(1) One of the Levites appointed by David to lead in worship. Asaph was part of the procession to bring the Ark of the Covenant to Jerusalem. Along with Heman and Ethan, also mentioned in the Psalter, he was appointed by the Levites to the bronze cymbals (1 Chron. 15:19). Subsequently, David assigned Asaph continuing duties (16:7, 37). He served further under Solomon at the dedication of the temple (2 Chron. 5:11–14). Asaph is described as singer (1 Chron. 15:17), the chief (15:19), who played cymbals (15:19), gave thanks to God (16:7), ministered before the ark (16:37), prophesied under direction of the king (25:2), and gave direction to his sons (25:2). The sons of Asaph served under his direction (25:2), prophesied and sang with lyres, harps, and cymbals (25:1, 6), and served as gatekeepers (26:1). The descendants of Asaph continued these duties after the exile (Ezra 2:41; 3:10; Neh. 11:22; 12:46). Twelve psalms are associated with Asaph (Pss. 50; 73–83). They reflect his prophetic ministry by including sections of prophecy or of God speaking. God’s covenant and justice are frequent topics of these psalms.

(2) The father of Joah, a secretary to Hezekiah (2 Kings 18:18, 37).

(3) The keeper of King Artaxerxes’ forest who provided timber for Nehemiah’s building proj­ects in Jerusalem (Neh. 2:8).

Pigs were widely domesticated in the ancient Near East, and in biblical times they probably resembled the wild European boar, which still existed in the forests (Ps. 80:13). These animals would have been brown or gray and much hairier than modern domestic breeds, the boars having tusks and the piglets stripes. In Israel, however, pigs were regarded as one of the most unclean of all creatures, both ritually (Lev. 11:7; Deut. 14:8; Isa. 65:4; 66:3, 17) and physically (2 Pet. 2:22). To associate anything of value with swine subjected it to ridicule and rendered it worthless (Prov. 11:22); it was wasteful and abhorrent (Matt. 7:6). The presence of herds of domesticated pigs became a mark of Gentile territory, and when Jesus once cast out some demons in such an area, he allowed them to enter swine, which promptly drowned themselves in the lake (Mark 5:1–20 pars.). Thus, when the prodigal son in Jesus’ parable ends up herding pigs, this represents the most degrading occupation an Israelite could imagine (Luke 15:15–16).

Generally made of grain, this staple of foods has been known to be in existence since prehistoric days, being mentioned in the oldest literatures of humanity. Though usually made of wheat, it can be made of any grain and also some kinds of beans or lentils. The Hebrew term, lekhem, is first used in Gen. 3:19 (see KJV) and is found throughout the Bible. The NIV uses the English word “bread” over 250 times.

To make bread, grain must be ground into flour, mixed with salt and water, kneaded into a dough, and baked. Most breads included a leaven to add substance. As a food staple, it became a symbol of hospitality (Neh. 13:1–2; Matt. 14:15–21) and community as people ate together (Acts 2:42). Bread was considered a gift from God, so it was treated with special deference. Unleavened bread was required during Passover feasts and in most occasions related to the worship of God. The “bread of the Presence” (KJV: “shewbread”), representing the twelve tribes of Israel in the temple, was made of unleavened bread (Exod. 25:30) with special flour and was carefully eaten by the priests.

Bread was such a basic part of life that it often was used in Scripture to represent the daily aspects of life and people’s most basic needs. During the days of Moses and the Israelites wandering in the desert, God provided for them special bread, manna, which they collected and ate each day, demonstrating God’s consistent care for them as they traveled (Exod. 16). Jesus used bread in the Lord’s Prayer to represent asking God to meet our basic needs (Matt. 5:11), and he called himself the “bread of life” to show that he is the one who “gives life to the world,” our ultimate sustenance (John 6:33–35). During this exchange with the Jews about the bread of life, Jesus foreshadows what takes place at the Last Supper with his disciples, suggesting that believers must “eat [his] flesh” (represented by bread) and “drink [his] blood” (represented by wine) (John 6:53–59; cf. Luke 22:19). Additionally, bread was used symbolically to represent those things that were present in daily life (Pss. 127:2; 80:5; Prov. 4:17; 20:17).

(1) The eleventh son of Judah and the first by Jacob’s beloved wife, Rachel (Gen. 30:24; 35:24). The name comes from a Hebrew verb meaning “to add,” and the significance of his name is explained in Gen. 30:24: “May the Lord add to me another son.” His story begins in Gen. 37 and continues to Gen. 50, the end of the book.

Joseph was Jacob’s favorite, and so Jacob “made an ornate robe for him” (37:3), although the precise meaning of the Hebrew is unclear. While shepherding with his brothers, Joseph had a dream indicating that he would one day rise to prominence over them. This was too much for his brothers to bear, and so they decided, after some deliberation, to throw him into a cistern and, rather than kill him, sell him to passing Ishmaelite/Midianite merchants (37:25–28).

Upon arriving in Egypt, Joseph was sold to Potiphar, an official of Pharaoh, and then thrown in jail after Potiphar’s wife falsely accused him of making sexual advances (chap. 39). While in jail, he accurately interpreted the dreams of Pharaoh’s cupbearer and baker (chap. 40). Two years later, he was called upon to interpret Pharaoh’s dreams (chap. 41). Joseph’s ability to interpret dreams plus his administrative skills saved Egypt from famine, which resulted in his elevation to being “in charge of the whole land of Egypt” (41:41).

It was the famine that brought Joseph’s family to Egypt to find food, which eventually led to their warm reunion, though not without some testing on Joseph’s part (chaps. 42–45). After Joseph made himself known to his brothers, they reconciled and sent for the elderly Jacob, who was awaiting news in Canaan. Thus, Jacob and his twelve sons lived in Egypt, and their descendants were eventually enslaved by a king “to whom Joseph meant nothing” (Exod. 1:8).

Joseph died in Egypt and was embalmed (Gen. 50:20–26). The exodus generation took his bones out of Egypt (Exod. 13:19), and he was later buried in Shechem (Josh. 24:32).

Although Joseph was a son of Jacob, his descendants did not become one of the twelve tribes of Israel. Instead, Jacob blessed Joseph’s two sons, Ephraim and Manasseh, and he blessed the younger Ephraim over the older Manasseh just as Jacob himself had been blessed over his older brother Esau. The OT still refers occasionally to the house or tribe of Joseph as a general designation for Israel (e.g., Pss. 80:1; 81:5).

(2) The husband of Mary, mentioned only by name in Jesus’ birth stories in Matthew and Luke. According to Matt. 1:16, Joseph is a descendant of David, which establishes Jesus’ royal bloodline. Luke’s genealogy (3:23–38) downplays Jesus’ relationship to Joseph. In Matthew, Joseph is a recipient of several divine communications by means of dreams, announcing Mary’s conception (1:18–25) and commanding the flight to Egypt (2:13) and the return to Nazareth (2:19–23). In Luke, Joseph takes Mary to Bethlehem to give birth (2:4–7), presents Jesus in the temple for consecration (2:21–24), and brings Mary and Jesus to Jerusalem for the Passover feast when Jesus is twelve (2:41–52).

(3) The second brother to Jesus, after James (Matt. 13:55; Mark 6:3). In some manuscripts, the name appears as “Joses” (so KJV). (4) The son of one of the women who witnessed the crucifixion, Mary the mother of James the younger and Joseph (Matt. 27:56; Mark 15:40; cf. 15:47; KJV: “Joses”). John 19:25 may refer to this same woman as Mary the wife of Clopas and the sister of Mary the mother of Jesus. If this is the case (the Greek is ambiguous), then this Joseph could be a cousin to Jesus.

