What fills the space between the earth and heavens, providing a domain for flying birds (Gen. 1:6–8, 20–23; Deut. 4:17). “Birds of the air,” or “birds in the sky,” is a common biblical expression (e.g., Gen. 1:26, 28, 30; 2:19–20; Pss. 8:8; 79:2; 104:12; Matt. 6:26; 8:20; 13:32). Moses threw soot into the air, which led to the plague of boils on Egypt (Exod. 9:8–12). People threw dust into the air as an expression of mourning (Acts 22:23). Paul uses the images of boxing and speaking “into the air” to express futility (1 Cor. 9:26; 14:9). As the boundary between earth and heaven, the air is where Christ will meet his church at his coming (1 Thess. 4:17). Paul’s contemporaries also distinguished between lower, impure air (vapor) and upper, pure air (ether). Spirits haunted the vapor. Paul therefore claims that Satan is the evil spirit who rules the air below where Jesus is seated at the right hand of the Father (Eph. 1:20–23; 2:2).

Headgear signifying honor, victory, power, or authority. A crown was worn by monarchs in the ancient world to designate their royal power, often including a golden headband with precious stones in it, as well as a turban.

There are two important types of crowns in the OT: the priestly and the royal. A royal crown first appears with Saul (2 Sam. 1:10) and is worn by monarchs after him, including David (2 Sam. 12:30; 1 Chron. 20:2; see also Pss. 21:3; 132:18) and Joash (2 Kings 11:12; 2 Chron. 23:11). Jeremiah 13:18 warns of a day when the royal crowns of Judah will be taken away, signifying the monarchy’s fall from power. Esther wears a Persian royal crown (Esther 1:11; 2:17), as does Mordecai (8:15).

The book of Exodus depicts a crownlike turban to which is affixed a golden “sacred emblem” bearing the inscription “Holy to the Lord,” which is to be worn by the high priest (Exod. 28:36–37; 29:6; see also, e.g., 39:30; Lev. 8:9).

Zechariah 6:11–14 looks to a future messiah, “the Branch,” who will be both priest and king, thus wearing a priestly and royal crown. Before his crucifixion, Jesus’ tormentors place on his head a mock crown made of thorns (Matt. 27:29; Mark 15:17; John 19:2, 5). In the book of Revelation both godly and satanic figures wear crowns: the elders in heaven (4:4, 10), the rider of the white horse (6:2), the locusts from the Abyss (9:7), the woman clothed with the sun (12:1), the dragon and the beast (12:3; 13:1), the one “like a son of man” (14:14), and Christ himself (19:12).

Crowns symbolize human honor (Ps. 8:5; Prov. 4:9; Heb. 2:7, 9) and kingly power (Ps. 89:39), as well as the loss of such glory (Job 19:9; Ezek. 21:26) and its ultimate renewal in eternal life (1 Pet. 5:4). Similarly, crowns often represent eternal salvation (Ps. 149:4; James 1:12; Rev. 2:10). Paul even calls his converts his “crown” (Phil. 4:1; 1 Thess. 2:19). The figure of a crownlike garland, the prize for victory in Greco-Roman athletic games, signifies the Christian’s final enjoyment of eternal bliss (1 Cor. 9:25; 2 Tim. 2:5; 4:8). Crowns portray divine blessings, including joy (Isa. 35:10; 51:11), love (Ps. 103:4), and beauty, the last of which symbolizes divine restoration after judgment (Isa. 61:3). God is even portrayed as the crown of his people (Isa. 28:5). In addition, a crown stands for several human features, such as wealth (Prov. 14:24) and pride (Isa. 28:1, 3).

The word “dominion” translates several terms that express power, mastery, rulership, and authority. As the cosmic king, God has deputized humankind as his image bearer to “rule over” creation (Gen. 1:26, 28; Ps. 8:5–6). Human rulership is intended to be a stewardship for God, one of development, not domination.

Dominion is also found in political might (1 Kings 4:24), sometimes in the possession of Israel’s enemies (Neh. 9:28), and in God’s chosen king over creation (Ps. 72:8). There is also the messianic restoration of dominion (Mic. 4:8), dominion among supernatural beings (Eph. 1:21), and the ultimate dominion of Christ over all (Col. 1:15–20). The rule of sin and death is contrasted with the dominion of grace and resurrection (Rom. 5:14–21; 6:9–14). God’s dominion is his “sovereignty,” both in creation and redemption (Dan. 4:34; 1 Pet. 4:11; Jude 25).

For Christians, God is the creator of the cosmos and the redeemer of humanity. He has revealed himself in historical acts—namely, in creation, in the history of Israel, and especially in the person and work of Jesus Christ. There is only one God (Deut. 6:4); “there is no other” (Isa. 45:5). Because “God is spirit” (John 4:24), he must reveal himself through various images and metaphors.

Imagery of God

God’s character and attributes are revealed primarily through the use of imagery, the best and most understandable way to describe the mysterious nature of God. Scripture employs many images to describe God’s being and character. Some examples follow here.

God is compared to the father who shows compassion and love to his children (Ps. 103:13; Rom. 8:15). The father image is also used by the prophets to reveal God’s creatorship (Isa. 64:8). Jesus predominantly uses the language of “Father” in reference to God (Mark 8:38; 13:32; 14:36), revealing his close relationship with the Father. God is also identified as the king of Israel even before the Israelites have a human king (1 Sam. 10:19).

The Psalter exalts Yahweh as the king, acknowledging God’s sovereignty and preeminence (Pss. 5:2; 44:4; 47:6–7; 68:24; 74:12; 84:3; 95:3; 145:1). God is metaphorically identified as the shepherd who takes care of his sheep, his people, to depict his nature of provision and protection (Ps. 23:1–4). The image of the potter is also employed to describe the nature of God, who creates his creatures according to his will (Jer. 18:6; Rom. 9:20–23). In Hos. 2:4–3:5 God is identified as the long-suffering husband of the adulterous wife Israel. In the setting of war, God is depicted as the divine warrior who fights against his enemy (Exod. 15:3).

God is also referred to as advocate (Isa. 1:18), judge (Gen. 18:25), and lawgiver (Deut. 5:1–22). The image of the farmer is also frequently adopted to describe God’s nature of compassionate care, creation, providence, justice, redemption, sanctification, and more (e.g., Isa. 5:1–7; John 15:1–12). God is often referred to as the teacher (Exod. 4:15) who teaches what to do, as does the Holy Spirit in the NT (John 14:26). The Holy Spirit is identified as the counselor, the helper, the witness, and the guide (John 14:16, 26; 15:26). God is often metaphorically compared to various things in nature, such as rock (Ps. 18:2, 31, 46), light (Ps. 27:1), fire (Deut. 4:24; 9:3), lion (Hos. 11:10), and eagle (Deut. 32:11–12). In particular, the Davidic psalms employ many images in nature—rock, fortress, shield, horn, and stronghold (e.g., Ps. 18:2)—to describe God’s perfect protection.

Last, anthropomorphism often is employed to describe God’s activities. Numerous parts of the human body are used to speak of God: face (Num. 6:25–26), eyes (2 Chron. 16:9), mouth (Deut. 8:3), ears (Neh. 1:6), nostrils (Exod. 15:8), hands (Ezra 7:9), arms (Deut. 33:27), fingers (Ps. 8:3), voice (Exod. 15:26), shoulders (Deut. 33:12), feet (Ps. 18:9), and back (Exod. 33:21–22).

Names and Attributes of God

The OT refers to God by many names. One of the general terms used for God, ’el (which probably means “ultimate supremacy”), often appears in a compound form with a qualifying word, as in ’el ’elyon (“God Most High”), ’el shadday (“God Almighty”), and ’el ro’i (“the God who sees me” or “God of my seeing”). These descriptive names reveal important attributes of God and usually were derived from the personal experiences of the people of God in real-life settings; thus, they do not describe an abstract concept of God.

The most prominent personal name of God is yahweh (YHWH), which is translated as “the Lord” in most English Bibles. At the burning bush in the wilderness of Horeb, God first revealed to Moses his personal name in sentence form: “I am who I am” (Exod. 3:13–15). Though debated, the divine name “YHWH” seems to originate from an abbreviated form of this sentence. Yahweh, who was with Moses and his people at the time of exodus, is the God who was with Abraham, Isaac, and Jacob. According to Jesus’ testimony, “the God of Abraham, the God of Isaac, and the God of Jacob” is identified as the God “of the living” (Matt. 22:32). Hence, the name “Yahweh” is closely tied to God’s self-revelation as the God of presence and life. (See also Names of God.)

Many of God’s attributes are summarized in Exod. 34:6–7: “The Lord, the Lord, the compassionate and gracious God, slow to anger, abounding in love and faithfulness, maintaining love to thousands, and forgiving wickedness, rebellion and sin. Yet he does not leave the guilty unpunished; he punishes the children and their children for the sin of the parents to the third and fourth generation.” Below are further explanations of some of the representative attributes of God.

Holiness. The moral excellence of God is the attribute that underlies all other attributes. Thus, all God’s attributes can be modified by the adjective holy: holy love, holy justice, holy mercy, holy righteousness, holy compassion, holy wisdom, and so forth. God is the only supremely holy one (1 Sam. 2:2; Rev. 15:4). God’s name is also holy; those who profane God’s name are condemned as guilty (Exod. 20:7; Lev. 22:32). God is depicted as the one who has concern for his holy name, which the Israelites profaned among the nations; God actively seeks to restore the holiness of his defiled name (Ezek. 36:21–23). God’s holiness is revealed by his righteous action (Isa. 5:16). Not only is God holy, but also he expects his people to be holy (Lev. 11:45; 19:2). All the sacrificial codes of Leviticus represent the moral requirements of holiness for the worshipers. Because of God’s character of holiness, he cannot tolerate sin in the lives of people, and he brings judgment to those who do not repent (Hab. 1:13).

