The Hebrew word tappuakh is most often rendered “apple (tree),” though some have suggested other fruits, arguing that the apple was not introduced into biblical lands until after the period of the OT.

In Song of Songs, the man is said to be an apple tree among the trees of the forest (Song 2:3). He provides shade for the woman, who partakes of the tree’s fruit. Later in the same book, the apple tree is also the location of lovemaking; the woman says that the man arouses her under the apple tree (Song 8:5). The apple tree stands out among all the other trees by its fruit and its scent. In love poetry it provides an ideal setting for intimacy because of its shade and the intimations of fruitfulness (fertility). In Song 2:5, apples are mentioned along with raisin cakes as food that will sustain the woman in her lovemaking, thus serving as a kind of aphrodisiac. In an equally sensuous passage (Song 7:8), the woman’s breath is said to smell like apples, thus implying that she is pleasant to be near as the man kisses her.

Excluding references to the “apple of the eye,” the apple tree occurs outside of Song of Songs only in Joel 1:12 and Prov. 25:11. In Joel 1:12, the apple tree is listed among trees that will be destroyed in the context of God’s judgment. In other words, the fertility of the orchards and forests will disappear. Proverbs 25:11 compares words spoken at the right time to golden apples set in a silver basket, a highly desirable combination. See also Apple of the Eye.

The Hebrew word tappuakh is most often rendered “apple (tree),” though some have suggested other fruits, arguing that the apple was not introduced into biblical lands until after the period of the OT.

In Song of Songs, the man is said to be an apple tree among the trees of the forest (Song 2:3). He provides shade for the woman, who partakes of the tree’s fruit. Later in the same book, the apple tree is also the location of lovemaking; the woman says that the man arouses her under the apple tree (Song 8:5). The apple tree stands out among all the other trees by its fruit and its scent. In love poetry it provides an ideal setting for intimacy because of its shade and the intimations of fruitfulness (fertility). In Song 2:5, apples are mentioned along with raisin cakes as food that will sustain the woman in her lovemaking, thus serving as a kind of aphrodisiac. In an equally sensuous passage (Song 7:8), the woman’s breath is said to smell like apples, thus implying that she is pleasant to be near as the man kisses her.

Excluding references to the “apple of the eye,” the apple tree occurs outside of Song of Songs only in Joel 1:12 and Prov. 25:11. In Joel 1:12, the apple tree is listed among trees that will be destroyed in the context of God’s judgment. In other words, the fertility of the orchards and forests will disappear. Proverbs 25:11 compares words spoken at the right time to golden apples set in a silver basket, a highly desirable combination. See also Apple of the Eye.

A flag, streamer, emblem, or carved object raised on a pole. On the ancient battle field, raised banners and blown trumpets served as the primary tools for mass communication. They could indicate troop movements and serve as rallying points (Isa. 18:3). Once the battle was won, banners proclaimed victory. Cloth banners usually were colored and carried symbols to represent a particular group, whether it was a military unit, clan, tribe, or nation (Num. 2:2; Ps. 60:4). The actual appearance of Israelite banners is unknown, but the images of banners from other nations have been found carved into ancient reliefs. For example, the Narmer Palette (c. 3000 BC) shows three different kinds of banners raised above the heads of soldiers.

The earliest reference to a banner in the Bible occurs after the Israelites defeated the Amalekites at Rephidim near Mount Sinai. To commemorate the victory, Moses built an altar and named it Yahweh nissi, “The Lord is my banner” (Exod. 17:15). In a sense, Moses’ raised hands served as banners to encourage the Israelites by assuring God’s presence and victory (17:11–13).

When Moses placed the bronze serpent on a pole, he raised it as a banner for the Israelites to look upon it and be healed (Num. 21:8). Jesus drew a parallel between the raised serpent and the raising up of the Son of Man (John 3:14). Metaphorically, Jesus was a banner lifted up to proclaim salvation for the world.

An interesting use of banner is in Song 6:4, where the woman is described as “majestic as troops with banners.” The man is so in awe of his beloved that it mesmerizes him and causes his heart to race. The NIV renders Song 2:4 as “let his banner over me be love,” the idea being that the man would make his love for his beloved public.

A Hebrew word in Song 2:17 that is either a proper noun (KJV, NASB: “mountains of Bether”) or an adjective (e.g., NIV: “rugged hills”; NRSV: “cleft mountains”).