(5) A Jew from Arimathea, a secret follower of Jesus and member of the Sanhedrin who did not agree to put Jesus to death (Luke 23:50–51; John 19:38). He asked Pilate for Jesus’ body, wrapped it in linen, and placed it in his own tomb (Matt. 27:57–60). (6) Also known as Bar-sab-bas or Justus, he was one of the two men proposed to take Judas Iscariot’s place among the disciples (Acts 1:23). (7) Also known as Barnabas, he was a Levite from Cyprus who sold his field and brought the money to the apostles (Acts 4:36).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

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 word “root” occurs in a literal sense in Job 30:4, but ordinarily it is used in a figurative sense. Its most prevalent connotation refers to the foundation or core of a matter or one’s life (Job 28:9; Prov. 12:3, 12; Isa. 14:30). It also, by analogy, signifies that which gives life to the plant (Matt. 13:6; Rom. 11:17). When pictured near water, roots symbolize prosperity (Job 29:19; Ezek. 31:7), even a blessing of the Lord (Job 8:17; Jer. 17:8).

The term sometimes indicates the lowest part or depth (Job 36:30). It can also carry the idea of origin, as in that of bitterness or evil (Deut. 29:18; 1 Tim. 6:10; Heb. 12:15), or the cause of a matter (Job 19:28).

Frequently, the word is used to describe something established, as in a kingdom (Ps. 80:9, 15; Isa. 27:6; 37:31; 40:24; Jer. 12:2). It emphasizes positively that which is secure (Prov. 12:3, 12) or negatively that which is uprooted or destroyed (1 Kings 14:15).

Finally, the word may refer to the offspring of a family (Judg. 5:14; Ps. 80:15), ultimately pointing to the coming Messiah (Isa. 11:1, 10; 53:2; Rev. 5:5; 22:16) as the heir through whom the dynasty is completed.

Old Testament and Jewish Literature

In the OT, the phrase “son of man” usually refers to humanity in general or to a specific individual. The general use of “son of man” occurs in poetic texts in which the phrase functions as a synonym for “man” or “human being” (Num. 23:19; Isa. 51:12; Pss. 144:3; 146:3). In Ps. 8:4 (ESV) the psalmist asks, “What is man that you are mindful of him, and the son of man that you care for him?” Echoing the creation of man in Gen. 1, “man” and “son of man” in this psalm have a royal status: being “crowned with glory and honor” and receiving dominion over all of God’s creation (Ps. 8:5–6). Later, in Ps. 80:17, “son of man” refers to the nation of Israel. The psalmist supplicates that God would make strong for himself the “son of man” over Israel’s enemies (80:12–16). In Ezekiel, God addresses the prophet himself as “son of man,” possibly indicating his human status compared with God or, alternatively, highlighting his unique status as God’s prophet in contrast with the rest of humanity.

One of the most crucial OT “son of man” texts is Dan. 7 because of its influence on the “Son of Man” in the Gospel tradition. Scholars debate the date of the composition of this chapter. While some argue for the sixth century BC, others prefer a second-century BC date during the oppressive reign of Antiochus IV Epiphanes. The first half of the chapter records Daniel’s vision (7:1–14), while the second half contains its interpretation (7:15–27). In the vision Daniel sees “one like a son of man, coming with the clouds of heaven” (7:13). This exalted figure contrasts with the first three beasts, which are “like a lion” (7:4), “like a bear” (7:5), and “like a leopard” (7:6). The fourth beast is so gruesome that it defies comparison with any species of the animal kingdom (7:7). Many agree that the beasts likely refer to ancient world empires; however, the referent of “one like a son of man” has given rise to much debate. The figure may refer to earthly Israel, since at this figure’s vindication he is endowed with authority and glory. This is precisely what “the holy people of the Most High” receive in v. 27. In this way, the “one like a son of man” is a symbol for the persecuted, earthly saints. Alternatively, the exalted figure could be a heavenly being such as the archangel Gabriel (Dan. 9:21) or Michael (Dan. 10:13; 12:1). Here “one like a son of man” is the heavenly counterpart and leader of suffering Israel and fights a cosmic battle on its behalf.

In subsequent Jewish literature, the “one like a son of man” from Dan. 7 becomes quite active, appearing to be a development of the static image who is “given authority, glory and sovereign power” (Dan. 7:14). In 1 En. 37–71, a text that dates from the last half of the first century BC to the first half of the first century AD, the “Son of Man” is seated upon his throne and will judge “the kings and the mighty” who have persecuted faithful Israel (46:4–8; 62:5). At that point, the faithful ones (i.e., the holy, righteous, and chosen) will be formed into a new congregation. In another Jewish text that dates from the end of the first century AD, there is a strong echo of the Danielic son of man. In 4 Ezra 13, “something like the figure of a man came up out of the heart of the sea” (v. 3a). Unlike in 1 Enoch, this figure is a warrior who destroys with fire those who attempt to wage war on him. These texts indicate that at least two traditions developed and reinterpreted the “one like a son of man” from Dan. 7. He becomes an individual who executes judgment in one tradition, and one who executes destruction in another.

New Testament

In the NT the term “Son of Man” occurs mostly in the Gospels and, with the exception of John 12:34 (where the crowd quotes Jesus), is uttered exclusively by Jesus himself. The phrase, or a variation of it, also occurs in Acts 7:56; Heb. 2:6; Rev. 1:13; 14:14. Unlike in Daniel or 1 Enoch, the epithet occurs in the Gospels with the definite article, likely indicating that the Son of Man was a known figure. Because of this and because the Son of Man in 1 Enoch and 4 Ezra have similar functions, many scholars in the mid-twentieth century speculated that in first-century Judaism many Jews believed that the Son of Man would return at the end as savior and judge. Others suggested that the significance of the phrase is found in its Aramaic background, bar ’enash’a, which in other texts means “I,” “man,” “a man,” or “someone.” Despite these alternatives, the OT provides the most helpful background for understanding the Son of Man in the Gospels.

The Son of Man sayings in the Gospels fall within three categories: earthly, suffering-resurrection, and future-vindication sayings. Starting with the earthly sayings, in Mark 2:10, for example, the Son of Man has “authority on earth to forgive sins,” and in 2:28 he exercises dominion over the Sabbath. Although in Daniel the Son of Man does not receive such authority until his appearance in Yahweh’s presence at his vindication, the Son of Man in the Gospels exercises such authority during his earthly ministry. Jesus also predicts that the Son of Man will suffer, die, and be raised again. In Mark, these suffering-resurrection predictions occur three times (8:31; 9:31; 10:33–34). Echoing Dan. 7, this plight of Jesus recalls the suffering of the holy ones caused by the little horn (v. 21). If the “one like a son of man” represents the holy ones in their vindication, then it is reasonable that he does so in their suffering as well; however, the text of Daniel is silent on this point. Finally, the clearest reference to Dan. 7 occurs in the future-vindication sayings. In Mark 13:26; 14:62 the Son of Man comes with/on the clouds, which points to his vindication over the Sanhedrin, the dominant adversaries of Jesus in Mark. Matthew appears to develop even more than Mark the judicial responsibilities of the Son of Man (Matt. 13:41–43; 25:31–33). Meanwhile, in Luke the church must stay alert and be prepared for the return of the Son of Man (Luke 12:39–40; 17:22–37; 21:34–36).

In Acts, the vision that Stephen witnesses confirms that the Son of Man has indeed been exalted to the right hand of God (Acts 7:56). In the Gospel of John, the epithet is used as the object of the verbs “to lift up” and “to glorify,” so that the death of Jesus is a form of exaltation (John 8:28; 12:23; 13:31), which reflects his current exalted status in early Christian thinking. Finally, the Son of Man in Revelation is in the heavenly temple functioning as both judge and caretaker of the seven churches (Rev. 1:12–20) and reaps the saints while “seated on the cloud” (14:14–16).

Grape-producing plants are widely cultivated in Palestine. The first biblical reference to vine cultivation appears in Gen. 9:20, where the restoration of the earth is implied by Noah’s planting of a vineyard. The appearance of the vine in Pharaoh’s chief cupbearer’s dream implies widespread vine cultivation in Egypt (Gen. 40:9–11). Before the Israelites’ entry, the land of Canaan was also famous for the production of grapes and wine (cf. Num. 13:23; Deut. 6:11; 8:8). Several places around the region are named in the OT for their fruitful vines: Eshkol (Num. 13:23), Sorek (Judg. 16:4), Sibmah, Heshbon, Jazer, Elealeh (Isa. 16:8–10), Helbon (Ezek. 27:18), Lebanon (Hos. 14:7), and En Gedi (Song 1:14).

