The organ of visual perception. The eye is the lamp of the body, so that someone who has a sound or healthy eye can experience light, but someone with a deficient eye experiences only darkness (Matt. 6:22–23). Bright eyes signify alertness and good health (1 Sam. 14:27–29; Ps. 38:10), whereas dim eyes signify poor vision, often from old age (Gen. 27:1; 48:10; 1 Sam. 3:2). Blindness may be cured by opening the eyes (Isa. 35:5; John 9:14), although Paul was blind even with his eyes open (Acts 9:8). To lift or raise the eyes is to take a look around or look toward something (Gen. 13:10; 18:2; John 11:41). To turn the eyes from something is to no longer look at it (Ps. 119:37; Song 6:5; Isa. 22:4). Something hidden from the eyes is unknown (Num. 5:13; Job 28:21; Luke 19:42), but hiding the eyes from something is to ignore it (Isa. 1:15; Ezek. 22:26; cf. Lev. 20:4). The expression “before the eyes” signifies that an event has taken place in the presence of others, and they have witnessed it.

The eye is an important part of the body (1 Cor. 12:16–21). A defective eye disqualified a priest from certain duties (Lev. 21:17–20). A conquering army often gouged out the eyes of the defeated enemy (Judg. 16:21; 2 Kings 25:7), rendering them ineffective in battle (1 Sam. 11:2). Destroying Israel’s eyes is the first among many punishments listed for breaking God’s covenant (Lev. 26:16). Paul testifies that the Galatians cared enough for him even to pluck out their eyes in order to give them to him (Gal. 4:15). The importance of the eye highlights the importance of Jesus’ demand to pluck it out if it causes one to stumble (Matt. 5:29; 18:9).

Perception and enlightenment. Opening eyes is a theme that runs through both Testaments. At times, opening the eyes simply refers to making one aware of previously unknown information. It may be in this sense that the eyes of Adam and Eve are opened, since they become aware of their nakedness (Gen. 3:7). This same kind of opening occurs when God reveals a well to Hagar (Gen. 21:19), when Balaam sees the angel of the Lord standing in his way (Num. 22:31), and when the disciples on the road to Emmaus recognize Jesus (Luke 24:31). This sense is extended into the spiritual realm, so that the eye is used figuratively as the principal organ of spiritual perception. To open or enlighten the eyes in this sense involves one of the following: (1) allowing one to understand spiritual truth in the law of God (Ps. 119:18), prophetic utterance (Num. 24:3), or by the Spirit of God (Eph. 1:18); or (2) leading someone to repentance and conversion (Acts 26:18). These spiritual eyes may also be blinded or closed, hindering the person from repenting (Isa. 6:10; Matt. 13:13; cf. 2 Cor. 4:4).

The eye not only allows one to perceive the world but also helps others perceive the person. David has beautiful eyes, highlighting his handsome appearance (1 Sam. 16:12). Leah has weak eyes, a characteristic that is contrasted to the beautiful appearance of her sister, Rachel (Gen. 29:17). A bountiful eye reveals a generous spirit (Prov. 22:9). Haughty eyes reveal arrogance (Ps. 18:27; Prov. 6:17), as do eyes that are exalted (Ps. 131:1; Prov. 30:13). Eyes may reveal one’s pity for another (Ezek. 16:5), but in the administration of justice, the eye is not allowed to pity or spare, meaning that the law will be executed to its fullest extent (Deut. 7:16; Ezek. 5:11). The eye that mocks a father or a mother reveals a person who holds them in contempt (Prov. 30:17).

Direction and evaluation. The eye also serves as a symbol for direction, care, and vast knowledge. Since the eye allows one to see, it helps set the proper course forward, physically (Num. 10:31) or spiritually (1 John 2:11). The fact that God’s eyes are always upon the land of Israel demonstrates his care for it (Deut. 11:12). Likewise, his eyes are always upon the righteous, ready to help them (Ps. 34:15). Especially in apocalyptic literature, the many eyes of the living creatures are symbols of God’s omniscience (Ezek. 1:18; Rev. 4:6), while the eyes of God in general are symbols of his awareness (1 Kings 9:3; Jer. 32:19; Amos 9:8; Heb. 4:13).

