Two types of plants: a tree and a succulent. In the OT “aloe” probably refers to a spice derived from the modern eaglewood tree (Aquilaria agallocha), likely brought from India. The soft aromatic wood of the large and spreading tree constituted a drug, fragrant and highly valued for perfume and incense (Ps. 45:8; Prov. 7:17; Song 4:14). In the NT, a different plant is meant, Aloe vera. The aloin from the pulp of this succulent aloe leaf is the source of bitter, unpleasant-smelling, purgative medicine. The aloes that Nicodemus brought to prepare the body of Jesus (John 19:38–40) may have been dissolved in water and used with myrrh, creating an expensive product used for embalming.

A cinnamon-like spice mentioned three times in the OT (Exod. 30:24; Ps. 45:8; Ezek. 27:19 [cf. Gk. kinnamōmon in Sir. 24:25]; Heb. qiddah, qetsi’ah). In the Exodus passage it is prescribed as a component for the sacred anointing oil. In Ps. 45 the king’s robes are described as being fragrant with cassia and other spices. Ezekiel speaks of it being an item valuable for trading. The spice is derived from the inner bark of a tree that is native to India and modern-day Sri Lanka. See also Cinnamon.

Clothing serves not only the utilitarian function of protecting the body from the elements (1 Tim. 6:8; James 2:15–16) but also a number of socially constructed functions, such as identifying the status of the wearer (James 2:2–3) and expressing cultural values such as modesty and beauty. The full range of such functions is attested in the Bible, and clothing plays a prominent symbolic role in a number of texts. Evidence concerning Israelite and other ancient clothing comes not only from the Bible but also from reliefs, pottery decorations, incised ivories, and, to a limited extent, textile fragments recovered in archaeological excavations.

In biblical lands most clothing was made from the wool of sheep or goats. More expensive articles (such as the garments of priests and aristocrats) could be made from linen, a textile made from the plant fiber flax. Other items, such as sandals, belts, and undergarments, were made from leather. Biblical law forbade the mixture of woolen and linen fibers in Israelite clothing (Deut. 22:11).

Articles of Clothing

A number of specific articles of clothing can be identified in the Bible. Egyptian and Mesopotamian pictures suggest that in OT times each nation was known for a distinctive costume or hairstyle. Some notion of how Israelite costume was perceived, at least that of royalty, may be derived from the depiction of the northern king Jehu (842–814 BC) and his retinue on the Black Obelisk of Shalmaneser III. In this image Israelites are depicted wearing softly pointed caps, pointed shoes, and fringed mantles.

In OT Israel, men wore an undergarment or loincloth held in place by a belt. This loincloth could be made of linen (Jer. 13:1) or leather (2 Kings 1:8). Over this was worn an ankle-length woolen robe or tunic. The tunic of Joseph, traditionally rendered as his “coat of many colors” (Gen. 37:3 KJV, following the LXX), is perhaps better described not as colorful but as “long-sleeved” (see also 2 Sam. 13:18 NASB). The corresponding garments worn by women were similar in appearance, though sufficiently distinct that cross-dressing could be prohibited (Deut. 22:5).

Outside the tunic were worn cloaks (Exod. 22:25–26), sashes (Isa. 22:21), and mantles (1 Kings 19:19). A crafted linen sash was a marketable item (Prov. 31:24), whereas a rope belt was a poor substitute (Isa. 3:24). Both Elijah and John the Baptist wore a belt of leather (2 Kings 1:8; Matt. 3:4; Mark 1:6).

The characteristic garment of the elite was a loose-fitting, wide-sleeved, often elegantly decorated royal robe (Heb. me’il  ). This garment was worn by priests (Exod. 28:4), nobility, kings, and other highly placed members of Israelite society, such as Samuel (1 Sam. 15:27–28), Jonathan (1 Sam. 18:4), Saul (1 Sam. 24:4), David (1 Chron. 15:27), David’s daughter Tamar (2 Sam. 13:18), and Ezra (Ezra 9:3).

In the NT, the inner garment was the tunic (chitōn), and the outer garment was the cloak (himation). This distinction lies behind the famous command of Jesus: “From one who takes away your cloak do not withhold your tunic either” (Luke 6:29 ESV). The Gospel of John reports that the tunic taken from Jesus at the time of his death was made seamlessly from a single piece of cloth (John 19:23).

Footwear consisted of leather sandals attached to the feet by straps (John 1:27). Sandals were removed as a sign of respect in the presence of deity (Exod. 3:5; Josh. 5:15). The exchange of footwear also played a role in formalizing various legal arrangements (Ruth 4:7–8; see also Deut. 25:9).

Special Functions of Clothing

According to Genesis, the first humans lived initially without clothing or the shame of nakedness (Gen. 2:25). After eating the forbidden fruit from the tree of the knowledge of good and evil, Adam and Eve realized that they were naked and fashioned clothing from leaves (3:7). Later, God made “garments of skin” for Adam and his wife (3:21). The significance of this story and the meaning of the divinely fashioned garments have a long history of interpretation going back to antiquity. Clearly, however, the story illustrates that a basic function of clothing is to cover nakedness—a motif that soon after this story is featured again in the story of Noah and his sons (9:21–23).

Rebekah’s ploy to secure the birthright for her son Jacob involved disguising him in the clothing of his brother Esau (Gen. 27:15; see also Saul’s use of disguise in 1 Sam. 28:8). This tale illustrates how especially in a culture in which individuals owned what would, by modern standards, be considered a limited amount of clothing, clothing itself became an extension of the individual’s identity. In the same way, Jacob himself later was tricked into thinking that one of his own sons was dead, based on the identification of an article of clothing (Gen. 37:31–33). That Isaac could detect Esau’s distinctive smell on his clothing may also indicate the infrequency with which garments were changed and laundered (Gen. 27:27; see also Matt. 10:10). So closely was clothing identified with its owner that a garment could be used as collateral or a pledge, though biblical law regulates this practice for humanitarian reasons (Exod. 22:26). Perhaps because the production of clothing was labor intensive, making clothes for someone was sometimes considered an act of intimacy or an expression of love, so that descriptions of this aspect of clothing in the Bible are quite poignant (see 1 Sam. 2:19; Acts 9:39). When clothing wore out, it was discarded and replaced (Ps. 102:26; Isa. 51:6; Luke 12:33). During the forty years in the wilderness, as a special provision to the Israelites, their clothes and shoes did not wear out (Deut. 8:4; 29:5; Neh. 9:21).

Clothing was an emblem not only of one’s identity but also of one’s office. Thus, when the authority of Elijah passed to his disciple Elisha, Elisha received his master’s cloak or mantle (2 Kings 2:13–14; see also Isa. 22:21). Examples of this function are multiplied when we consider the significance of clothing in symbolizing the role of priests in ancient Israel (e.g., Exod. 29:5–9; 39:27–31). The story of Tamar illustrates that the status of certain women was expressed by their clothing, including that of the prostitute (Gen. 38:15) and the widow (Gen. 38:14, 19).

Biblical texts reveal a rich gestural language involving clothing. In several biblical accounts, spreading the corner of one’s garment over a woman appears as a courtship or marriage ritual (Ruth 3:9; Ezek. 16:8). Giving garments as gifts was a way of honoring or elevating the recipient (Gen. 45:22; Judg. 14:12; Ezek. 16:10; Dan. 5:7), including royal investiture (Pss. 45:8; 93:1; 104:1). The guards who tortured Jesus prior to his crucifixion made light of his status as “king” by dressing him in a royal purple robe (Luke 23:11; John 19:2–3). Grasping someone’s garment, especially its hem, signified entreaty (1 Sam. 15:27–28; Zech. 8:23; Mark 5:27–28). Tearing one’s garments was a way of expressing despair or repentance (Gen. 37:29; Josh. 7:6; Judg. 11:35) or of lodging an especially strong protest (Num. 14:6; Matt. 26:65; Acts 14:14). In some cases, the tearing clothing was accompanied by the act of donning sackcloth and ashes, which signified a further degree of self-humiliation or mourning (Gen. 37:34; 2 Sam. 3:31; 2 Kings 19:1; Matt. 11:21; in Jon. 3:8 animals are included as well, perhaps to comic effect). In such instances, shoes and headwear were also removed (2 Sam. 15:30; Isa. 20:2; Ezek. 24:17). A number of these customs can be understood in terms of the correlation of nakedness with shame, and clothing with honor. Military captives often were stripped naked as a form of humiliation (Lam. 4:21; Ezek. 23:10; Amos 2:16). In Luke 8:27 Jesus encounters a demon-possessed man who neither lived in a house nor wore clothing. In this case, the lack of clothing represents the full measure of human degradation.

Clothing stands symbolically for attributes such as righteousness and salvation (Job 29:14; Ps. 132:9; Isa. 61:10), the resurrection (1 Cor. 15:53–54; 2 Cor. 5:2–4), glory and honor (Job 40:10), union with Christ (Rom. 13:14; Gal. 3:27), compassion and other virtues (Col. 3:12; 1 Pet. 5:5), and purity (Rev. 3:18).

Clothing serves not only the utilitarian function of protecting the body from the elements (1 Tim. 6:8; James 2:15–16) but also a number of socially constructed functions, such as identifying the status of the wearer (James 2:2–3) and expressing cultural values such as modesty and beauty. The full range of such functions is attested in the Bible, and clothing plays a prominent symbolic role in a number of texts. Evidence concerning Israelite and other ancient clothing comes not only from the Bible but also from reliefs, pottery decorations, incised ivories, and, to a limited extent, textile fragments recovered in archaeological excavations.

In biblical lands most clothing was made from the wool of sheep or goats. More expensive articles (such as the garments of priests and aristocrats) could be made from linen, a textile made from the plant fiber flax. Other items, such as sandals, belts, and undergarments, were made from leather. Biblical law forbade the mixture of woolen and linen fibers in Israelite clothing (Deut. 22:11).

Articles of Clothing

A number of specific articles of clothing can be identified in the Bible. Egyptian and Mesopotamian pictures suggest that in OT times each nation was known for a distinctive costume or hairstyle. Some notion of how Israelite costume was perceived, at least that of royalty, may be derived from the depiction of the northern king Jehu (842–814 BC) and his retinue on the Black Obelisk of Shalmaneser III. In this image Israelites are depicted wearing softly pointed caps, pointed shoes, and fringed mantles.

In OT Israel, men wore an undergarment or loincloth held in place by a belt. This loincloth could be made of linen (Jer. 13:1) or leather (2 Kings 1:8). Over this was worn an ankle-length woolen robe or tunic. The tunic of Joseph, traditionally rendered as his “coat of many colors” (Gen. 37:3 KJV, following the LXX), is perhaps better described not as colorful but as “long-sleeved” (see also 2 Sam. 13:18 NASB). The corresponding garments worn by women were similar in appearance, though sufficiently distinct that cross-dressing could be prohibited (Deut. 22:5).

Outside the tunic were worn cloaks (Exod. 22:25–26), sashes (Isa. 22:21), and mantles (1 Kings 19:19). A crafted linen sash was a marketable item (Prov. 31:24), whereas a rope belt was a poor substitute (Isa. 3:24). Both Elijah and John the Baptist wore a belt of leather (2 Kings 1:8; Matt. 3:4; Mark 1:6).

The characteristic garment of the elite was a loose-fitting, wide-sleeved, often elegantly decorated royal robe (Heb. me’il  ). This garment was worn by priests (Exod. 28:4), nobility, kings, and other highly placed members of Israelite society, such as Samuel (1 Sam. 15:27–28), Jonathan (1 Sam. 18:4), Saul (1 Sam. 24:4), David (1 Chron. 15:27), David’s daughter Tamar (2 Sam. 13:18), and Ezra (Ezra 9:3).

In the NT, the inner garment was the tunic (chitōn), and the outer garment was the cloak (himation). This distinction lies behind the famous command of Jesus: “From one who takes away your cloak do not withhold your tunic either” (Luke 6:29 ESV). The Gospel of John reports that the tunic taken from Jesus at the time of his death was made seamlessly from a single piece of cloth (John 19:23).

Footwear consisted of leather sandals attached to the feet by straps (John 1:27). Sandals were removed as a sign of respect in the presence of deity (Exod. 3:5; Josh. 5:15). The exchange of footwear also played a role in formalizing various legal arrangements (Ruth 4:7–8; see also Deut. 25:9).

Special Functions of Clothing

According to Genesis, the first humans lived initially without clothing or the shame of nakedness (Gen. 2:25). After eating the forbidden fruit from the tree of the knowledge of good and evil, Adam and Eve realized that they were naked and fashioned clothing from leaves (3:7). Later, God made “garments of skin” for Adam and his wife (3:21). The significance of this story and the meaning of the divinely fashioned garments have a long history of interpretation going back to antiquity. Clearly, however, the story illustrates that a basic function of clothing is to cover nakedness—a motif that soon after this story is featured again in the story of Noah and his sons (9:21–23).

Rebekah’s ploy to secure the birthright for her son Jacob involved disguising him in the clothing of his brother Esau (Gen. 27:15; see also Saul’s use of disguise in 1 Sam. 28:8). This tale illustrates how especially in a culture in which individuals owned what would, by modern standards, be considered a limited amount of clothing, clothing itself became an extension of the individual’s identity. In the same way, Jacob himself later was tricked into thinking that one of his own sons was dead, based on the identification of an article of clothing (Gen. 37:31–33). That Isaac could detect Esau’s distinctive smell on his clothing may also indicate the infrequency with which garments were changed and laundered (Gen. 27:27; see also Matt. 10:10). So closely was clothing identified with its owner that a garment could be used as collateral or a pledge, though biblical law regulates this practice for humanitarian reasons (Exod. 22:26). Perhaps because the production of clothing was labor intensive, making clothes for someone was sometimes considered an act of intimacy or an expression of love, so that descriptions of this aspect of clothing in the Bible are quite poignant (see 1 Sam. 2:19; Acts 9:39). When clothing wore out, it was discarded and replaced (Ps. 102:26; Isa. 51:6; Luke 12:33). During the forty years in the wilderness, as a special provision to the Israelites, their clothes and shoes did not wear out (Deut. 8:4; 29:5; Neh. 9:21).

Clothing was an emblem not only of one’s identity but also of one’s office. Thus, when the authority of Elijah passed to his disciple Elisha, Elisha received his master’s cloak or mantle (2 Kings 2:13–14; see also Isa. 22:21). Examples of this function are multiplied when we consider the significance of clothing in symbolizing the role of priests in ancient Israel (e.g., Exod. 29:5–9; 39:27–31). The story of Tamar illustrates that the status of certain women was expressed by their clothing, including that of the prostitute (Gen. 38:15) and the widow (Gen. 38:14, 19).