Vine cultivation. Vine cultivation is detailed in the Bible. A hilly terrain is terraced, stones are cleared, and soil is plowed (Ps. 80:9; Isa. 5:2). The walls are built up with stones, often with a hedge of thorny bushes, to protect the vineyard from thieves and wild animals (Isa. 5:2). Then young vines are planted where water is supplied (Ezek. 19:10). As their branches develop, they are raised up on supports (Ezek. 17:6). In the spring the vines are pruned so that they will bear good grapes (Lev. 25:3; John 15:2). Winepresses are hewn out of wood or rocky ground (Isa. 5:2). A watchtower is erected to overlook the vineyard, especially as the harvest season draws near (Job 27:18; Isa. 1:8; 27:3). When the grapes are ripe, they are gathered in baskets and taken to winepresses (Hos. 9:2), while some are dried into raisins. When the harvest is done, the poor in the village are allowed to enter the vineyard to gather the gleanings (Lev. 19:10; Deut. 24:21; cf. Isa. 24:13; Jer. 49:9; Mic. 7:1).

Since the production of grapes was of major importance to the Israelites, the continuing cycle of vine cultivation meant national peace and security (cf. “under their own vine and under their own fig tree” in 1 Kings 4:25; Mic. 4:4; Zech. 3:10; joy of the harvest in Isa. 16:10; Jer. 48:33). Thus, the characteristic expression of planting vineyards and consuming their fruits signals God’s blessing (2 Kings 19:29; Ps. 107:37; Isa. 65:21–22; Jer. 31:5; 40:12; Ezek. 28:26; Amos 9:14), whereas not enjoying the fruit signifies misfortune (Deut. 20:6) or God’s judgment (Deut. 28:30; Ps. 78:47; Jer. 8:13; Amos 5:11; Hab. 3:17; Zeph. 1:13). Likewise, a feast with wine signifies God’s blessing (Isa. 25:6; 55:1; Jer. 31:12; Joel 2:19; cf. Jesus turning water into wine [John 2:1–11]), while the lack of wine means God’s judgment (Isa. 24:9, 11; 62:8; Hos. 2:9; 9:2; Joel 1:10).

Old Testament. The vine and the vineyard are important metaphors in the OT. The fruitfulness of the vine often symbolizes the fruitfulness or blessedness of a person (e.g., Joseph in Gen. 49:22; a fruitful wife in Ps. 128:3). In Song of Songs the vineyard is not only the main place of love (2:13, 15; 6:11; 7:12) but also a metaphor for the woman’s body (8:11); also, the “beloved” is compared to “henna blossoms from the vineyards of En Gedi” (1:14), and her breasts to the “clusters of grapes on the vine” (7:8).

The metaphors of the vine and the vineyard are also used of God’s people. In Ps. 80:8–13 Israel’s history is presented in terms of the vine-cultivation cycle (cf. Jer. 2:21; Hos. 10:1). A similar story is heard in Isa. 5:1–7, which compares the Israelites’ lack of justice and righteousness to the bearing of wild grapes (cf. “vine of Sodom” in Deut. 32:32; “a corrupt, wild vine” in Jer. 2:21). Ezekiel also uses the vine metaphor in rebuking the Israelites’ iniquity (Ezek. 15:2–4; 17:3–10; 19:10–14). If the aforementioned passages describe Israel’s history from its birth to judgment, Isa. 27:2–6 presents God’s promise of restoration through the story of the restored vineyard.

New Testament. In five parables Jesus refers to vines and cultivation (Matt. 9:17 pars.; 20:1–16; 21:28–32; 21:33–46 pars.; Luke 13:6–9). Notable is the fact that God often is portrayed as the owner of the vineyard (Matt. 20:1; 21:28, 33; Luke 13:6). In Rev. 14:18–20 God’s judgment upon his enemies is described by means of the imagery of the vine harvest, in which the enemies are trampled like harvested grapes in the “great winepress of God’s wrath” (cf. Isa. 63:1–6; Joel 3:13). In the vine metaphor in John 15:1–8, Jesus identifies God as the farmer, himself as the “true vine,” and the believers as its branches. No longer are God’s people identified as the vine, which is expected to bear good fruits; rather, Jesus is the vine, and the believers are his branches. So the fruitfulness of the branches depends on their adherence to the vine. Jesus’ use of the “fruit of the vine” at the Last Supper as the symbol of his atoning blood can be compared to his metaphorical self-identification as the vine (Matt. 26:29; Mark 14:25; Luke 22:18). See also Plants.

Grape-producing plants are widely cultivated in Palestine. The first biblical reference to vine cultivation appears in Gen. 9:20, where the restoration of the earth is implied by Noah’s planting of a vineyard. The appearance of the vine in Pharaoh’s chief cupbearer’s dream implies widespread vine cultivation in Egypt (Gen. 40:9–11). Before the Israelites’ entry, the land of Canaan was also famous for the production of grapes and wine (cf. Num. 13:23; Deut. 6:11; 8:8). Several places around the region are named in the OT for their fruitful vines: Eshkol (Num. 13:23), Sorek (Judg. 16:4), Sibmah, Heshbon, Jazer, Elealeh (Isa. 16:8–10), Helbon (Ezek. 27:18), Lebanon (Hos. 14:7), and En Gedi (Song 1:14).

Vine cultivation. Vine cultivation is detailed in the Bible. A hilly terrain is terraced, stones are cleared, and soil is plowed (Ps. 80:9; Isa. 5:2). The walls are built up with stones, often with a hedge of thorny bushes, to protect the vineyard from thieves and wild animals (Isa. 5:2). Then young vines are planted where water is supplied (Ezek. 19:10). As their branches develop, they are raised up on supports (Ezek. 17:6). In the spring the vines are pruned so that they will bear good grapes (Lev. 25:3; John 15:2). Winepresses are hewn out of wood or rocky ground (Isa. 5:2). A watchtower is erected to overlook the vineyard, especially as the harvest season draws near (Job 27:18; Isa. 1:8; 27:3). When the grapes are ripe, they are gathered in baskets and taken to winepresses (Hos. 9:2), while some are dried into raisins. When the harvest is done, the poor in the village are allowed to enter the vineyard to gather the gleanings (Lev. 19:10; Deut. 24:21; cf. Isa. 24:13; Jer. 49:9; Mic. 7:1).

Since the production of grapes was of major importance to the Israelites, the continuing cycle of vine cultivation meant national peace and security (cf. “under their own vine and under their own fig tree” in 1 Kings 4:25; Mic. 4:4; Zech. 3:10; joy of the harvest in Isa. 16:10; Jer. 48:33). Thus, the characteristic expression of planting vineyards and consuming their fruits signals God’s blessing (2 Kings 19:29; Ps. 107:37; Isa. 65:21–22; Jer. 31:5; 40:12; Ezek. 28:26; Amos 9:14), whereas not enjoying the fruit signifies misfortune (Deut. 20:6) or God’s judgment (Deut. 28:30; Ps. 78:47; Jer. 8:13; Amos 5:11; Hab. 3:17; Zeph. 1:13). Likewise, a feast with wine signifies God’s blessing (Isa. 25:6; 55:1; Jer. 31:12; Joel 2:19; cf. Jesus turning water into wine [John 2:1–11]), while the lack of wine means God’s judgment (Isa. 24:9, 11; 62:8; Hos. 2:9; 9:2; Joel 1:10).

Old Testament. The vine and the vineyard are important metaphors in the OT. The fruitfulness of the vine often symbolizes the fruitfulness or blessedness of a person (e.g., Joseph in Gen. 49:22; a fruitful wife in Ps. 128:3). In Song of Songs the vineyard is not only the main place of love (2:13, 15; 6:11; 7:12) but also a metaphor for the woman’s body (8:11); also, the “beloved” is compared to “henna blossoms from the vineyards of En Gedi” (1:14), and her breasts to the “clusters of grapes on the vine” (7:8).