Finally, the eyes are associated with evaluation. The eyes of God often represent his favor or disfavor (Gen. 6:8; Deut. 21:9; 2 Kings 10:30). Those who evaluate themselves in their own eyes are often led astray because the eyes can lead to sinful lust (Num. 15:39; Deut. 12:8; Judg. 17:6; Prov. 3:7; 1 John 2:16).

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).

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 titles, or superscriptions, of fifteen psalms include the designation “a song of ascents,” also called “a song of degrees.” The notion of ascending, or going up, has influenced the understanding of these psalms. The “going up” has been seen as going up to Jerusalem for a holy day, going up to Jerusalem as part of the return from the exile, going up the fifteen steps at the courts of the temple (a Jewish tradition in the Mishnah), or an aspect of their poetic style. These psalms occur together as a group, Pss. 120–134. They include different genres but share an emphasis on Jerusalem, which supports the idea that they were used on pilgrimage for a holy day (see Exod. 24:13; 34:23; Lev. 23:4; and Deut. 16 for religious journeys to Jerusalem). Harvest imagery in some of these psalms and the Mishnah tradition suggest the Feast of Tabernacles, but they need not have been limited to this festival.

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.

Temples have always been the domain and house of the gods throughout the ancient Near East. As the abode of the God of Israel, the Jerusalem temple served the same purpose. The temple played an important role in the social, religious, and political life of ancient Israel. No archaeological remains of the actual temple building exist today; nevertheless, the temple has dominated biblical scholarship. The Jerusalem temple was originally built by Solomon in 953 BC and was destroyed by the Babylonian king Nebuchadnezzar in 586 BC. After the exile, the temple was rebuilt and then rededicated by Zerubbabel in 515 BC (Ezra). Herod the Great significantly expanded and changed the temple, but it was eventually destroyed by the Romans under the direction of Titus in AD 70.

The biblical text refers to the temple in several ways: temple, house of God/Yahweh, and sanctuary/shrine. These terms all refer to the dwelling or house of God and an area of sacredness. The sources for information on the temple are biblical texts, Josephus, and the Mishnah (tractate Middot). The most detailed accounts of the construction of the Solomonic temple are found in 1 Kings 6–8; 2 Chron. 2–4. In addition to these major sections, there are several references to building activities and repairs to the temple throughout the OT. Another major text is Ezek. 40, but it is debated whether this represents the actual temple or an ideal temple. There are several references in the NT that directly or indirectly refer to functions and specific components of the Temple Mount complex.

Archaeological Investigation

The location of the Temple Mount in Jerusalem has been undisputed. Current scholarly opinion locates the temple on the spot of the current Muslim shrine, the Dome of the Rock. Today the larger enclosed area is referred to as the harem esh-sharif (the noble sanctuary). Explorers in the nineteenth century did not attempt archaeological research of the temple itself, although various explorations focused on recording visible features and conducting soundings along the sides of the Temple Mount. Even after the unification of Jerusalem in 1967, with three major excavations in the city, no archaeological investigation of the temple was conducted. Due to the political and religious variables associated with the Muslim holy sites, there are no foreseeable archaeological investigations. A recent renovation of the Mosque of Omar, located on the southern end of the Temple Mount, removed truckloads of earth. Unfortunately, there was no archaeological supervision of the project and no archaeological excavations of the site were conducted.

In spite of the limited archaeological excavations, several popular accounts of alternate locations of the temple have been proposed. Most of these place the temple somewhere other than the Dome of the Rock, but none of these proposals has garnered scholarly support to rival the current location.

First Temple: Temple of Solomon

Throughout the ancient Near East, temples served as monumental edifices that provided divine legitimacy for the king or dynasty. While temples should be considered part of the religious sphere of society, their construction, maintenance, and associated activities are interlinked with the political sphere. The construction of the temple in Jerusalem is also linked to state formation by the Israelites. The Solomonic temple ushered in a new period of religious activity among the ancient Israelites. Previously, Israel had worshiped at various shrines and sanctuaries, and its central religious practice was associated with the tabernacle. With the establishment of the monarchy, dynastic kingship and centralized authority were created. Although the biblical text credits Solomon as the Israelite king who built the temple, the project was initiated under David. David united the Israelite tribes, captured Jerusalem and made it the capital of the kingdom, and built a royal palace. He made Jerusalem the political capital but also the religious center when he brought the holy ark, the visible symbol of Yahweh’s presence, to Jerusalem (2 Sam. 5–6). David intended to build Yahweh a permanent dwelling (2 Sam. 7:2).