One of several common thorny or prickly plants, also translated as “brier,” “thorn,” or “thistle.” Brambles grew as weeds in grain fields (Job 31:40) and among ruins (Isa. 34:13). They were considered unattractive (Song 2:2), insignificant (Judg. 9:14–15; 2 Kings 14:9), and unproductive (Luke 6:44).

Several species of crocus grow in Palestine. It is a spring-flowering plant with a long yellow floral tube tinged with purple specks or stripes. With abundant blossoms, the crocus (Heb. khabatselet) symbolizes beauty and splendor (Song 2:1; Isa. 35:1). According to the Targum, it is the dazzling yellow-green polyanthus narcissus that grows abundantly on Judean hills. Sometimes khabatselet is translated as “rose” (Song 2:1 KJV, NIV, NRSV), and botanists agree that the crocus may actually be the asphodel.

The doe symbolizes feminine fecundity and beauty (Prov. 5:19; Song 2:7) and the flourishing of the recipient with God’s protection and blessings (2 Sam. 22:34; Hab. 3:19). The doe symbolizes the tribe of Naphtali in Gen. 49:21. The calving of does was viewed as something that occurred under the providence of God (Job 39:1; Jer. 14:5; and in some translations of Ps. 29:9 [e.g., NASB: “The voice of the Lord makes the deer to calve”], though the NIV and other versions translate an emended text). One psalm had an accompaniment (possibly a musical melody) called “The Doe of the Morning” (Ps. 22 superscription).

The rock dove (Heb. yonah; Gk. peristera) was domesticated throughout the ancient Near East and used for carrying messages long before Roman times. It breeds prolifically, and its homing instinct brings it swiftly back to its dovecote (Isa. 60:8; Hos. 11:11) or the buildings or crevices where it nests (Jer. 48:28). Israel also has three species of turtledove (Heb. tor; Gk. trygōn), one being a summer migrant (Song 2:12; Jer. 8:7).

In Israel, the dove was considered clean for food and designated for sacrifice, often as a poor person’s substitute for a lamb (Gen. 15:9; Lev. 1:14; 5:7, 11; 12:6, 8; 14:22, 30; 15:14, 29; Num. 6:10; Matt. 21:12; Mark 11:15; Luke 2:24; John 2:14, 16). The dove is first mentioned in Scripture when Noah sends out a dove from the ark (Gen. 8:8–12). In the NT, the dove is an image of purity (Matt. 10:16) and also symbolizes the Holy Spirit (Matt. 3:16; Mark 1:10; Luke 3:22; John 1:32), but in the Song of Songs, where the beloved, and in particular the beloved’s eyes, are likened to doves (1:15; 2:14; 4:1; 5:2, 12; 6:9), it may also connote fertility.

The dove is also, however, mournful (Isa. 38:14; 59:11; Ezek. 7:16; Nah. 2:7), vulnerable (Ps. 74:19), and easily deceived (Hos. 7:11). When frightened, it takes flight to lonely places (Ps. 55:6; Isa. 60:8), which perhaps adds interest to the fact that Jonah’s name literally means “dove.”

A container for liquid mentioned in the KJV of various OT passages. In several instances (2 Sam. 6:19; 1 Chron. 16:3; Song 2:5; Hos. 3:1) the underlying Hebrew word (’ashishah) actually denotes a cake of raisins rather than a container (of wine) and is so translated in more-recent versions.

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

Flower Imagery

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

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

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

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

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

Flowers Named in the Bible

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A carnivorous mammal with pointed ears and muzzle and a bushy tail (Neh. 4:3; Matt. 8:20; Luke 9:58), often viewed as an expendable pest (Judg. 15:4–5; Song 2:15). The fox came to represent a politically cunning person, as in the case of Herod Antipas (Luke 13:32).

A small, fast antelope, the gazelle is mentioned over a dozen times in the OT. The animal was considered clean and permitted as food for the Israelites (Deut. 12:15, 22). It was a symbol of speed and agility (2 Sam. 2:18) as well as beauty and grace (Song 2:9).

A large room, usually in a palace or a temple (1 Kings 6:3). The hall, or main room, in Solomon’s temple was surrounded by smaller side rooms (1 Kings 6:5), had entrance doors framed with olive wood (1 Kings 6:33), and was paneled with juniper decorated with gold (2 Chron. 3:5). Solomon’s throne room was called the “Hall of Justice” (1 Kings 7:7). Queen Esther waited outside the king’s hall, or throne room, for an audience with the Persian king (Esther 5:1). A royal or official banquet room is a hall (1 Sam. 9:22; Esther 7:8; Song 2:4; Dan. 5:10; Matt. 22:10).