The metaphors of the vine and the vineyard are also used of God’s people. In Ps. 80:8–13 Israel’s history is presented in terms of the vine-cultivation cycle (cf. Jer. 2:21; Hos. 10:1). A similar story is heard in Isa. 5:1–7, which compares the Israelites’ lack of justice and righteousness to the bearing of wild grapes (cf. “vine of Sodom” in Deut. 32:32; “a corrupt, wild vine” in Jer. 2:21). Ezekiel also uses the vine metaphor in rebuking the Israelites’ iniquity (Ezek. 15:2–4; 17:3–10; 19:10–14). If the aforementioned passages describe Israel’s history from its birth to judgment, Isa. 27:2–6 presents God’s promise of restoration through the story of the restored vineyard.

New Testament. In five parables Jesus refers to vines and cultivation (Matt. 9:17 pars.; 20:1–16; 21:28–32; 21:33–46 pars.; Luke 13:6–9). Notable is the fact that God often is portrayed as the owner of the vineyard (Matt. 20:1; 21:28, 33; Luke 13:6). In Rev. 14:18–20 God’s judgment upon his enemies is described by means of the imagery of the vine harvest, in which the enemies are trampled like harvested grapes in the “great winepress of God’s wrath” (cf. Isa. 63:1–6; Joel 3:13). In the vine metaphor in John 15:1–8, Jesus identifies God as the farmer, himself as the “true vine,” and the believers as its branches. No longer are God’s people identified as the vine, which is expected to bear good fruits; rather, Jesus is the vine, and the believers are his branches. So the fruitfulness of the branches depends on their adherence to the vine. Jesus’ use of the “fruit of the vine” at the Last Supper as the symbol of his atoning blood can be compared to his metaphorical self-identification as the vine (Matt. 26:29; Mark 14:25; Luke 22:18). See also Plants.

A chief or first angel. The word “archangel” refers to a particular class of angels; it also refers to a rank in the angelic hierarchy. In the OT, no particular angel is identified as the highest in the angelic hierarchy. Michael and Gabriel are the two named angels in the OT. In the book of Daniel, Michael is identified as “one of the chief princes,” which is taken to mean archangels (10:13). The distinction between Michael and Gabriel in the book of Daniel is that of function, not hierarchy. Michael functions as a warrior (10:13, 21; 12:1), whereas Gabriel functions as a re­vealer of mysteries (8:16; 9:21). In the NT, Michael is specifically called “the archangel” and is the divine warrior who contends with the devil over the body of Moses (Jude 9); and Michael and his angels engage in a heavenly battle against Satan and his angels (Rev. 12:7). In 1 Thess. 4:16 the imagery used is of God as a divine warrior par excellence who comes down from heaven with a shout, with the voice of his archangel, and with a trumpet declaring his victory as he comes to gather his people.

Angelology is more developed in Second Temple period (intertestamental) literature, wherein the identities and functions of angels are clarified. The archangels comprise one class of angels within the angelic hierarchy. Scripture refers to other classes of angels, such as cherubim (e.g., Gen. 3:24; Exod. 25:18–22; Pss. 18:10; 80:10; 99:1), seraphim (Isa. 6:2, 6), watchers (Dan. 4:13, 17, 23), Satan and fallen angels (Matt. 9:34; 25:41; Eph. 2:2; 2 Pet. 2:4; Jude 6; Rev. 10:12). For example, 1 En. 6 gives the names of the twenty fallen watchers (cf. Gen. 6:1–4), and 1 En. 20 has the earliest reference to the seven archangels: Uriel, Raphael, Raguel, Michael, Zerachiel, Gabriel, and Remiel. There are, however, other lists that give alternate names to the seven archangels. In 3 En. 17:1–3 the archangels are Michael, Gabriel, Shatqiel, Baradiel, Shachaqiel, Baraqiel, and Sidriel. In the Testament of Solomon four of the seven archangels are mentioned: Michael, Ouriel, Raphael, and Gabriel (1:6; 2:4; 5:9; 18:6). In the book of Tobit, the angel Raphael disguises himself in human form and finally reveals his identity thus: “I am Raphael, one of the seven angels, who stand ready and enter before the glory of the Lord” (12:15; cf. Rev. 8:2).

The archangels also perform various other functions. In Tobit, Raphael functions as a protective guide and healer. In 3 En. 17:1–3 the seven archangels are in charge of the seven heavens, and each is accompanied by 496,000 ministering angels. In Rev. 12:7–9 Michael commands the angel army that battles the dragon and its army. In T. Levi 3:3–6 the archangels are regarded as temple personnel; they serve and offer proprietary sacrifices on behalf of all the sins of ignorance of the righteous ones in uppermost heaven, the holy of holies (cf. Jub. 2:2; 1 En. 14:23). In a similar fashion, in Rev. 8:1–10:11 the seven angels appear before God and also serve at the altar to offer incense and to take the prayers of the saints before the throne. See also Angel.

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

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 blossoms of seed-bearing plants that contain the plant’s reproductive organs. Used generally, “flowers” refers to the colorful array of blossoms that grew mostly in the open fields of the Holy Land. Numerous kinds of wild flowers could be found in the plains and mountains of Palestine. When winter rains were followed by the moderate temperatures of spring, renewal abounded (Song 2:11–12). Early spring blossoms presented an array of vibrant color and form. As early as January, cyclamen poured forth pink, white, and lilac blossoms, followed by various shades of red and pink of the crown anemones, poppies, and mountain tulips. The flowers of the diverse tuberous plants of the lily family also added to the colorful mosaic. Summer brought fields of chamomile and chrysanthemums, with their yellow and white daisylike flowers. The blossoms from plants such as mints, mustards, and other native herbaceous plants, along with those of flowering trees, shrubs, and field flowers, provided ample nectar for bees in the land of milk and honey (Num. 13:27). Healing or soothing ointments and various perfumes were produced from the essential oils extracted from the crushing of blossoms from a variety of flowers.

Flower Imagery

Traditionally, the language of flowers functions to illustrate some prominent themes, such as love and beauty. Flower imagery in descriptions of the tabernacle, of Solomon’s temple, and in the Song of Solomon develops the themes of beauty, purity, sweetness, and love (Song 2:1–5; 5:13; Isa. 28:4). The Song of Solomon is set in a garden scene where the sensuous quality of flowers—their colors, shapes, and scents, their delicate touch—are analogous to the captivating sexuality of physical love. The spring setting assures that the flowers are at their pinnacle of brilliance and the air is filled with the fragrance of vine blossoms (Song 2:12–13).

Used metaphorically, flowers can also refer to transience, pride, restoration, and the glory of the holy and eternal. Such references are found in both Testaments. The short life of flowers is representative of the brevity and fragility of human life on earth (Job 14:2; Ps. 103:15; Isa. 40:6–8; 1 Pet. 1:24). After a brief moment of splendor, decline and decay are close behind. Such is the metaphor used in psalms, by the prophets, and in the NT for the life of a person who flourishes like the flower, is like the grass one day, but is gone the next day.

As surely as flower imagery points out our human mortality, it also serves to illustrate the judgment of the proud or ungodly, as when Isaiah prophesies the speedy downfall of the kingdom of Israel like flowers being trampled under-foot (Isa. 28:1–3), turned to dust (5:24), or cut off with pruning knives (18:5). Nahum sees God’s power to rebuke his enemies in his ability to dry up seas and rivers and to make the many flowers of Carmel and Lebanon wilt (Nah. 1:4). James applies the flower imagery to describe the sudden departure of the rich person, passing away as quickly as the flowers of the field, whose beauty perishes under the burning heat of the sun (James 1:10–11).

The usual contexts of this flower imagery are judgment on the proud and the wicked, whose deeds will be short-lived. The insignificant and contemptible deeds of the wicked are contrasted with God’s power; our human transience and frailty with God’s permanence (Ps. 103:15); and our human weakness with the eternal word of God (Isa. 40:6, 8; 1 Pet. 1:24–25).