Location. The biblical text preserves multiple traditions and accounts of the location and acquisition of land for the temple. In the ancient world the city temple was commonly located on the acropolis (highest point) of the city. The temple is located on the highest point of a ridge where the OT city of Jerusalem is located (Jebusite city, later the City of David). There are two accounts of the purchase of the land: the threshing floors of Araunah (2 Sam. 24:18–25) and of Ornan (1 Chron. 21:15–30; 2 Chron. 3:1 [here the NIV supplies “Araunah,” but see, e.g., the NET, NASB, ESV]). It is possible that Araunah and Ornan were kin, but most likely they are the same person, with Samuel and Chronicles using variant names. However, the two accounts disagree further on the amount paid for the land: fifty silver shekels (2 Sam. 24:24) and six hundred shekels of gold (1 Chron. 21:25). One theory explains this discrepancy as arising from two separate transactions. First, David purchased the threshing floor to build an altar to Yahweh, and he later purchased the whole mountain to build a temple. Later tradition associates the hill where David built an altar with the location where earlier Abraham built an altar to sacrifice Isaac (Mount Moriah).

Construction and dimensions. Solomon started to build during the fourth year of his reign (2 Chron. 3:1), and construction lasted for seven years. The plan of the temple was revealed to Solomon during a night in the sanctuary at Gibeon (2 Chron. 1:7–13). The king obtained building materials, specifically cedar from Lebanon (2 Chron. 2:3–10), and construction and design expertise from Phoenician artisans (1 Kings 7:13–14, 45). The Solomonic temple consisted of a tripartite plan similar to other temples in Syro-Palestine during this period. There are two accounts for the construction and dedication of the first temple (1 Kings 6–8; 2 Chron. 3–7). Both accounts offer similar descriptions but there are some differences in measurements. Most scholars account for these differences by viewing the dimensions in the book of Chronicles as reflecting the temple measurements after Hezekiah’s repair and rebuilding projects.

The basic plan was a rectangle, 70 cubits long (120 ft. 7 in.) and 20 cubits wide (34 ft. 5 in.) on a straight axis facing east; the height was 30 cubits (51 ft. 7 in.). These measurements refer to the inside dimensions (1 cubit = 20.67 in.). The three distinct architectural units formed three distinct rooms where various functions were performed and also reflected levels of holiness. The three units were the ’ulam (“porch” or “vestibule”), the hekal (“cella” or “nave”), and the debir (the innermost sanctuary, the most holy place). In the biblical accounts the whole building is called the “house [bayit] of the Lord,” and the word “temple” is used for the hekal. There was a three-story structure built around the sides and back of the temple (see below).

The porch was 10 cubits (17 ft. 2 in.) by 20 cubits (34 ft. 5 in.). The account in Kings does not provide its height; the account in Chronicles gives the height as 120 cubits. In its description and measurements in the biblical text, the porch is considered separate from the temple (bayit, house). The porch contained two pillars of bronze: yakin (“he will establish”) on the right side and bo’az (“in strength”) on the left (see Boaz; Jakin). The pillars were bronze, 18 cubits (35 cubits in Chronicles) in height, with elaborate double capitals. The bottom capital was 5 cubits, round in shape, and surrounded by nets with pomegranates. Above this was another capital, 4 cubits high, shaped like a lily.

The hekal was 40 cubits long and 20 cubits wide and was the only part with windows (1 Kings 6:4). The debir was a cube, 20 cubits per side. The debir is also called the “holy of holies.” The difference in height (10 cubits shorter than the hekal  ) is due to the rise in the bedrock. This measurement is confirmed today in the interior of the Dome of the Rock.

The walls of the house (hekal and debir) were built of whole stones dressed in the quarry, as “no hammer, chisel or any other iron tool was heard at the temple site while it was being built” (1 Kings 6:7). The roof was made of cedar wood (1 Kings 6:10), with crossbeams and intersecting boards. The stone walls were covered from ground to ceiling with boards of cedar wood, and the floor was made of cypress wood, covered with gold (1 Kings 6:30). The wood had carved engravings of cherubim, palm trees, and open flowers. The hekal and the debir were separated by a partition made of olive wood.