Love and justice. Because “God is love,” no one reaches the true knowledge of God without having love (1 John 4:8). Images of the father and the faithful husband are frequently employed to portray God’s love (Deut. 1:31; Jer. 31:32; Hos. 2:14–20; 11:1–4). God’s love was supremely demonstrated by the giving of his only Son Jesus Christ for his people (John 3:16; Rom. 5:7–8; 1 John 4:9–10). God expects his people to follow the model of Christ’s sacrificial love (1 John 3:16).

God’s justice is the foundation of his moral law and his ways (Deut. 32:4; Job 34:12; Ps. 9:16; Rev. 15:3). It is also seen in his will (Ps. 99:4). God loves justice and acts with justice (Ps. 33:5). God’s justice is demonstrated in judging people according to their deeds—punishing wickedness and rewarding righteousness (Ezek. 18:20; Ps. 58:11; Rev. 20:12–13). God establishes justice by upholding the cause of the oppressed (Ps. 103:6) and by vindicating those afflicted (1 Sam. 25:39). God is completely impartial in implementing justice (Job 34:18–19). As with holiness, God requires his people to reflect his justice (Prov. 21:3).

God keeps a perfect balance between the attributes of love and justice. God’s love never infringes upon his justice, and vice versa. The cross of Jesus Christ perfectly shows these two attributes in one act. Because of his love, God gave his only Son for his people; because of his justice, God punished his Son for the sake of their sins. The good news is that God’s justice was satisfied by the work of Jesus Christ (Rom. 3:25–26).

Righteousness and mercy. God’s righteousness shows his unique moral perfection. God’s nature, actions, and laws display his character of righteousness (Pss. 19:8–9; 119:137; Dan. 9:14). “Righteousness and justice” are the foundation of God’s throne (Ps. 89:14). God’s righteousness was especially demonstrated in the work of Jesus Christ (Rom. 3:21–22). God’s righteousness will ultimately be revealed in his final judgment (Rev. 19:2; 20–22; cf. Ps. 7:11).

The English word “mercy” renders various words in the original languages: in Hebrew, khesed, khanan, rakham; in Greek, charis, eleos, oiktirmos, splanchnon. English Bibles translate these variously as “mercy,” “compassion,” “grace,” “kindness,” or “love.” The word “mercy” is chosen here as a representative concept (cf. Ps. 86:15). God’s mercy is most clearly seen in his act of forgiving sinners. In the Psalter, “Have mercy on me” is the most common form of expression when the psalmist entreats God’s forgiveness (Pss. 41:4, 10; 51:1). God’s mercy is shown abundantly to his chosen people (Eph. 2:4–8). Because of his mercy, their sins are forgiven (Mic. 7:18), their punishments are withheld (Ezra 9:13), and even sinners’ prayers are heard (Ps. 51:1; Luke 18:13–14). God is “the Father of mercies” (2 Cor. 1:3 NRSV).

God keeps a perfect balance between righteousness and mercy. His righteousness and mercy never infringe upon each other, nor does one operate at the expense of the other. God’s abundant mercy is shown to sinners through Jesus Christ, but if they do not repent of their sins, his righteous judgment will be brought upon them.

Faithfulness. God’s faithfulness is revealed in keeping the covenant that he made with his people. God “is the faithful God, keeping his covenant of love to a thousand generations of those who love him and keep his commandments” (Deut. 7:9). God is faithful to his character, his name, and his word (Neh. 9:8; Ps. 106:8; 2 Tim. 2:13; Heb. 6:13–18). God’s faithfulness is clearly seen in fulfilling his promise (Josh. 23:14). God showed his faithfulness by fulfilling all the promises that he made to Abraham (Gen. 12:2–3; Rom. 9:9; Gal. 4:28; Heb. 6:13–15), by having Solomon build the temple that he promised to David (2 Sam. 7:12–13; 1 Kings 8:17–21), and by sending his people into exile in Babylon and returning them to their homeland (Jer. 25:8–11; Dan. 9:2–3). God’s faithfulness was ultimately demonstrated by sending Jesus Christ, as was promised in the OT (Luke 24:44; Acts 13:32–33; 1 Cor. 15:3–8).

Goodness. Jesus said, “No one is good—except God alone” (Mark 10:18). God demonstrates his goodness in his actions (Ps. 119:68), in his work of creation (1 Tim. 4:4), in his love (Ps. 86:5), and in his promises (Josh. 23:14–15).

Patience. God is “slow to anger” (Exod. 34:6; Num. 14:18), which is a favorite expression for his patience (Neh. 9:17; Pss. 86:15; 103:8; Joel 2:13). God is patient with sinful people for a long time (Acts 13:18). Because of his patient character, he delays punishment (Isa. 42:14). For instance, God was patient with his disobedient prophet Jonah and also with the sinful people of Nineveh (Jon. 3:1–10). The purpose of God’s patience is to lead people toward repentance (Rom. 2:4).

God of the Trinity

The Christian God of the Bible is the triune God. God is one but exists in three persons: the Father, the Son, and the Holy Spirit (Matt. 28:19). The Son is one with the Father (John 10:30); the Holy Spirit is one with God (2 Sam. 23:2–3). All three share the same divine nature; they are all-knowing, holy, glorious, and called “Lord” and “God” (Matt. 11:25; John 1:1; 20:28; Acts 3:22; 5:3–4; 10:36; 1 Cor. 8:6; 2 Cor. 3:17–18; 2 Pet. 1:1). All three share in the same work of creation (Gen. 1:1–3), salvation (1 Pet. 1:2), indwelling (John 14:23), and directing the church’s mission (Matt. 28:18–20; Acts 16:6–10; 14:27; 13:2–4).

In the ancient world, shame and honor are two binary opposites used to depict one’s status or behavior, which a culture approves or disapproves. The system of honor and shame serves as a primary means of social control. Thus, knowing how to act to conform to the code of social behavior expected by one’s group is essential to the maintenance of that community.

In the Bible, the noun “honor” is represented by kabod (from the verb “to be heavy”) in the OT, and by timē (from the verb “to honor”) in the NT. The reverse of honor is shame, which is represented by a variety of Hebrew and Greek terms, such as boshet in the OT, and aischynē in the NT.

In Israel, the Holiness Code (Lev. 17–26; cf. Num. 5:2–3; 8:6–7, 14–15) is comparable to the code of honor and shame. As a covenant community, Israel has the obligation to abide by the sanction imposed by God to attain honor (Deut. 4:6–8; 26:18–19; Pss. 34:5, 8–9; 37:18–19; 127:5; cf. 2 Chron. 26:18; Pss. 8:5; 62:7; 84:11; Rom. 2:7–11). Israel is honored (Exod. 32:11–12; Deut. 32:26–27) before the nations when God’s honor is upheld (Exod. 7:5; 10:1–2; 14:4, 17–18). Violation of covenantal stipulations—for example, deceptions in trading (Deut. 25:16), acts of “abomination” (Lev. 18:17, 22–23, 26–29), idolatry (Deut. 31:20; 32:15–17), and failure to perform duties prescribed in the law (Deut. 25:7–10)—results in disgrace before others (Exod. 32:25) and God (Deut. 28:25–26, 37).

The status of honor can be ascribed to an individual. A person is more honorable who is the firstborn (Gen. 49:3), comes from an esteemed family (Ps. 45:9), or is married into a dignified family (Gen. 41:45; Ruth 4:5). This worth will last a lifetime unless the reputation of the family is compromised, either because of economics (Ruth 1:1–21) or violation of the codes of conduct, such as adultery and incest (Exod. 20:14; Lev. 18:20; 20:10–21; Deut. 5:18; 22:22; Prov. 6:32–33), though not necessarily divorce (Deut. 24:1–4). Certain groups of people are honored because of special privilege granted to them (Prov. 8:15–16; Dan. 2:21; Rom. 13:1–5)—for example, priests (Exod. 28:2, 40; Ps. 110:4; Heb. 7:21), kings (Ps. 2:7), sages (Prov. 3:35), Israel (Exod. 19:6; Deut. 7:6; 8:11–9:7; 26:16–19), and the church (1 Pet. 2:9).

Wealth symbolizes one’s status and claims respect for its owners (Gen. 12:10–20; 14:21–24; 1 Kings 3:13; Prov. 3:16; 8:18; 22:4; Ps. 49:16; Isa. 61:6, 12) but does not equate the state of being poor with shame (cf. Ps. 12:5) unless it is a result of moral lassitude (Prov. 13:18). Parts of the human body symbolize worth and value. Certain parts of the body are less honorable than others, and to expose them is to invite disgrace (2 Sam. 10:4–5; 1 Chron. 19:4; Isa. 20:4; 1 Cor. 12:23–24).