The flower can also represent a blessing. The righteous are compared to the flowering or flourishing of a plant (Isa. 5:24; 18:5; 28:1–4), since the flowering of a plant represents the peak of its life process, its most glorious moment. This beautifully pictures the restoration themes of the prophets as they utilize flower imagery. Isaiah’s words “The desert and the parched land will be glad; the wilderness will rejoice and blossom. Like the crocus, it will burst into bloom; it will rejoice greatly and shout for joy” (Isa. 35:1–2; cf. 27:6) are one example of God’s restorative ability to turn a wasteland into a garden. Hosea illustrates this theme: “I will be like the dew to Israel; he will blossom like a lily. Like a cedar of Lebanon he will send down his roots” (Hos. 14:5). The psalmists also sing of the righteous, not the wicked, flourishing like grass or the flower (Pss. 72:7, 16; 92:12–14). Proverbs too reminds us that the righteous will “flourish,” or break forth and sprout like foliage (Prov. 14:11).

Flowers Named in the Bible

The Bible often identifies flowering plants by a more generic name rather than mentioning specific flowers. Sometimes context can help in determining more specific species. According to 1 Kings 7:19–20, 26, lily blossoms, along with pomegranates, adorned the top of the bronze columns that stood before King Solomon’s temple. In a musical aspect, three psalms are identified as those to be sung to the tune “Lilies” (Pss. 45; 69; 80).

The most frequently mentioned specific flowers are traditionally translated “lily” and “rose” (though these are probably not accurate renderings since these flowers are not native to the region and so would have been unfamiliar to most readers). Many commentators believe that the phrase “lilies of the field” referred to the showy, attractive springtime flowers that grow profusely in the plains, pastures, and hills of the Carmel and Sharon regions. These flowers can include ranunculus, anemone, cyclamen, tulip, hyacinth, narcissus, crocus, iris, and orchid. The tulip, asphodel, star-of-Bethlehem, hyacinth, and related narcissus, daffodil, crocus, and iris inhabit the rocky ground and dry places of the hill country. The “lily of the valleys” of Song 2:1–2 is probably the blue hyacinth.

Consider Jesus’ words “Observe how the lilies of the field grow; they do not toil nor do they spin, yet I say to you that not even Solomon in all his glory clothed himself like one of these” (Matt. 6:28–29 NASB). Although these flowers may not be true lilies but rather one of the numerous showy spring flowers such as the crown anemone, Jesus proclaims that the beauty of a single flower in a meadow was more striking than all the riches of Solomon, and that the flower did not concern itself with working and getting riches to be clothed. Jesus’ comments about flowers demonstrate that their beauty was appreciated in Israel.

The flowers listed below are specifically named in various Bible versions.

Almond blossoms. The almond tree is among the first of flowering trees to bloom in the spring. Almond blossoms were part of the almond-tree design on the seven-branched lampstands of the tabernacle (Exod. 25:33–34; 37:19–20). In Eccles. 12:5, almond tree blossoms are likely an allegorical reference to an elderly person’s hair turning white like the almond tree.

Camphire flower. In Song 1:14; 4:13, the KJV refers to camphire, while the NIV and most modern versions have “henna.” The camphire is a small plant or shrub that bears highly scented, cream-colored flowers that hang in clusters and were used for orange dye.

Caperberry flower. The caperberry was a common prickly shrub with large, white flowers that produced small, edible berries. The berries had a reputation for exciting sexual desire, so the caperberry is used in Eccles. 12:5 to allude to the waning sexual potency that comes with age (NIV: “desire is no longer stirred”).

Cockle flower. The KJV of Job 31:40 refers to a “cockle” (NIV: “stinkweed”), a plant whose name is spelled like the Hebrew word for “stink.” This noxious weed with purplish red flowers grew abundantly in Palestinian grain fields.

Crocus. A plant with a long yellow floral tube tinged with purple specks or stripes. The abundant blossoms of the crocus symbolize beauty and splendor (Isa. 35:1).

Fitch. Named in the KJV at Isa. 28:25, 27 (NIV: “caraway”; NRSV: “dill”) and Ezek. 4:9 (NIV: “spelt”). The flower referred to is probably the nutmeg flower, which is a member of the buttercup family; it grew wild in most Mediterranean lands. The plant is about two feet high, with bright blue flowers. The pods of the plant were used like pepper.

Lily. A symbol of fruitfulness, purity, and resurrection, this plant grows from a bulb to a height of three feet, with large white flowers. The term “lily” covers a wide range of flowers. The lily mentioned in Song 5:13 refers to a rare variety of lily that had a bloom similar to a glowing flame. The “lily of the valleys” (Song 2:1) is known as the Easter lily. The lily mentioned in Hos. 14:5 is more like an iris. The water lily or lotus was a favorite flower in Egypt and was used to decorate Solomon’s temple (1 Kings 7:19, 22, 26; 2 Chron. 4:5). The “lilies of the field” (Matt. 6:28) probably were numerous kinds of colorful spring flowers such as the crown anemone (see NIV: “flowers of the field”).

Mint. This aromatic plant, with hairy leaves, has dense white or pink flowers. It is listed with other spices and herbs as something that the Pharisees tithe (Matt. 23:23; Luke 11:42).

Myrtle branch. This bush has fragrant evergreen leaves. Its scented white flowers were used for perfumes. The bush grew to considerable height (Zech. 1:8, 10) and is listed among the trees used to build shelters during the Feast of Tabernacles (Neh. 8:15; see also Isa. 41:19; 55:13).

Pomegranate blossom. The blossom of the pomegranate tree is large and orange-red in color. The fruit of the tree was a symbol of fertile and productive land (Num. 13:23; Deut. 8:8; cf. Hag. 2:19) and was used to produce spiced wine (Song 8:2). Pomegranates were part of the decoration that adorned Aaron’s garments (Exod. 28:33–34) and the temple of Solomon (1 Kings 7:18–20).

Rose. The Hebrew word translated as “rose” in Song 2:1 is translated as “crocus” in Isa. 35:1. Crocus was probably the family name of this flower.

Saffron. This is a species of crocus. Petals of the saffron were used to perfume banquet halls (cf. Song 4:14).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

Pigs were widely domesticated in the ancient Near East, and in biblical times they probably resembled the wild European boar, which still existed in the forests (Ps. 80:13). These animals would have been brown or gray and much hairier than modern domestic breeds, the boars having tusks and the piglets stripes. In Israel, however, pigs were regarded as one of the most unclean of all creatures, both ritually (Lev. 11:7; Deut. 14:8; Isa. 65:4; 66:3, 17) and physically (2 Pet. 2:22). To associate anything of value with swine subjected it to ridicule and rendered it worthless (Prov. 11:22); it was wasteful and abhorrent (Matt. 7:6). The presence of herds of domesticated pigs became a mark of Gentile territory, and when Jesus once cast out some demons in such an area, he allowed them to enter swine, which promptly drowned themselves in the lake (Mark 5:1–20 pars.). Thus, when the prodigal son in Jesus’ parable ends up herding pigs, this represents the most degrading occupation an Israelite could imagine (Luke 15:15–16).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

The blossoms of seed-bearing plants that contain the plant’s reproductive organs. Used generally, “flowers” refers to the colorful array of blossoms that grew mostly in the open fields of the Holy Land. Numerous kinds of wild flowers could be found in the plains and mountains of Palestine. When winter rains were followed by the moderate temperatures of spring, renewal abounded (Song 2:11–12). Early spring blossoms presented an array of vibrant color and form. As early as January, cyclamen poured forth pink, white, and lilac blossoms, followed by various shades of red and pink of the crown anemones, poppies, and mountain tulips. The flowers of the diverse tuberous plants of the lily family also added to the colorful mosaic. Summer brought fields of chamomile and chrysanthemums, with their yellow and white daisylike flowers. The blossoms from plants such as mints, mustards, and other native herbaceous plants, along with those of flowering trees, shrubs, and field flowers, provided ample nectar for bees in the land of milk and honey (Num. 13:27). Healing or soothing ointments and various perfumes were produced from the essential oils extracted from the crushing of blossoms from a variety of flowers.