Biblical texts reveal a rich gestural language involving clothing. In several biblical accounts, spreading the corner of one’s garment over a woman appears as a courtship or marriage ritual (Ruth 3:9; Ezek. 16:8). Giving garments as gifts was a way of honoring or elevating the recipient (Gen. 45:22; Judg. 14:12; Ezek. 16:10; Dan. 5:7), including royal investiture (Pss. 45:8; 93:1; 104:1). The guards who tortured Jesus prior to his crucifixion made light of his status as “king” by dressing him in a royal purple robe (Luke 23:11; John 19:2–3). Grasping someone’s garment, especially its hem, signified entreaty (1 Sam. 15:27–28; Zech. 8:23; Mark 5:27–28). Tearing one’s garments was a way of expressing despair or repentance (Gen. 37:29; Josh. 7:6; Judg. 11:35) or of lodging an especially strong protest (Num. 14:6; Matt. 26:65; Acts 14:14). In some cases, the tearing clothing was accompanied by the act of donning sackcloth and ashes, which signified a further degree of self-humiliation or mourning (Gen. 37:34; 2 Sam. 3:31; 2 Kings 19:1; Matt. 11:21; in Jon. 3:8 animals are included as well, perhaps to comic effect). In such instances, shoes and headwear were also removed (2 Sam. 15:30; Isa. 20:2; Ezek. 24:17). A number of these customs can be understood in terms of the correlation of nakedness with shame, and clothing with honor. Military captives often were stripped naked as a form of humiliation (Lam. 4:21; Ezek. 23:10; Amos 2:16). In Luke 8:27 Jesus encounters a demon-possessed man who neither lived in a house nor wore clothing. In this case, the lack of clothing represents the full measure of human degradation.

Clothing stands symbolically for attributes such as righteousness and salvation (Job 29:14; Ps. 132:9; Isa. 61:10), the resurrection (1 Cor. 15:53–54; 2 Cor. 5:2–4), glory and honor (Job 40:10), union with Christ (Rom. 13:14; Gal. 3:27), compassion and other virtues (Col. 3:12; 1 Pet. 5:5), and purity (Rev. 3:18).

Clothing serves not only the utilitarian function of protecting the body from the elements (1 Tim. 6:8; James 2:15–16) but also a number of socially constructed functions, such as identifying the status of the wearer (James 2:2–3) and expressing cultural values such as modesty and beauty. The full range of such functions is attested in the Bible, and clothing plays a prominent symbolic role in a number of texts. Evidence concerning Israelite and other ancient clothing comes not only from the Bible but also from reliefs, pottery decorations, incised ivories, and, to a limited extent, textile fragments recovered in archaeological excavations.

In biblical lands most clothing was made from the wool of sheep or goats. More expensive articles (such as the garments of priests and aristocrats) could be made from linen, a textile made from the plant fiber flax. Other items, such as sandals, belts, and undergarments, were made from leather. Biblical law forbade the mixture of woolen and linen fibers in Israelite clothing (Deut. 22:11).

Articles of Clothing

A number of specific articles of clothing can be identified in the Bible. Egyptian and Mesopotamian pictures suggest that in OT times each nation was known for a distinctive costume or hairstyle. Some notion of how Israelite costume was perceived, at least that of royalty, may be derived from the depiction of the northern king Jehu (842–814 BC) and his retinue on the Black Obelisk of Shalmaneser III. In this image Israelites are depicted wearing softly pointed caps, pointed shoes, and fringed mantles.

In OT Israel, men wore an undergarment or loincloth held in place by a belt. This loincloth could be made of linen (Jer. 13:1) or leather (2 Kings 1:8). Over this was worn an ankle-length woolen robe or tunic. The tunic of Joseph, traditionally rendered as his “coat of many colors” (Gen. 37:3 KJV, following the LXX), is perhaps better described not as colorful but as “long-sleeved” (see also 2 Sam. 13:18 NASB). The corresponding garments worn by women were similar in appearance, though sufficiently distinct that cross-dressing could be prohibited (Deut. 22:5).

Outside the tunic were worn cloaks (Exod. 22:25–26), sashes (Isa. 22:21), and mantles (1 Kings 19:19). A crafted linen sash was a marketable item (Prov. 31:24), whereas a rope belt was a poor substitute (Isa. 3:24). Both Elijah and John the Baptist wore a belt of leather (2 Kings 1:8; Matt. 3:4; Mark 1:6).

The characteristic garment of the elite was a loose-fitting, wide-sleeved, often elegantly decorated royal robe (Heb. me’il  ). This garment was worn by priests (Exod. 28:4), nobility, kings, and other highly placed members of Israelite society, such as Samuel (1 Sam. 15:27–28), Jonathan (1 Sam. 18:4), Saul (1 Sam. 24:4), David (1 Chron. 15:27), David’s daughter Tamar (2 Sam. 13:18), and Ezra (Ezra 9:3).

In the NT, the inner garment was the tunic (chitōn), and the outer garment was the cloak (himation). This distinction lies behind the famous command of Jesus: “From one who takes away your cloak do not withhold your tunic either” (Luke 6:29 ESV). The Gospel of John reports that the tunic taken from Jesus at the time of his death was made seamlessly from a single piece of cloth (John 19:23).

Footwear consisted of leather sandals attached to the feet by straps (John 1:27). Sandals were removed as a sign of respect in the presence of deity (Exod. 3:5; Josh. 5:15). The exchange of footwear also played a role in formalizing various legal arrangements (Ruth 4:7–8; see also Deut. 25:9).

Special Functions of Clothing

According to Genesis, the first humans lived initially without clothing or the shame of nakedness (Gen. 2:25). After eating the forbidden fruit from the tree of the knowledge of good and evil, Adam and Eve realized that they were naked and fashioned clothing from leaves (3:7). Later, God made “garments of skin” for Adam and his wife (3:21). The significance of this story and the meaning of the divinely fashioned garments have a long history of interpretation going back to antiquity. Clearly, however, the story illustrates that a basic function of clothing is to cover nakedness—a motif that soon after this story is featured again in the story of Noah and his sons (9:21–23).

Rebekah’s ploy to secure the birthright for her son Jacob involved disguising him in the clothing of his brother Esau (Gen. 27:15; see also Saul’s use of disguise in 1 Sam. 28:8). This tale illustrates how especially in a culture in which individuals owned what would, by modern standards, be considered a limited amount of clothing, clothing itself became an extension of the individual’s identity. In the same way, Jacob himself later was tricked into thinking that one of his own sons was dead, based on the identification of an article of clothing (Gen. 37:31–33). That Isaac could detect Esau’s distinctive smell on his clothing may also indicate the infrequency with which garments were changed and laundered (Gen. 27:27; see also Matt. 10:10). So closely was clothing identified with its owner that a garment could be used as collateral or a pledge, though biblical law regulates this practice for humanitarian reasons (Exod. 22:26). Perhaps because the production of clothing was labor intensive, making clothes for someone was sometimes considered an act of intimacy or an expression of love, so that descriptions of this aspect of clothing in the Bible are quite poignant (see 1 Sam. 2:19; Acts 9:39). When clothing wore out, it was discarded and replaced (Ps. 102:26; Isa. 51:6; Luke 12:33). During the forty years in the wilderness, as a special provision to the Israelites, their clothes and shoes did not wear out (Deut. 8:4; 29:5; Neh. 9:21).

Clothing was an emblem not only of one’s identity but also of one’s office. Thus, when the authority of Elijah passed to his disciple Elisha, Elisha received his master’s cloak or mantle (2 Kings 2:13–14; see also Isa. 22:21). Examples of this function are multiplied when we consider the significance of clothing in symbolizing the role of priests in ancient Israel (e.g., Exod. 29:5–9; 39:27–31). The story of Tamar illustrates that the status of certain women was expressed by their clothing, including that of the prostitute (Gen. 38:15) and the widow (Gen. 38:14, 19).

Biblical texts reveal a rich gestural language involving clothing. In several biblical accounts, spreading the corner of one’s garment over a woman appears as a courtship or marriage ritual (Ruth 3:9; Ezek. 16:8). Giving garments as gifts was a way of honoring or elevating the recipient (Gen. 45:22; Judg. 14:12; Ezek. 16:10; Dan. 5:7), including royal investiture (Pss. 45:8; 93:1; 104:1). The guards who tortured Jesus prior to his crucifixion made light of his status as “king” by dressing him in a royal purple robe (Luke 23:11; John 19:2–3). Grasping someone’s garment, especially its hem, signified entreaty (1 Sam. 15:27–28; Zech. 8:23; Mark 5:27–28). Tearing one’s garments was a way of expressing despair or repentance (Gen. 37:29; Josh. 7:6; Judg. 11:35) or of lodging an especially strong protest (Num. 14:6; Matt. 26:65; Acts 14:14). In some cases, the tearing clothing was accompanied by the act of donning sackcloth and ashes, which signified a further degree of self-humiliation or mourning (Gen. 37:34; 2 Sam. 3:31; 2 Kings 19:1; Matt. 11:21; in Jon. 3:8 animals are included as well, perhaps to comic effect). In such instances, shoes and headwear were also removed (2 Sam. 15:30; Isa. 20:2; Ezek. 24:17). A number of these customs can be understood in terms of the correlation of nakedness with shame, and clothing with honor. Military captives often were stripped naked as a form of humiliation (Lam. 4:21; Ezek. 23:10; Amos 2:16). In Luke 8:27 Jesus encounters a demon-possessed man who neither lived in a house nor wore clothing. In this case, the lack of clothing represents the full measure of human degradation.

Clothing stands symbolically for attributes such as righteousness and salvation (Job 29:14; Ps. 132:9; Isa. 61:10), the resurrection (1 Cor. 15:53–54; 2 Cor. 5:2–4), glory and honor (Job 40:10), union with Christ (Rom. 13:14; Gal. 3:27), compassion and other virtues (Col. 3:12; 1 Pet. 5:5), and purity (Rev. 3:18).

Old Testament. In ancient Israel, and more broadly in the surrounding region, the “father’s house” (i.e., ancestral family) was the basic unit of kinship, more extensive than “brothers” (Gen. 46:31; Judg. 16:31) or the single “household” (Exod. 12:3) but smaller than the clan and tribe (note the contrasts in, e.g., Num. 1:2; Judg. 6:15). In genealogies the “father’s house” is often rendered “family” (e.g., Exod. 6:14; Num. 1:2 and throughout the chapter; 1 Chron. 4:38). In some instances, the twelve tribes of Israel are construed as father’s houses (Num. 17:2–6; 1 Sam. 2:28). In 2 Sam. 19:28 the extent of the “father’s house” is well illustrated: clearly, Mephibosheth refers not to the nuclear family of his biological father but rather to the family of his grandfather Saul. In 1 Chron. 23:11, two small families are artificially combined into a single “father’s house,” illustrating that the concept was not strictly biological but instead corresponded to a set of social functions, in this case priestly service.

In addition to censuses and the organization of military service, other functions of the father’s house included the reckoning of collective guilt (2 Sam. 14:9; 24:17; Neh. 1:6), delimiting retaliation in kin-based blood feuds (1 Sam. 22:16, 22; 2 Sam. 3:29; see also Judg. 2:12, 18), and defining a context for endogamous marriage (Gen. 24:38–40). The father’s house played an important role in the life of women, who were identified with their father’s house before marriage and could return to it in the event of widowhood, demonstrating a persistent connection to it (Lev. 22:13; Num. 30:4, 16; Deut. 22:21; Judg. 19:2–3; Esther 4:14; Ps. 45:10; see also the political significance for Abimelek of his mother’s father’s house in Judg. 9:1).

The expression “father’s house” can also refer to a location (Gen. 12:1; 20:13; Judg. 14:19; 1 Sam. 18:2), and indeed this local sense may have largely overlapped with the kinship sense, as extended families inhabited large architectural compounds or even entire small villages.

New Testament. On two occasions Jesus referred to the temple in Jerusalem as his “father’s house,” once when he was a young man (Luke 2:49), and once when he drove merchants from the temple (John 2:16). On another occasion, he referred to a “place where I am going” as “my father’s house” (John 14:2–4). In addition, we have two references to the “father’s house” as a kinship unit (Luke 16:27; and possibly Acts 7:20).-

Clothing serves not only the utilitarian function of protecting the body from the elements (1 Tim. 6:8; James 2:15–16) but also a number of socially constructed functions, such as identifying the status of the wearer (James 2:2–3) and expressing cultural values such as modesty and beauty. The full range of such functions is attested in the Bible, and clothing plays a prominent symbolic role in a number of texts. Evidence concerning Israelite and other ancient clothing comes not only from the Bible but also from reliefs, pottery decorations, incised ivories, and, to a limited extent, textile fragments recovered in archaeological excavations.

In biblical lands most clothing was made from the wool of sheep or goats. More expensive articles (such as the garments of priests and aristocrats) could be made from linen, a textile made from the plant fiber flax. Other items, such as sandals, belts, and undergarments, were made from leather. Biblical law forbade the mixture of woolen and linen fibers in Israelite clothing (Deut. 22:11).

Articles of Clothing

A number of specific articles of clothing can be identified in the Bible. Egyptian and Mesopotamian pictures suggest that in OT times each nation was known for a distinctive costume or hairstyle. Some notion of how Israelite costume was perceived, at least that of royalty, may be derived from the depiction of the northern king Jehu (842–814 BC) and his retinue on the Black Obelisk of Shalmaneser III. In this image Israelites are depicted wearing softly pointed caps, pointed shoes, and fringed mantles.

In OT Israel, men wore an undergarment or loincloth held in place by a belt. This loincloth could be made of linen (Jer. 13:1) or leather (2 Kings 1:8). Over this was worn an ankle-length woolen robe or tunic. The tunic of Joseph, traditionally rendered as his “coat of many colors” (Gen. 37:3 KJV, following the LXX), is perhaps better described not as colorful but as “long-sleeved” (see also 2 Sam. 13:18 NASB). The corresponding garments worn by women were similar in appearance, though sufficiently distinct that cross-dressing could be prohibited (Deut. 22:5).

Outside the tunic were worn cloaks (Exod. 22:25–26), sashes (Isa. 22:21), and mantles (1 Kings 19:19). A crafted linen sash was a marketable item (Prov. 31:24), whereas a rope belt was a poor substitute (Isa. 3:24). Both Elijah and John the Baptist wore a belt of leather (2 Kings 1:8; Matt. 3:4; Mark 1:6).

The characteristic garment of the elite was a loose-fitting, wide-sleeved, often elegantly decorated royal robe (Heb. me’il  ). This garment was worn by priests (Exod. 28:4), nobility, kings, and other highly placed members of Israelite society, such as Samuel (1 Sam. 15:27–28), Jonathan (1 Sam. 18:4), Saul (1 Sam. 24:4), David (1 Chron. 15:27), David’s daughter Tamar (2 Sam. 13:18), and Ezra (Ezra 9:3).

In the NT, the inner garment was the tunic (chitōn), and the outer garment was the cloak (himation). This distinction lies behind the famous command of Jesus: “From one who takes away your cloak do not withhold your tunic either” (Luke 6:29 ESV). The Gospel of John reports that the tunic taken from Jesus at the time of his death was made seamlessly from a single piece of cloth (John 19:23).

Footwear consisted of leather sandals attached to the feet by straps (John 1:27). Sandals were removed as a sign of respect in the presence of deity (Exod. 3:5; Josh. 5:15). The exchange of footwear also played a role in formalizing various legal arrangements (Ruth 4:7–8; see also Deut. 25:9).

Special Functions of Clothing

According to Genesis, the first humans lived initially without clothing or the shame of nakedness (Gen. 2:25). After eating the forbidden fruit from the tree of the knowledge of good and evil, Adam and Eve realized that they were naked and fashioned clothing from leaves (3:7). Later, God made “garments of skin” for Adam and his wife (3:21). The significance of this story and the meaning of the divinely fashioned garments have a long history of interpretation going back to antiquity. Clearly, however, the story illustrates that a basic function of clothing is to cover nakedness—a motif that soon after this story is featured again in the story of Noah and his sons (9:21–23).

