty-five and thirty tons.

Functionally, the molten sea served as a basin for priests to wash in (2 Chron. 4:6), but most scholars are convinced that an even greater symbolic value was attached to it. Throughout the ancient Near East, gods were conceived of as having won great victories over the primeval waters. The God of Israel is portrayed this way as well in the OT, especially in the Psalter (Pss. 29:3, 10; 65:7; 74:13; 77:16; 89:9; 93:3–4; 104:7). The presence of the molten sea in the courtyard of the temple would have reminded worshipers of God’s sovereignty over the sea, the forces of nature, and over all the nations (see Ps. 65:7).

Imagery pertains to the literary use of colorful figures of speech that can be visualized in the imagination. The biblical writers employ imagery frequently, for the images they use help to communicate God’s message more powerfully. Imagery communicates with readers not only at the cognitive (knowledge) level but also at the emotional level. For example, the prophet Amos could have just said to Israel that “God is angry” with them. But such language is flat and bland. Instead, Amos paints a graphic picture with his words by stating, “The lion has roared!” (Amos 3:8). This is a figure of speech in which Amos compares God to a lion roaring over its prey. In a culture where people did encounter dangerous lions and where all people held respect for the power of lions, this imagery connected at both the knowledge level and the emotional level.

Since, in essence, images are figures of speech, they can be used in a variety of ways: as metaphors, similes, direct analogies, or anthropomorphisms. Like these other figures of speech, biblical images reflect both points of similarity and points of difference in the two items being compared in the image. In Amos 3:8 the prophet is telling his audience something about God by using language normally associated with lions. Both God and the lion are extremely dangerous, and both are about to pounce on their prey. However, Amos expects his readers to also keep in mind that God is quite different from a lion in many, many ways.

The Bible contains hundreds of colorful images. To celebrate God’s wonderful love and care, David describes God with the image of a caring shepherd (Ps. 23). To communicate the joy of God’s material blessings, David paints a picture of meadows and valleys shouting and singing in joy (Ps. 65:13). Jeremiah wants to convey God’s disgust with Israel’s idolatry, so he refers to Jerusalem as a prostitute (Jer. 3:1). To underscore the strong contrast between sin and forgiveness, Isaiah states, “Though your sins are like scarlet, they shall be as white as snow” (Isa. 1:18).

Jesus uses imagery frequently in his teaching. For example, he compares the kingdom of heaven to a mustard seed, which starts small but slowly grows to become the largest of shrubs (Matt. 13:31–32). To illustrate the difficulty of a rich person entering the kingdom of heaven, Jesus paints a colorful and humorous image of a camel trying to get through the tiny eye of a needle (Matt. 19:24). He uses dozens of images to communicate different aspects of his personality and mission, comparing himself to a wide range of things: a gate, a vine, a light, a road, a shepherd, bread, and more. Paul uses imagery when he tells us to put on the armor of God (Eph. 6:10–18) and when he compares Jesus to a cornerstone (2:20). The book of Revelation is packed with vivid images, portraying, for example, Jesus as a lamb (Rev. 5:6) and Satan as a dragon (20:2).

Imagery pertains to the literary use of colorful figures of speech that can be visualized in the imagination. The biblical writers employ imagery frequently, for the images they use help to communicate God’s message more powerfully. Imagery communicates with readers not only at the cognitive (knowledge) level but also at the emotional level. For example, the prophet Amos could have just said to Israel that “God is angry” with them. But such language is flat and bland. Instead, Amos paints a graphic picture with his words by stating, “The lion has roared!” (Amos 3:8). This is a figure of speech in which Amos compares God to a lion roaring over its prey. In a culture where people did encounter dangerous lions and where all people held respect for the power of lions, this imagery connected at both the knowledge level and the emotional level.

Since, in essence, images are figures of speech, they can be used in a variety of ways: as metaphors, similes, direct analogies, or anthropomorphisms. Like these other figures of speech, biblical images reflect both points of similarity and points of difference in the two items being compared in the image. In Amos 3:8 the prophet is telling his audience something about God by using language normally associated with lions. Both God and the lion are extremely dangerous, and both are about to pounce on their prey. However, Amos expects his readers to also keep in mind that God is quite different from a lion in many, many ways.

The Bible contains hundreds of colorful images. To celebrate God’s wonderful love and care, David describes God with the image of a caring shepherd (Ps. 23). To communicate the joy of God’s material blessings, David paints a picture of meadows and valleys shouting and singing in joy (Ps. 65:13). Jeremiah wants to convey God’s disgust with Israel’s idolatry, so he refers to Jerusalem as a prostitute (Jer. 3:1). To underscore the strong contrast between sin and forgiveness, Isaiah states, “Though your sins are like scarlet, they shall be as white as snow” (Isa. 1:18).

Jesus uses imagery frequently in his teaching. For example, he compares the kingdom of heaven to a mustard seed, which starts small but slowly grows to become the largest of shrubs (Matt. 13:31–32). To illustrate the difficulty of a rich person entering the kingdom of heaven, Jesus paints a colorful and humorous image of a camel trying to get through the tiny eye of a needle (Matt. 19:24). He uses dozens of images to communicate different aspects of his personality and mission, comparing himself to a wide range of things: a gate, a vine, a light, a road, a shepherd, bread, and more. Paul uses imagery when he tells us to put on the armor of God (Eph. 6:10–18) and when he compares Jesus to a cornerstone (2:20). The book of Revelation is packed with vivid images, portraying, for example, Jesus as a lamb (Rev. 5:6) and Satan as a dragon (20:2).

The huge bronze basin that was placed in the courtyard of Solomon’s temple (1 Kings 7:23–26; 2 Chron. 4:2–6 KJV, NRSV [NIV: “Sea of cast metal”]). It was approximately fifteen feet in diameter, seven and a half feet in height, and forty-five feet in circumference. There is a discrepancy in the biblical texts as to how much water it could contain, but it was probably anywhere from ten to fifteen thousand gallons. It rested on twelve cast bulls, three each facing north, west, east, and south. It was ornamented on the outside with figures of bulls and gourds. Scholars estimate that empty it would have weighed between twenty-five and thirty tons.

Functionally, the molten sea served as a basin for priests to wash in (2 Chron. 4:6), but most scholars are convinced that an even greater symbolic value was attached to it. Throughout the ancient Near East, gods were conceived of as having won great victories over the primeval waters. The God of Israel is portrayed this way as well in the OT, especially in the Psalter (Pss. 29:3, 10; 65:7; 74:13; 77:16; 89:9; 93:3–4; 104:7). The presence of the molten sea in the courtyard of the temple would have reminded worshipers of God’s sovereignty over the sea, the forces of nature, and over all the nations (see Ps. 65:7).