In the KJV, the governor’s palace, or praetorium, where Jesus was led after his arrest is identified as a hall (Matt. 27:27; Mark 15:16) or hall of judgment (John 18:28, 33; 19:9), as are the courtyard where Peter first denied Jesus (Luke 22:55) and the palace of Herod Agrippa, where Paul was kept under guard (Acts 23:35). When Paul could no longer preach in the synagogue in Ephesus, he held daily discussions in the lecture hall of Tyrannus (Acts 19:9).

A flowering plant esteemed by the Hebrews for its beautiful blossoms. Lily decorations were in the temple as part of the garden imagery connecting the temple to the garden of Eden (1 Kings 7:19, 22, 26). The lily is prominent in the poetry of the Song of Songs (Song 2:1–2; 5:13; 6:2–3), and God used it to picture the future prosperity of Israel (Hos. 14:5). Jesus alluded to the beauty and carefree existence of lilies as he encouraged listeners not to worry about clothing (Matt. 6:28; Luke 12:27).

Raisins, or dried grapes, were among the foods forbidden to Nazirites (Num. 6:3). The reference to raisins in Song 2:5 indicates a belief in their aphrodisiac quality. Elsewhere, raisins frequently appear as a staple food, often pressed into cakes or patties that were easily transported (1 Sam. 25:18) and supplied quick energy (1 Sam. 30:12). Raisin cakes were also used as cultic offerings to other gods (Hos. 3:1).

Raisins, or dried grapes, were among the foods forbidden to Nazirites (Num. 6:3). The reference to raisins in Song 2:5 indicates a belief in their aphrodisiac quality. Elsewhere, raisins frequently appear as a staple food, often pressed into cakes or patties that were easily transported (1 Sam. 25:18) and supplied quick energy (1 Sam. 30:12). Raisin cakes were also used as cultic offerings to other gods (Hos. 3:1).

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

Flower Imagery

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

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

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

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

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

Flowers Named in the Bible

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Flower Imagery

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

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

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

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

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

Flowers Named in the Bible

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Allegory is the use of symbolism to express or represent certain truths. It can be understood in two different ways.

First, some writers intentionally express concepts that conceal behind the literal meaning of their words a more significant meaning. For example, in John Bunyan’s Pilgrim’s Progress, Hopeful helps Christian see Christ again so that he may avoid the Wicked Gate. Similarly, the dark wood where Dante loses himself at the beginning of the Divine Comedy is intended by the author as a symbol of sin, and the three animals that he encounters there are symbols for three particular sins. In both cases, the author intentionally presents the true meaning of the story through figures or symbols. This use of allegory is sometimes described as a prolonged metaphor.

The second way allegory can be understood is as a perspective taken up by the interpreter or reader. Here the reader assumes that the text has a secondary or hidden meaning underlying the primary, literal meaning of the words. Often, but not always, this kind of allegorical interpretation ignores the literal sense of the words and at times denies the usefulness of the literal meaning all together.

Allegory in the Bible. Some passages of Scripture come very close to the first use of allegory: in Ezek. 17:2 God instructs the prophet to “set forth an allegory [NASB, NRSV: “riddle”] and tell the house of Israel a parable.” In the account that follows the prophet carefully explains each element of the story: the first eagle is Babylon, the twigs carried to a land of trade are the captive Israelites taken to Babylon, and so forth. In Ezek. 24:2–14 the prophet gives a similar account, this time pointing out Israel’s unfaithfulness.

Jesus’ parable of the sower (Matt. 13:1–9 pars.) comes very close to this kind of allegory because each feature of the story is explained by Jesus to convey his teaching regarding the kingdom (13:18–23 pars.). However, care must be taken not to confuse the literary category of parable with this type of allegory. A parable is a particular type of story that only at times bears a resemblance to an allegory.

Allegorical interpretation in the early church. The early church fathers, facing the need to distinguish Christianity from Judaism, focused on the person and work of Christ as a means of reading the Bible (one might call this “christocentric” reading). They explained that the Jews could read the OT and yet reject Jesus as the Messiah because they read according to the letter and not according to the Spirit (“for the letter kills, but the Spirit gives life” [2 Cor. 3:6]). Therefore, the church fathers claimed that the spiritual interpretation of the Bible conveyed its true meaning—the sense that Jesus is the Son of God.