Rebekah’s ploy to secure the birthright for her son Jacob involved disguising him in the clothing of his brother Esau (Gen. 27:15; see also Saul’s use of disguise in 1 Sam. 28:8). This tale illustrates how especially in a culture in which individuals owned what would, by modern standards, be considered a limited amount of clothing, clothing itself became an extension of the individual’s identity. In the same way, Jacob himself later was tricked into thinking that one of his own sons was dead, based on the identification of an article of clothing (Gen. 37:31–33). That Isaac could detect Esau’s distinctive smell on his clothing may also indicate the infrequency with which garments were changed and laundered (Gen. 27:27; see also Matt. 10:10). So closely was clothing identified with its owner that a garment could be used as collateral or a pledge, though biblical law regulates this practice for humanitarian reasons (Exod. 22:26). Perhaps because the production of clothing was labor intensive, making clothes for someone was sometimes considered an act of intimacy or an expression of love, so that descriptions of this aspect of clothing in the Bible are quite poignant (see 1 Sam. 2:19; Acts 9:39). When clothing wore out, it was discarded and replaced (Ps. 102:26; Isa. 51:6; Luke 12:33). During the forty years in the wilderness, as a special provision to the Israelites, their clothes and shoes did not wear out (Deut. 8:4; 29:5; Neh. 9:21).

Clothing was an emblem not only of one’s identity but also of one’s office. Thus, when the authority of Elijah passed to his disciple Elisha, Elisha received his master’s cloak or mantle (2 Kings 2:13–14; see also Isa. 22:21). Examples of this function are multiplied when we consider the significance of clothing in symbolizing the role of priests in ancient Israel (e.g., Exod. 29:5–9; 39:27–31). The story of Tamar illustrates that the status of certain women was expressed by their clothing, including that of the prostitute (Gen. 38:15) and the widow (Gen. 38:14, 19).

Biblical texts reveal a rich gestural language involving clothing. In several biblical accounts, spreading the corner of one’s garment over a woman appears as a courtship or marriage ritual (Ruth 3:9; Ezek. 16:8). Giving garments as gifts was a way of honoring or elevating the recipient (Gen. 45:22; Judg. 14:12; Ezek. 16:10; Dan. 5:7), including royal investiture (Pss. 45:8; 93:1; 104:1). The guards who tortured Jesus prior to his crucifixion made light of his status as “king” by dressing him in a royal purple robe (Luke 23:11; John 19:2–3). Grasping someone’s garment, especially its hem, signified entreaty (1 Sam. 15:27–28; Zech. 8:23; Mark 5:27–28). Tearing one’s garments was a way of expressing despair or repentance (Gen. 37:29; Josh. 7:6; Judg. 11:35) or of lodging an especially strong protest (Num. 14:6; Matt. 26:65; Acts 14:14). In some cases, the tearing clothing was accompanied by the act of donning sackcloth and ashes, which signified a further degree of self-humiliation or mourning (Gen. 37:34; 2 Sam. 3:31; 2 Kings 19:1; Matt. 11:21; in Jon. 3:8 animals are included as well, perhaps to comic effect). In such instances, shoes and headwear were also removed (2 Sam. 15:30; Isa. 20:2; Ezek. 24:17). A number of these customs can be understood in terms of the correlation of nakedness with shame, and clothing with honor. Military captives often were stripped naked as a form of humiliation (Lam. 4:21; Ezek. 23:10; Amos 2:16). In Luke 8:27 Jesus encounters a demon-possessed man who neither lived in a house nor wore clothing. In this case, the lack of clothing represents the full measure of human degradation.

Clothing stands symbolically for attributes such as righteousness and salvation (Job 29:14; Ps. 132:9; Isa. 61:10), the resurrection (1 Cor. 15:53–54; 2 Cor. 5:2–4), glory and honor (Job 40:10), union with Christ (Rom. 13:14; Gal. 3:27), compassion and other virtues (Col. 3:12; 1 Pet. 5:5), and purity (Rev. 3:18).

Generation has three primary meanings in the Bible: (1) a length of time, (2) a group of people of the same period of time, and (3) a stage in the line of a person’s lineage. It also has three metaphorical or secondary uses.

First, “generation” as a length of time generally involves the duration of time between a person’s birth and the birth of that person’s children. The number “forty” is often associated with the length of a generation because God made the Israelites wander in the wilderness for forty years so that one generation would pass away and another arise (cf. Num. 32:13). However, two points should be noted. First, the actual number of years was determined to be forty because the people had spied out the land for forty days (Num. 14:34), not because a generation lasted forty years. Second, the forty years applied to those who were age twenty or older. Since the purpose of the forty years in the wilderness was to allow one generation of adults to pass on (14:30–35), the forty years may represent the upper limit of the expected length of an adult’s life in the wilderness conditions, which would be sixty years. In fact, when Moses speaks to Israel on the plains of Moab, he mentions that Israel crossed the Zered Valley thirty-eight years after the wilderness wanderings had begun, and that the entire previous generation had died (Deut. 2:14). This comment shows that forty years has less to do with a generation than with the expected life span of an adult in the wilderness. Other passages provide no hints for the length of a generation, such that the specific length of a generation is not recorded in the Bible. Furthermore, since a generation represents the duration of time between a person’s birth and the birth of that person’s children, it is also not a fixed number but rather represents an imprecise period of time. In one passage “generations” are even set alongside “ages,” which represent longer durations of an indefinite period of time (Col. 1:26).

Second, “generation” often is used to represent a group of people of the same period of time. It may refer to a group of people who live during the same time (Gen. 7:1) or those who were born at approximately the same time (Exod. 1:6; Num. 32:13; Deut. 1:35).

Third, “generation” is also commonly used to represent a stage in the line of a person’s lineage. This use often is preceded by an ordinal number (first, second, third, etc.). On several occasions it occurs in a context highlighting the severity of sin. It occurs in the formulaic statement of God’s self-revelation found in Exod. 20:5; 34:7 and repeated in Num. 14:18; Deut. 5:9. God is described as loving, merciful, and forgiving, but also as jealous, not leaving the guilty unpunished to the third and fourth generation. It also occurs in legal contexts concerning the inclusion of Gentiles into the assembly of the Lord (Deut. 23:1–8). Its use in this way highlights the continuity of God’s work even through the transitions of a family from one generation to another.

Finally, the word “generation” often is used in a secondary way or in a formulaic statement. First, several times the word describes one aspect of God’s relationship to a particular person and his descendants or a nation. Sometimes it describes the long-lasting nature of God’s promise (Gen. 9:12; 17:7); at other times, it describes the long-lasting responsibility of the person and his descendants or a nation, especially as it relates to Israel and the law given at Sinai (Gen. 17:9–21; Exod. 12:14; 16:32–33; 27:21; 29:42). Second, the word may emphasize the continuous nature of a condition or obligation (Exod. 3:15; 17:16; Esther 9:28; Pss. 33:11; 45:17; 49:11; 72:5; 79:13). Third, the word refers to a particular class or type of people, such as the righteous (Pss. 14:5 [in some translations]; 112:2) or the wicked (Deut. 32:5; Prov. 30:11 [in some translations]; Matt. 11:16; Mark 8:38; Luke 9:41; Acts 2:40).

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.

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).

Joy is not a prevalent theme in most of the Bible. In fact, the word “joy” is completely missing from many books of the OT and appears only sporadically in many others. The lack of prevalence of this word is understandable, since most of the Bible deals with a world in which the humans are outside the garden of Eden.

Old Testament. The most enthusiastic and concentrated expressions of joy in the OT are found in the context of worship when the people of God find joy in his presence, usually when the community is gathered for various feasts. Thus, words that connote joy are concentrated in Deuteronomy, Chronicles, Ezra-Nehemiah, Isaiah, and especially the Psalter.

As one might expect, people are found rejoicing in the simple joys of life: when meeting a close relative (Exod. 4:14), when their enemies are defeated (1 Sam. 18:6; 2 Chron. 20:27), when a child is born (Jer. 20:15), at the sound of music (Ps. 45:8), and when they hear a good word (Prov. 12:25). Jonah is “exceedingly glad” (ESV; NIV: “very happy”) because a plant grew as a shade over his head (Jon. 4:6). The teacher of Ecclesiastes urges his students to rejoice in their youth (Eccles. 11:9), and he considers it a good thing to be joyful (3:12; 8:15). Wine may gladden the heart of humans (Ps. 104:15) and life in general (Eccles. 10:19). More important, men are encouraged both to bring joy to their young wives (Deut. 24:5 [NIV: “happiness”]) and to rejoice in the wife of their youth (Prov. 5:18). For the psalmist, the “teachings” of God are a reason for joy (Pss. 19:8; 119:111).

It is by far more common, however, to find joy and delight in the presence of God, especially when the community is gathered to celebrate various feasts. The psalmist understands quite well that more than wine or a young wife, it is God who brings joy to his servants (Ps. 86:4). Thus, the earliest calls to rejoice are always in the presence of God (Lev. 23:40; Deut. 12:7, 12, 18; 14:26; 16:11; 26:11). Psalm 16:11 is a good example: “You make known to me the path of life; you will fill me with joy in your presence, with eternal pleasures at your right hand.”

For the prophet Habakkuk, even if the crops fail and there is nothing left to eat, he finds reason for joy in God, the only one who can bring salvation: “Yet I will rejoice in the Lord, I will be joyful in God my Savior” (Hab. 3:18). This verse is important because it shows that the people of God must be able to rejoice apart from material blessings, and also because it unites two central reasons for joy in the OT: God and his salvation (Pss. 9:14; 21:1; Isa. 25:9; 61:10). The prophet Zechariah looks forward to a time of great joy when a righteous king will bring salvation to Zion (Zech. 9:9). Finally, real and complete joy can exist only when and where God reigns (1 Chron. 16:31; Ps. 97:1).

New Testament. The time of joy and salvation anticipated by the prophets begins to find fulfillment in the NT. The Gospels interpret the prophecy in Zech. 9:9 as referring to Jesus (Mark 11:9–10; Luke 19:37–38), and there is a strong note of joy already at Jesus’ birth (Matt. 2:10; Luke 1:47; 2:10). Jesus’ life (Luke 10:17; John 3:29) and resurrection also evoke intense joy (Matt. 28:8; Luke 24:52). In the Gospel of John, joy becomes the result of a deep fellowship between Jesus and the church (John 16:22; see also 1 John 1:3–4), and in Acts it marks the life of the early church (Acts 2:46; 8:8; 13:52; 15:3).

Paul uses joy in at least three ways. First, progress in faith of the children of God, particularly those whom Paul has led to Christ, is a great cause for joy (1 Thess. 2:19–20; cf. Phil. 2:2). Second, Paul stresses the paradox that joy may be the outcome of suffering and even sorrow for Christ’s sake (2 Cor. 6:10; Col. 1:24; cf. 1 Pet. 4:13). Thus, Paul’s letter to the Philippians, even though written under circumstances of great suffering, is also the most joyous of all his letters (Phil. 2:2; 3:1; 4:4). Third, joy is a gift of the Holy Spirit (Gal. 5:22), and true believers should be careful in their daily walk with the Lord to avoid “interrupting” this gift.

The last word on joy is appropriately found in the book of Revelation: “Let us rejoice and be glad and give him glory! For the wedding of the Lamb has come, and his bride has made herself ready” (19:7).

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 resin of the genus Commiphora, myrrh originates in southern Arabia and Somalia. The Israelites valued myrrh for its fragrant cosmetic and antiseptic properties, as a preservative, and for embalming (Gen. 37:25; Esther 2:12; Ps. 45:8; Prov. 7:17; Song 3:6). Upon Jesus’ birth, myrrh was a valuable gift from the magi (Matt. 2:11); at his death, myrrh mixed with wine was an undrinkable potion given to him as he hung on the cross (Mark 15:23).

(1) Twice named when nations are listed with their etymological namesakes, he is a descendant of Shem (Gen. 10:29; 1 Chron. 1:23).

(2) The land named for the people descended from Ophir (#1), it is most often mentioned in regard to the economic enterprises of different kings, especially involving gold. Together, King Solomon and King Hiram of Tyre in Phoenicia sent ships from the Red Sea port of Ezion Geber to Ophir and brought back 420 (2 Chronicles reports 450 talents) talents of gold (1 Kings 9:26–28; 2 Chron. 8:18). The report about the Queen of Sheba’s visit to Solomon says that Solomon and Hiram’s ships brought gold from Ophir along with silver, ivory, apes, and peacocks every three years (1 Kings 10:11; 2 Chron. 9:10). Jehoshaphat also built a fleet of trading ships that he intended to send to Ophir, but they were wrecked in harbor and never set sail (1 Kings 22:48–49). David’s contribution to the building of the temple (which his son Solomon was to build) included three thousand talents of gold from Ophir (1 Chron. 29:4).

Clearly, the most important product from Ophir was its gold. The book of Job twice refers to the gold of Ophir. Eliphaz the Temanite encourages Job to get rid of his gold of Ophir (which Eliphaz implies has a wrongful place in Job’s heart) so that he can be right before God. Eliphaz says that God should be Job’s only gold (Job 22:24). Job notes that wisdom cannot be bought with the gold of Ophir (28:16). Psalm 45 describes a wedding ceremony and feast where the bride is wearing the gold of Ophir (v. 9). In an oracle against Babylon, the prophet Isaiah says that God will make humans more rare than the gold of Ophir after God punishes them (Isa. 13:12).

There is no clear indication in the Bible of the location of Ophir. Many scholars place it somewhere in Arabia; however, there are few if any ports that could match the list of exports, especially the animal exports, in 1 Kings. There is both ancient support (Josephus) and more contemporary linguistic support to suggest that Ophir may have been on the west coast of India or Sri Lanka, both of which had extensive trading centers during the tenth century BC.

In the Bible, writing was carved into stone (Exod. 24:12; Josh. 8:32) or stone covered with plaster (Deut. 27:1–10), metal (Exod. 28:36), or wood (Num. 17:2–3; Ezek. 37:16). Clay tablets or wooden tablets covered with wax were also used (Isa. 8:1; 30:8; Hab. 2:2; Luke 1:63). However, while clay tablets were common in Mesopotamia and among the Hittites in Anatolia, they were used more rarely in Israel or Egypt because of the accessibility of papyrus and parchment.

Writing implements are mentioned occasionally in the Bible. A stylus—a sharpened instrument fashioned from materials such as reed, bone, or metal (e.g., Job 19:24; Jer. 17:1)—was used to carve letters into clay or wax. A sharpened reed could also be dipped in ink to function as a pen for writing on papyrus or parchment (Ps. 45:1; Isa. 8:1; Matt. 5:18; Luke 16:17; 2 John 13). A scribe would often need additional implements to prepare the writing surface, to remove or rub out an error, to mix the ink, or to sharpen the stylus (cf. “writing kit” in Ezek. 9:2–3, 11; “scribe’s knife” in Jer. 36:23).

During Old and New Testament times, papyrus was one of the two most common types of writing material. The tall, marshy papyrus reed (Cyperus papyrus) grew abundantly in Lower Egypt in ancient times (Job 8:11) and was used for baskets (Exod. 2:3), mats, ropes, sandals, and even boats (Isa. 18:2). As early as 3000 BC, however, the papyrus reed was most known for making a kind of paper referred to simply as “papyrus.” Literary and archaeological evidence demonstrates that papyrus was used extensively across the Near East well into the first Christian millennium.