The status of honor can also be achieved by an individual’s merits (cf. Rom. 2:7–11). Certain types of behavior are honorable—for example, humility (Prov. 15:33; 18:12; 29:23), taking care of one’s master (Prov. 27:18), honoring parents (Exod. 20:12; 21:15; 22:28; Prov. 19:26; Mal. 1:6; Matt. 15:4; Eph. 6:2), good service (Gen. 45:13), military exploits (2 Sam. 23:19–23; cf. 2 Chron. 32:21), almsgiving and justice (Prov. 21:21). One important aspect of achieving honor is the pursuit of wisdom. The ways of wisdom are honorable (Prov. 3:16–17; 4:8; 8:18), preserving a person from dishonor (Prov. 3:16–17, 31–33, 35; 24:14), but the ways of folly, such as injustice (Prov. 1:22; 14:31) and dishonoring parents (Prov. 30:17; cf. Exod. 20:12; 21:15; Lev. 20:9; Deut. 27:16), are a disgrace (Prov. 20:3; 26:1). The failure to perform one’s duty (Gen. 40:1–3) or a defeat in battle (Isa. 23:9; Lam. 1:8; Nah. 3:10) results in shame and, accordingly, loss of social status (Isa. 16:14; 23:9; Jer. 46:12; Lam. 1:6, 8; Hos. 4:7). An ultimate form of disgrace is to be hanged for public viewing (Deut. 21:22–23; Esther 5:14; 7:7–10; Matt. 27:32–44; Mark 15:22–32; Luke 23:33–43; John 19:17–24; 1 Cor. 1:18–25). In a patriarchal society, the status of women is obtained through their sexual exclusiveness. Their chastity (Gen. 38:24; Lev. 20:10; Deut. 22:13–21; cf. 2 Sam. 13:13; Song 8:8–9) and fertility (Gen. 16:2; 30:2; 1 Sam. 1:3–8) become indicators of family and social worth.

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.

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).

The name of a person and a word for “humankind.” That the Hebrew word ’adam can be both a personal name and a reference to humankind provides the biblical writers with a valuable means of drawing theological conclusions important to the nature of humankind’s status before God. Unfortunately, in various places it is unclear whether it is a proper name or a more general noun. The origin of the word is usually understood to be related to “red” or “red soil,” and the writer of Genesis makes the link between “the man” and “the soil” more apparent in Gen. 2:7, where man is said to have been created from ’adamah (ground, earth).

The first man was named “Adam.” Because of the difficulties of the word ’adam serving as both a proper name and meaning simply “human,” there is disagreement concerning when the text of Gen. 1–3 is referring to humankind and when it is utilizing “Adam” as a reference to the first man’s name. This discussion often is driven by one’s explanation of origins; however, the general rule applied by many Bible translations is that the presence of the definite article (“the”) indicates that the author has humankind in mind, whereas its absence indicates the use of the proper name.

Humankind was created in the image of God (Gen. 1:27), who also uniquely breathed into human beings his own breath (2:7), indicating a distinct capacity for relationship between them and God. This emphasis is furthered in the text by God’s granting to humankind stewardship of the rest of his creation (1:28–30). The fall (Gen. 3) apparently arose out of the desire of human beings to usurp God’s position and determine for themselves what is beneficial and what is harmful (knowledge of good and evil). The step of disobedience taken in consuming fruit from the forbidden tree had dire consequences for the relationships between men and women, humankind and creation, and humankind and God. The fall, however, did not eliminate the reality that humankind is still in the image of God and capable of continued relationship with him (5:1–3).

Other OT passages rely on Adam for purposes of genealogy (Gen. 5:4; 1 Chron. 1:1) but also begin to highlight some theological conceptions of him that would become significant in his description elsewhere in Scripture. Job 31:33 may suggest a link between Adam’s attempt to cover his sin (Gen. 3:7, 10) and the propensity that human beings have to do the same (cf. Isa. 43:27). Psalm 8 expresses reflections concerning the creation of humankind, and the wonder of God’s interest and investment of himself in it. The writer of Ecclesiastes seemingly toils over the status of human beings in relation to the earth, since the former die but the latter continues (Eccles. 1:3–4). Such passages demonstrate the corporate responsibility that humankind bears for sin following Adam’s first sin and establish a framework through which the NT writers may be able to address the most significant human problems.

Adam is the center of several significant references in the NT. In particular, passages such as Rom. 5:12–21 and 1 Cor. 15:21–49 establish an Adam/Christ, or First Adam/Second Adam typology. In the Romans passage, Paul draws on the Jewish concept of corporate identity in order to identify the status of death as common throughout all humanity because of the first Adam, and the hope of salvation and grace as available to all humanity because of the second Adam. The 1 Corinthians passage makes its argument along similar lines; however, its interest is in the granting of the possibility of resurrection to humanity in the second Adam, who provides a permanent body, while the first Adam only granted a limited body of dust.

In other places in the NT the priority of Adam and his impact on humanity are the source of theological reflection as well. Luke seems to argue for the solidarity of Jesus with all of humanity by taking his genealogy back to Adam (Luke 3). Paul draws on the priority of Adam being created before Eve, as well as her deception by the serpent, as a rationale for not permitting women certain roles in the church (1 Tim. 2:13–14). The writer of Hebrews draws the connection between humankind and Christ in order to highlight Jesus’ unique capacity for dealing with the sinful human condition (Heb. 2). See also Adam, Town of; Adam and Eve.

The study of human beings, their nature and origins. The Christian understanding of anthropology stems from a biblical view of humankind’s relationship to God.

The Origin of Humankind

According to Genesis, the creation of humankind took place on the sixth day of the creation week. The amount of narrative space allotted to this day (Gen. 1:24–31) testifies to the special importance of what happened. Human beings were made on the same day as the animals. Human beings were not given a day of their own, showing that they have a certain kinship with the animals, although they are far more than highly successful and adaptive mammals. This has implications for the care of animals and of the environment generally. The value of human beings and their special place in the created order is clear in passages such as Pss. 8:5–6; 104:14–15.

Created in the image of God. When it came to the making of human beings, God deliberated over this crucial step (Gen. 1:26). The plural of exhortation in “Let us make man in our image” signals that the decision to make humankind was the most important one that God had made so far. Genesis 1 says that human beings are like God in some way.

Various opinions have been canvassed as to what the “image” is. We cannot totally exclude the physical form of humans, given God’s humanoid form in OT appearances (theophanies; e.g., Isa. 6:1; Ezek. 1:26; Amos 9:1). The image has sometimes been interpreted as a task, the exercising of dominion (Gen. 1:28), with humanity appointed as creation’s king, ruling under God. But the image is better understood as the precondition for rule rather than rule itself. The image shows human worth (Gen. 9:6) and differentiates humans from all other creatures. It is proper for the Bible to use anthropomorphic language for God, for humans are remarkably like God. Both male and female are in the image of God (“in the image of God he created them; male and female he created them” [1:27]), so that the divine image is not maleness, nor is sexual differentiation the image. Commonly, the image of God is thought to be some peculiar quality of human beings—for example, rationality, speech, moral sense, personality, humans as relational beings.

Every century has its own view of what is the essence of humanity. However, nothing in the passage allows a choice among such alternatives. The point of the passage is simply the fact of the likeness, with no exact definition being provided. The fact of the image is the basis of the divine prohibition of murder and of the strict penalty applied to the transgressor (9:4–6). The fall into sin affected every aspect of the human constitution, and the Bible does not minimize the fact of human sinfulness (Gen. 6:5; 8:21; Rom. 3:10–18); nevertheless, humans are still in the image of God (Gen. 5:1–3; 9:6; 1 Cor. 11:7). God’s plan of salvation is aimed at ridding creation (and especially humanity) of the baneful effects of sin, and this will be achieved through the work of Christ, who is the image of God (2 Cor. 4:4; Col. 1:15–20; Heb. 1:1–3; 2:5–18). The outcome will be the conformity of believers in Christ to his glorious image (Rom. 8:29–30; 2 Cor. 3.18).

Place in the created order. God’s purpose in giving human beings the divine image is “so they may rule” (NET [Gen. 1:26b translated as a purpose clause]). The syntax suggests that the image is a presupposition of dominion. It is plain that such a delegated authority makes humans stewards. The vegetarian diet of Gen.1:29 (there was no eating of meat at first) represents a limitation to the human right of dominion. Adam’s naming of the animals was (in part) expressive of his sovereignty over them (2:19). Later, Noah was charged to bring pairs of animals into the ark to preserve them alive (6:19–20), showing care for other creatures. The patriarchs tended flocks (13:2–9; 26:12–14), and Joseph’s relief measures saved the lives of people and animals (47:15–18). The wanton destruction of the Promised Land was expressly forbidden (Deut. 20:19–20). Humanity is accountable to God for the stewardship of the earth. The divine command “be fruitful and multiply” (Gen. 1:28 NRSV) shows that God’s purpose is that the human race populate the whole earth.

At Gen. 2:7 the biblical narrative becomes thoroughly anthropocentric, picturing the little world that God establishes around the first man, so this account is quite different from the cosmic presentation of Gen. 1. In Gen. 1 humankind is the apex of a pyramid, the last and highest of a series of creatures; in Gen. 2 the man is the center of a circle, everything else made to fit around him, and his connection to the physical earth is emphasized. In either view, a very special place is given to human beings in the created order. The two pictures are complementary, not contradictory.

The “man” (’adam) is formed from the “ground” (’adamah), with the related Hebrew words making a pun. Man’s name reminds him of his earthy origins. He is made from the “dust,” which hints at his coming death. He will return to the dust (Gen. 3:19; cf. Job 10:8–9; Ps. 103:14; Isa. 29:16). The reference to “the breath of life” (Gen. 2:7) is due to the fact that this leaves a person at death (Job 34:14–15; Ps. 104:29–30), so man’s (potential) mortality is implied. Ironically, the making of man is described using the language of death. What is described in Gen. 2 is the making of the first man, from whom the rest of the human race has descended, not the making of humankind, though the word ’adam can mean that in other contexts.

