A barren woman is one who is infertile and without children. The biblical world placed great value on the blessing of having children. This value and the division of labor between the genders in an ancient agricultural society affected how society esteemed women and how a woman viewed her own identity. Being without children brought despair. This can be seen in Rachel’s despondent plea (Gen. 30:1) and in the fact that wives would offer a servant in their place to bear a child (16:3; 30:3, 9).

In most of the stories about women and infertility, God reversed their circumstances: Sarah (Gen. 11:30), Rebekah (25:21), Rachel (30:22), Samson’s mother (Judg. 13:2–3), Hannah (1 Sam. 1:2), the Shunammite (2 Kings 4:16), Elizabeth (Luke 1:7). For Michal, barrenness appears as a punishment (2 Sam. 6:23).

Caring for the barren is part of God’s praiseworthy caring for the needy (Ps. 113:5–9).

A barren woman is one who is infertile and without children. The biblical world placed great value on the blessing of having children. This value and the division of labor between the genders in an ancient agricultural society affected how society esteemed women and how a woman viewed her own identity. Being without children brought despair. This can be seen in Rachel’s despondent plea (Gen. 30:1) and in the fact that wives would offer a servant in their place to bear a child (16:3; 30:3, 9).

In most of the stories about women and infertility, God reversed their circumstances: Sarah (Gen. 11:30), Rebekah (25:21), Rachel (30:22), Samson’s mother (Judg. 13:2–3), Hannah (1 Sam. 1:2), the Shunammite (2 Kings 4:16), Elizabeth (Luke 1:7). For Michal, barrenness appears as a punishment (2 Sam. 6:23).

Caring for the barren is part of God’s praiseworthy caring for the needy (Ps. 113:5–9).

The primary term in Hebrew is ’apar (“loose earth, dust”), which is related to the Hebrew terms for cultivatable “soil” (’adamah [Gen. 3:19]) and “earth” (’erets [Gen. 13:16]). These terms are semantically close enough to be used interchangeably (cf. 1 Sam. 4:12; 2 Sam. 1:2 with Josh. 7:6; Ezek. 27:30).

In the OT, the imagery of dust is used to illustrate notions of quantity and abundance (Num. 23:10; 2 Chron. 1:9; Job 27:16; Ps. 78:27; Isa. 40:12; Zech. 9:3). This stock of imagery is applied to annihilation (2 Sam. 22:43), worthlessness (Zeph. 1:17), humiliation (Isa. 25:12), and mourning (Isa. 2:10; Rev. 18:19). In the OT, ’apar alone is used figuratively over sixty times to refer to judgment. Thus, “to lick the dust” (Ps. 72:9) is a sign of subjugation. The opposite is “to shake off the dust,” a sign of repudiation (Isa. 52:2; Matt. 10:14; Mark 6:11; Luke 9:5; 10:11; Acts 13:51). It is this figurative use of “dust” that facilitates the theological use of ’apar. Yahweh acts to humiliate, debase, destroy, and “cast down” into the dust (Isa. 25:12); and he also restores, “lifting up” to remove the shame (1 Kings 16:2; Ps. 113:7).

The significance of ’apar is powerfully portrayed in the creation of humans. Whereas animals are made from the “earth,” humankind emerges from more refined material, the dust (’apar [Gen. 2:7]). In an etymological pun, the “human” (’adam) rises from the “humus” (’adamah; cf. Ps. 103:14; Job 4:19). Death comes when God withdraws the human’s “breath of life” (cf. Gen. 2:7), causing the groundling to collapse back to the ground like “crushed dust” (cf. Pss. 90:3; 104:29; 146:4). Human life is fragile, dependent, and transitory. This is the teacher’s argument and also the reason that he stresses death as the inevitable end of both human and animal life (Eccles. 3:18–20). However, Daniel knows that “multitudes who sleep in the dust of the earth will awake” (Dan. 12:2).

Although essentially characterized by bearing offspring, a mother is associated with much more in the Bible. Especially prominent are the characteristic ways in which a mother relates to her children: she tends to their needs (1 Thess. 2:7), looks after their welfare (1 Kings 3:16–27), comforts them (Ps. 131:2), and instructs them (Prov. 1:8; 31:1).