Papyrus stalks are typically the diameter of a human palm and roughly triangular in shape. Sections were cut about a foot long. The inner fibrous pith was cut lengthwise into thin strips that were placed side by side on a board. A second layer of strips was placed at right angles. The resulting “sheet” was pounded together. Pliny the Elder (Nat. 13.11–13) claimed that the Nile water glued the strips together, but actually the crushed pulp did so. The dried sheets were trimmed to a standard size, varying by “factory,” typically ten inches high by eight inches wide.

Sheets (with the horizontal fibers on top) were glued side by side with the sheet on the left slightly lapping over the right, so that a scribe’s pen slid “downhill” when moving onto the next sheet. It was not uncommon for a column of text to be on a joint (unlike leather sheets, whose sewn joint would not hold text). The joined sheets formed a roll (scroll) of standard length (about twelve feet) called a chartēs (2 John 12), the typical unit of sale. It is estimated that in NT times a chartēs cost four denars (= approximately U.S. $450). Secretaries cut sheets off a chartēs or glued on additional length as the task required, but the typical ancient letter, such as 3 John, was about one sheet in length.

The other most common type of writing material was leather parchment. Made chiefly from the skins of sheep or goats, parchment would be prepared by soaking, dehairing, scraping, and washing the hide. The skin would be stretched on a frame and smoothed with a pumice stone. Vellum is a finer grade of parchment and is made from calfskin or kidskin. Sections of parchment also were sewn together to make a roll. Paul asked Timothy to bring him “the parchments” (2 Tim. 4:13).

Papyrus had the advantage of being lightweight and durable, and perhaps less expensive, so it was often preferred over clay, wooden, metal, or stone tablets, or even parchment (at least until the third century AD). However, papyrus had two major disadvantages: it deteriorated rapidly in water and was almost exclusively from Egypt. Since ink was water-soluble, all documents were routinely protected from moisture, so trade issues with Egypt may be to blame for major shifts to parchment. Unfortunately, only ancient papyri left in dry locations in dry climates have survived, explaining why the bulk of known papyri are from the Egyptian desert.

Paper made of wood pulp or similar fibers was invented in China and was not adopted in the West until the eighth century or later.

The Hebrew word sarah and the Hebrew construct bat-melek are translated as “princess.” The word sarah (“princess, royal lady, queen”), the feminine form of sar (“prince”), occurs five times in the OT; it refers to ladies of the court (Judg. 5:29; 1 Kings 11:3; Esther 1:18; Isa. 49:23) or is used metaphorically of Jerusalem (Lam. 1:1). Solomon’s seven hundred wives were princesses (1 Kings 11:3). The expression bat-melek (lit., “daughter of a king”) is applied to a king’s daughter (Dan. 11:6; Ps. 45:9), a king’s wife (Ps. 45:13), and the leading women of Judah (Jer. 43:6).

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.

Worship of God is a critical dimension of both Testaments. One might argue that it is the very goal for which Israel and the church were formed.

Terminology

Our understanding of worship is informed by the terms, practices, exhortations, and warnings of Scripture. The worship vocabulary in both Testaments provides insight into the personal dispositions and posture associated with worship focused on the person of God. The first set of biblical terms concerns the posture of the worshiper. The Hebrew terminology communicates the idea of bowing down and falling prostrate before the sovereign and worthy God (Ps. 95:6; 1 Chron. 29:20). NT words bear a similar idea of humble acknowledgment of God’s authority with a reverent prostrate position (Matt. 28:9; Rev. 5:14).

The second set of worship terms concerns service. In the OT, the worship of God includes the idea of serving with a view to bringing honor to him (Exod. 3:12; Mal. 3:14, 18). In the NT, worship bears the nuance of serving in the sense of carrying out religious duties (Heb. 12:28). This set of terminology has a priestly connotation to it. The OT priests and the NT believers (1 Pet. 2:5) serve God with their individual lives and their routines of life as acceptable offerings.

The final set of terms describes the attitude or disposition of worship. This word group includes terms such as “fear,” “awe,” and “dread,” which initially seem out of place in the context of worship. However, the terminology serves to inculcate an attitude of genuine respect. Yahweh is the awesome God, who is to be feared (Exod. 3:6; 15:11). Israel is to love and trust who God is and what God says in promise or in warning. The fear that one is to have for God involves a respect for him, a reverence for his divine worth (Col. 3:22; Rev. 11:18).

God as the Object of Worship

The worship terminology sets the focus of worship. The living God is the sole object of worship. He delights in the satisfying joy that his children find in him. The nature of worship is not about servant entertainment or passive observation; it is an active acknowledgment of God’s worth in a variety of humble ways.

A genuine selfless focus on the person and work of God brings about a humble response that affects one’s posture, generates works of service, and stirs up a healthy attitude of fear and respect. Knowledge of God is the foundational element in worship. God is worshiped for who he is and what he does. He is the Eternal One (Ps. 90:1; 1 Tim. 1:17), unique in every way (Isa. 44:8); he is God alone (Deut. 6:4). He is distinguished by his self-existence, the self-reliant quality of his life (Exod. 3:14; Deut. 32:30). The psalmist calls God’s people to shout joyfully to their good, loving, eternal, and faithful Creator (Ps. 100).

God is worshiped as the Creator of all life. This magnificent creative work of God, declared in the opening of Genesis, is a critical focus in worship (Ps. 95:6; Rom. 1:25; Rev. 4:11). Along with this is the companion declaration that God is the redeemer. The redemptive work of God is celebrated in the Song of Moses (Exod. 15:1–18) and in the Song of the Redeemed (Rev. 14:3).

Worship is also associated with the royal aspects of God’s character. It was the desire of the magi to find Jesus the king and worship him (Matt. 2:1–2). The final scenes of history will be characterized by humble submission to and worship of the King of kings (1 Tim. 6:15; Rev. 17:14; 19:16; cf. Rev. 15:3–4). The psalms often draw the reader’s attention to God’s royal character as a basis for worship (Pss. 45:11; 98:6).

Finally, God is worshiped as the Lord of his covenant relationship with the nation of Israel. This covenant theme and metaphor summarize the varied aspects of God’s character and his relationship with Israel. The God who brought Israel into a covenant relationship is to be sincerely and exclusively worshiped (2 Kings 17:35, 38; cf. Deut. 31:20). These confessional statements about the character of God are a glorious weight that moves believers to prostrate themselves, to have an attitude of awe and respect, and to obediently serve.

The Form of Worship

Although the form of worship looks different in each Testament, the essential elements of worship are constant. In the OT, the priests primarily led the worship of God. In addition, the duties of the king (Deut. 17:18–20) and of the prophet (18:14–22) had worship implications and responsibilities. Ideally, these three administrators were to work together to ensure a healthy quality of covenant life for the nation. Worship in both Testaments has both corporate and individual aspects.

OT worship was organized around sacred places such as designated locations (Gen. 3:8; 12:7), the tabernacle (Exod. 29:42), and the temple (1 Kings 8; cf. Rev. 21–22). In addition, there were sacred times in the calendar of Israel for celebration of the appointed feasts (Lev. 23). The three main feasts in Israel’s calendar are Unleavened Bread, Weeks, and Tabernacles (Deut. 16:16; cf. Exod. 34:23). The sacred actions of worship for the nation involved burnt offerings, meal or tribute offerings, peace offerings, sin offerings, and guilt offerings (Lev. 1–5).

The regulation and routine of OT worship never were intended to be merely dutiful. The routine of worship was to manifest a love for God and for the covenant community (Deut. 6:1–5; Mal. 2:10). The prophets often challenged Israel to have a heart for God and at times called upon them to consider the emptiness of their worship routine (Isa. 1:11). The heart of worship was nurtured in psalms of praise and lament and in the call to remember God (Pss. 42; 77:11).

The form of NT worship is not distinguished with the same externals as in the OT. However, similar core beliefs underlie the form and practice of NT worship. The distinguishing feature in this new era is the final and sufficient work of Christ (Heb. 9–10). As with previous revelation, worship is not anthropocentric; it is joyfully Christocentric, based on the gospel (1 Cor. 15:1–5). Christ and his work replace the OT temple. Jesus is the greater temple that has come (Matt. 12:6). Sacrifice is no longer limited to any particular geographic location, but instead involves the offering of oneself (Rom. 12:1–2) along with the presentation of spiritual sacrifices acceptable to God (1 Pet. 2:4–5). NT worship is regulated by the Spirit and truth (John 4:20–24). This type of worship is distinguished by the word of God, the Spirit, preaching, prayer, Spirit-filled service, and mutual edification. NT worship also includes the regular celebration of the ordinances of baptism and the Lord’s Supper (Acts 2:42–47) within the context of the local church.

Clothing serves not only the utilitarian function of protecting the body from the elements (1 Tim. 6:8; James 2:15–16) but also a number of socially constructed functions, such as identifying the status of the wearer (James 2:2–3) and expressing cultural values such as modesty and beauty. The full range of such functions is attested in the Bible, and clothing plays a prominent symbolic role in a number of texts. Evidence concerning Israelite and other ancient clothing comes not only from the Bible but also from reliefs, pottery decorations, incised ivories, and, to a limited extent, textile fragments recovered in archaeological excavations.

In biblical lands most clothing was made from the wool of sheep or goats. More expensive articles (such as the garments of priests and aristocrats) could be made from linen, a textile made from the plant fiber flax. Other items, such as sandals, belts, and undergarments, were made from leather. Biblical law forbade the mixture of woolen and linen fibers in Israelite clothing (Deut. 22:11).

Articles of Clothing

A number of specific articles of clothing can be identified in the Bible. Egyptian and Mesopotamian pictures suggest that in OT times each nation was known for a distinctive costume or hairstyle. Some notion of how Israelite costume was perceived, at least that of royalty, may be derived from the depiction of the northern king Jehu (842–814 BC) and his retinue on the Black Obelisk of Shalmaneser III. In this image Israelites are depicted wearing softly pointed caps, pointed shoes, and fringed mantles.

In OT Israel, men wore an undergarment or loincloth held in place by a belt. This loincloth could be made of linen (Jer. 13:1) or leather (2 Kings 1:8). Over this was worn an ankle-length woolen robe or tunic. The tunic of Joseph, traditionally rendered as his “coat of many colors” (Gen. 37:3 KJV, following the LXX), is perhaps better described not as colorful but as “long-sleeved” (see also 2 Sam. 13:18 NASB). The corresponding garments worn by women were similar in appearance, though sufficiently distinct that cross-dressing could be prohibited (Deut. 22:5).

Outside the tunic were worn cloaks (Exod. 22:25–26), sashes (Isa. 22:21), and mantles (1 Kings 19:19). A crafted linen sash was a marketable item (Prov. 31:24), whereas a rope belt was a poor substitute (Isa. 3:24). Both Elijah and John the Baptist wore a belt of leather (2 Kings 1:8; Matt. 3:4; Mark 1:6).

The characteristic garment of the elite was a loose-fitting, wide-sleeved, often elegantly decorated royal robe (Heb. me’il  ). This garment was worn by priests (Exod. 28:4), nobility, kings, and other highly placed members of Israelite society, such as Samuel (1 Sam. 15:27–28), Jonathan (1 Sam. 18:4), Saul (1 Sam. 24:4), David (1 Chron. 15:27), David’s daughter Tamar (2 Sam. 13:18), and Ezra (Ezra 9:3).

In the NT, the inner garment was the tunic (chitōn), and the outer garment was the cloak (himation). This distinction lies behind the famous command of Jesus: “From one who takes away your cloak do not withhold your tunic either” (Luke 6:29 ESV). The Gospel of John reports that the tunic taken from Jesus at the time of his death was made seamlessly from a single piece of cloth (John 19:23).

Footwear consisted of leather sandals attached to the feet by straps (John 1:27). Sandals were removed as a sign of respect in the presence of deity (Exod. 3:5; Josh. 5:15). The exchange of footwear also played a role in formalizing various legal arrangements (Ruth 4:7–8; see also Deut. 25:9).

Special Functions of Clothing

According to Genesis, the first humans lived initially without clothing or the shame of nakedness (Gen. 2:25). After eating the forbidden fruit from the tree of the knowledge of good and evil, Adam and Eve realized that they were naked and fashioned clothing from leaves (3:7). Later, God made “garments of skin” for Adam and his wife (3:21). The significance of this story and the meaning of the divinely fashioned garments have a long history of interpretation going back to antiquity. Clearly, however, the story illustrates that a basic function of clothing is to cover nakedness—a motif that soon after this story is featured again in the story of Noah and his sons (9:21–23).

Rebekah’s ploy to secure the birthright for her son Jacob involved disguising him in the clothing of his brother Esau (Gen. 27:15; see also Saul’s use of disguise in 1 Sam. 28:8). This tale illustrates how especially in a culture in which individuals owned what would, by modern standards, be considered a limited amount of clothing, clothing itself became an extension of the individual’s identity. In the same way, Jacob himself later was tricked into thinking that one of his own sons was dead, based on the identification of an article of clothing (Gen. 37:31–33). That Isaac could detect Esau’s distinctive smell on his clothing may also indicate the infrequency with which garments were changed and laundered (Gen. 27:27; see also Matt. 10:10). So closely was clothing identified with its owner that a garment could be used as collateral or a pledge, though biblical law regulates this practice for humanitarian reasons (Exod. 22:26). Perhaps because the production of clothing was labor intensive, making clothes for someone was sometimes considered an act of intimacy or an expression of love, so that descriptions of this aspect of clothing in the Bible are quite poignant (see 1 Sam. 2:19; Acts 9:39). When clothing wore out, it was discarded and replaced (Ps. 102:26; Isa. 51:6; Luke 12:33). During the forty years in the wilderness, as a special provision to the Israelites, their clothes and shoes did not wear out (Deut. 8:4; 29:5; Neh. 9:21).

Clothing was an emblem not only of one’s identity but also of one’s office. Thus, when the authority of Elijah passed to his disciple Elisha, Elisha received his master’s cloak or mantle (2 Kings 2:13–14; see also Isa. 22:21). Examples of this function are multiplied when we consider the significance of clothing in symbolizing the role of priests in ancient Israel (e.g., Exod. 29:5–9; 39:27–31). The story of Tamar illustrates that the status of certain women was expressed by their clothing, including that of the prostitute (Gen. 38:15) and the widow (Gen. 38:14, 19).

Biblical texts reveal a rich gestural language involving clothing. In several biblical accounts, spreading the corner of one’s garment over a woman appears as a courtship or marriage ritual (Ruth 3:9; Ezek. 16:8). Giving garments as gifts was a way of honoring or elevating the recipient (Gen. 45:22; Judg. 14:12; Ezek. 16:10; Dan. 5:7), including royal investiture (Pss. 45:8; 93:1; 104:1). The guards who tortured Jesus prior to his crucifixion made light of his status as “king” by dressing him in a royal purple robe (Luke 23:11; John 19:2–3). Grasping someone’s garment, especially its hem, signified entreaty (1 Sam. 15:27–28; Zech. 8:23; Mark 5:27–28). Tearing one’s garments was a way of expressing despair or repentance (Gen. 37:29; Josh. 7:6; Judg. 11:35) or of lodging an especially strong protest (Num. 14:6; Matt. 26:65; Acts 14:14). In some cases, the tearing clothing was accompanied by the act of donning sackcloth and ashes, which signified a further degree of self-humiliation or mourning (Gen. 37:34; 2 Sam. 3:31; 2 Kings 19:1; Matt. 11:21; in Jon. 3:8 animals are included as well, perhaps to comic effect). In such instances, shoes and headwear were also removed (2 Sam. 15:30; Isa. 20:2; Ezek. 24:17). A number of these customs can be understood in terms of the correlation of nakedness with shame, and clothing with honor. Military captives often were stripped naked as a form of humiliation (Lam. 4:21; Ezek. 23:10; Amos 2:16). In Luke 8:27 Jesus encounters a demon-possessed man who neither lived in a house nor wore clothing. In this case, the lack of clothing represents the full measure of human degradation.