The Alexandrian fathers and allegorization. Clement, traditionally the third bishop of Rome (c. AD 96), provides a very early example of Christian allegorical interpretation. Referring to the story of Rahab and the Israelite spies in Josh. 2, he argues that the scarlet cord is symbolic of a spiritual reality: “And in addition they gave her a sign, that she should hang from her house something scarlet—making it clear that through the blood of the Lord redemption will come to all who believe and hope in God” (1 Clem. 12:7). Another classic example of allegorical interpretation of the OT is the almost universally accepted early Christian understanding of Song of Songs. According to this interpretation, the literal sense of the song (romantic love) could not be its real meaning. Rather, the text refers to the relationship between Christ and his church; thus, the woman represents the church, and the man represents Christ. The passage “He brought me to his banqueting table, and his banner over me is love” (Song 2:4 KJV) refers not to a romantic encounter between lovers but rather to Christ and his delight in the church.

Origen, an early Christian leader and influential biblical scholar from Alexandria, argued that every passage in the Bible had a threefold sense, corresponding to body, soul, and spirit: the literal, moral, and spiritual. Origen usually began with the literal sense of the words, but he insisted that one should move on to the higher sense of the text (moral and spiritual) because it leads the believer closer to Christ. The only way to grasp the spiritual sense of the text, according to Origen, is through revelation. He also was one of the first to claim that Paul himself used allegorical interpretation: in his identification of the wilderness rock with Christ (1 Cor. 10:1–4) and of Sarah and Hagar with two covenants (Gal. 4:22–26). It is debated whether these are examples of allegory or of typology; much depends on how one defines both terms. Many draw a firm distinction between allegory, which derives from a correspondence of ideas, and typology, which derives from a correspondence between historical events. Even in contemporary debate some insist that these passages rely more upon typological connections than allegorical ones.

Allegorical versus typological interpretation. In contrast to those church fathers who followed Origen and others from Alexandria, the fathers of Antioch, especially Theodore of Mopsuestia (AD 350–428) and John Chry­sos­tom (c. AD 354–407), opposed finding the spiritual sense of the text by means of allegorical interpretation. Rather, these interpreters argued that the spiritual sense of the Bible is not allegorical but is to be found in the literal sense itself. Theodore, when challenged to account for the use of the term “allegory” (Gal. 4:24 KJV, RSV, NRSV), argued that Paul used it to indicate a historical correspondence; that is, Paul was interpreting the OT typologically.

Summary. Positively, allegory emphasizes that the Bible should be approached spiritually, and that it should find practical application in the life of the believer. Often allegory made it possible for the church to apply obscure passages of the Bible that otherwise might have been ignored as irrelevant. Negatively, allegory largely removes the text of the Bible from history and fosters irresponsible and fanciful interpretations. See also Typology.

In the list of clean animals in Deut. 14:5, “antelope” (Heb. te’o) may refer to the Arabian or desert oryx (NET: “wild oryx”). The oryx was eaten as food and offered in sacrifice; bones have been found at both domestic and religious sites. Although only the size of a donkey, it has long, straight horns that it uses ferociously in self-defense, and this gave it a reputation for strength and bravery. Another possibility is the equally fierce water buffalo. When Isaiah describes Israel as an antelope lying in a net (Isa. 51:20), this image probably portrays the mighty fallen rather than the weak oppressed.

Three other biblical animals belong to the modern category “antelope”: (1) the dishon (Deut. 14:5), sometimes translated “ibex” (NIV, NRSV) or “pygarg” (KJV [from the Greek for “white-rumped”]), but probably an antelope (NJB), either the “addax” (NAB) or one of the two white-rumped Kobus antelope species known in Israel; (2) the tsebi, a gazelle (Deut. 12:15, 22; 14:5; 15:22; 2 Sam. 2:18; 1 Kings 4:23; 1 Chron. 12:8; Prov. 6:5; Song 2:7, 9, 17; 3:5; 4:5; 7:3; 8:14; Isa. 13:14); (3) the yakhmur (NIV: “roe deer,” “roebuck”; NRSV: “roebuck”), possibly the Bubal hartebeest (Deut. 14:5; 1 Kings 4:23).

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

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

About a third of the OT is poetic. Poetry is a more elevated way of speaking and writing than prose. It is a departure from normal patterns of speech and exhibits a high degree of attention to literary artifice. In poetry, how something is said is as important as what is said. Poetry employs various poetic devices and conventions that are less frequent in or completely absent from ordinary speech. Among these are acrostic, inclusion, chiasm, succinctness, parallelism, and the heightened use of imagery (see also Acrostic).