The Nature of Humankind

Body, soul, and spirit. Arguments over whether human nature is bipartite (body and soul) or tripartite (body, soul, spirit) are not to be decided by arbitrary appeal to isolated verses. Verses can be found in apparent support for both the first view (e.g., Matt. 10:28) and the second (e.g., 1 Thess. 5:23), but certainly the first scheme is much more prevalent in the Bible. “Soul” and “spirit” can be used interchangeably (Eccles. 3:21; 12:7; Ezek. 18:31). Death is marked by the parting of soul/spirit and body, but it would be a mistake to think that human beings are made up of separate component parts, or that the physical body is only a dispensable shell and not essential to true humanity. The physicality of human existence in the “body” is owned and celebrated in Scripture, part of that being the positive attitude to sexuality when properly expressed (Song of Songs; 1 Cor. 7) and the nonascetic nature of biblical ethics (1 Cor. 10:31; Col. 2:23). The doctrine of the resurrection of the body is the fullest expression of this (1 Cor. 15), in contrast to ancient Greek thought that viewed the body as inherently evil and understood salvation as the immortality of the liberated, disembodied soul.

The different words used in relation to persons are only intended to refer to and at times focus on different aspects of unified human nature. References to the “soul” may stress individual responsibility (e.g., Ezek. 18:4 NASB: “The soul who sins will die”). In Ps. 103:1–2, “O my soul” expresses emphatic self-encouragement to praise God and is in parallel with “all my inmost being”—that is, “my whole being” (an example of synecdoche: a part standing for the whole [cf. Ps. 35:10]). These are ways of referring to oneself as a person who expresses will and intention (cf. Ps. 42:5–6, 11). The “flesh” is used to stress the weakness of mortal humanity (e.g., Isa. 40:6 RSV: “All flesh is grass”). The “heart” is the volitional center of a human being (Prov. 4:23; cf. Mark 7:17–23). The emotional and empathetic reactions of humans are described by reference to the organs: “liver,” “kidneys,” “bowels.”

Morals and responsibility. In Gen. 2 the complexities of the man’s moral relation to God and his relations with the soil, with the animals, and with the woman are explored. God deposited the man in the garden “to work it and take care of it” (2:15). The words chosen to designate the man’s work prior to the fall have an aura of worship about them, for they are later used in the OT for the cultic actions of serving and guarding within the sanctuary. The priests served by offering sacrifices, and the Levites guarded the gates of the sacred precinct. A theology of work as a religious vocation is presented. The man was a kind of king-priest in the garden of God.

The moral responsibility of humanity is signaled from the beginning. God’s command gives permission for the man to eat from “any tree” except one (Gen. 2:16–17) and as such indicates man’s freedom, so that this command is no great restriction. The wording “you are free to eat” reinforces the point about God’s generous provision. The prohibition is embedded in the description of God’s fatherly care for the man and gracious act in placing him in the garden. The divine restriction is slight and not at all overbearing, though the serpent will seek to make it appear mean-spirited (3:1). The command and prohibition are the very first words of God to the man, marking them out as of fundamental importance for the relationship between them. The prohibition (“you must not eat . . .”) is an absolute one in the style of the Decalogue (Exod. 20:1–17; Deut. 5:6–21). What is placed before the man is a test that gives him the opportunity to express his loyalty to God. A relationship of obedience and trust requires the possibility of choice and the opportunity to disobey (if that is what he wants to do). The moral nature and responsibility of individuals is not a late discovery by the prophet Ezekiel (Ezek. 18); rather, it is the presupposition behind the Mosaic law, for the commands of the Decalogue (“you shall not . . .”) are phrased as commands to individuals (as the Hebrew makes clear). On the other hand, the concept of corporate responsibility is also present (e.g., Achan’s punishment in Josh. 7).

Relationships. Human beings are relational by nature, as the creation of the woman as a helper and partner for the first man makes plain (Gen. 2:18–25). Later in Scripture this is put in more general terms, so that friendship and mutual cooperation are shown to be essential to life (Eccles. 4:7–12). The body life of the church reflects the same fact and need (1 Cor. 12). In Psalms, human needs and vulnerability find their answer and fulfillment in God, with the psalmist acknowledging his frailty and his creaturely dependence on God (e.g., Ps. 90). This also shows the folly of sinful human pride, against which the prophets so often inveighed (e.g., Isa. 2:9, 11–17, 22).

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.

Whether animal or human, “creature” assumes creator. God’s unique creative activity is showcased in his majestic work: “creatures” (Heb. bar’a, “to create” [Gen. 1:1, 27]; Heb. nepesh hayah, “living creature” [Gen. 1:24; cf. 2:7]). While the infinite God is not confined in the lives of his creatures, both are linked in a relationship of fidelity (Ps. 104).

A creature is a gift and has an obligation of service (Ps. 150). Scripture celebrates divine rule and creaturely dependence (Ps. 96). Creatures have roles, and the liturgy of doxology revels in a cosmic and eschatological drama (Ps. 148; Isa. 40:12–31; 65:17–25). Humans are caretaking creatures (Ps. 8).

A hymn or salutation praising God, often sung or chanted in the opening or closing portions of a Christian worship service. A doxology may also be written and often is found in books or letters written by Christians. Although the term “doxology” does not appear in the original scriptural texts, it subsequently was added as a descriptive header for certain sections of Scripture, including Rom. 11:33–36; Jude 24–25; Rev. 1:4–6.

The words spoken by the heavenly host in announcing Jesus’ birth to the shepherds, “Glory to God in the highest heaven, and on earth peace to those on whom his favor rests” (Luke 2:14), are known as the Greater Doxology. The words “Glory be to the Father, and to the Son, and to the Holy Spirit; as it was in the beginning, is now, and ever shall be, world without end, Amen,” though not found in the Scriptures, are known as the Lesser Doxology.

Similar phrases of exaltation and praise certainly exist in the OT, though they have not been specifically categorized as doxologies. One example is the psalmist’s praise “Lord, our Lord, how majestic is your name in all the earth!” (Ps. 8:1, 9).

In the Bible, gestures are made with either parts of the body or items, such as clothing and rings, directly connected to the body. For this reason, it makes sense to classify biblical gestures in relation to the different body parts that are identified with the gestures. It is, however, challenging to know where to draw a line on classifying a gesture. For example, a devious person is described in Prov. 6:13 as one “who winks maliciously with his eye, signals with his feet and motions with his fingers.” It is unclear whether this is a single gesture or multiple ones, and whether all signify different things or the same thing.

Head

Gestures that relate to the head range from simple head motions to semiviolent acts such as hair pulling. Simple head motions include lifting of one’s head in honor (Gen. 40:13), bowing one’s head in mourning (Ps. 35:14), tossing one’s head in mockery and derision (2 Kings 19:21), and shaking one’s head as insult (Ps. 22:7; Mark 15:29).

A common action is the shaving of the head, which can be for purification (Lev. 14:8–9; Num. 6:9; 8:7 [includes all body hair]), mourning (Deut. 21:11–13; Job 1:20; Isa. 15:2; Jer. 16:6; 47:5; 48:37; Ezek. 27:31; Amos 8:10; Mic. 1:16), remorse (Jer. 41:5), or shaming (Jer. 2:16). However, priests are forbidden from shaving their heads even in mourning (Lev. 21:5; Ezek. 44:20), while the high priest is to wear a turban on his head during sacrificial duties (Exod. 29:6).

Anointing of the head is done when a priest or king is installed (Exod. 29:7; Ps. 23:5) or simply as a sign of God’s goodness and blessing on a person (Eccles. 9:8). Blessing may also involve placing a hand on the head of the person being blessed (Gen. 48:14–18; Exod. 29:19), while the same gesture on the head of sacrificial animals is a symbolic means of transferring sin (Lev. 3:2, 8, 13; 4:4, 15, 24, 29, 33; 8:18, 22).

In the OT, a woman’s head can be shaved in mourning (Deut. 21:12–13; cf. Jer. 47:5), but in the NT, a shaved head can be a cause for disgrace (1 Cor. 11:5–6).

Face. Facial gestures range from expressions to actions such as touching or covering the face. A face can be downcast in anger (Gen. 4:5–6) or bowed to the ground in honor (Gen. 48:12), in dejection (Josh. 7:6), in humility (Ruth 2:10), in worship (2 Chron. 20:18; Ps. 138:2), in subjection, supplication, reverence (1 Sam. 20:41; 25:41; 28:14; 2 Sam. 14:4, 22; 18:28; 24:20; 1 Kings 1:23; 1 Chron. 21:20), or in dread (e.g., Moses before Yahweh [Exod. 3:6]).

The face can be covered or veiled as an indication of uncleanness (Lev. 13:45), in grief/mourning (2 Sam. 19:4; Ezek. 24:17), in resignation (1 Kings 19:13), with intent to deceive in adultery (Job 24:15), or in horror of judgment (Esther 7:8; Ezek. 12:6, 12). It can also be buried in the dust in remorse (Lam. 3:29).

God can be described as hiding or turning away his face against wickedness and evil (Deut. 31:18; 32:20; Ps. 34:16; Isa. 8:17; Jer. 33:5; Ezek. 7:22; 15:7; 20:46; 21:2) or in an act of withholding blessings (Job 13:15; Pss. 10:1; 13:1; 27:9; 30:7; 34:16; Isa. 54:8; 59:2; 64:7). God can also turn his face toward a place in judgment (Ezek. 4:3, 7; 6:2). In 1 Sam. 5:3–4 the idol of the Philistine god Dagon falls facedown before the ark of the covenant, apparently overpowered by Yahweh.

Acts of humiliation or dishonor can involve spitting in the face (Num. 12:14; Deut. 25:9; Job 17:6; 30:10; Isa. 50:6), slapping the face (1 Kings 22:24; 2 Chron. 18:23; Job 16:10; Lam. 3:30; Mic. 5:1), pulling a skirt up over someone’s face in shaming judgment (Jer. 13:26; Nah. 3:5), and hooking and dragging someone by the nose (2 Kings 19:28). Although being struck on the cheek is humiliating, Jesus instructs his disciples to “turn the other cheek” as a sign of resistance to violence (Matt. 5:39; Luke 6:29).