Clothing stands symbolically for attributes such as righteousness and salvation (Job 29:14; Ps. 132:9; Isa. 61:10), the resurrection (1 Cor. 15:53–54; 2 Cor. 5:2–4), glory and honor (Job 40:10), union with Christ (Rom. 13:14; Gal. 3:27), compassion and other virtues (Col. 3:12; 1 Pet. 5:5), and purity (Rev. 3:18).

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.

Clothing serves not only the utilitarian function of protecting the body from the elements (1 Tim. 6:8; James 2:15–16) but also a number of socially constructed functions, such as identifying the status of the wearer (James 2:2–3) and expressing cultural values such as modesty and beauty. The full range of such functions is attested in the Bible, and clothing plays a prominent symbolic role in a number of texts. Evidence concerning Israelite and other ancient clothing comes not only from the Bible but also from reliefs, pottery decorations, incised ivories, and, to a limited extent, textile fragments recovered in archaeological excavations.

In biblical lands most clothing was made from the wool of sheep or goats. More expensive articles (such as the garments of priests and aristocrats) could be made from linen, a textile made from the plant fiber flax. Other items, such as sandals, belts, and undergarments, were made from leather. Biblical law forbade the mixture of woolen and linen fibers in Israelite clothing (Deut. 22:11).

Articles of Clothing

A number of specific articles of clothing can be identified in the Bible. Egyptian and Mesopotamian pictures suggest that in OT times each nation was known for a distinctive costume or hairstyle. Some notion of how Israelite costume was perceived, at least that of royalty, may be derived from the depiction of the northern king Jehu (842–814 BC) and his retinue on the Black Obelisk of Shalmaneser III. In this image Israelites are depicted wearing softly pointed caps, pointed shoes, and fringed mantles.

In OT Israel, men wore an undergarment or loincloth held in place by a belt. This loincloth could be made of linen (Jer. 13:1) or leather (2 Kings 1:8). Over this was worn an ankle-length woolen robe or tunic. The tunic of Joseph, traditionally rendered as his “coat of many colors” (Gen. 37:3 KJV, following the LXX), is perhaps better described not as colorful but as “long-sleeved” (see also 2 Sam. 13:18 NASB). The corresponding garments worn by women were similar in appearance, though sufficiently distinct that cross-dressing could be prohibited (Deut. 22:5).

Outside the tunic were worn cloaks (Exod. 22:25–26), sashes (Isa. 22:21), and mantles (1 Kings 19:19). A crafted linen sash was a marketable item (Prov. 31:24), whereas a rope belt was a poor substitute (Isa. 3:24). Both Elijah and John the Baptist wore a belt of leather (2 Kings 1:8; Matt. 3:4; Mark 1:6).

The characteristic garment of the elite was a loose-fitting, wide-sleeved, often elegantly decorated royal robe (Heb. me’il  ). This garment was worn by priests (Exod. 28:4), nobility, kings, and other highly placed members of Israelite society, such as Samuel (1 Sam. 15:27–28), Jonathan (1 Sam. 18:4), Saul (1 Sam. 24:4), David (1 Chron. 15:27), David’s daughter Tamar (2 Sam. 13:18), and Ezra (Ezra 9:3).

In the NT, the inner garment was the tunic (chitōn), and the outer garment was the cloak (himation). This distinction lies behind the famous command of Jesus: “From one who takes away your cloak do not withhold your tunic either” (Luke 6:29 ESV). The Gospel of John reports that the tunic taken from Jesus at the time of his death was made seamlessly from a single piece of cloth (John 19:23).

Footwear consisted of leather sandals attached to the feet by straps (John 1:27). Sandals were removed as a sign of respect in the presence of deity (Exod. 3:5; Josh. 5:15). The exchange of footwear also played a role in formalizing various legal arrangements (Ruth 4:7–8; see also Deut. 25:9).

Special Functions of Clothing

According to Genesis, the first humans lived initially without clothing or the shame of nakedness (Gen. 2:25). After eating the forbidden fruit from the tree of the knowledge of good and evil, Adam and Eve realized that they were naked and fashioned clothing from leaves (3:7). Later, God made “garments of skin” for Adam and his wife (3:21). The significance of this story and the meaning of the divinely fashioned garments have a long history of interpretation going back to antiquity. Clearly, however, the story illustrates that a basic function of clothing is to cover nakedness—a motif that soon after this story is featured again in the story of Noah and his sons (9:21–23).

Rebekah’s ploy to secure the birthright for her son Jacob involved disguising him in the clothing of his brother Esau (Gen. 27:15; see also Saul’s use of disguise in 1 Sam. 28:8). This tale illustrates how especially in a culture in which individuals owned what would, by modern standards, be considered a limited amount of clothing, clothing itself became an extension of the individual’s identity. In the same way, Jacob himself later was tricked into thinking that one of his own sons was dead, based on the identification of an article of clothing (Gen. 37:31–33). That Isaac could detect Esau’s distinctive smell on his clothing may also indicate the infrequency with which garments were changed and laundered (Gen. 27:27; see also Matt. 10:10). So closely was clothing identified with its owner that a garment could be used as collateral or a pledge, though biblical law regulates this practice for humanitarian reasons (Exod. 22:26). Perhaps because the production of clothing was labor intensive, making clothes for someone was sometimes considered an act of intimacy or an expression of love, so that descriptions of this aspect of clothing in the Bible are quite poignant (see 1 Sam. 2:19; Acts 9:39). When clothing wore out, it was discarded and replaced (Ps. 102:26; Isa. 51:6; Luke 12:33). During the forty years in the wilderness, as a special provision to the Israelites, their clothes and shoes did not wear out (Deut. 8:4; 29:5; Neh. 9:21).

Clothing was an emblem not only of one’s identity but also of one’s office. Thus, when the authority of Elijah passed to his disciple Elisha, Elisha received his master’s cloak or mantle (2 Kings 2:13–14; see also Isa. 22:21). Examples of this function are multiplied when we consider the significance of clothing in symbolizing the role of priests in ancient Israel (e.g., Exod. 29:5–9; 39:27–31). The story of Tamar illustrates that the status of certain women was expressed by their clothing, including that of the prostitute (Gen. 38:15) and the widow (Gen. 38:14, 19).

Biblical texts reveal a rich gestural language involving clothing. In several biblical accounts, spreading the corner of one’s garment over a woman appears as a courtship or marriage ritual (Ruth 3:9; Ezek. 16:8). Giving garments as gifts was a way of honoring or elevating the recipient (Gen. 45:22; Judg. 14:12; Ezek. 16:10; Dan. 5:7), including royal investiture (Pss. 45:8; 93:1; 104:1). The guards who tortured Jesus prior to his crucifixion made light of his status as “king” by dressing him in a royal purple robe (Luke 23:11; John 19:2–3). Grasping someone’s garment, especially its hem, signified entreaty (1 Sam. 15:27–28; Zech. 8:23; Mark 5:27–28). Tearing one’s garments was a way of expressing despair or repentance (Gen. 37:29; Josh. 7:6; Judg. 11:35) or of lodging an especially strong protest (Num. 14:6; Matt. 26:65; Acts 14:14). In some cases, the tearing clothing was accompanied by the act of donning sackcloth and ashes, which signified a further degree of self-humiliation or mourning (Gen. 37:34; 2 Sam. 3:31; 2 Kings 19:1; Matt. 11:21; in Jon. 3:8 animals are included as well, perhaps to comic effect). In such instances, shoes and headwear were also removed (2 Sam. 15:30; Isa. 20:2; Ezek. 24:17). A number of these customs can be understood in terms of the correlation of nakedness with shame, and clothing with honor. Military captives often were stripped naked as a form of humiliation (Lam. 4:21; Ezek. 23:10; Amos 2:16). In Luke 8:27 Jesus encounters a demon-possessed man who neither lived in a house nor wore clothing. In this case, the lack of clothing represents the full measure of human degradation.

Clothing stands symbolically for attributes such as righteousness and salvation (Job 29:14; Ps. 132:9; Isa. 61:10), the resurrection (1 Cor. 15:53–54; 2 Cor. 5:2–4), glory and honor (Job 40:10), union with Christ (Rom. 13:14; Gal. 3:27), compassion and other virtues (Col. 3:12; 1 Pet. 5:5), and purity (Rev. 3:18).

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).

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.

The term “government” may refer to the philosophy that shapes a nation or people’s institutions, customs, and laws or, more specifically, to actual offices and structures to enact this philosophy. Generally speaking, government serves to bring order and direction to a people. This can be accomplished through the rule of one, or a few, or many. As a constituent portion of bringing order, some sort of entity for enforcement and protection must be created. This usually takes the form of a military or police force.

The biblical worldview emphasizes the rule of God over everything, inherent in his position as the Creator. Since, however, God did imbue humanity with authority over creation and with the capacity for relationship, his government can find expression in the actions and decisions of human beings (1 Sam. 8:7–9; Rom. 13:1–4). The successful ruler will be the individual who understands his or her place before God and who desires to lead God’s people with humility and justice (1 Kings 3:7–9).

Before the Monarchy

Clan. The earliest forms of governmental relations apparently were in the extended family or clan. The progenitor of the clan normally was the patriarch, who led several families, all of which were to some degree related to him. The patriarch was responsible for land allotments and maintenance of the family’s spiritual life and well-being (Gen. 13:8–9; 31:22–35; Job 1:4–5). He was responsible for forming contractual agreements under which the family functioned, in relation both to land acquisitions and to marriages (Gen. 21:22–34; 24:1–11; 26:26–33). He alone decided to whom the patriarchy passed when he died, and his power was almost absolute (Gen. 27), though there is some indication that God desired a husband’s first responsibility to be to his spouse rather than to his father (Gen. 2:24).

Tribe. Beyond the clan, the next larger societal unit was the tribe. Although tribes were for the most part still related genetically, the distance of the relationship permitted the inclusion of persons from outside the family. This may have been the case with Caleb, who is identified both as a member of the tribe of Judah (Num. 13:6) and as a descendant of the Kenizzites, who were Edomites (Gen. 36:9–11; Num. 32:12). If modern nomadic tribes are any indication, the governmental structure of the related tribes was a type of confederation coming together for defensive purposes. The decisions would have been made by a group of elders from the various clans. Like the clan chief of the smaller structures, the tribal elders could make covenants and were responsible for keeping order in the tribe (Deut. 21:19; Ruth 4:1–12; 2 Sam. 5:3).

During the period following the exodus and before the time of the judges, Israel’s tribal structure was maintained, though with a single leader. The leadership of Moses and Joshua was in many ways a precursor to the offices of both judge and king. The men had considerable power, and opposition to their leadership often was dealt with harshly (Num. 12; 16). Yet, their rule was established through presence of the Spirit of God rather than physical lineage. The weight of leading such a large body of people had its difficulties, and it is related that Moses delegated some of his authority to judges who rendered decisions for the people (Exod. 18).

Judges. The period of the judges witnessed a devolution of sorts in the governmental structures of Israel. The relationship between the various tribes was somewhat strained, and it seems clear from the narrative that no judge ever led more than a handful of tribes. Although these judges were like Moses and Joshua in that they were imbued with power by the Spirit of God, their focus was almost solely military in nature, and the everyday aspects of governance seem to have been left to the individual tribes. There was little sense of ordered society, and lawlessness and anarchy seem to have been the order of the day. In two cases, those of Gideon and Abimelek, attempts were made to found petty kingdoms (Judg. 8:22–23, 30–31; 9:1–21). Similarly, Jephthah seems to have established a minor kingdom east of the Jordan, in Gilead (Judg. 11:6–11). However, these attempts were transitory in nature and lacked the stability that grows out of a unified identity. Indeed, one of the roles of the judges seems to have been to solidify the people’s resolve for permanent leadership in the form of a monarch, which they hoped would raise them to greatness and standing in the world (1 Sam. 8:1–6).

The Monarchy

The period of the monarchy represented a strong centralized government invested in the mind and decisions of a single man. The term “king” was applied symbolically to any great leader, but above all it was applied to God, to whom Israel’s throne rightfully belonged (1 Chron. 28:5; 29:23; Ps. 2). With the office of the king came a bureaucracy designed to increase efficiency, but which sometimes involved corruption.

Establishing the monarchy. The first ruler called “king” was Saul, son of Kish, though he is often referred to as a prince or a chieftain rather than a king (1 Sam. 13:13–14). It is difficult to say whether this related specifically to the level of office that he possessed or if it was a sort of disparaging comparison to David, who was viewed by the biblical writer as a true king. As king, David took possession of the great fortress of Jerusalem. In many ways, he combined the ecclesiastical and the military headship of the nation through the movement of the ark of the covenant to Jerusalem and the purchase of the threshing floor for the temple. Solomon attempted to further break down the old tribal divisions by dividing the whole country into administrative districts (1 Kings 4:7), not according to tribal divisions, but instead after the pattern established during the Egyptian hegemony of Canaan that had existed several centuries earlier. The kingdom was divided into two separate kingdoms at the death of Solomon, but for the people of God the monarchy had become the standard of government through which God ruled. This monarchial expectation found expression in the messianic hope of Israel (Ezek. 47).

The role of the king. The chief duty of the king was to act as the commander in chief of the army. With the establishment of a monarchy, the people gained a standing army that could be kept in the field for protection of the nation (1 Sam. 13:2). The king was also intimately connected with the religious organization of the people. He was considered a central component of the cult, so that major moments in his life were cause for worship (Pss. 2; 45; 110). It is certain that the king, especially after David, performed priestly functions. David wore an ephod (1 Chron. 15:27), and Solomon addressed the people in the temple (1 Kings 8:14). Indeed, the coronation itself identified the king as both priest and king (Ps. 110:4). The fact that Solomon built the temple and played a significant role in its dedication shows the intimate relation that the king had with the national sanctuary, which was attached to his palace. The king also served as judge (1 Kings 3:16–28; 7:7) over his people, and he determined the economic structures of the society, including taxes, monetary weights, and covenants with other nations. The king did not hold absolute authority, however, and like the rest of Israel, he was subject to the law (Deut. 17:14–20).

Successors and officers. Once the kingship had been established, the hereditary principle arose naturally. Saul’s son Ish-Bosheth maintained a small kingship of northern tribes for some time after Saul’s death (2 Sam. 2:8–10). Still, the king appears to have had the right to select which of his descendants would be his successor (1 Kings 1). When the decision was made, the people often proclaimed their satisfaction at the result (1 Kings 1:25; 2 Kings 14:21), and a ceremony of anointing took place. Sometimes the anointing was a private affair (2 Kings 9:6), but the presence of certain psalms related to the ceremony itself suggests that, generally speaking, it was a national event and time of worship (Ps. 2:2).