Motherhood is held in high regard. Bearing a child is an occasion for rejoicing (Gen. 4:1; Ps. 113:9). A virtuous and industrious mother is praised by her children and husband alike (Prov. 31:28). The Bible describes a mother both crowning a king (Song 3:11) and sitting beside his throne (1 Kings 2:19). The death of a mother brings extreme sorrow (Gen. 24:67; Ps. 35:14). Furthermore, God’s promises are often associated with the birth of a child (e.g., Gen. 3:15; 12:2–3; Judg. 13:3; Isa. 7:14). Mary is blessed among women as the mother of Jesus Christ (Luke 1:42–45). Finally, the Bible protects the dignity of a mother as it does that of the father. The law requires honor and reverence for both father and mother (Exod. 20:12; Lev. 19:3; Deut. 5:16) and condemns to death those who strike or curse either parent (Exod. 21:15, 17; Lev. 20:9).

There is also great concern that adult children look after the welfare of their parents as a means of honoring them. David makes provisions for his parents as he flees from Saul (1 Sam. 22:3–4). Jesus condemns the Pharisees and the scribes for taking the resources due their parents and offering them as a gift to God instead (Matt. 15:4–6). Even Jesus’ final act upon the cross is to ensure the welfare of his mother by defining her relationship with the Beloved Disciple as mother and son (John 19:26–27). On the other hand, Jesus makes clear that concern for one’s family is subordinate to discipleship to him (Matt. 10:37; Mark 3:35; Luke 14:26).

The word “mother” also carries symbolic or metaphorical senses. Sometimes the “mother” is a fitting example of other things or persons like it, such as Babylon the Great as the mother of prostitutes and earthly abominations (Rev. 17:5). In the extended analogy between Hosea’s marriage and God’s relationship to Israel, the nation is called a “mother,” and its inhabitants are her “children” (Hos. 2:4; 4:5; cf. Isa. 50:1; Jer. 50:12). The image of a mother may also refer to a large city (2 Sam. 20:19; Gal. 4:26).

An epithet used by Luke and Paul to signify someone who speaks a foreign, unintelligible language (Acts 28:2, 4 [NIV: “islanders”]; 1 Cor. 14:11; cf. Ps. 113:1 LXX [114:1 MT]). The Greek term, barbaros, occurs six times in the NT, all of them rendered as “barbarian” by the KJV, whereas more-recent versions tend to use terms such as “foreigner” (though see Rom. 1:14 NRSV; Col. 3:11 NRSV, NIV). However, such terms perhaps miss the negative connotation. The word itself is onomatopoeic, representing the unintelligible sound of a language foreign to the hearer: bar-bar-bar. The basis for such a distinction was partly overcome at Pentecost (Acts 2:1–36). The term could also be used more generally for a member of another nation, which, before Christ, had not been included in God’s covenant (Rom. 1:14). Paul also mentions, as a class of barbarian, the Scythians (Col. 3:11), who had a bad reputation among Romans and Jews (2 Macc. 4:47; 3 Macc. 7:5). Their depiction by Herodotus is particularly terrifying: a nomadic people north of the Black Sea (and therefore not far from the Colossians in Asia Minor) who never washed and who drank the blood of the first enemy killed in battle, making napkins of the scalps and drinking bowls from skulls of the vanquished (Hist. 4.19, 46, 64–65, 75). Paul maintains that deeply engrained cultural evil can be overcome in Christ (Col. 3:1–11; see also Gal. 3:28). In subsequent centuries, missionaries were phenomenally successful in reaching the barbarian tribes.

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

Historical Background

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

Composition

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

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

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

Collection

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

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

Organization and Structure

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

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

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

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

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

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

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

Literary Considerations

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

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

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

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

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

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

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

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

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

Theological Message

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

Connection to the New Testament and Today

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

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

The Hebrew verb “praise” (in the imperative form). Hallel is used generally to refer to psalms that contain the command “Hallelujah (“praise the Lord”; “jah” is a shortened form of YHWH [“Yahweh”], which is typically translated as “Lord”). It also designates Pss. 113–118, which are collectively referred to as the Egyptian Hallel because they begin with “Praise the Lord” and refer to the exodus and Passover sacrifice. These psalms were read liturgically during Jewish festivals. Their use during family Passover celebrations makes it likely that the hymn sung by Jesus and his disciples after the Last Supper included some of these psalms. Psalm 136 is known as the Great Hallel, as it entreats worshipers to praise God for his great works in creation and salvation from Israel’s enemies. The Psalter ends with five psalms that each begin and end with “praise the Lord” (Pss. 146–150).