One can lift one’s face in worship (2 Kings 20:2; Job 22:26; Isa. 38:2) or in confidence (Job 11:15) and can fail to lift it in shame and disgrace (Ezra 9:6). Although the shaving of beards in mourning is common practice (Ezra 9:3; Isa. 15:2; Jer. 41:5; 48:37), the forced shaving of beards is an act of shaming and insulting (2 Sam. 10:4; 1 Chron. 19:4–5; Isa. 7:20; 50:6).

Eyes. Winking the eye is perceived as an evil, deceptive, or malicious act (Ps. 35:19; Prov. 6:13; 16:30). Eyes can be lifted up in worship and expectation (Pss. 121:1; 123:1).

Mouth. Pursed lips can characterize an evil person (Prov. 16:30), while a hand can be clapped over the mouth in awe and submission (Job 21:5; 40:4). Psalm 72:9 looks to the righteous king before whom the desert tribes will bow and whose “enemies lick the dust” in defeat.

Ears. An Israelite slave for life is to have a hole punched through his or her earlobe, held against a doorpost, with an awl (Exod. 21:6; Deut. 15:17). Blood is sprinkled on the lobe of the right ear for purification (Exod. 29:20; Lev. 8:23–24; 14:17), while supplication can be described as asking for the turning of an ear (2 Kings 19:16; Ps. 31:2). Turning one’s ear signifies paying attention or taking something to heart (Ps. 49:4; Prov. 4:20; 5:13).

Neck. The neck can be adorned (Song 1:10) as a sign of pride and honor (Gen. 41:42; Judg. 5:30; Prov. 1:9; Ezek. 16:11) or outstretched in arrogance (Ps. 75:5 TNIV: “Do not lift your horns against heaven; do not speak with outstretched neck”). Jeremiah put a yoke on his neck as a prophetic sign of the approaching Babylonian conquest (Jer. 27–28). While putting someone’s neck in a yoke is an act of triumphal conquest (Ps. 105:18), stepping on the neck of a subdued enemy is an act of subjugation and humiliation (Josh. 10:24).

Body

Nakedness in public is considered shameful (Gen. 9:22–23; Nah. 3:5; Rev. 3:18), so that it is sometimes pictured as part of divine judgment (Deut. 28:48; Isa. 47:2–3; Lam. 1:8; Mic. 1:11) or as a sign of promiscuity (Isa. 57:8; Ezek. 16:36). An unkempt body can be a sign of mourning, as it is for Mephibosheth (2 Sam. 19:24). A certain kind of body covering is a sign of marriage proposal or protection (Ezek. 16:8; 23:18; Hos. 2:9). Body dismembering, even in war, is an act of humiliation (2 Sam. 4:12).

Chest. In self-mortification, one can pound one’s chest in mourning (Ezek. 21:12) or in remorse (Jer. 31:19; Luke 18:13). The breasts of sacrificial animals are waved before God as a “wave offering” before being eaten (Exod. 29:26; Lev. 7:30; Num. 6:20).

Hand, arm. Hand gestures include motions such as lifting hands in worship, clapping hands in joy, and clapping a hand over one’s mouth in awe. The expression “outstretched arm” (Exod. 6:6; Deut. 4:34; 5:15; 7:19; 9:29; 11:2; 26:8; 1 Kings 8:42; 2 Kings 17:36; 2 Chron. 6:32; Ps. 136:12; Jer. 21:5; 27:5; 32:17, 21; Ezek. 20:33–34) indicates power, might, strength. It is often used of God to indicate his ability to defeat powerful armies and enemies. God is implored by the psalmist to lift his hand and act for the sake of the righteous (Ps. 10:12).

Since the right hand is the hand of power, the act of sitting at the right hand indicates being favored (1 Kings 2:19; Ps. 110:1; Matt. 22:44; Mark 12:36; Luke 20:43; Acts 2:35; Heb. 1:3; 8:1; 10:12; 12:2; 1 Pet. 3:22). When taking an oath, one places a hand under the thigh/crotch (Gen. 24:2; 47:29), most likely the right hand (see Gen. 48:14, 17–18; Lev. 8:23; 14:14).

Clapping the hands can be a sign of awe (Ezek. 6:11), malice, or remorse (25:6), while a bared arm can be a sign of judgment (4:7). Job claps his hand over his mouth in awe of God and in submission and repentance (Job 40:4–5).

Hands can be lifted in worship (1 Kings 8:22; 1 Tim. 2:8), to beseech (Ps. 28:2), to protect and bless (Ps. 10:12), in an oath (Deut. 32:40), or to harm (Exod. 24:11; 1 Sam. 24:6, 10; 2 Sam.1:14; 18:12).

Pilate washes his hands to proclaim his innocence over the death of Jesus (Matt. 27:24), while 1 Pet. 5:6 urges believers to humble themselves “under God’s mighty hand,” so that in due time they will be lifted up.

Buttocks. Exposure of the buttocks can serve as a humiliating insult and provocation, as happens to David’s men (2 Sam. 10:4; 1 Chron. 19:4) and Egyptian and Cushite captives (Isa. 20:4).

Leg. The leg or thigh is often a euphemism for the male reproductive organs, so that putting one’s hand under a thigh in oath (Gen. 24:2; 47:29) may involve actually grabbing the genitalia. Animal thighs are waved to God in offering before being consumed (Lev. 9:21; 10:14; Num. 6:20), while oaths administered to uncover adultery cause a guilty woman’s thighs to waste (Num. 5:2–27).

The most common gesture involving the knee is bowing, in worship or reverence (Deut. 33:3; Isa. 45:23; Rom. 11:4; 14:11; Phil. 2:10), in defeat (2 Sam. 22:40; Ps. 18:38; Isa. 60:14), in distress (Ps. 57:6), or in respect (1 Kings 1:31). In what seems to be a somewhat awkward position, Elijah puts his face between his knees in prayer (1 Kings 18:42).

Feet. Gestures involving the feet are probably the most common gestures in the Bible. Feet can be washed in hospitality (Gen. 18:4; 19:2; 24:32; 43:24; 1 Sam. 25:41), in ablution (Exod. 30:19, 21; 40:31), or in supplication (1 Sam. 25:41). Feet can be bathed in oil as a blessing (Deut. 33:24), uncovered in marriage proposals (Ezek. 16:8; cf. Ruth 3:4, 7), and stamped in remorse (Ezek. 25:6), and sandals can be removed from them in honor (Exod. 3:1–10) or disgrace (Deut. 25:9). The heavenly seraphs cover their feet in supplication before the throne of God (Isa. 6:2), while the feet of humans can signal deception (Prov. 6:13).

Enemies can be placed under one’s feet in subjugation (1 Kings 5:3; Pss. 8:6; 18:39; 45:5; 47:3; 110:1; Mal. 4:3; Rom. 16:20), have their feet shackled or ensnared (Job 13:27; 33:11; Pss. 25:15; 105:18), and be forced to lick the feet of victors in humiliation and defeat (Isa. 49:23). The righteous will bathe their feet in the blood of their enemies in revenge (Pss. 58:10; 68:23).

Those overwhelmed can grovel at the feet of the powerful (2 Kings 4:27, 37; Esther 8:3; Matt. 28:9; Mark 5:33; 7:25; Acts 10:25), while those emboldened can rise to their feet in confidence (Ezek. 2:1–2; 3:24; Dan. 8:18).

In the NT, dust can be shaken off one’s feet as an indication of divine judgment (Matt. 10:14; Mark 6:11; Luke 9:5), even as lying at a person’s feet is a recognition of authority/submission (Matt. 15:30; Mark 5:33; Luke 8:28, 35, 41, 47; 10:39; 17:16; Acts 4:37; 5:2). A woman publicly washes Jesus’ feet with her tears, wipes them with her hair, and kisses and perfumes them in what seems an act of love and repentance; but Jesus indicates that she has prepared his body for burial (Luke 7:38–46; John 11:2; 12:3). Jesus washes his disciples’ feet as instruction on servanthood and discipleship (John 13:5–14).

Fingers, Toes. Different fingers seem to have different roles assigned them. A finger sprinkles blood in cleansing (Lev. 4:6, 17, 25, 30, 34; 8:15; 9:9; 14:16; 16:14, 19; Num. 19:4), while blood on the tip of the right thumb and on the right big toe is for cleansing (Exod. 29:20; Lev. 8:23–24; 14:17, 25, 28).

One wears a signet ring as a sign of power (Esther 3:10) or a gesture of restoration and forgiveness (Luke 15:22). But fingers can also motion in deception (Prov. 6:13) or point in blame (Isa. 58:9). Jesus writes with his finger on the ground, apparently as a gesture of indifference to those pointing accusing fingers (John 8:6).

Clothes and Shoes

Garments. Garments attain significance as they are related to specific emotions. Wearing sackcloth and ashes in mourning is common (Gen. 37:34; Ezek. 7:18; 2 Sam. 3:31), while ripping garments in mourning is also frequently attested (Gen. 37:34; 44:13; Lev. 10:6; 21:10; Josh. 7:6; 2 Sam. 1:11; 3:31; 13:31; 1 Kings 21:27; 2 Kings 2:12; 19:1; Esther 4:1; Isa. 32:11; 37:1; Jer. 41:5).

Ripping someone’s clothing to expose nakedness (Ezek. 16:39; 2 Sam. 10:4) or pulling a person’s skirts up over the face (Jer. 13:26) is an act of shaming or insulting. But tearing one’s clothes off can be a sign of fury (Matt. 26:65). Persons with defiling diseases are expected to warn off others by wearing torn clothes and shouting, “Unclean! Unclean!” (Lev. 13:45).