The bureaucracy that came with the king meant the installation of several new offices. The chief officer of the king was the commander of his army (2 Sam. 2:8; 8:16). Another high-ranking military officer was the captain of the bodyguard, who was not placed under the orders of the commander of the army (2 Sam. 8:18; 23:22–23). The king also had more domestic officers, such as the officer over the household (2 Kings 18:18), the court historian, the court secretary, various deputies and advisers, and the king’s friend (2 Sam. 8:16–18; 1 Kings 4:1–6).

Revenue. The means of sustaining the state varied by era and king. While it is true that the king had his own flocks and land (1 Sam. 8:15–17; 1 Chron. 27:25–28), he could also, depending on how strong he was, raise revenue through gifts from vassals (1 Kings 4:21; 10:25) and through the spoils of war (2 Chron. 27:5). Starting with the control and regulation of trade routes during the reign of Solomon, the king maintained a stream of revenue through taxation of merchants moving through the land and trade with other nations.

After the Exile

The period following the exile witnessed a transition in the government of Israel. Apart from a very short period from about 160 to 60 BC, Israel was under the control of foreign powers. These various empires ruled with a variety of methods, determined by their own philosophy of government.

Persian rule. The Persians established a rule based largely on a sort of benevolent dictatorship, though there are multiple accounts of vicious responses to any notion of rebellion from its vassals. In 539 BC Cyrus permitted the Jews to return from their captivity in Babylon to Jerusalem and showed them certain favors. One of his successors, Darius I (r. 522–486 BC), continued the liberal policy of Cyrus toward the Jews and played a major role in the rebuilding of the temple at Jerusalem (Ezra 5:13–17; 6:1–15). He also organized the Persian Empire to facilitate the easy collection of tribute from subject nations. He ultimately divided the kingdom into twenty provinces ruled by governors, a system maintained through the remainder of his dynastic line. Another important development during this period was the increase in power of the Jewish priesthood. With no Jewish monarchy in place, governmental power in Israel became concentrated in the office of the high priest.

Greek and Roman rule. Alexander the Great and his successors brought Hellenism into the Jewish experience. His acquisition of power was distinctly different because it was not simply a political one. Its cultural and spiritual influence was much more significant. The people were subjected to new language, art, thought, and philosophy. The struggle that ensued divided the Jewish population into competing groups, one dedicated to the preservation of the old ways and one more receptive to the Hellenistic life.

The coming of the Romans brought with it a more complex balance of power, with authority shifting between the high priest, vassal kings appointed by the Romans, and Roman governors called “prefects” and “procurators.” Among the kings of this period, Herod the Great was the most successful and important. Herod gained control of the region with the help of Augustus Caesar and Marc Antony, being invested with the office by the Roman senate and then winning an important military victory over Jerusalem in 37 BC. Herod was hated by the Jews because of his pagan commitments, his cruelty, and his desire to Hellenize Judea. His children did not enjoy his success or his power, however, and following his death Roman influence and intervention in Judea became more direct and significant.

The priestly class also held significant power in the office of the high priest and in the Jewish high court, the Sanhedrin. The Sanhedrin addressed issues such as legal procedure, verdicts, and decrees of a political nature and also dealt with questions relating to the temple, priesthood, and sacrifices. The Sanhedrin was in many respects the highest political authority (although its control was always mitigated by Roman power and presence). It could deal with most criminal cases, though its authority was limited in capital cases.

The Roman presence in the region was represented by the governance of prefects and procurators. These governors were appointed by Rome over Judea after the removal of Archelaus in AD 6, and over all of Palestine at the death of Herod Agrippa. Prefects and procurators were the highest power in their province, but they answered to the legate and ultimately to Caesar. They lived primarily in Caesarea, but they traveled to Jerusalem for high festivals or in the case of civil unrest. They tended to have as little contact as possible with the Jews unless their own personal interest demanded it. Decisions concerning everyday life were left to the Jewish authorities. With Roman citizens living in their areas, the procurators had direct influence; however, such citizens could go over the procurator’s head and appeal to Caesar if they did not receive the sentence that they desired.

A harem typically was a large group of women (wives, concubines, virgins, plus any small children) associated with a king; they lived together in a secluded, restricted area of his palace and often were attended by eunuchs. Harems were common in the royal courts of the ancient Near East, including in Israelite royal life (2 Sam. 3:7; 5:13; 12:11; 19:5; 21:11; 1 Kings 11:3–4; 1 Chron. 3:9; 2 Chron. 11:21; Ps. 45:14; Eccles. 2:8).

The book of Esther describes a lengthy process where the women of Xerxes’ court were gathered (2:3) in competition (2:4, 9), separated from family (2:11), and groomed (2:12), and, unless especially fortunate, had one night each with the king before being relegated to the second harem (2:13–14).

The descendants of the Le-vite Korah, grandson of Kohath (Exod. 6:24; Num. 16:1; 26:11, 58), not the Edomite Korah (Gen. 36:5, 16). They were a guild of temple singers during the monarchic period, residing certainly in the southern kingdom but also possibly in the northern kingdom. They appear in the superscriptions of Pss. 42–49; 84–85; 87–88, which focus on the themes of Zion, rescue from trials and estrangement from God, and God’s faithfulness as a refuge for his people. In postexilic times they were gatekeepers at the temple and bakers of the sacred bread (1 Chron. 9:19, 31).

The descendants of the Le-vite Korah, grandson of Kohath (Exod. 6:24; Num. 16:1; 26:11, 58), not the Edomite Korah (Gen. 36:5, 16). They were a guild of temple singers during the monarchic period, residing certainly in the southern kingdom but also possibly in the northern kingdom. They appear in the superscriptions of Pss. 42–49; 84–85; 87–88, which focus on the themes of Zion, rescue from trials and estrangement from God, and God’s faithfulness as a refuge for his people. In postexilic times they were gatekeepers at the temple and bakers of the sacred bread (1 Chron. 9:19, 31).

The descendants of the Le-vite Korah, grandson of Kohath (Exod. 6:24; Num. 16:1; 26:11, 58), not the Edomite Korah (Gen. 36:5, 16). They were a guild of temple singers during the monarchic period, residing certainly in the southern kingdom but also possibly in the northern kingdom. They appear in the superscriptions of Pss. 42–49; 84–85; 87–88, which focus on the themes of Zion, rescue from trials and estrangement from God, and God’s faithfulness as a refuge for his people. In postexilic times they were gatekeepers at the temple and bakers of the sacred bread (1 Chron. 9:19, 31).

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 classification of thirteen psalms (Pss. 32; 42; 44–45; 52–55; 74; 78; 88–89; 142). All are associated with “authors” (David, the sons of Korah, Asaph, Heman, and Ethan) (see also Superscription). They include individual and communal laments, royal psalms, instruction, and psalms of mixed type, but none are hymns of praise. The root of maskil pertains to understanding or skill. There are two main views as to its meaning. As it relates to “making prudent,” the maskil may be meditative or instructive. Or maskil may be a designation that skilled musicians were required for proper performance.

The classification of thirteen psalms (Pss. 32; 42; 44–45; 52–55; 74; 78; 88–89; 142). All are associated with “authors” (David, the sons of Korah, Asaph, Heman, and Ethan) (see also Superscription). They include individual and communal laments, royal psalms, instruction, and psalms of mixed type, but none are hymns of praise. The root of maskil pertains to understanding or skill. There are two main views as to its meaning. As it relates to “making prudent,” the maskil may be meditative or instructive. Or maskil may be a designation that skilled musicians were required for proper performance.

In the Bible, writing was carved into stone (Exod. 24:12; Josh. 8:32) or stone covered with plaster (Deut. 27:1–10), metal (Exod. 28:36), or wood (Num. 17:2–3; Ezek. 37:16). Clay tablets or wooden tablets covered with wax were also used (Isa. 8:1; 30:8; Hab. 2:2; Luke 1:63). However, while clay tablets were common in Mesopotamia and among the Hittites in Anatolia, they were used more rarely in Israel or Egypt because of the accessibility of papyrus and parchment.

Writing implements are mentioned occasionally in the Bible. A stylus—a sharpened instrument fashioned from materials such as reed, bone, or metal (e.g., Job 19:24; Jer. 17:1)—was used to carve letters into clay or wax. A sharpened reed could also be dipped in ink to function as a pen for writing on papyrus or parchment (Ps. 45:1; Isa. 8:1; Matt. 5:18; Luke 16:17; 2 John 13). A scribe would often need additional implements to prepare the writing surface, to remove or rub out an error, to mix the ink, or to sharpen the stylus (cf. “writing kit” in Ezek. 9:2–3, 11; “scribe’s knife” in Jer. 36:23).

During Old and New Testament times, papyrus was one of the two most common types of writing material. The tall, marshy papyrus reed (Cyperus papyrus) grew abundantly in Lower Egypt in ancient times (Job 8:11) and was used for baskets (Exod. 2:3), mats, ropes, sandals, and even boats (Isa. 18:2). As early as 3000 BC, however, the papyrus reed was most known for making a kind of paper referred to simply as “papyrus.” Literary and archaeological evidence demonstrates that papyrus was used extensively across the Near East well into the first Christian millennium.

Papyrus stalks are typically the diameter of a human palm and roughly triangular in shape. Sections were cut about a foot long. The inner fibrous pith was cut lengthwise into thin strips that were placed side by side on a board. A second layer of strips was placed at right angles. The resulting “sheet” was pounded together. Pliny the Elder (Nat. 13.11–13) claimed that the Nile water glued the strips together, but actually the crushed pulp did so. The dried sheets were trimmed to a standard size, varying by “factory,” typically ten inches high by eight inches wide.

Sheets (with the horizontal fibers on top) were glued side by side with the sheet on the left slightly lapping over the right, so that a scribe’s pen slid “downhill” when moving onto the next sheet. It was not uncommon for a column of text to be on a joint (unlike leather sheets, whose sewn joint would not hold text). The joined sheets formed a roll (scroll) of standard length (about twelve feet) called a chartēs (2 John 12), the typical unit of sale. It is estimated that in NT times a chartēs cost four denars (= approximately U.S. $450). Secretaries cut sheets off a chartēs or glued on additional length as the task required, but the typical ancient letter, such as 3 John, was about one sheet in length.

The other most common type of writing material was leather parchment. Made chiefly from the skins of sheep or goats, parchment would be prepared by soaking, dehairing, scraping, and washing the hide. The skin would be stretched on a frame and smoothed with a pumice stone. Vellum is a finer grade of parchment and is made from calfskin or kidskin. Sections of parchment also were sewn together to make a roll. Paul asked Timothy to bring him “the parchments” (2 Tim. 4:13).

Papyrus had the advantage of being lightweight and durable, and perhaps less expensive, so it was often preferred over clay, wooden, metal, or stone tablets, or even parchment (at least until the third century AD). However, papyrus had two major disadvantages: it deteriorated rapidly in water and was almost exclusively from Egypt. Since ink was water-soluble, all documents were routinely protected from moisture, so trade issues with Egypt may be to blame for major shifts to parchment. Unfortunately, only ancient papyri left in dry locations in dry climates have survived, explaining why the bulk of known papyri are from the Egyptian desert.

Paper made of wood pulp or similar fibers was invented in China and was not adopted in the West until the eighth century or later.

In the Bible, writing was carved into stone (Exod. 24:12; Josh. 8:32) or stone covered with plaster (Deut. 27:1–10), metal (Exod. 28:36), or wood (Num. 17:2–3; Ezek. 37:16). Clay tablets or wooden tablets covered with wax were also used (Isa. 8:1; 30:8; Hab. 2:2; Luke 1:63). However, while clay tablets were common in Mesopotamia and among the Hittites in Anatolia, they were used more rarely in Israel or Egypt because of the accessibility of papyrus and parchment.

Writing implements are mentioned occasionally in the Bible. A stylus—a sharpened instrument fashioned from materials such as reed, bone, or metal (e.g., Job 19:24; Jer. 17:1)—was used to carve letters into clay or wax. A sharpened reed could also be dipped in ink to function as a pen for writing on papyrus or parchment (Ps. 45:1; Isa. 8:1; Matt. 5:18; Luke 16:17; 2 John 13). A scribe would often need additional implements to prepare the writing surface, to remove or rub out an error, to mix the ink, or to sharpen the stylus (cf. “writing kit” in Ezek. 9:2–3, 11; “scribe’s knife” in Jer. 36:23).

During Old and New Testament times, papyrus was one of the two most common types of writing material. The tall, marshy papyrus reed (Cyperus papyrus) grew abundantly in Lower Egypt in ancient times (Job 8:11) and was used for baskets (Exod. 2:3), mats, ropes, sandals, and even boats (Isa. 18:2). As early as 3000 BC, however, the papyrus reed was most known for making a kind of paper referred to simply as “papyrus.” Literary and archaeological evidence demonstrates that papyrus was used extensively across the Near East well into the first Christian millennium.

Papyrus stalks are typically the diameter of a human palm and roughly triangular in shape. Sections were cut about a foot long. The inner fibrous pith was cut lengthwise into thin strips that were placed side by side on a board. A second layer of strips was placed at right angles. The resulting “sheet” was pounded together. Pliny the Elder (Nat. 13.11–13) claimed that the Nile water glued the strips together, but actually the crushed pulp did so. The dried sheets were trimmed to a standard size, varying by “factory,” typically ten inches high by eight inches wide.

Sheets (with the horizontal fibers on top) were glued side by side with the sheet on the left slightly lapping over the right, so that a scribe’s pen slid “downhill” when moving onto the next sheet. It was not uncommon for a column of text to be on a joint (unlike leather sheets, whose sewn joint would not hold text). The joined sheets formed a roll (scroll) of standard length (about twelve feet) called a chartēs (2 John 12), the typical unit of sale. It is estimated that in NT times a chartēs cost four denars (= approximately U.S. $450). Secretaries cut sheets off a chartēs or glued on additional length as the task required, but the typical ancient letter, such as 3 John, was about one sheet in length.

The other most common type of writing material was leather parchment. Made chiefly from the skins of sheep or goats, parchment would be prepared by soaking, dehairing, scraping, and washing the hide. The skin would be stretched on a frame and smoothed with a pumice stone. Vellum is a finer grade of parchment and is made from calfskin or kidskin. Sections of parchment also were sewn together to make a roll. Paul asked Timothy to bring him “the parchments” (2 Tim. 4:13).

Papyrus had the advantage of being lightweight and durable, and perhaps less expensive, so it was often preferred over clay, wooden, metal, or stone tablets, or even parchment (at least until the third century AD). However, papyrus had two major disadvantages: it deteriorated rapidly in water and was almost exclusively from Egypt. Since ink was water-soluble, all documents were routinely protected from moisture, so trade issues with Egypt may be to blame for major shifts to parchment. Unfortunately, only ancient papyri left in dry locations in dry climates have survived, explaining why the bulk of known papyri are from the Egyptian desert.

Paper made of wood pulp or similar fibers was invented in China and was not adopted in the West until the eighth century or later.

In the Bible, writing was carved into stone (Exod. 24:12; Josh. 8:32) or stone covered with plaster (Deut. 27:1–10), metal (Exod. 28:36), or wood (Num. 17:2–3; Ezek. 37:16). Clay tablets or wooden tablets covered with wax were also used (Isa. 8:1; 30:8; Hab. 2:2; Luke 1:63). However, while clay tablets were common in Mesopotamia and among the Hittites in Anatolia, they were used more rarely in Israel or Egypt because of the accessibility of papyrus and parchment.