The three-story structure surrounding the temple was constructed of cedar wood. Each story was 5 cubits. The width of the first floor was 5 cubits, the middle 6 cubits, and the top 7 cubits. This structure was entered from the right side of the temple, and the floors were connected by openings with ladders. This structure formed chambers and storage for the activities of the priests.

In front of the temple was a courtyard surrounded by a wall. Inside the courtyard was a great bronze basin (known as “the Sea”). This basin rested on the backs of twelve bronze oxen. Ten smaller basins in groups of five were set on elaborate wheeled stands. A large altar also was located in this courtyard.

In the holy of holies stood two large cherubim of olive wood covered with gold. They were 10 cubits in height, with a wingspan of 10 cubits. These cherubim stood over the ark of the covenant. In the hekal were the golden altar, the golden table, and ten lampstands.

History. From Solomon to Zedekiah, the temple was used for political and religious power shifts. Kings of Israel raided the temple treasury to pay off invaders, closed the temple, or placed idols in the temple in periods of apostasy. During periods of reform they repaired and rebuilt the temple and its furnishings.

Under Rehoboam’s reign, Shishak king of Egypt ransacked the temple and removed all its treasures (1 Kings 14:25–28; 2 Chron. 12:9). Asa and his father, Abijah, added to the treasure of the temple with silver, gold, and other vessels (2 Chron. 15:18) but used these to pay Ben-Hadad of Syria to help him fight Baasha king of Israel (16:2–3). Asa’s son Jehoshaphat (2 Chron. 17) ruled during a time of prosperity and reform. It was under his rule that the court in front of the temple probably was enlarged (20:5). The sons of Athaliah broke into the temple and worshiped Baal. During the reign of Amaziah the temple was plundered by Jehoash king of Israel (2 Chron. 25). Uzziah ruled for a long period of prosperity (787–736 BC) but attempted to burn incense on the altar in the hekal, a ritual kept solely for the priests. A later king, Jotham, built the Upper Gate of the house of Yahweh (2 Kings 15:35; 2 Chron. 27:3). Jotham’s son Ahaz took the silver and gold from the temple and sent it as a present to the king of Assyria. He moved and changed various vessels of the temple and shut its doors (2 Chron. 28:24).

Hezekiah son of Ahaz ruled during a time of prosperity and revival. He reopened the temple doors (2 Chron. 29), cleaned out the temple, and created a 500-cubit-square mount around the temple. Hezekiah conducted many building projects in Jerusalem and reforms throughout the land. He also “stripped off the gold with which he had covered the doors and doorposts of the temple of the Lord” to pay a ransom to Sennacherib king of Assyria (2 Kings 18:16). Due to his building activities, most scholars attribute major changes to the temple to Hezekiah’s reign. The differences in the temple descriptions in Kings and Chronicles probably reflect two different periods of history concerning the temple (e.g., Kings represents the temple during the period of Solomon, while Chronicles represents the changes to the temple by Hezekiah). Manasseh, Hezekiah’s son, undid the work of his father by building altars in the temple.

The last resurgence of the temple in the life of the people of Israel was under Josiah. He instigated a reform throughout the land and a cleansing of the temple. Hilkiah the high priest found a copy of the “Book of the Law” (2 Kings 22:8). After a reading of the law in the public square, a collection was taken from the people to be given to workers for temple repair. The Babylonians took some of the temple treasure (2 Chron. 36:7) under the rule of Jehoiakim. The last two kings of Judah, Jehoiachin and Zedekiah, also lost temple treasure to Babylon, and eventually the temple was destroyed during the destruction of Jerusalem in 586 BC (2 Chron. 36).

Second Temple: Zerubbabel and the Temple of Herod the Great

Zerubbabel’s temple. Solomon’s temple was rebuilt by the Jews who returned from exile under the decree of the Persian king Darius (Ezra 6:1–5). The temple was built under the direction of the governor Zerubbabel with the support of the prophets Haggai and Zechariah (Ezra 6:13–18) and was dedicated in 515 BC. This would have been a poorer temple due to the poverty of the inhabitants of Judah. During the Hasmonean period (152–37 BC) a platform and a fortress were constructed. Not much is known about the temple during this period. It would be greatly eclipsed by the work of Herod the Great.