Flower Imagery

Traditionally, the language of flowers functions to illustrate some prominent themes, such as love and beauty. Flower imagery in descriptions of the tabernacle, of Solomon’s temple, and in the Song of Solomon develops the themes of beauty, purity, sweetness, and love (Song 2:1–5; 5:13; Isa. 28:4). The Song of Solomon is set in a garden scene where the sensuous quality of flowers—their colors, shapes, and scents, their delicate touch—are analogous to the captivating sexuality of physical love. The spring setting assures that the flowers are at their pinnacle of brilliance and the air is filled with the fragrance of vine blossoms (Song 2:12–13).

Used metaphorically, flowers can also refer to transience, pride, restoration, and the glory of the holy and eternal. Such references are found in both Testaments. The short life of flowers is representative of the brevity and fragility of human life on earth (Job 14:2; Ps. 103:15; Isa. 40:6–8; 1 Pet. 1:24). After a brief moment of splendor, decline and decay are close behind. Such is the metaphor used in psalms, by the prophets, and in the NT for the life of a person who flourishes like the flower, is like the grass one day, but is gone the next day.

As surely as flower imagery points out our human mortality, it also serves to illustrate the judgment of the proud or ungodly, as when Isaiah prophesies the speedy downfall of the kingdom of Israel like flowers being trampled under-foot (Isa. 28:1–3), turned to dust (5:24), or cut off with pruning knives (18:5). Nahum sees God’s power to rebuke his enemies in his ability to dry up seas and rivers and to make the many flowers of Carmel and Lebanon wilt (Nah. 1:4). James applies the flower imagery to describe the sudden departure of the rich person, passing away as quickly as the flowers of the field, whose beauty perishes under the burning heat of the sun (James 1:10–11).

The usual contexts of this flower imagery are judgment on the proud and the wicked, whose deeds will be short-lived. The insignificant and contemptible deeds of the wicked are contrasted with God’s power; our human transience and frailty with God’s permanence (Ps. 103:15); and our human weakness with the eternal word of God (Isa. 40:6, 8; 1 Pet. 1:24–25).

The flower can also represent a blessing. The righteous are compared to the flowering or flourishing of a plant (Isa. 5:24; 18:5; 28:1–4), since the flowering of a plant represents the peak of its life process, its most glorious moment. This beautifully pictures the restoration themes of the prophets as they utilize flower imagery. Isaiah’s words “The desert and the parched land will be glad; the wilderness will rejoice and blossom. Like the crocus, it will burst into bloom; it will rejoice greatly and shout for joy” (Isa. 35:1–2; cf. 27:6) are one example of God’s restorative ability to turn a wasteland into a garden. Hosea illustrates this theme: “I will be like the dew to Israel; he will blossom like a lily. Like a cedar of Lebanon he will send down his roots” (Hos. 14:5). The psalmists also sing of the righteous, not the wicked, flourishing like grass or the flower (Pss. 72:7, 16; 92:12–14). Proverbs too reminds us that the righteous will “flourish,” or break forth and sprout like foliage (Prov. 14:11).

Flowers Named in the Bible

The Bible often identifies flowering plants by a more generic name rather than mentioning specific flowers. Sometimes context can help in determining more specific species. According to 1 Kings 7:19–20, 26, lily blossoms, along with pomegranates, adorned the top of the bronze columns that stood before King Solomon’s temple. In a musical aspect, three psalms are identified as those to be sung to the tune “Lilies” (Pss. 45; 69; 80).

The most frequently mentioned specific flowers are traditionally translated “lily” and “rose” (though these are probably not accurate renderings since these flowers are not native to the region and so would have been unfamiliar to most readers). Many commentators believe that the phrase “lilies of the field” referred to the showy, attractive springtime flowers that grow profusely in the plains, pastures, and hills of the Carmel and Sharon regions. These flowers can include ranunculus, anemone, cyclamen, tulip, hyacinth, narcissus, crocus, iris, and orchid. The tulip, asphodel, star-of-Bethlehem, hyacinth, and related narcissus, daffodil, crocus, and iris inhabit the rocky ground and dry places of the hill country. The “lily of the valleys” of Song 2:1–2 is probably the blue hyacinth.

Consider Jesus’ words “Observe how the lilies of the field grow; they do not toil nor do they spin, yet I say to you that not even Solomon in all his glory clothed himself like one of these” (Matt. 6:28–29 NASB). Although these flowers may not be true lilies but rather one of the numerous showy spring flowers such as the crown anemone, Jesus proclaims that the beauty of a single flower in a meadow was more striking than all the riches of Solomon, and that the flower did not concern itself with working and getting riches to be clothed. Jesus’ comments about flowers demonstrate that their beauty was appreciated in Israel.

The flowers listed below are specifically named in various Bible versions.

Almond blossoms. The almond tree is among the first of flowering trees to bloom in the spring. Almond blossoms were part of the almond-tree design on the seven-branched lampstands of the tabernacle (Exod. 25:33–34; 37:19–20). In Eccles. 12:5, almond tree blossoms are likely an allegorical reference to an elderly person’s hair turning white like the almond tree.

Camphire flower. In Song 1:14; 4:13, the KJV refers to camphire, while the NIV and most modern versions have “henna.” The camphire is a small plant or shrub that bears highly scented, cream-colored flowers that hang in clusters and were used for orange dye.

Caperberry flower. The caperberry was a common prickly shrub with large, white flowers that produced small, edible berries. The berries had a reputation for exciting sexual desire, so the caperberry is used in Eccles. 12:5 to allude to the waning sexual potency that comes with age (NIV: “desire is no longer stirred”).

Cockle flower. The KJV of Job 31:40 refers to a “cockle” (NIV: “stinkweed”), a plant whose name is spelled like the Hebrew word for “stink.” This noxious weed with purplish red flowers grew abundantly in Palestinian grain fields.

Crocus. A plant with a long yellow floral tube tinged with purple specks or stripes. The abundant blossoms of the crocus symbolize beauty and splendor (Isa. 35:1).

Fitch. Named in the KJV at Isa. 28:25, 27 (NIV: “caraway”; NRSV: “dill”) and Ezek. 4:9 (NIV: “spelt”). The flower referred to is probably the nutmeg flower, which is a member of the buttercup family; it grew wild in most Mediterranean lands. The plant is about two feet high, with bright blue flowers. The pods of the plant were used like pepper.

Lily. A symbol of fruitfulness, purity, and resurrection, this plant grows from a bulb to a height of three feet, with large white flowers. The term “lily” covers a wide range of flowers. The lily mentioned in Song 5:13 refers to a rare variety of lily that had a bloom similar to a glowing flame. The “lily of the valleys” (Song 2:1) is known as the Easter lily. The lily mentioned in Hos. 14:5 is more like an iris. The water lily or lotus was a favorite flower in Egypt and was used to decorate Solomon’s temple (1 Kings 7:19, 22, 26; 2 Chron. 4:5). The “lilies of the field” (Matt. 6:28) probably were numerous kinds of colorful spring flowers such as the crown anemone (see NIV: “flowers of the field”).

Mint. This aromatic plant, with hairy leaves, has dense white or pink flowers. It is listed with other spices and herbs as something that the Pharisees tithe (Matt. 23:23; Luke 11:42).

Myrtle branch. This bush has fragrant evergreen leaves. Its scented white flowers were used for perfumes. The bush grew to considerable height (Zech. 1:8, 10) and is listed among the trees used to build shelters during the Feast of Tabernacles (Neh. 8:15; see also Isa. 41:19; 55:13).

Pomegranate blossom. The blossom of the pomegranate tree is large and orange-red in color. The fruit of the tree was a symbol of fertile and productive land (Num. 13:23; Deut. 8:8; cf. Hag. 2:19) and was used to produce spiced wine (Song 8:2). Pomegranates were part of the decoration that adorned Aaron’s garments (Exod. 28:33–34) and the temple of Solomon (1 Kings 7:18–20).