Writing implements are mentioned occasionally in the Bible. A stylus—a sharpened instrument fashioned from materials such as reed, bone, or metal (e.g., Job 19:24; Jer. 17:1)—was used to carve letters into clay or wax. A sharpened reed could also be dipped in ink to function as a pen for writing on papyrus or parchment (Ps. 45:1; Isa. 8:1; Matt. 5:18; Luke 16:17; 2 John 13). A scribe would often need additional implements to prepare the writing surface, to remove or rub out an error, to mix the ink, or to sharpen the stylus (cf. “writing kit” in Ezek. 9:2–3, 11; “scribe’s knife” in Jer. 36:23).

During Old and New Testament times, papyrus was one of the two most common types of writing material. The tall, marshy papyrus reed (Cyperus papyrus) grew abundantly in Lower Egypt in ancient times (Job 8:11) and was used for baskets (Exod. 2:3), mats, ropes, sandals, and even boats (Isa. 18:2). As early as 3000 BC, however, the papyrus reed was most known for making a kind of paper referred to simply as “papyrus.” Literary and archaeological evidence demonstrates that papyrus was used extensively across the Near East well into the first Christian millennium.

Papyrus stalks are typically the diameter of a human palm and roughly triangular in shape. Sections were cut about a foot long. The inner fibrous pith was cut lengthwise into thin strips that were placed side by side on a board. A second layer of strips was placed at right angles. The resulting “sheet” was pounded together. Pliny the Elder (Nat. 13.11–13) claimed that the Nile water glued the strips together, but actually the crushed pulp did so. The dried sheets were trimmed to a standard size, varying by “factory,” typically ten inches high by eight inches wide.

Sheets (with the horizontal fibers on top) were glued side by side with the sheet on the left slightly lapping over the right, so that a scribe’s pen slid “downhill” when moving onto the next sheet. It was not uncommon for a column of text to be on a joint (unlike leather sheets, whose sewn joint would not hold text). The joined sheets formed a roll (scroll) of standard length (about twelve feet) called a chartēs (2 John 12), the typical unit of sale. It is estimated that in NT times a chartēs cost four denars (= approximately U.S. $450). Secretaries cut sheets off a chartēs or glued on additional length as the task required, but the typical ancient letter, such as 3 John, was about one sheet in length.

The other most common type of writing material was leather parchment. Made chiefly from the skins of sheep or goats, parchment would be prepared by soaking, dehairing, scraping, and washing the hide. The skin would be stretched on a frame and smoothed with a pumice stone. Vellum is a finer grade of parchment and is made from calfskin or kidskin. Sections of parchment also were sewn together to make a roll. Paul asked Timothy to bring him “the parchments” (2 Tim. 4:13).

Papyrus had the advantage of being lightweight and durable, and perhaps less expensive, so it was often preferred over clay, wooden, metal, or stone tablets, or even parchment (at least until the third century AD). However, papyrus had two major disadvantages: it deteriorated rapidly in water and was almost exclusively from Egypt. Since ink was water-soluble, all documents were routinely protected from moisture, so trade issues with Egypt may be to blame for major shifts to parchment. Unfortunately, only ancient papyri left in dry locations in dry climates have survived, explaining why the bulk of known papyri are from the Egyptian desert.

Paper made of wood pulp or similar fibers was invented in China and was not adopted in the West until the eighth century or later.

In the Bible, writing was carved into stone (Exod. 24:12; Josh. 8:32) or stone covered with plaster (Deut. 27:1–10), metal (Exod. 28:36), or wood (Num. 17:2–3; Ezek. 37:16). Clay tablets or wooden tablets covered with wax were also used (Isa. 8:1; 30:8; Hab. 2:2; Luke 1:63). However, while clay tablets were common in Mesopotamia and among the Hittites in Anatolia, they were used more rarely in Israel or Egypt because of the accessibility of papyrus and parchment.

Writing implements are mentioned occasionally in the Bible. A stylus—a sharpened instrument fashioned from materials such as reed, bone, or metal (e.g., Job 19:24; Jer. 17:1)—was used to carve letters into clay or wax. A sharpened reed could also be dipped in ink to function as a pen for writing on papyrus or parchment (Ps. 45:1; Isa. 8:1; Matt. 5:18; Luke 16:17; 2 John 13). A scribe would often need additional implements to prepare the writing surface, to remove or rub out an error, to mix the ink, or to sharpen the stylus (cf. “writing kit” in Ezek. 9:2–3, 11; “scribe’s knife” in Jer. 36:23).

During Old and New Testament times, papyrus was one of the two most common types of writing material. The tall, marshy papyrus reed (Cyperus papyrus) grew abundantly in Lower Egypt in ancient times (Job 8:11) and was used for baskets (Exod. 2:3), mats, ropes, sandals, and even boats (Isa. 18:2). As early as 3000 BC, however, the papyrus reed was most known for making a kind of paper referred to simply as “papyrus.” Literary and archaeological evidence demonstrates that papyrus was used extensively across the Near East well into the first Christian millennium.

Papyrus stalks are typically the diameter of a human palm and roughly triangular in shape. Sections were cut about a foot long. The inner fibrous pith was cut lengthwise into thin strips that were placed side by side on a board. A second layer of strips was placed at right angles. The resulting “sheet” was pounded together. Pliny the Elder (Nat. 13.11–13) claimed that the Nile water glued the strips together, but actually the crushed pulp did so. The dried sheets were trimmed to a standard size, varying by “factory,” typically ten inches high by eight inches wide.

Sheets (with the horizontal fibers on top) were glued side by side with the sheet on the left slightly lapping over the right, so that a scribe’s pen slid “downhill” when moving onto the next sheet. It was not uncommon for a column of text to be on a joint (unlike leather sheets, whose sewn joint would not hold text). The joined sheets formed a roll (scroll) of standard length (about twelve feet) called a chartēs (2 John 12), the typical unit of sale. It is estimated that in NT times a chartēs cost four denars (= approximately U.S. $450). Secretaries cut sheets off a chartēs or glued on additional length as the task required, but the typical ancient letter, such as 3 John, was about one sheet in length.

The other most common type of writing material was leather parchment. Made chiefly from the skins of sheep or goats, parchment would be prepared by soaking, dehairing, scraping, and washing the hide. The skin would be stretched on a frame and smoothed with a pumice stone. Vellum is a finer grade of parchment and is made from calfskin or kidskin. Sections of parchment also were sewn together to make a roll. Paul asked Timothy to bring him “the parchments” (2 Tim. 4:13).

Papyrus had the advantage of being lightweight and durable, and perhaps less expensive, so it was often preferred over clay, wooden, metal, or stone tablets, or even parchment (at least until the third century AD). However, papyrus had two major disadvantages: it deteriorated rapidly in water and was almost exclusively from Egypt. Since ink was water-soluble, all documents were routinely protected from moisture, so trade issues with Egypt may be to blame for major shifts to parchment. Unfortunately, only ancient papyri left in dry locations in dry climates have survived, explaining why the bulk of known papyri are from the Egyptian desert.

Paper made of wood pulp or similar fibers was invented in China and was not adopted in the West until the eighth century or later.

Sweet-scented perfumes were used as anointing oil (Exod. 30:22–33), incense (Exod. 30:34–38), lovemaking aids (Esther 2:12; Prov. 7:17; Song 1:12–14; 5:5), to scent clothing and soften skin (Ruth 3:3; Ps. 45:8; Ezek. 16:9), and at burials (2 Chron. 16:14; John 12:7). Perfumed oil was poured on the feet or the head of banquet guests (Matt. 26:7; Luke 7:38; Mark 14:8; John 12:3). Found among those in the exodus (Exod. 30:25, 35), commissioned perfumers made sanctuary oil and incense (Exod. 37:29; 1 Chron. 9:30). One such perfumer, Hananiah, is named in Neh. 3:8.

Sweet-scented perfumes were used as anointing oil (Exod. 30:22–33), incense (Exod. 30:34–38), lovemaking aids (Esther 2:12; Prov. 7:17; Song 1:12–14; 5:5), to scent clothing and soften skin (Ruth 3:3; Ps. 45:8; Ezek. 16:9), and at burials (2 Chron. 16:14; John 12:7). Perfumed oil was poured on the feet or the head of banquet guests (Matt. 26:7; Luke 7:38; Mark 14:8; John 12:3). Found among those in the exodus (Exod. 30:25, 35), commissioned perfumers made sanctuary oil and incense (Exod. 37:29; 1 Chron. 9:30). One such perfumer, Hananiah, is named in Neh. 3:8.

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 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).

Clothing serves not only the utilitarian function of protecting the body from the elements (1 Tim. 6:8; James 2:15–16) but also a number of socially constructed functions, such as identifying the status of the wearer (James 2:2–3) and expressing cultural values such as modesty and beauty. The full range of such functions is attested in the Bible, and clothing plays a prominent symbolic role in a number of texts. Evidence concerning Israelite and other ancient clothing comes not only from the Bible but also from reliefs, pottery decorations, incised ivories, and, to a limited extent, textile fragments recovered in archaeological excavations.

In biblical lands most clothing was made from the wool of sheep or goats. More expensive articles (such as the garments of priests and aristocrats) could be made from linen, a textile made from the plant fiber flax. Other items, such as sandals, belts, and undergarments, were made from leather. Biblical law forbade the mixture of woolen and linen fibers in Israelite clothing (Deut. 22:11).

Articles of Clothing

A number of specific articles of clothing can be identified in the Bible. Egyptian and Mesopotamian pictures suggest that in OT times each nation was known for a distinctive costume or hairstyle. Some notion of how Israelite costume was perceived, at least that of royalty, may be derived from the depiction of the northern king Jehu (842–814 BC) and his retinue on the Black Obelisk of Shalmaneser III. In this image Israelites are depicted wearing softly pointed caps, pointed shoes, and fringed mantles.

In OT Israel, men wore an undergarment or loincloth held in place by a belt. This loincloth could be made of linen (Jer. 13:1) or leather (2 Kings 1:8). Over this was worn an ankle-length woolen robe or tunic. The tunic of Joseph, traditionally rendered as his “coat of many colors” (Gen. 37:3 KJV, following the LXX), is perhaps better described not as colorful but as “long-sleeved” (see also 2 Sam. 13:18 NASB). The corresponding garments worn by women were similar in appearance, though sufficiently distinct that cross-dressing could be prohibited (Deut. 22:5).

Outside the tunic were worn cloaks (Exod. 22:25–26), sashes (Isa. 22:21), and mantles (1 Kings 19:19). A crafted linen sash was a marketable item (Prov. 31:24), whereas a rope belt was a poor substitute (Isa. 3:24). Both Elijah and John the Baptist wore a belt of leather (2 Kings 1:8; Matt. 3:4; Mark 1:6).

The characteristic garment of the elite was a loose-fitting, wide-sleeved, often elegantly decorated royal robe (Heb. me’il  ). This garment was worn by priests (Exod. 28:4), nobility, kings, and other highly placed members of Israelite society, such as Samuel (1 Sam. 15:27–28), Jonathan (1 Sam. 18:4), Saul (1 Sam. 24:4), David (1 Chron. 15:27), David’s daughter Tamar (2 Sam. 13:18), and Ezra (Ezra 9:3).

In the NT, the inner garment was the tunic (chitōn), and the outer garment was the cloak (himation). This distinction lies behind the famous command of Jesus: “From one who takes away your cloak do not withhold your tunic either” (Luke 6:29 ESV). The Gospel of John reports that the tunic taken from Jesus at the time of his death was made seamlessly from a single piece of cloth (John 19:23).

Footwear consisted of leather sandals attached to the feet by straps (John 1:27). Sandals were removed as a sign of respect in the presence of deity (Exod. 3:5; Josh. 5:15). The exchange of footwear also played a role in formalizing various legal arrangements (Ruth 4:7–8; see also Deut. 25:9).

Special Functions of Clothing

According to Genesis, the first humans lived initially without clothing or the shame of nakedness (Gen. 2:25). After eating the forbidden fruit from the tree of the knowledge of good and evil, Adam and Eve realized that they were naked and fashioned clothing from leaves (3:7). Later, God made “garments of skin” for Adam and his wife (3:21). The significance of this story and the meaning of the divinely fashioned garments have a long history of interpretation going back to antiquity. Clearly, however, the story illustrates that a basic function of clothing is to cover nakedness—a motif that soon after this story is featured again in the story of Noah and his sons (9:21–23).

Rebekah’s ploy to secure the birthright for her son Jacob involved disguising him in the clothing of his brother Esau (Gen. 27:15; see also Saul’s use of disguise in 1 Sam. 28:8). This tale illustrates how especially in a culture in which individuals owned what would, by modern standards, be considered a limited amount of clothing, clothing itself became an extension of the individual’s identity. In the same way, Jacob himself later was tricked into thinking that one of his own sons was dead, based on the identification of an article of clothing (Gen. 37:31–33). That Isaac could detect Esau’s distinctive smell on his clothing may also indicate the infrequency with which garments were changed and laundered (Gen. 27:27; see also Matt. 10:10). So closely was clothing identified with its owner that a garment could be used as collateral or a pledge, though biblical law regulates this practice for humanitarian reasons (Exod. 22:26). Perhaps because the production of clothing was labor intensive, making clothes for someone was sometimes considered an act of intimacy or an expression of love, so that descriptions of this aspect of clothing in the Bible are quite poignant (see 1 Sam. 2:19; Acts 9:39). When clothing wore out, it was discarded and replaced (Ps. 102:26; Isa. 51:6; Luke 12:33). During the forty years in the wilderness, as a special provision to the Israelites, their clothes and shoes did not wear out (Deut. 8:4; 29:5; Neh. 9:21).

Clothing was an emblem not only of one’s identity but also of one’s office. Thus, when the authority of Elijah passed to his disciple Elisha, Elisha received his master’s cloak or mantle (2 Kings 2:13–14; see also Isa. 22:21). Examples of this function are multiplied when we consider the significance of clothing in symbolizing the role of priests in ancient Israel (e.g., Exod. 29:5–9; 39:27–31). The story of Tamar illustrates that the status of certain women was expressed by their clothing, including that of the prostitute (Gen. 38:15) and the widow (Gen. 38:14, 19).

Biblical texts reveal a rich gestural language involving clothing. In several biblical accounts, spreading the corner of one’s garment over a woman appears as a courtship or marriage ritual (Ruth 3:9; Ezek. 16:8). Giving garments as gifts was a way of honoring or elevating the recipient (Gen. 45:22; Judg. 14:12; Ezek. 16:10; Dan. 5:7), including royal investiture (Pss. 45:8; 93:1; 104:1). The guards who tortured Jesus prior to his crucifixion made light of his status as “king” by dressing him in a royal purple robe (Luke 23:11; John 19:2–3). Grasping someone’s garment, especially its hem, signified entreaty (1 Sam. 15:27–28; Zech. 8:23; Mark 5:27–28). Tearing one’s garments was a way of expressing despair or repentance (Gen. 37:29; Josh. 7:6; Judg. 11:35) or of lodging an especially strong protest (Num. 14:6; Matt. 26:65; Acts 14:14). In some cases, the tearing clothing was accompanied by the act of donning sackcloth and ashes, which signified a further degree of self-humiliation or mourning (Gen. 37:34; 2 Sam. 3:31; 2 Kings 19:1; Matt. 11:21; in Jon. 3:8 animals are included as well, perhaps to comic effect). In such instances, shoes and headwear were also removed (2 Sam. 15:30; Isa. 20:2; Ezek. 24:17). A number of these customs can be understood in terms of the correlation of nakedness with shame, and clothing with honor. Military captives often were stripped naked as a form of humiliation (Lam. 4:21; Ezek. 23:10; Amos 2:16). In Luke 8:27 Jesus encounters a demon-possessed man who neither lived in a house nor wore clothing. In this case, the lack of clothing represents the full measure of human degradation.