By laying their clothes at Saul’s feet, the crowd may be acknowledging his authority in the stoning of Stephen (Acts 7:58).

Sandals. A woman can remove a man’s sandal in contempt (Deut. 25:5–10), while a sandal can be removed by a kinsman-redeemer to indicate giving up a right or as a transfer of property (Ruth 4:7–8). A sandal can also be removed in mourning (Ezek. 24:17) or be cast over a piece of land to claim ownership (Pss. 60:8; 108:9).

Prophetic Gestures

Prophetic gestures in the OT are mostly concerned with the call to repentance and approaching judgments upon failure to heed the warning. Jeremiah puts a yoke on his neck (Jer. 27–28; cf. Deut. 28:48), Ezekiel cooks with dung (Ezek. 4:12) and sleeps on his left side for 390 days and then on his right side for 40 days (4:5–6), Isaiah strips off his clothing (Isa. 20:2–3; 32:11), and Hosea marries an unfaithful wife (Hos. 1:1–3).

In the NT, Jesus cleanses the temple as an act of symbolic judgment (Matt. 21:12; Mark 11:15; John 2:15). He also breaks bread and drinks wine (Matt. 26:26; Mark 14:22; Luke 22:19; 24:30, 35; Acts 2:46; 20:11; 27:35; 1 Cor. 11:24–25) and washes his disciples’ feet (John 13:1–13), thereby establishing symbolic Christian practices.

A transliteration of a Hebrew word used in the superscriptions of Pss. 8; 81; 84. Its significance is uncertain. The word might designate a musical instrument or a musical sign denoting how the psalms were to be sung.

Whereas the Greeks identified the good as an abstract ideal toward which people should strive in all their actions, the Bible identifies goodness as an attribute of God, who is personal (Ps. 25:8–10). Therefore, God is the ultimate standard of goodness.

Creation itself expresses God’s goodness. Human beings are fearfully and wonderfully made (Ps. 139:14). We have been given the capacity to enjoy the many blessings of God’s creation (Ps. 145:9, 16), and to bring the potentialities of creation to their full expression by cultivating and subduing the earth (Gen. 1:28; Ps. 8). We are created in God’s image to do good by living according to God’s purposes. Evil came into the world when Adam and Eve looked to something in creation instead of God as the source of ultimate good (Gen. 3).

In his goodness, God has chosen goodness. If we were to shine God’s goodness through a prism, its color spectrum would include love, mercy, grace, kindness, faithfulness, righteousness, beauty, and perfection to redeem his people, who have lost their capacity for good through sin. Jesus is the good shepherd who lays down his life for his sheep (John 10:11). God showers his benevolence upon both the evil and the good (Matt. 5:45). For believers, God uses everything, even their suffering, to bring about their good, namely, Christlikeness (Rom. 8:28–29).

That humankind has been created in the image of God indicates its unique status above the animals because of a special similarity with God. This status authorizes humankind to rule the earth and requires respect toward people. The particulars of what the phrase “image of God” means have been understood in many ways.

The phrase is rather rare. It first appears in Gen. 1:26–27, and the same or similar phrases occur in five more verses (Gen. 5:1, 3; 9:6; 1 Cor. 11:7; James 3:9) that refer back to it. The NT also refers to Christ as the image of God and to believers becoming like the image of Christ.

Understanding Genesis 1:26–27

This makes Gen. 1:26–27 the starting point for understanding the phrase. Several factors come into play: the contrast with the creation of animals on the same day; the connection with humankind ruling the other creatures; other elements of the broader context; the meaning of the words “image” (tselem) and “likeness” (demut); the meaning of the preposition “in”; and the meaning and use of images in the ancient Near East.

In the immediately preceding context, animals are made “according to their kinds,” whereas humans are made “in the image of God.” The context directly following also makes a distinction between the two, granting humans rule, or dominion, over the animals. Being in the image of God certainly involves what makes humans unique in contrast to the rest of the animal kingdom.

The history of interpretation of the phrase “image of God” is long and voluminous. Just about anything from the broader context that seems important to the interpreter might be selected as the key meaning; or whatever philosophical system is dominant at the time when the interpreter writes might be tapped as the “obvious” explanation of what being in the image of God means; or perhaps the insights of a particular academic discipline or systematic theological system might be given preference. Thus, the meaning of being created in the image of God has been associated with many things, such as language, eternal soul, rationality, relationality, being male and female (often compared to the Trinity), physical appearance, dominion, and personhood. The wide variety is possible because the text of Scripture does not spell it out, and the options seem reasonable to their various proponents as explaining the uniqueness of humanity, something that clearly serves the context.

Although many of these insights may be reasonable and relevant, it can be problematic to select one as the key element. For example, to support the suggestion that being in the image of God means walking erect on two feet, one could point out that (1) humankind’s “walking” is in the broader context, (2) human beings “walking” with God uniquely contrasts to the circumstances of other animals, and (3) standing erect on two feet is a dominance move in the animal kingdom. But this is unlikely to be convincing to anyone, for good reason. And the many options offered by interpreters often look equally out of place from another’s perspective. For example, the text emphasizes that God created them “male and female,” a unity with a difference. God is a trinity, a unity with a difference. Is this, then, the image of God? Someone might point out that the animals are also male and female, and that the text does not necessarily have the Trinity in view (there are other explanations for the plural “us” in Gen. 1:26, which many consider better explanations).

Studying the words “image” and “likeness” does not quickly clarify the issue. “Image” normally refers to a statue, typically of a god. And “likeness” normally refers to similar physical appearance. The true God is a spirit, lacking a particular physical form, and he forbids making a statue of himself. If the three-dimensional human physique is not the point, what remains of the terms “image” and “likeness” is simply some notion of similarity. It is this vagueness that has promoted diverse understandings.

The preposition “in” is also much discussed, for it might mean “in” or “as.” Thus humanity is perhaps made in a like appearance to God, or in an unspecified similarity to God. Or humanity has been created as God’s image on the earth. The first emphasizes what humanity is (being), the second what humanity is to do (function). Yet the two, being and function, certainly are related, so the difference between them may be overstated.

The surrounding cultures of the ancient Near East made images of their gods. They believed not that the statue actually was the god but rather that it invoked the presence of the god and represented the god to the people as a central location for interaction. The Babylonian word for “image” is similar to the Hebrew and also usually refers to a statue or artistic representation. It is sometimes used figuratively about a king being the image of a god. And in Egypt we find the idea that humanity is the image of gods. This conceptual backdrop aligns with an understanding that being in the image of God relates to the function of ruling.

Additionally, the phrase “and let them rule over” occurs in a sequence that can indicate purpose or result. Thus, the passage may be rendered, “Let us make man as our image, as our likeness, so that they may rule.” That is, God set up human beings with a distinct nature for a distinct task, which he expressly includes when blessing them (Gen. 1:28). We might still infer from general revelation some of the details that are relevant to that uniqueness, but we should avoid elevating them in importance.

Other Biblical Passages

The passages that refer back to Gen. 1:26–27 emphasize honor and respect for human individuals. Humans are to dominate the earth, not one another. They should not kill one another; otherwise they become subject to the death penalty (Gen. 9:6), and they should not curse others but instead treat them with honor (James 3:9). But the motif has no real prominence other than being in the beginning of the Bible. After Gen. 9:6, the OT does not use the phrase “image of God.” The concept of human rule appears (e.g., Ps. 8), but the expression “image of God” is more a subpoint under a larger topic than it is a heading for biblical teaching.

In the NT, Jesus is twice identified by the Greek equivalent to the Hebrew phrase “image of God” (2 Cor. 4:4; Col. 1:15). Especially in the context of Col. 1:15, the emphasis is on Christ’s deity and so part of a different topic, despite the similar wording. The two verses about believers that refer to the likeness of God and the image of the Creator (Col. 3:10; Eph. 4:24) deal with moral behavior and the sanctification of the believer (cf. Rom. 8:29; 2 Cor. 3:18). Although they do not directly refer to Gen. 1, they do address the common metaphor that humankind, by sinning, marred its imaging of God. To be conformed to the image of Christ restores how humanity images God in the world.

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The study of human beings, their nature and origins. The Christian understanding of anthropology stems from a biblical view of humankind’s relationship to God.

The Origin of Humankind

According to Genesis, the creation of humankind took place on the sixth day of the creation week. The amount of narrative space allotted to this day (Gen. 1:24–31) testifies to the special importance of what happened. Human beings were made on the same day as the animals. Human beings were not given a day of their own, showing that they have a certain kinship with the animals, although they are far more than highly successful and adaptive mammals. This has implications for the care of animals and of the environment generally. The value of human beings and their special place in the created order is clear in passages such as Pss. 8:5–6; 104:14–15.

Created in the image of God. When it came to the making of human beings, God deliberated over this crucial step (Gen. 1:26). The plural of exhortation in “Let us make man in our image” signals that the decision to make humankind was the most important one that God had made so far. Genesis 1 says that human beings are like God in some way.

Various opinions have been canvassed as to what the “image” is. We cannot totally exclude the physical form of humans, given God’s humanoid form in OT appearances (theophanies; e.g., Isa. 6:1; Ezek. 1:26; Amos 9:1). The image has sometimes been interpreted as a task, the exercising of dominion (Gen. 1:28), with humanity appointed as creation’s king, ruling under God. But the image is better understood as the precondition for rule rather than rule itself. The image shows human worth (Gen. 9:6) and differentiates humans from all other creatures. It is proper for the Bible to use anthropomorphic language for God, for humans are remarkably like God. Both male and female are in the image of God (“in the image of God he created them; male and female he created them” [1:27]), so that the divine image is not maleness, nor is sexual differentiation the image. Commonly, the image of God is thought to be some peculiar quality of human beings—for example, rationality, speech, moral sense, personality, humans as relational beings.