Rose. The Hebrew word translated as “rose” in Song 2:1 is translated as “crocus” in Isa. 35:1. Crocus was probably the family name of this flower.

Saffron. This is a species of crocus. Petals of the saffron were used to perfume banquet halls (cf. Song 4:14).

The blossoms of seed-bearing plants that contain the plant’s reproductive organs. Used generally, “flowers” refers to the colorful array of blossoms that grew mostly in the open fields of the Holy Land. Numerous kinds of wild flowers could be found in the plains and mountains of Palestine. When winter rains were followed by the moderate temperatures of spring, renewal abounded (Song 2:11–12). Early spring blossoms presented an array of vibrant color and form. As early as January, cyclamen poured forth pink, white, and lilac blossoms, followed by various shades of red and pink of the crown anemones, poppies, and mountain tulips. The flowers of the diverse tuberous plants of the lily family also added to the colorful mosaic. Summer brought fields of chamomile and chrysanthemums, with their yellow and white daisylike flowers. The blossoms from plants such as mints, mustards, and other native herbaceous plants, along with those of flowering trees, shrubs, and field flowers, provided ample nectar for bees in the land of milk and honey (Num. 13:27). Healing or soothing ointments and various perfumes were produced from the essential oils extracted from the crushing of blossoms from a variety of flowers.

Flower Imagery

Traditionally, the language of flowers functions to illustrate some prominent themes, such as love and beauty. Flower imagery in descriptions of the tabernacle, of Solomon’s temple, and in the Song of Solomon develops the themes of beauty, purity, sweetness, and love (Song 2:1–5; 5:13; Isa. 28:4). The Song of Solomon is set in a garden scene where the sensuous quality of flowers—their colors, shapes, and scents, their delicate touch—are analogous to the captivating sexuality of physical love. The spring setting assures that the flowers are at their pinnacle of brilliance and the air is filled with the fragrance of vine blossoms (Song 2:12–13).

Used metaphorically, flowers can also refer to transience, pride, restoration, and the glory of the holy and eternal. Such references are found in both Testaments. The short life of flowers is representative of the brevity and fragility of human life on earth (Job 14:2; Ps. 103:15; Isa. 40:6–8; 1 Pet. 1:24). After a brief moment of splendor, decline and decay are close behind. Such is the metaphor used in psalms, by the prophets, and in the NT for the life of a person who flourishes like the flower, is like the grass one day, but is gone the next day.

As surely as flower imagery points out our human mortality, it also serves to illustrate the judgment of the proud or ungodly, as when Isaiah prophesies the speedy downfall of the kingdom of Israel like flowers being trampled under-foot (Isa. 28:1–3), turned to dust (5:24), or cut off with pruning knives (18:5). Nahum sees God’s power to rebuke his enemies in his ability to dry up seas and rivers and to make the many flowers of Carmel and Lebanon wilt (Nah. 1:4). James applies the flower imagery to describe the sudden departure of the rich person, passing away as quickly as the flowers of the field, whose beauty perishes under the burning heat of the sun (James 1:10–11).

The usual contexts of this flower imagery are judgment on the proud and the wicked, whose deeds will be short-lived. The insignificant and contemptible deeds of the wicked are contrasted with God’s power; our human transience and frailty with God’s permanence (Ps. 103:15); and our human weakness with the eternal word of God (Isa. 40:6, 8; 1 Pet. 1:24–25).

The flower can also represent a blessing. The righteous are compared to the flowering or flourishing of a plant (Isa. 5:24; 18:5; 28:1–4), since the flowering of a plant represents the peak of its life process, its most glorious moment. This beautifully pictures the restoration themes of the prophets as they utilize flower imagery. Isaiah’s words “The desert and the parched land will be glad; the wilderness will rejoice and blossom. Like the crocus, it will burst into bloom; it will rejoice greatly and shout for joy” (Isa. 35:1–2; cf. 27:6) are one example of God’s restorative ability to turn a wasteland into a garden. Hosea illustrates this theme: “I will be like the dew to Israel; he will blossom like a lily. Like a cedar of Lebanon he will send down his roots” (Hos. 14:5). The psalmists also sing of the righteous, not the wicked, flourishing like grass or the flower (Pss. 72:7, 16; 92:12–14). Proverbs too reminds us that the righteous will “flourish,” or break forth and sprout like foliage (Prov. 14:11).

Flowers Named in the Bible

The Bible often identifies flowering plants by a more generic name rather than mentioning specific flowers. Sometimes context can help in determining more specific species. According to 1 Kings 7:19–20, 26, lily blossoms, along with pomegranates, adorned the top of the bronze columns that stood before King Solomon’s temple. In a musical aspect, three psalms are identified as those to be sung to the tune “Lilies” (Pss. 45; 69; 80).

The most frequently mentioned specific flowers are traditionally translated “lily” and “rose” (though these are probably not accurate renderings since these flowers are not native to the region and so would have been unfamiliar to most readers). Many commentators believe that the phrase “lilies of the field” referred to the showy, attractive springtime flowers that grow profusely in the plains, pastures, and hills of the Carmel and Sharon regions. These flowers can include ranunculus, anemone, cyclamen, tulip, hyacinth, narcissus, crocus, iris, and orchid. The tulip, asphodel, star-of-Bethlehem, hyacinth, and related narcissus, daffodil, crocus, and iris inhabit the rocky ground and dry places of the hill country. The “lily of the valleys” of Song 2:1–2 is probably the blue hyacinth.

Consider Jesus’ words “Observe how the lilies of the field grow; they do not toil nor do they spin, yet I say to you that not even Solomon in all his glory clothed himself like one of these” (Matt. 6:28–29 NASB). Although these flowers may not be true lilies but rather one of the numerous showy spring flowers such as the crown anemone, Jesus proclaims that the beauty of a single flower in a meadow was more striking than all the riches of Solomon, and that the flower did not concern itself with working and getting riches to be clothed. Jesus’ comments about flowers demonstrate that their beauty was appreciated in Israel.

The flowers listed below are specifically named in various Bible versions.

Almond blossoms. The almond tree is among the first of flowering trees to bloom in the spring. Almond blossoms were part of the almond-tree design on the seven-branched lampstands of the tabernacle (Exod. 25:33–34; 37:19–20). In Eccles. 12:5, almond tree blossoms are likely an allegorical reference to an elderly person’s hair turning white like the almond tree.

Camphire flower. In Song 1:14; 4:13, the KJV refers to camphire, while the NIV and most modern versions have “henna.” The camphire is a small plant or shrub that bears highly scented, cream-colored flowers that hang in clusters and were used for orange dye.

Caperberry flower. The caperberry was a common prickly shrub with large, white flowers that produced small, edible berries. The berries had a reputation for exciting sexual desire, so the caperberry is used in Eccles. 12:5 to allude to the waning sexual potency that comes with age (NIV: “desire is no longer stirred”).

Cockle flower. The KJV of Job 31:40 refers to a “cockle” (NIV: “stinkweed”), a plant whose name is spelled like the Hebrew word for “stink.” This noxious weed with purplish red flowers grew abundantly in Palestinian grain fields.

Crocus. A plant with a long yellow floral tube tinged with purple specks or stripes. The abundant blossoms of the crocus symbolize beauty and splendor (Isa. 35:1).

Fitch. Named in the KJV at Isa. 28:25, 27 (NIV: “caraway”; NRSV: “dill”) and Ezek. 4:9 (NIV: “spelt”). The flower referred to is probably the nutmeg flower, which is a member of the buttercup family; it grew wild in most Mediterranean lands. The plant is about two feet high, with bright blue flowers. The pods of the plant were used like pepper.