Clothing stands symbolically for attributes such as righteousness and salvation (Job 29:14; Ps. 132:9; Isa. 61:10), the resurrection (1 Cor. 15:53–54; 2 Cor. 5:2–4), glory and honor (Job 40:10), union with Christ (Rom. 13:14; Gal. 3:27), compassion and other virtues (Col. 3:12; 1 Pet. 5:5), and purity (Rev. 3:18).

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

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

In the Bible, words for “spice” include the Hebrew bosem (NIV: “spice, perfume, fragrance”) and sam (NIV: “fragrant incense, fragrant spice”) and the Greek arōma and amōmon (NIV: “spice”). Aromatic vegetable products were used either to season food or as perfuming agents, and sometimes as both. The Greek term amōmon occurs only in Rev. 18:13, in this context probably referring to a spice from India. The term arōma occurs only in Mark 16:1; Luke 23:56; 24:1; John 19:40, where it is not technically part of an embalming process, since it does not stop decomposition, but rather is intended to offset the odor of death. If a funeral pyre is not intended in 2 Chron. 16:14, the spices there serve this same function. The Hebrew term sam occurs most frequently in Exodus in connection with the incense to be burned before God (Exod. 25:6; 30:7, 34; 31:11; 35:8, 15, 28; 37:29; 39:38; 40:27; cf. Lev. 4:7; 16:12; Num. 4:16; 2 Chron. 13:11). The term bosem occurs more widely throughout the OT with reference to both fragrances (e.g., Isa. 3:24) and spices (e.g., 1 Kings 10:10) and can modify the name of specific spices, as in Exod. 30:23: “cinnamon spice” (NIV: “fragrant cinnamon”) and “cane spice” (NIV: “fragrant calamus”).

Spices were in high demand, making food and living more enjoyable, especially for the wealthy. They were used in food (implicit in Ezek. 24:10) and drink (Song 8:2). The spice trade forged the earliest routes from northern India to Sumer, Akkad, and Egypt (cf. Gen. 37:25). Trade led to cultural exchange and, in the time of Solomon, to national wealth from tolls collected on such shipments. Ezekiel 27:22 and Rev. 18:13 show the value associated with this trade, and 2 Kings 20:13 places spices among King Hezekiah’s “treasures.” The sensual luxury of spices could be erotic (e.g., Esther 2:12; Song 5:1; 6:2; 8:14); indeed, Song of Songs, though short, uses the word bosem more than any other book in the OT. Some spices, such as frankincense, were important to worship rituals in ancient Israel, being used in offerings (Lev. 24:7) and in the anointing oil and incense (Exod. 25:6; 30:22–38). Producing the right mixtures required skilled individuals (Exod. 30:25; 1 Chron. 9:29–30).

The list below includes a number of spices named in the Bible.

Aloe (Heb. ’ahalim, ’ahalot; Gk. aloē). In the OT this probably refers to Aquilaria agallocha, a spice derived from the eaglewood tree and used to perfume cloth (Ps. 45:8; Prov. 7:17; Song 4:14). In the NT, it refers to the juice from Aloe vera leaves (John 19:39).

Balm (Heb. tsori). Apparently native to Gilead, the plant is now unknown. The earliest association is with stacte (Commiphora gilea-densis), which does not currently grow in Gilead. Noted for its healing benefit to wounds (Jer. 8:22; 46:11; 51:8), balm was exported (Gen. 37:25; 43:11; Ezek. 27:17).

Calamus (Heb. qaneh). Also known as sweet flag (Acorus calamus), calamus was used for its aroma and as a tonic and stimulant (Song 4:14; Isa. 43:24; Jer. 6:20; Ezek. 27:19).

Caraway (Heb. qetsakh). The seeds of this plant (Nigella sativa) were used as a condiment and to ease intestinal gas. A light beating freed the seeds without crushing them (Isa. 28:25, 27).

Cassia (Heb. qiddah, qetsi’ah). These Hebrew terms probably refer to an aromatic similar to cinnamon, like the bark of the Cinnamomum aromaticum, or more likely the Cinnamomum iners of Arabia and Ethiopia (Exod. 30:24; Ps. 45:8; Ezek. 27:19).

Cinnamon (Heb. qinnamon; Gk. kinna-mōmon). A local variety of cinnamon, or “true cinnamon” (Cinnamomum zeylanicum) imported from Sri Lanka (Exod. 30:23; Prov. 7:17; Song 4:14; Rev. 18:13). Loosely related may be the “spice” (Gk. amōmon) of Rev. 18:13; the word often appears alongside “cardamom” in extrabiblical writings; it perhaps indicates black cardamom.

Coriander (Heb. gad). Also known as cilantro, this has long been used as a food seasoning; it also served as a medicine to aid digestion and sleep (Exod. 16:31; Num. 11:7).

Cumin (Heb. kammon; Gk. kyminon). Cuminum cyminum, which is similar to caraway in taste and appearance, has long been cultivated in Palestine as a seasoning. Like caraway, it is threshed to keep the seeds intact (Isa. 28:25, 27; Matt. 23:23).

Dill (Gk. anēthon). Used for seasoning, this herb (Anethum graveolens) was among those tithed by the Pharisees (Matt. 23:23).

Frankincense (Heb. lebonah; Gk. libanos). This fragrant resin from trees of the genus Bos-wellia was used in worship (Exod. 30:34; Lev. 24:7) and was among the gifts brought to Jesus at his birth (Matt. 2:11).

Gum resin (Heb. natap). Also known as stacte, this ingredient of the holy incense (Exod. 30:34) was derived from either Commiphora gileadensis (balm of Gilead) or Styrax officinale.

Mint (Gk. hēdyosmon). Most likely Mentha longifolia, it was tithed by the Pharisees (Matt. 23:23; Luke 11:42).

Myrrh (Heb. mor, lot; Gk. smyrna, cf. myron). A resin exuded from incisions in the branches of trees such as Commiphora myrrha and Commiphora kataf and useful for its fragrance and antiseptic properties (Exod. 30:23; Ps. 45:8; Prov. 7:17; Song 1:13; 3:6; Esther 2:12). Hebrew lot (Gen. 37:25; 43:11) probably refers to labdanum.

Nard (Heb. nerd; Gr. nardos). In the OT (Song 1:12; 4:13–14), camel grass (Cymbopogon schoenanthus) from northern Africa and Arabia probably is in view, but in the NT (Mark 14:3; John 12:3), Nardostachys jatamansi from Nepal is suggested. Nard was used as an ointment or perfume.

Rue (Gk. pēganon). Mentioned only in Luke 11:42, Ruta chalepensis was cultivated to flavor food and was thought to have medicinal value.

Saffron (Heb. karkom). Produced from the flowers of the Crocus sativus, native to Greece and Asia Minor, this expensive spice was used not only for culinary purposes but also as an antispasmodic and emmenagogue (Song 4:14).

Ceremonies marking entry into marriage. In the Bible, weddings initiate the formation of new households with the blessing of family and community.

Old Testament

In the OT, weddings were important to the patriarchs and to Israel because the new couple was expected to produce children to help fulfill the Abrahamic covenant (Gen. 12:2; 17:6; 22:15–18; Ruth 4:11–13; Isa. 65:23). Heirs were also the assurance that a man’s name remained eternally with Israel, so much so that if a man died childless, his brother was obligated to wed the widow and produce children in his name (Gen. 38:8; Deut. 25:5–10). Moreover, weddings assured that property was kept within families and tribes and also transferred in an orderly way from one generation to the next (Num. 36:1–12; Ruth 4:5; Ps. 25:13).

Multiple wives were allowed in the OT (Gen. 30:26; Deut. 21:15; 1 Sam. 1:2; 2 Sam. 5:13; 1 Kings 11:3), as were multiple concubines, who had official standing in the household, though lower than that of wives. Weddings usually were associated with a man publicly taking a wife; he acquired concubines with less fanfare (Gen. 16:1–3; 30:3–5; Judg. 19:1, 3).

OT weddings included certain distinctive elements. The bridegroom or his father paid a bride-price, or dowry, to the father of the bridegroom’s prospective wife (Gen. 34:12; Exod. 22:16–17; 1 Sam. 18:25). The bridegroom had a more central role than the bride. He emerged from a chamber or tent to claim his wife (Ps. 19:5; Joel 2:16), who, in the case of a royal wedding, may have processed to him (Ps. 45:13–15). Both he and the bride were adorned (Song 3:11; Isa. 49:18; 61:10; Jer. 2:32); the woman was also veiled (Gen. 24:65; 29:23, 25; 38:14, 19; Song 4:1, 3; Isa. 47:1–3). Their wedding was the occasion of much rejoicing and feasting (Gen. 29:22; Jer. 7:34; 16:9; 25:10; 33:11) and lasted seven days (Gen. 29:27; Judg. 14:17). The main event was their sexual union (Isa. 62:5), which occurred on the first night (Gen. 29:23; Ruth 4:13). Unless she had been a widow, the bride was presumed to be a virgin on her wedding night, and evidence of her virginity, a bloodstained cloth, was retained as proof (Deut. 22:13–19). Virginity was essential to a previously unmarried bride; a woman who had been raped or otherwise engaged in premarital sexual relations was deemed defiled and unmarriageable to any but the first man with whom she had intercourse (Deut. 22:21; 2 Sam. 13:1–20). The importance of this underpins the shock value of the book of Hosea (see esp. 1:2), an extended metaphor that presents Israel as a prostitute nevertheless pursued by Yahweh as her husband.

New Testament

The NT continues to testify to many of these wedding traditions, significantly including the gathering of community (Matt. 22:2; John 2:1–2) in joyful celebration (Matt. 9:15; Mark 2:19; Luke 5:34; John 2:9–10). Wedding feasts could be lavish affairs (Matt. 22:4; John 2:6–10), with protocols regarding seating (Luke 14:8–10) and attire (Matt. 22:11–13; Rev. 19:7–9).

In the NT, these and other first-century wedding customs illustrate aspects of the kingdom of heaven. The parable of the wedding feast (Matt. 22:1–14) contrasts the invited guests (corrupt religious leaders in Israel) who ignored the king’s wedding invitation and murdered his servants with those people, good and evil, gathered from the streets (the downtrodden) who took their place. Their willingness to attend is qualified only by their coming properly attired in wedding robes, which by inference were provided by the king himself (Rev. 19:7–8).

The parable of the ten virgins (Matt. 25:1–13) plays on the understanding that weddings occurred not at a specific time but when the bridegroom was ready. His readiness was determined by, among other things, the readiness of a dwelling place for his new bride. In first-century Capernaum, this would have been a room or rooms built onto his father’s insula, a multifamily compound surrounding an interior courtyard; the same image is behind John 14:2–4. The parable, identifying the Son of Man as the bridegroom, illustrates that while his coming in glory is certain, its timing is unknown. Therefore, the bridal party is to be vigilant and prepared.

Elsewhere, Jesus is specifically named as the bridegroom preparing to marry his bride, the church (2 Cor. 11:2; Eph. 5:25–27, 31–32). The wedding feast at Cana (John 2:1–11), which begins Jesus’ public ministry, points proleptically to the marriage supper of the Lamb, which inaugurates the eschatological age (Rev. 19:7–9). The culminating picture of God with his people (Deut. 16:13–16; Matt. 1:23; John 1:14) is a magnificent wedding (Rev. 21:2, 9) between Christ and the new Jerusalem.

In the Bible, writing was carved into stone (Exod. 24:12; Josh. 8:32) or stone covered with plaster (Deut. 27:1–10), metal (Exod. 28:36), or wood (Num. 17:2–3; Ezek. 37:16). Clay tablets or wooden tablets covered with wax were also used (Isa. 8:1; 30:8; Hab. 2:2; Luke 1:63). However, while clay tablets were common in Mesopotamia and among the Hittites in Anatolia, they were used more rarely in Israel or Egypt because of the accessibility of papyrus and parchment.

Writing implements are mentioned occasionally in the Bible. A stylus—a sharpened instrument fashioned from materials such as reed, bone, or metal (e.g., Job 19:24; Jer. 17:1)—was used to carve letters into clay or wax. A sharpened reed could also be dipped in ink to function as a pen for writing on papyrus or parchment (Ps. 45:1; Isa. 8:1; Matt. 5:18; Luke 16:17; 2 John 13). A scribe would often need additional implements to prepare the writing surface, to remove or rub out an error, to mix the ink, or to sharpen the stylus (cf. “writing kit” in Ezek. 9:2–3, 11; “scribe’s knife” in Jer. 36:23).

During Old and New Testament times, papyrus was one of the two most common types of writing material. The tall, marshy papyrus reed (Cyperus papyrus) grew abundantly in Lower Egypt in ancient times (Job 8:11) and was used for baskets (Exod. 2:3), mats, ropes, sandals, and even boats (Isa. 18:2). As early as 3000 BC, however, the papyrus reed was most known for making a kind of paper referred to simply as “papyrus.” Literary and archaeological evidence demonstrates that papyrus was used extensively across the Near East well into the first Christian millennium.

Papyrus stalks are typically the diameter of a human palm and roughly triangular in shape. Sections were cut about a foot long. The inner fibrous pith was cut lengthwise into thin strips that were placed side by side on a board. A second layer of strips was placed at right angles. The resulting “sheet” was pounded together. Pliny the Elder (Nat. 13.11–13) claimed that the Nile water glued the strips together, but actually the crushed pulp did so. The dried sheets were trimmed to a standard size, varying by “factory,” typically ten inches high by eight inches wide.

Sheets (with the horizontal fibers on top) were glued side by side with the sheet on the left slightly lapping over the right, so that a scribe’s pen slid “downhill” when moving onto the next sheet. It was not uncommon for a column of text to be on a joint (unlike leather sheets, whose sewn joint would not hold text). The joined sheets formed a roll (scroll) of standard length (about twelve feet) called a chartēs (2 John 12), the typical unit of sale. It is estimated that in NT times a chartēs cost four denars (= approximately U.S. $450). Secretaries cut sheets off a chartēs or glued on additional length as the task required, but the typical ancient letter, such as 3 John, was about one sheet in length.

The other most common type of writing material was leather parchment. Made chiefly from the skins of sheep or goats, parchment would be prepared by soaking, dehairing, scraping, and washing the hide. The skin would be stretched on a frame and smoothed with a pumice stone. Vellum is a finer grade of parchment and is made from calfskin or kidskin. Sections of parchment also were sewn together to make a roll. Paul asked Timothy to bring him “the parchments” (2 Tim. 4:13).

Papyrus had the advantage of being lightweight and durable, and perhaps less expensive, so it was often preferred over clay, wooden, metal, or stone tablets, or even parchment (at least until the third century AD). However, papyrus had two major disadvantages: it deteriorated rapidly in water and was almost exclusively from Egypt. Since ink was water-soluble, all documents were routinely protected from moisture, so trade issues with Egypt may be to blame for major shifts to parchment. Unfortunately, only ancient papyri left in dry locations in dry climates have survived, explaining why the bulk of known papyri are from the Egyptian desert.

Paper made of wood pulp or similar fibers was invented in China and was not adopted in the West until the eighth century or later.