Temple of Herod the Great. Herod invested heavily in building projects throughout his kingdom. He was keen on bringing Hellenistic culture to the Jews but also on upholding traditional Jewish religious practices, especially when it came to the temple. Just as the first temple mimicked the religious architecture of the ancient Near East, the second temple reflected the massive sacred architecture of the classical world. John 2:20 indicates that thus far it had taken forty-six years (beyond Herod’s life) to build. Herod could not alter the dimensions of the temple, but he was able to make additions to the outside, alter its outer furnishings, and expand the compound and platform to match the grandeur of Greco-Roman temples. Today scholars refer to all these buildings and the temple as the Temple Mount complex.

Herod expanded the space of the Temple Mount by building a “box” around the mountain. This was a massive wall with varying height due to the topography. This wall is still visible today, especially the current religious site of the Western Wall. This construction allowed for a level platform with various buildings and plazas on the top. The leveling was done by filling in the gaps and building subterranean arches in low areas. One of these areas is located on the southeast corner (the underground arched supports are erroneously called “Solomon’s Stables” today). The whole area was surrounded by a colonnaded portico (Solomon’s Colonnade [John 10:23; Acts 3:11; 5:12]). On the northwest corner was the Antonia Fortress (Acts 21:35), and the southern end of the complex contained the Royal Stoa, a basilica-style building (four rows of forty columns) that housed the Sanhedrin and had other religious and political functions (Luke 22:66).

This complex became the religious and political center of the city of Jerusalem, and Herod built many auxiliary components. Several entrances and bridges from the Upper City were built. The public entered the complex from the south. A southern complex consisting of monumental stairs (210 feet wide) and entrance and exit gates (Double and Triple Gates) took pedestrians from the outside up through underground tunnels to the top of the temple compound. These stairs became an area for public forums. In addition, several shops (Mark 11:15–17) were built around the complex, as well as a large bathhouse for ritual cleansing. In order to facilitate the many sacrifices, Herod built a complex hydrologic system that brought water into the city. This was accomplished by various aqueducts and storage pools. The Temple Mount had many cisterns and a new pool on the northeast end of the Temple Mount complex, the Pool of Israel. Although Herod could not alter the dimensions of the temple itself, he was able to enlarge the facade, added storage chambers and auxiliary buildings, build a second story above the temple, and construct several courtyards and various buildings associated with them. In keeping with the earlier tripartite level of holiness, these additional temple buildings and courtyards retained the same linear degree of holiness and exclusion.

Josephus called Herod’s temple “a structure more noteworthy than any under the sun” (Ant. 15.412). Herod built a new monumental facade in front of the existing temple and added a second story. Herod’s temple measured 100 cubits (172 ft.) in all three dimensions. It stood on top of a foundation that gave it added height. It had two stories, each one 45 cubits (77.5 ft.) in height. On the roof was a parapet, 3 cubits in height, which contained golden spikes, 1 cubit in height, to prevent birds from perching on the roof’s edge. The temple was decorated with gold overlay. The opening between the ’ulam (“porch”) and the sanctuary was 20 cubits high and 10 cubits wide (34 ft. by 17 ft.). There were two sets of double folding doors. The sanctuary contained the golden menorah, the table of the bread of the Presence, and the altar of incense. Between the sanctuary and the holy of holies was a large tapestry (veil) (Matt. 27:51; Mark 15:38; Luke 23:45). The holy of holies had gold plating on its walls. Around the temple were thirty-eight cells built in three stories (m. Mid. 4:3–4). All of the cells were interconnected by openings between adjoining cells and by one in the ceiling to reach the cell above. To the north, between the outer wall of the temple and the cells, was an inner stairway with access to the top of the temple and the upper chamber (second story of the temple). The upper chamber allowed priests to service the holy of holies. They would be suspended in baskets, covered on three sides, through openings in the floor to clean the gold overlay in the holy of holies.