Lily. A symbol of fruitfulness, purity, and resurrection, this plant grows from a bulb to a height of three feet, with large white flowers. The term “lily” covers a wide range of flowers. The lily mentioned in Song 5:13 refers to a rare variety of lily that had a bloom similar to a glowing flame. The “lily of the valleys” (Song 2:1) is known as the Easter lily. The lily mentioned in Hos. 14:5 is more like an iris. The water lily or lotus was a favorite flower in Egypt and was used to decorate Solomon’s temple (1 Kings 7:19, 22, 26; 2 Chron. 4:5). The “lilies of the field” (Matt. 6:28) probably were numerous kinds of colorful spring flowers such as the crown anemone (see NIV: “flowers of the field”).

Mint. This aromatic plant, with hairy leaves, has dense white or pink flowers. It is listed with other spices and herbs as something that the Pharisees tithe (Matt. 23:23; Luke 11:42).

Myrtle branch. This bush has fragrant evergreen leaves. Its scented white flowers were used for perfumes. The bush grew to considerable height (Zech. 1:8, 10) and is listed among the trees used to build shelters during the Feast of Tabernacles (Neh. 8:15; see also Isa. 41:19; 55:13).

Pomegranate blossom. The blossom of the pomegranate tree is large and orange-red in color. The fruit of the tree was a symbol of fertile and productive land (Num. 13:23; Deut. 8:8; cf. Hag. 2:19) and was used to produce spiced wine (Song 8:2). Pomegranates were part of the decoration that adorned Aaron’s garments (Exod. 28:33–34) and the temple of Solomon (1 Kings 7:18–20).

Rose. The Hebrew word translated as “rose” in Song 2:1 is translated as “crocus” in Isa. 35:1. Crocus was probably the family name of this flower.

Saffron. This is a species of crocus. Petals of the saffron were used to perfume banquet halls (cf. Song 4:14).

A transliteration of the Hebrew word for “lilies.” The word appears in the titles to Pss. 45; 69; 80 (the title of Ps. 60 uses the singular, shushan). It likely refers to either lily-shaped musical instruments or a melody. Some word studies suggest specific reference to a six-stringed instrument. The same Hebrew word is translated “lilies” in Song 2:16; 4:5; 5:13; 6:2; 7:2.

The title of Ps. 80 includes the instruction “to the tune of ‘The Lilies of the Covenant,’ ” apparently referring to a musical accompaniment. Several psalms are prefixed with titles including shoshannim (“lilies” [Pss. 45; 69; 80]) and shushan ’edut (“lily of the covenant” [Ps. 60]).

Pigs were widely domesticated in the ancient Near East, and in biblical times they probably resembled the wild European boar, which still existed in the forests (Ps. 80:13). These animals would have been brown or gray and much hairier than modern domestic breeds, the boars having tusks and the piglets stripes. In Israel, however, pigs were regarded as one of the most unclean of all creatures, both ritually (Lev. 11:7; Deut. 14:8; Isa. 65:4; 66:3, 17) and physically (2 Pet. 2:22). To associate anything of value with swine subjected it to ridicule and rendered it worthless (Prov. 11:22); it was wasteful and abhorrent (Matt. 7:6). The presence of herds of domesticated pigs became a mark of Gentile territory, and when Jesus once cast out some demons in such an area, he allowed them to enter swine, which promptly drowned themselves in the lake (Mark 5:1–20 pars.). Thus, when the prodigal son in Jesus’ parable ends up herding pigs, this represents the most degrading occupation an Israelite could imagine (Luke 15:15–16).

Common and valuable for food, beans were cooked while green in the pods or after being dried. Dry beans were threshed and winnowed like cereals and other grains. Beans are mentioned twice in the NIV (2 Sam. 17:28; Ezek. 4:9).

Despite tendencies to downplay the reality of God’s anger (God is classically described as “without passions”), if we are to do justice to both Testaments, we must allow the language of Scripture to stand, where God often is said to be angry with individuals or nations, including Israel. Although God is changeless (Mal. 3:6), he interacts in a personal way with a time-bound world. The Bible writers intend us to understand that there is something in God’s anger to which human anger is analogous, though God’s anger is not identical to ours (Hos. 11:9). God’s anger is not an automatic response; he can restrain it (Ps. 78:38). God is said to be characteristically slow to become angry; that is, his anger is a deliberate response (Exod. 34:6, a text with numerous echoes) and may also be short-lived (Ps. 30:5; Mic. 7:18).

God’s anger against Israel in the wilderness is noteworthy (Heb. 3:10, 17). The apostasy with the golden calf (Exod. 32:10–12), the complaining (Num. 11:1, 33), and the failure to enter the promised land following the report of the spies (Num. 32:10–11) all provoke God to anger. Failure to heed God’s word (Zech. 7:12) or that of his prophets (2 Chron. 36:16), neglect of his worship (2 Chron. 29:6–8), and intermarriage with idolaters (Ezra 9:14) are behaviors that incur the wrath of God.

God’s anger is directed against individuals, particularly for failures of leadership, as with Moses (Exod. 4:14; Deut. 1:37) and Solomon (1 Kings 11:9–11). God’s anger often is directed against the Israelite and Judean kings, not just those who committed idolatry (2 Chron. 25:15), but even those who are faithful in most respects, for their failure to remove the idolatrous high places (2 Kings 23:19).

Picking up on the warning that God’s anger will be directed against those who do not pay homage to God’s appointed king (Ps. 2:5, 12), Jesus declares that disobedience to God’s Son brings upon one the wrath of God (John 3:36), which evidently is not incompatible with his love for the world (3:16). According to Rom. 4:15, God’s wrath is a consequence of the law; that is, the law, giving concrete expression to the character of God, brings culpability for transgression. God’s wrath is revealed against all forms of ungodliness and its tendency to suppress the truth (Rom. 1:18). Those who demonstrate their disobedience to God or his truth will be subjected to his anger (Rom. 2:8; Eph. 5:6; Col. 3:6).

A pervasive metaphor for anger is that of a burning fire (Deut. 32:22; Ps. 89:46; Isa. 66:15) along with associated images of smoke (Ps. 18:8) and smelting metal (Ezek. 22:20, 22). Other images are the winepress (Isa. 63:3; Rev. 14:19), drinking from a vessel (Isa. 51:22; Rev. 14:10), and a tempest (Ezek. 13:13).

The judgment that follows as a consequence of God’s anger being aroused takes the form of the withholding of God’s covenant favor (Ps. 95:11; Isa. 54:8) or the implementation of his covenant curses (Deut. 29:27), specifically through drought (Deut. 11:17), plague (Ps. 78:50), the sword (Ps. 78:62), and deliverance into the hands of enemies (2 Kings 13:3), leading to exile (2 Chron. 6:36). God’s anger can be depicted in various forms of cosmic upheaval or the undoing of creation (2 Sam. 22:8–16; Ps. 18:7; Jer. 4:26). God’s anger is beyond human ability to endure (Ps. 76:7), such that hiding in Sheol is considered preferable (Job 14:13).

God’s wrath becomes particularly associated with a coming day of wrath at the end of the age, when God’s justice will be powerfully displayed (Dan. 8:19; Zeph. 2:3; Luke 21:23; Rom. 2:5; Rev. 6:17).

Subjection to God’s anger may evoke the cry “How long?” (Pss. 79:5; 80:4). While God’s mercy cannot be taken for granted, since his anger against some may be final as an expression of his justice (Jer. 30:24; Rom. 12:19), God’s anger may be assuaged or averted through humbling oneself (2 Chron. 12:7) and an appeal to God for mercy (Ps. 106:23; Hab. 3:2), by repentance (2 Chron. 29:10; Ezra 10:14; Jon. 3:9), by zealous action to root out evil (Num. 25:11), and by the faithful ministry of God’s appointed servants (Num. 1:53; 18:5).

The NT brings to fulfillment these forms of mediation in presenting the ultimate remedy for God’s wrath in the person and work of Jesus Christ (Rom. 5:9; 1 Thess. 1:10; 5:9). The use of “propitiation” language (Rom. 3:25; Heb. 2:17; 1 John 2:2), though its significance is disputed, is classically understood in terms of the need for God’s wrath to be satisfied. In that case, it is specifically the cross of Christ that ultimately deals with God’s righteous anger against sinners.