Hebrew poetry also employs the full range of figures of speech, including metaphor, simile, synecdoche (substituting part for whole or vice versa, such as “set sail” or “lying in wait for blood”), anthimeria (substituting one part of speech for another, such as “let the dry appear”), merism (the whole expressed with two opposites, such as “day and night”), anthropomorphism, personification (“let the rivers clap their hands” [Ps. 98:8]), and so on.

Inclusion and Chiasm

Inclusion (or inclusio) is a structuring device whereby a unit of text begins and ends with the same or a very similar word or phrase. Thus the included material is bounded and defined as a unit of text. For example, Song 2:8–17 begins, “Listen! My beloved! Look! Here he comes, leaping across the mountains, bounding over the hills. My beloved is like a gazelle or a young stag,” and it ends, “Until the day breaks and the shadows flee, turn, my beloved, and be like a gazelle or like a young stag on the rugged hills.” This opening and closing with the same metaphor bounds the enclosed material as a unit of text. Another example is the way Prov. 1:2–7 (NRSV) begins and ends with the words “wisdom,” “instruction,” and “understanding/knowledge,” which delineates these verses as a block of text.

Chiasm (or chiasmus) is a way of organizing material whereby the second half of a text is a mirror image of the first half. “The Sabbath was made for man, not man for the Sabbath” (Mark 2:27 pars.) can be diagrammed as A/B/Bʹ/Aʹ. More and more elaborate chiasms have been proposed for various parts of Scripture, with many elements on each side. The flood narrative, the Abraham cycle, the book of Ruth, and so on may be written to a chiastic structure.

Succinctness and Imagery

One of the characteristics of Hebrew poetry is its succinctness; it says a lot with a few words. One way this is accomplished is through the use of imagery. “The Lord is my rock” (Ps. 18:2) compresses volumes of theology into a single image, thus requiring far less verbosity than if the concept had been stated without imagery. However, the trade-off is that more is required of the reader. The reader must ask, “How is the Lord like a rock?” and fill in the blank. This is true also of other ways that poetry is succinct—for example, its tendency to leave out particles and connectives. For example, “The Lord is my shepherd, / I lack nothing” (Ps. 23:1) leaves out a needed conjunction between the two phrases, which the reader must supply. Is it “The Lord is my shepherd, sooner or later I shall need nothing”? “The Lord is my shepherd, even so I shall need nothing”? Or “The Lord is my shepherd, therefore I shall need nothing.” The reader must decide the correct association between the two lines because the conjunction is purposely left out of the verse. Thus poetry engages the reader and must be read slowly and carefully.

Parallelism

The most recognizable feature of biblical poetry is the phenomenon of parallelism. This is the counterweight to succinctness. While poetry is designed to say much with few words, these words occur in line pairs, the second of which takes the thought further. For example, “Why do the nations conspire / and the peoples plot in vain?” (Ps. 2:1). Obviously, “nations” is parallel with “peoples,” and “conspire” with “plot in vain.” Line A and line B state in essence the same thought with different words, and they state it in the same way. This is called synonymous parallelism. “Lazy hands make for poverty, / but diligent hands bring wealth” (Prov. 10:4). In this verse, the parallel elements are opposites: lazy and diligent, poverty and wealth. This is called antithetical parallelism.

Sometimes, the second line completes the thought of the first line, forming complementary parallelism: “Israel, put your hope in the Lord / both now and forevermore” (Ps. 131:3). When a symbol is set in parallel with the thing symbolized, this is emblematic parallelism: “As the deer pants for streams of water, / so my soul pants for you, my God” (Ps. 42:1). Sometimes line B follows line A in time, forming sequential parallelism: “I call out to the Lord, / and he answers me from his holy mountain” (Ps. 3:4). When line B follows logically from line A, this is consequential parallelism: “In peace I will lie down and sleep, / for you alone, Lord, make me dwell in safety” (Ps. 4:8). Traditionally, when the relation between the lines does not fit into any defined category, the parallelism is called synthetic.

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

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

About a third of the OT is poetic. Poetry is a more elevated way of speaking and writing than prose. It is a departure from normal patterns of speech and exhibits a high degree of attention to literary artifice. In poetry, how something is said is as important as what is said. Poetry employs various poetic devices and conventions that are less frequent in or completely absent from ordinary speech. Among these are acrostic, inclusion, chiasm, succinctness, parallelism, and the heightened use of imagery (see also Acrostic).