The temple courtyard was surrounded by various gates and buildings. These were specific entrances and buildings that the priests used for the various functions of the sacrifices and offerings (Mark 13:1–2). These included the Kindling Gate, Wood Chamber, Gate of the Firstlings, Golah Chamber, Water Gate, Chamber of the Hearth, Gate of Jeconiah, Rinsing Chamber, Gate of the Offering-Women, Salt-Parva Chamber, and Gate of the Flame-Singers. In front of the temple were two narrow courts: the court of the priests to the west and the court of the Israelites (men) to the east. Inside the temple court was the altar of burnt offering. During the Second Temple period it was a stationary, square-shaped altar constructed of unhewn stones. According to the Mishnah (m. Mid. 3:1), this altar was 32 cubits square at the base and about 10 cubits in height. A ramp 32 cubits long, also built of unhewn stones, led the priests up to the altar from the south. A laver, the great bronze basin known as “the Sea,” stood west of the altar between the altar and the temple porch (’ulam) for the washing of hands and feet. North of the altar was the place of slaughtering.

The court of the women, 135 cubits square, was in front of the temple to the east. This court had four smaller courts, one at each corner. Women could enter the temple only as far as this court. It was surrounded by a colonnade. Inside these porches (porticoes) were thirteen collection boxes for money. This is where Jesus saw the poor widow donating two copper coins (Luke 21:1–3). The court had four large lampstands nearly half the height of the temple. The Mishnah states that each of the corner chambers was 40 cubits square and roofless. The central area was exposed to the sky, with a portico around each courtyard—typical of Mediterranean buildings. The chamber to the immediate right of the court’s entrance (northeast) was the chamber of the woodshed, where priests examined logs for impurities (e.g., parasites). To the left (southeast) was the chamber of the Nazirites. To the northwest was the chamber of the lepers. A leper who had been healed brought an offering and then bathed in this chamber before coming to the priests for the performance of rituals. In the southwest corner was the chamber of the house of oil. Between the court of the women and the temple court was the Nicanor Gate. Fifteen semicircular steps led up to this gate. It was on these steps that the Levites sang the fifteen Psalms of Ascent (Pss. 120–134).

Surrounding the temple and the court of the women was a balustrade or railing that served as a boundary beyond which no Gentile could enter. Outside this boundary was the court of the Gentiles (see John 12:20–22; Acts 21:27–29). Archaeologists have found an inscription that forbids Gentiles, upon pain of death, to enter any farther. Herod’s temple was destroyed in AD 70. The Temple Mount continued to be used and considered sacred, as Roman temples, Crusader churches, and Muslim shrines marked the sacredness of the location.

Role of the Temple

The temple was the dwelling place of Yahweh. It was the domain of the religious leaders, priests, and Levites. It also represented the relationship/covenant between God and the nation of Israel. Various kings used the temple for their political maneuvering and attempts to shift the religious worship of the nation. The temple was the visible presence of God and embodied the political and religious aspirations of the people. The temple sat on top of a sacred mountain.

During turbulent political times the temple was central to God’s protection and judgment. From the Babylonian and Roman periods, two texts spoke of a future temple. Ezekiel’s vision saw a futuristic temple measuring 500 cubits square surrounded by a massive court measuring 3,000 cubits square (Ezek. 40:1–47:12). Among the DSS, the Temple Scroll also talks about a rebuilt temple. Today many Christians and Jews look to a future rebuilding of the temple.

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

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

Inclusion and Chiasm

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

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

Succinctness and Imagery

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

Parallelism

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

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

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

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

Inclusion and Chiasm

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

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

Succinctness and Imagery

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

Parallelism

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

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

It is hard to offer a simple definition of praise because multiple words are used in the Bible to describe praise and its many different forms. The physical aspects of praise include bowing (1 Chron. 29:20), kneeling (Ps. 95:6), singing (Ps. 96:2), being quiet (Ps. 131:2), making noise (Luke 19:37), opening hands (1 Kings 8:54), lifting hands (Ps. 134:2), meditating (Ps. 145:5), exulting (Ps. 21:13), and living an obedient life before God (Rom. 15:7). The emotive aspects of praise include adoration (Ps. 9:1), prayer (Ps. 66:20), thanksgiving (Ps. 69:30), and joy (Ps. 71:23). Furthermore, praise can be given in any location and at any time. Finally, God is to be praised because of his creation, his good works, his love, and the life, death, and resurrection of his Son.

Generally, praise acknowledges and thanks God for all the good things in life. The Bible is full of examples of such praise; best known are the numerous psalms of praise in the Psalter. The Hebrew expression hallelu yah literally means “praise the Lord” and is used in both Testaments (Gk. hallēlouia). In the OT, God is portrayed as jealous for the praise of his people (Isa. 42:8); God is supposed to be the only object of praise. Conversely, Jesus cautions his followers to seek praise from God rather than from other humans (Matt. 6:1–4).