Every century has its own view of what is the essence of humanity. However, nothing in the passage allows a choice among such alternatives. The point of the passage is simply the fact of the likeness, with no exact definition being provided. The fact of the image is the basis of the divine prohibition of murder and of the strict penalty applied to the transgressor (9:4–6). The fall into sin affected every aspect of the human constitution, and the Bible does not minimize the fact of human sinfulness (Gen. 6:5; 8:21; Rom. 3:10–18); nevertheless, humans are still in the image of God (Gen. 5:1–3; 9:6; 1 Cor. 11:7). God’s plan of salvation is aimed at ridding creation (and especially humanity) of the baneful effects of sin, and this will be achieved through the work of Christ, who is the image of God (2 Cor. 4:4; Col. 1:15–20; Heb. 1:1–3; 2:5–18). The outcome will be the conformity of believers in Christ to his glorious image (Rom. 8:29–30; 2 Cor. 3.18).

Place in the created order. God’s purpose in giving human beings the divine image is “so they may rule” (NET [Gen. 1:26b translated as a purpose clause]). The syntax suggests that the image is a presupposition of dominion. It is plain that such a delegated authority makes humans stewards. The vegetarian diet of Gen.1:29 (there was no eating of meat at first) represents a limitation to the human right of dominion. Adam’s naming of the animals was (in part) expressive of his sovereignty over them (2:19). Later, Noah was charged to bring pairs of animals into the ark to preserve them alive (6:19–20), showing care for other creatures. The patriarchs tended flocks (13:2–9; 26:12–14), and Joseph’s relief measures saved the lives of people and animals (47:15–18). The wanton destruction of the Promised Land was expressly forbidden (Deut. 20:19–20). Humanity is accountable to God for the stewardship of the earth. The divine command “be fruitful and multiply” (Gen. 1:28 NRSV) shows that God’s purpose is that the human race populate the whole earth.

At Gen. 2:7 the biblical narrative becomes thoroughly anthropocentric, picturing the little world that God establishes around the first man, so this account is quite different from the cosmic presentation of Gen. 1. In Gen. 1 humankind is the apex of a pyramid, the last and highest of a series of creatures; in Gen. 2 the man is the center of a circle, everything else made to fit around him, and his connection to the physical earth is emphasized. In either view, a very special place is given to human beings in the created order. The two pictures are complementary, not contradictory.

The “man” (’adam) is formed from the “ground” (’adamah), with the related Hebrew words making a pun. Man’s name reminds him of his earthy origins. He is made from the “dust,” which hints at his coming death. He will return to the dust (Gen. 3:19; cf. Job 10:8–9; Ps. 103:14; Isa. 29:16). The reference to “the breath of life” (Gen. 2:7) is due to the fact that this leaves a person at death (Job 34:14–15; Ps. 104:29–30), so man’s (potential) mortality is implied. Ironically, the making of man is described using the language of death. What is described in Gen. 2 is the making of the first man, from whom the rest of the human race has descended, not the making of humankind, though the word ’adam can mean that in other contexts.

The Nature of Humankind

Body, soul, and spirit. Arguments over whether human nature is bipartite (body and soul) or tripartite (body, soul, spirit) are not to be decided by arbitrary appeal to isolated verses. Verses can be found in apparent support for both the first view (e.g., Matt. 10:28) and the second (e.g., 1 Thess. 5:23), but certainly the first scheme is much more prevalent in the Bible. “Soul” and “spirit” can be used interchangeably (Eccles. 3:21; 12:7; Ezek. 18:31). Death is marked by the parting of soul/spirit and body, but it would be a mistake to think that human beings are made up of separate component parts, or that the physical body is only a dispensable shell and not essential to true humanity. The physicality of human existence in the “body” is owned and celebrated in Scripture, part of that being the positive attitude to sexuality when properly expressed (Song of Songs; 1 Cor. 7) and the nonascetic nature of biblical ethics (1 Cor. 10:31; Col. 2:23). The doctrine of the resurrection of the body is the fullest expression of this (1 Cor. 15), in contrast to ancient Greek thought that viewed the body as inherently evil and understood salvation as the immortality of the liberated, disembodied soul.

The different words used in relation to persons are only intended to refer to and at times focus on different aspects of unified human nature. References to the “soul” may stress individual responsibility (e.g., Ezek. 18:4 NASB: “The soul who sins will die”). In Ps. 103:1–2, “O my soul” expresses emphatic self-encouragement to praise God and is in parallel with “all my inmost being”—that is, “my whole being” (an example of synecdoche: a part standing for the whole [cf. Ps. 35:10]). These are ways of referring to oneself as a person who expresses will and intention (cf. Ps. 42:5–6, 11). The “flesh” is used to stress the weakness of mortal humanity (e.g., Isa. 40:6 RSV: “All flesh is grass”). The “heart” is the volitional center of a human being (Prov. 4:23; cf. Mark 7:17–23). The emotional and empathetic reactions of humans are described by reference to the organs: “liver,” “kidneys,” “bowels.”

Morals and responsibility. In Gen. 2 the complexities of the man’s moral relation to God and his relations with the soil, with the animals, and with the woman are explored. God deposited the man in the garden “to work it and take care of it” (2:15). The words chosen to designate the man’s work prior to the fall have an aura of worship about them, for they are later used in the OT for the cultic actions of serving and guarding within the sanctuary. The priests served by offering sacrifices, and the Levites guarded the gates of the sacred precinct. A theology of work as a religious vocation is presented. The man was a kind of king-priest in the garden of God.

The moral responsibility of humanity is signaled from the beginning. God’s command gives permission for the man to eat from “any tree” except one (Gen. 2:16–17) and as such indicates man’s freedom, so that this command is no great restriction. The wording “you are free to eat” reinforces the point about God’s generous provision. The prohibition is embedded in the description of God’s fatherly care for the man and gracious act in placing him in the garden. The divine restriction is slight and not at all overbearing, though the serpent will seek to make it appear mean-spirited (3:1). The command and prohibition are the very first words of God to the man, marking them out as of fundamental importance for the relationship between them. The prohibition (“you must not eat . . .”) is an absolute one in the style of the Decalogue (Exod. 20:1–17; Deut. 5:6–21). What is placed before the man is a test that gives him the opportunity to express his loyalty to God. A relationship of obedience and trust requires the possibility of choice and the opportunity to disobey (if that is what he wants to do). The moral nature and responsibility of individuals is not a late discovery by the prophet Ezekiel (Ezek. 18); rather, it is the presupposition behind the Mosaic law, for the commands of the Decalogue (“you shall not . . .”) are phrased as commands to individuals (as the Hebrew makes clear). On the other hand, the concept of corporate responsibility is also present (e.g., Achan’s punishment in Josh. 7).

Relationships. Human beings are relational by nature, as the creation of the woman as a helper and partner for the first man makes plain (Gen. 2:18–25). Later in Scripture this is put in more general terms, so that friendship and mutual cooperation are shown to be essential to life (Eccles. 4:7–12). The body life of the church reflects the same fact and need (1 Cor. 12). In Psalms, human needs and vulnerability find their answer and fulfillment in God, with the psalmist acknowledging his frailty and his creaturely dependence on God (e.g., Ps. 90). This also shows the folly of sinful human pride, against which the prophets so often inveighed (e.g., Isa. 2:9, 11–17, 22).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The modern concept of “self-esteem” may have roots in individualism, but Scripture conceives of it in relation to God and community. Creation grounds positive self-regard in dignity, blessing, and authority bestowed by God (Gen. 1:26–28; Pss. 8; 139:13–16), hence the concern that God preserve one from oppression, illness, and shame (Ps. 71). Self-esteem is not absolute, unlimited self-regard, but rather a healthy valuing of oneself and others as beloved, gifted by, and responsible to God (Rom. 12:3–8; contrast Ps. 14).

Self-esteem draws strength from the community’s defining story. The people of Israel are commanded to teach their children their narrative of promise, oppression, and deliverance (Deut. 6), and prophetic words of divine assurance help restore the exiles’ corporate identity, preparing them for return to the land (e.g., Isa. 54). Similarly, Jesus pledges the Father’s care for the disciples as persons, forming them as a community and freeing them for lives of trust and contentment as God’s beloved children (Luke 12:32–34; Phil. 4:10–20).

In the ancient world, shame and honor are two binary opposites used to depict one’s status or behavior, which a culture approves or disapproves. The system of honor and shame serves as a primary means of social control. Thus, knowing how to act to conform to the code of social behavior expected by one’s group is essential to the maintenance of that community.

In the Bible, the noun “honor” is represented by kabod (from the verb “to be heavy”) in the OT, and by timē (from the verb “to honor”) in the NT. The reverse of honor is shame, which is represented by a variety of Hebrew and Greek terms, such as boshet in the OT, and aischynē in the NT.

In Israel, the Holiness Code (Lev. 17–26; cf. Num. 5:2–3; 8:6–7, 14–15) is comparable to the code of honor and shame. As a covenant community, Israel has the obligation to abide by the sanction imposed by God to attain honor (Deut. 4:6–8; 26:18–19; Pss. 34:5, 8–9; 37:18–19; 127:5; cf. 2 Chron. 26:18; Pss. 8:5; 62:7; 84:11; Rom. 2:7–11). Israel is honored (Exod. 32:11–12; Deut. 32:26–27) before the nations when God’s honor is upheld (Exod. 7:5; 10:1–2; 14:4, 17–18). Violation of covenantal stipulations—for example, deceptions in trading (Deut. 25:16), acts of “abomination” (Lev. 18:17, 22–23, 26–29), idolatry (Deut. 31:20; 32:15–17), and failure to perform duties prescribed in the law (Deut. 25:7–10)—results in disgrace before others (Exod. 32:25) and God (Deut. 28:25–26, 37).