Hebrew poetry also employs the full range of figures of speech, including metaphor, simile, synecdoche (substituting part for whole or vice versa, such as “set sail” or “lying in wait for blood”), anthimeria (substituting one part of speech for another, such as “let the dry appear”), merism (the whole expressed with two opposites, such as “day and night”), anthropomorphism, personification (“let the rivers clap their hands” [Ps. 98:8]), and so on.

Inclusion and Chiasm

Inclusion (or inclusio) is a structuring device whereby a unit of text begins and ends with the same or a very similar word or phrase. Thus the included material is bounded and defined as a unit of text. For example, Song 2:8–17 begins, “Listen! My beloved! Look! Here he comes, leaping across the mountains, bounding over the hills. My beloved is like a gazelle or a young stag,” and it ends, “Until the day breaks and the shadows flee, turn, my beloved, and be like a gazelle or like a young stag on the rugged hills.” This opening and closing with the same metaphor bounds the enclosed material as a unit of text. Another example is the way Prov. 1:2–7 (NRSV) begins and ends with the words “wisdom,” “instruction,” and “understanding/knowledge,” which delineates these verses as a block of text.

Chiasm (or chiasmus) is a way of organizing material whereby the second half of a text is a mirror image of the first half. “The Sabbath was made for man, not man for the Sabbath” (Mark 2:27 pars.) can be diagrammed as A/B/Bʹ/Aʹ. More and more elaborate chiasms have been proposed for various parts of Scripture, with many elements on each side. The flood narrative, the Abraham cycle, the book of Ruth, and so on may be written to a chiastic structure.

Succinctness and Imagery

One of the characteristics of Hebrew poetry is its succinctness; it says a lot with a few words. One way this is accomplished is through the use of imagery. “The Lord is my rock” (Ps. 18:2) compresses volumes of theology into a single image, thus requiring far less verbosity than if the concept had been stated without imagery. However, the trade-off is that more is required of the reader. The reader must ask, “How is the Lord like a rock?” and fill in the blank. This is true also of other ways that poetry is succinct—for example, its tendency to leave out particles and connectives. For example, “The Lord is my shepherd, / I lack nothing” (Ps. 23:1) leaves out a needed conjunction between the two phrases, which the reader must supply. Is it “The Lord is my shepherd, sooner or later I shall need nothing”? “The Lord is my shepherd, even so I shall need nothing”? Or “The Lord is my shepherd, therefore I shall need nothing.” The reader must decide the correct association between the two lines because the conjunction is purposely left out of the verse. Thus poetry engages the reader and must be read slowly and carefully.

Parallelism

The most recognizable feature of biblical poetry is the phenomenon of parallelism. This is the counterweight to succinctness. While poetry is designed to say much with few words, these words occur in line pairs, the second of which takes the thought further. For example, “Why do the nations conspire / and the peoples plot in vain?” (Ps. 2:1). Obviously, “nations” is parallel with “peoples,” and “conspire” with “plot in vain.” Line A and line B state in essence the same thought with different words, and they state it in the same way. This is called synonymous parallelism. “Lazy hands make for poverty, / but diligent hands bring wealth” (Prov. 10:4). In this verse, the parallel elements are opposites: lazy and diligent, poverty and wealth. This is called antithetical parallelism.

Sometimes, the second line completes the thought of the first line, forming complementary parallelism: “Israel, put your hope in the Lord / both now and forevermore” (Ps. 131:3). When a symbol is set in parallel with the thing symbolized, this is emblematic parallelism: “As the deer pants for streams of water, / so my soul pants for you, my God” (Ps. 42:1). Sometimes line B follows line A in time, forming sequential parallelism: “I call out to the Lord, / and he answers me from his holy mountain” (Ps. 3:4). When line B follows logically from line A, this is consequential parallelism: “In peace I will lie down and sleep, / for you alone, Lord, make me dwell in safety” (Ps. 4:8). Traditionally, when the relation between the lines does not fit into any defined category, the parallelism is called synthetic.

The word “sensual” pertains to what is experienced through the senses, virtuously (Prov. 24:13; Song 2:3) or nonvirtuously (Col. 2:23; 1 Tim. 5:11). God made a sensuous creation, pleasing to the eye and taste (Gen. 2:9; 3:6). Honesty is likened to a kiss (Prov. 24:26), yet the same kiss can deceive (Gen. 27:26) and betray (Luke 22:48). God’s creation is radiant (Job 31:26), and his angels cast their splendor abroad (Rev. 18:1).

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