A song of worship and praise to God. The NIV only uses the word once in the OT, in Ps. 40:3, referring to a “hymn of praise” to God. The Hebrew word behind this phrase is tehillah, which is common in the OT and is elsewhere translated simply as “praise,” especially in the psalms. Psalms were part of Israel’s worship, and so such “hymns of praise” to God are more common than the English suggests.

The content of these hymns is not laid out for modern readers, but it involves things such as thanksgiving, gratitude, or generally giving God due recognition for who he is (e.g., Ps. 66:2) and what he has done (e.g., 106:2, 12).

In the NT, the word occurs only a handful of times in the NIV, and there is very little indication what these hymns were about. Here too, generally we can say that a hymn is a particular type of song of praise to God.

In Matt. 26:30; Mark 14:26, Jesus and the disciples sang a hymn at the conclusion of the Lord’s Supper. Since this meal was patterned after the Passover, it is likely that one or more of the Hallel psalms (Pss. 111–118) were sung. (“Hallel” means “praise” in Hebrew and is related to tehillah). The Greek word behind this use in the Gospels, hymneō, is the origin of the English word “hymn.” In Acts 16:25 Paul and Silas sang hymns at midnight while in prison, although we are told nothing about their content.

In 1 Cor. 14:26 Paul is instructing his readers about orderly worship. According to the NIV, one of the elements of worship includes hymns, although the Greek word here is psalmos (the word used to refer to the book of Psalms in Luke 20:42; 24:44; Acts 1:20; 13:30), which the KJV renders there as “psalm.” There is certainly significant overlap between hymns and psalms, since both involve praising God, but evidently there is some distinction too, as can be seen in Eph. 5:19 and Col. 3:16, where Paul makes a distinction between “psalms, hymns, and songs from the Spirit.” Perhaps these terms do not reflect clearly marked categories in Paul’s mind. In Eph. 5:19 all three are directed to God “from [the] heart,” and in Col. 3:16 they are sung with “gratitude,” both of which reflect the use of psalms in the OT.

Biblical scholars also refer to other portions of the Bible as “hymns,” even though the word is not used. The Song of Moses (Exod. 15:1–18) and the Song of Hannah (1 Sam. 2:1–10) are sometimes called “hymns” simply as a convenient designation (although Hannah’s is more a prayer). The same goes for Mary’s song, the Magnificat (Luke 1:46–55), which clearly is modeled after Hannah’s song, and Zechariah’s song, the Benedictus (Luke 1:68–79), which reflects OT prophetic poems. Elsewhere biblical scholars detect the possibility of fragments of preexisting “hymns” that were incorporated into the NT (e.g., Phil. 2:6–11). This suggests to some that there was some hymn-writing activity in the early church.

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.

A song of worship and praise to God. The NIV only uses the word once in the OT, in Ps. 40:3, referring to a “hymn of praise” to God. The Hebrew word behind this phrase is tehillah, which is common in the OT and is elsewhere translated simply as “praise,” especially in the psalms. Psalms were part of Israel’s worship, and so such “hymns of praise” to God are more common than the English suggests.

The content of these hymns is not laid out for modern readers, but it involves things such as thanksgiving, gratitude, or generally giving God due recognition for who he is (e.g., Ps. 66:2) and what he has done (e.g., 106:2, 12).

In the NT, the word occurs only a handful of times in the NIV, and there is very little indication what these hymns were about. Here too, generally we can say that a hymn is a particular type of song of praise to God.

In Matt. 26:30; Mark 14:26, Jesus and the disciples sang a hymn at the conclusion of the Lord’s Supper. Since this meal was patterned after the Passover, it is likely that one or more of the Hallel psalms (Pss. 111–118) were sung. (“Hallel” means “praise” in Hebrew and is related to tehillah). The Greek word behind this use in the Gospels, hymneō, is the origin of the English word “hymn.” In Acts 16:25 Paul and Silas sang hymns at midnight while in prison, although we are told nothing about their content.