The status of honor can be ascribed to an individual. A person is more honorable who is the firstborn (Gen. 49:3), comes from an esteemed family (Ps. 45:9), or is married into a dignified family (Gen. 41:45; Ruth 4:5). This worth will last a lifetime unless the reputation of the family is compromised, either because of economics (Ruth 1:1–21) or violation of the codes of conduct, such as adultery and incest (Exod. 20:14; Lev. 18:20; 20:10–21; Deut. 5:18; 22:22; Prov. 6:32–33), though not necessarily divorce (Deut. 24:1–4). Certain groups of people are honored because of special privilege granted to them (Prov. 8:15–16; Dan. 2:21; Rom. 13:1–5)—for example, priests (Exod. 28:2, 40; Ps. 110:4; Heb. 7:21), kings (Ps. 2:7), sages (Prov. 3:35), Israel (Exod. 19:6; Deut. 7:6; 8:11–9:7; 26:16–19), and the church (1 Pet. 2:9).

Wealth symbolizes one’s status and claims respect for its owners (Gen. 12:10–20; 14:21–24; 1 Kings 3:13; Prov. 3:16; 8:18; 22:4; Ps. 49:16; Isa. 61:6, 12) but does not equate the state of being poor with shame (cf. Ps. 12:5) unless it is a result of moral lassitude (Prov. 13:18). Parts of the human body symbolize worth and value. Certain parts of the body are less honorable than others, and to expose them is to invite disgrace (2 Sam. 10:4–5; 1 Chron. 19:4; Isa. 20:4; 1 Cor. 12:23–24).

The status of honor can also be achieved by an individual’s merits (cf. Rom. 2:7–11). Certain types of behavior are honorable—for example, humility (Prov. 15:33; 18:12; 29:23), taking care of one’s master (Prov. 27:18), honoring parents (Exod. 20:12; 21:15; 22:28; Prov. 19:26; Mal. 1:6; Matt. 15:4; Eph. 6:2), good service (Gen. 45:13), military exploits (2 Sam. 23:19–23; cf. 2 Chron. 32:21), almsgiving and justice (Prov. 21:21). One important aspect of achieving honor is the pursuit of wisdom. The ways of wisdom are honorable (Prov. 3:16–17; 4:8; 8:18), preserving a person from dishonor (Prov. 3:16–17, 31–33, 35; 24:14), but the ways of folly, such as injustice (Prov. 1:22; 14:31) and dishonoring parents (Prov. 30:17; cf. Exod. 20:12; 21:15; Lev. 20:9; Deut. 27:16), are a disgrace (Prov. 20:3; 26:1). The failure to perform one’s duty (Gen. 40:1–3) or a defeat in battle (Isa. 23:9; Lam. 1:8; Nah. 3:10) results in shame and, accordingly, loss of social status (Isa. 16:14; 23:9; Jer. 46:12; Lam. 1:6, 8; Hos. 4:7). An ultimate form of disgrace is to be hanged for public viewing (Deut. 21:22–23; Esther 5:14; 7:7–10; Matt. 27:32–44; Mark 15:22–32; Luke 23:33–43; John 19:17–24; 1 Cor. 1:18–25). In a patriarchal society, the status of women is obtained through their sexual exclusiveness. Their chastity (Gen. 38:24; Lev. 20:10; Deut. 22:13–21; cf. 2 Sam. 13:13; Song 8:8–9) and fertility (Gen. 16:2; 30:2; 1 Sam. 1:3–8) become indicators of family and social worth.

In classical Greek, “world” (kosmos) communicated the idea that the external universe is a well-ordered system. In early Greek usage, the term was used with reference to specific types of social orderings, such as the seating order of rowers (Homer, Od. 13.77), the order of soldiers (Homer, Il. 12.225), and well-ordered political states such as Sparta (Herodotus, Hist. 1.65).

Created World

In the OT, the notion of the created “world” departed from the Greek understanding specifically in that creation is never seen as an independent entity controlled by an impersonal, all-embracing order. Rather, the universe, usually described with the phrase “the heavens and the earth” (Gen. 1:1; 2:1, 4; Ps. 113:6; Jer. 10:11) or at times the “all” or “all things” (Ps. 103:19; Jer. 10:16), is always understood in its relationship to its creator: “He who created the heavens, he is God; he who fashioned and made the earth, he founded it; he did not create it to be empty, but formed it to be inhabited—he says: ‘I am the Lord, and there is no other’ ” (Isa. 45:18). Here, the “world” (“earth”) refers to the material elements that make up the planet (see also Jer. 32:17; Zech. 12:1) and the sum total of the entire universe (cf. Acts 17:24). Even in the account of creation in Gen. 1:1–2:4, where many of the elements of the physical world are mentioned (waters, firmament, stars, etc.), the primary intent of the account is to convey that God is Lord over everything because he is the Creator. Often these created elements that make up the world are praised not for their own inherent beauty, but as a testimony to the majesty, supremacy, and omnipotence of the Creator (Pss. 8; 19:1–6; 33:6–9). In Ps. 148:3–6 the elements within the natural order (kosmos) are instructed to praise God: “Praise him, sun and moon; praise him, all you shining stars. Praise him, you highest heavens and you waters above the skies. Let them praise the name of the Lord, for at his command they were created, and he established them for ever and ever—he issued a decree that will never pass away.”

Though not providing a comprehensive description, the OT does at times refer to how the world is constructed as a whole. The “vault” (Gen. 1:6–20 [RSV: “firmament”]) of heaven separates the waters above from the waters below (which are restrained by God’s sovereign care [Gen. 1:7; 7:11; 49:25]), and this area or chamber rests on “pillars” (Job 26:11). At times the earth is described as a disc with the sanctuary as its center point (Judg. 9:37; Ezek. 38:12), which rests on pillars (Job 9:6). There is an underworld, from which there is no return (Job 10:21); however, the OT does not engage in the kind of speculation regarding the underworld as is evident in the Greco-Roman tradition.

Earth and Its Inhabitants

The term “world” conveys other nuances in the Bible. It often refers to the inhabitants of the earth or the place of human life: “He rules the world in righteousness and judges the peoples with equity” (Ps. 9:8 [cf. Pss. 96:13; 98:9]); or, “Come near, you nations, and listen; pay attention, you peoples! Let the earth hear, and all that is in it, the world, and all that comes out of it!” (Isa. 34:1). Also, in the Gospels “world” is used in this way: “What good is it for someone to gain the whole world, yet forfeit their soul?” (Mark 8:36). Matthew 4:8 refers to all the kingdoms of the world. Also the expressions “coming into the world” (John 1:9; 3:19), “in the world” (John 1:10; 2 Cor. 1:12), and “leave this world” (1 Cor. 5:10) can be understood as referring to the sphere of human life.

Ungodly Culture and Worldview

“World” can also refer to something more than the material world or humanity in general; it can refer to the entire cultural value system or world order that is hostile toward God. The “world” is a common biblical way of referring to the ungodly worldview and lifestyle that characterize human life in its rebellion against the Creator. The course of the world is profoundly affected by fallen humans, through whom death came into the world and rules over it (Rom. 5:12). Therefore, Paul can claim that “the whole world” has become guilty before God (Rom. 3:19), and even the created world is affected by such rebellion (8:20–22). Paul especially links “this world” with “this age” (1 Cor. 3:19; 5:10; Eph. 2:2 NET), which God has judged (Rom. 3:6). John declares that Satan is the “prince of this world” (John 12:31; 14:30; 16:11). Paul refers to Satan as the “god of this world” (2 Cor. 4:4 ESV, NRSV, NASB), who is able to blind individuals to the truth and who animates human rebellion (Eph. 2:2). In this sense, God and the world are strictly separate: “Don’t you know that friendship with the world means enmity against God? Therefore, anyone who chooses to be a friend of the world becomes an enemy of God” (James 4:4). Because of this call to an exclusive relationship with God, believers are mandated to resist and even confront the world. Followers of Christ must not be taken captive by philosophy or the “elemental spiritual forces of this world” (Col. 2:8, 20), since, as Paul says, “the world has been crucified to me, and I to the world” (Gal. 6:14).

But it is the world that designates the location and object of God’s saving activity. Indeed, God sent his Son into this world in order to reconcile it to himself (2 Cor. 5:19). Jesus, the sacrificial Lamb of God, “takes away the sins of the world” (John 1:29). Out of love for this world, God sent his Son (John 3:1), not to judge it but to save it: “God did not send his Son into the world to condemn the world, but to save the world through him” (John 3:17).

Although believers live in the world (1 Cor. 5:10; Phil. 2:15) and must have dealings with the world, ultimately they are not of the world (John 17:14). Remaining in Christ, believers are able to demonstrate in the world the belief and practice of the new commandment to love (John 13:34; 15:9). Therefore, Christians must maintain a critical distance from the world’s system: “Do not love the world or anything in the world. If anyone loves the world, love for the Father is not in them. For everything in the world—the lust of the flesh, the lust of the eyes, and the pride of life—comes not from the Father but from the world” (1 John 2:15–16 [cf. James 1:27; 4:4]). Believers are to avoid the seductive power of the world and not abandon themselves to it; they are to follow their Lord in proclaiming God’s project of reconciling the world to himself through the death and resurrection of Jesus Christ (2 Cor. 5:18).