In 1 Cor. 14:26 Paul is instructing his readers about orderly worship. According to the NIV, one of the elements of worship includes hymns, although the Greek word here is psalmos (the word used to refer to the book of Psalms in Luke 20:42; 24:44; Acts 1:20; 13:30), which the KJV renders there as “psalm.” There is certainly significant overlap between hymns and psalms, since both involve praising God, but evidently there is some distinction too, as can be seen in Eph. 5:19 and Col. 3:16, where Paul makes a distinction between “psalms, hymns, and songs from the Spirit.” Perhaps these terms do not reflect clearly marked categories in Paul’s mind. In Eph. 5:19 all three are directed to God “from [the] heart,” and in Col. 3:16 they are sung with “gratitude,” both of which reflect the use of psalms in the OT.

Biblical scholars also refer to other portions of the Bible as “hymns,” even though the word is not used. The Song of Moses (Exod. 15:1–18) and the Song of Hannah (1 Sam. 2:1–10) are sometimes called “hymns” simply as a convenient designation (although Hannah’s is more a prayer). The same goes for Mary’s song, the Magnificat (Luke 1:46–55), which clearly is modeled after Hannah’s song, and Zechariah’s song, the Benedictus (Luke 1:68–79), which reflects OT prophetic poems. Elsewhere biblical scholars detect the possibility of fragments of preexisting “hymns” that were incorporated into the NT (e.g., Phil. 2:6–11). This suggests to some that there was some hymn-writing activity in the early church.

A song of worship and praise to God. The NIV only uses the word once in the OT, in Ps. 40:3, referring to a “hymn of praise” to God. The Hebrew word behind this phrase is tehillah, which is common in the OT and is elsewhere translated simply as “praise,” especially in the psalms. Psalms were part of Israel’s worship, and so such “hymns of praise” to God are more common than the English suggests.

The content of these hymns is not laid out for modern readers, but it involves things such as thanksgiving, gratitude, or generally giving God due recognition for who he is (e.g., Ps. 66:2) and what he has done (e.g., 106:2, 12).

In the NT, the word occurs only a handful of times in the NIV, and there is very little indication what these hymns were about. Here too, generally we can say that a hymn is a particular type of song of praise to God.

In Matt. 26:30; Mark 14:26, Jesus and the disciples sang a hymn at the conclusion of the Lord’s Supper. Since this meal was patterned after the Passover, it is likely that one or more of the Hallel psalms (Pss. 111–118) were sung. (“Hallel” means “praise” in Hebrew and is related to tehillah). The Greek word behind this use in the Gospels, hymneō, is the origin of the English word “hymn.” In Acts 16:25 Paul and Silas sang hymns at midnight while in prison, although we are told nothing about their content.

In 1 Cor. 14:26 Paul is instructing his readers about orderly worship. According to the NIV, one of the elements of worship includes hymns, although the Greek word here is psalmos (the word used to refer to the book of Psalms in Luke 20:42; 24:44; Acts 1:20; 13:30), which the KJV renders there as “psalm.” There is certainly significant overlap between hymns and psalms, since both involve praising God, but evidently there is some distinction too, as can be seen in Eph. 5:19 and Col. 3:16, where Paul makes a distinction between “psalms, hymns, and songs from the Spirit.” Perhaps these terms do not reflect clearly marked categories in Paul’s mind. In Eph. 5:19 all three are directed to God “from [the] heart,” and in Col. 3:16 they are sung with “gratitude,” both of which reflect the use of psalms in the OT.

Biblical scholars also refer to other portions of the Bible as “hymns,” even though the word is not used. The Song of Moses (Exod. 15:1–18) and the Song of Hannah (1 Sam. 2:1–10) are sometimes called “hymns” simply as a convenient designation (although Hannah’s is more a prayer). The same goes for Mary’s song, the Magnificat (Luke 1:46–55), which clearly is modeled after Hannah’s song, and Zechariah’s song, the Benedictus (Luke 1:68–79), which reflects OT prophetic poems. Elsewhere biblical scholars detect the possibility of fragments of preexisting “hymns” that were incorporated into the NT (e.g., Phil. 2:6–11). This suggests to some that there was some hymn-writing activity in the early church.

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

Created World

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

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

Earth and Its Inhabitants

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

Ungodly Culture and Worldview

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

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

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