Not only are humans to be active in giving praise to God, but also all creation, including the sun, the moon, and the stars (Pss. 19:1–3; 148), takes part. The final psalm in the Psalter encourages “everything that has breath [to] praise the Lord” (Ps. 150:6). Throughout the OT praise was an important part of the tabernacle and temple worship, with specific people being assigned the duty of making music and singing praises to God (1 Chron. 6:31–32). Moses and Miriam broke into spontaneous praise after the Israelites had crossed the Red Sea and seen the Egyptians drowned (Exod. 15:1–21). David praised God not only in words but also in dance (2 Sam. 6:14). The angels praised God during the announcement of Jesus’ birth (Luke 2:13). Both James and Peter encouraged Christians to praise God in spite of their external circumstances (James 5:13; 1 Pet. 4:16). Revelation records the praising of God forever as one of the final eschatological events (19:1–10).

The titles, or superscriptions, of fifteen psalms include the designation “a song of ascents,” also called “a song of degrees.” The notion of ascending, or going up, has influenced the understanding of these psalms. The “going up” has been seen as going up to Jerusalem for a holy day, going up to Jerusalem as part of the return from the exile, going up the fifteen steps at the courts of the temple (a Jewish tradition in the Mishnah), or an aspect of their poetic style. These psalms occur together as a group, Pss. 120–134. They include different genres but share an emphasis on Jerusalem, which supports the idea that they were used on pilgrimage for a holy day (see Exod. 24:13; 34:23; Lev. 23:4; and Deut. 16 for religious journeys to Jerusalem). Harvest imagery in some of these psalms and the Mishnah tradition suggest the Feast of Tabernacles, but they need not have been limited to this festival.

Temples have always been the domain and house of the gods throughout the ancient Near East. As the abode of the God of Israel, the Jerusalem temple served the same purpose. The temple played an important role in the social, religious, and political life of ancient Israel. No archaeological remains of the actual temple building exist today; nevertheless, the temple has dominated biblical scholarship. The Jerusalem temple was originally built by Solomon in 953 BC and was destroyed by the Babylonian king Nebuchadnezzar in 586 BC. After the exile, the temple was rebuilt and then rededicated by Zerubbabel in 515 BC (Ezra). Herod the Great significantly expanded and changed the temple, but it was eventually destroyed by the Romans under the direction of Titus in AD 70.

The biblical text refers to the temple in several ways: temple, house of God/Yahweh, and sanctuary/shrine. These terms all refer to the dwelling or house of God and an area of sacredness. The sources for information on the temple are biblical texts, Josephus, and the Mishnah (tractate Middot). The most detailed accounts of the construction of the Solomonic temple are found in 1 Kings 6–8; 2 Chron. 2–4. In addition to these major sections, there are several references to building activities and repairs to the temple throughout the OT. Another major text is Ezek. 40, but it is debated whether this represents the actual temple or an ideal temple. There are several references in the NT that directly or indirectly refer to functions and specific components of the Temple Mount complex.

Archaeological Investigation

The location of the Temple Mount in Jerusalem has been undisputed. Current scholarly opinion locates the temple on the spot of the current Muslim shrine, the Dome of the Rock. Today the larger enclosed area is referred to as the harem esh-sharif (the noble sanctuary). Explorers in the nineteenth century did not attempt archaeological research of the temple itself, although various explorations focused on recording visible features and conducting soundings along the sides of the Temple Mount. Even after the unification of Jerusalem in 1967, with three major excavations in the city, no archaeological investigation of the temple was conducted. Due to the political and religious variables associated with the Muslim holy sites, there are no foreseeable archaeological investigations. A recent renovation of the Mosque of Omar, located on the southern end of the Temple Mount, removed truckloads of earth. Unfortunately, there was no archaeological supervision of the project and no archaeological excavations of the site were conducted.

In spite of the limited archaeological excavations, several popular accounts of alternate locations of the temple have been proposed. Most of these place the temple somewhere other than the Dome of the Rock, but none of these proposals has garnered scholarly support to rival the current location.

First Temple: Temple of Solomon

Throughout the ancient Near East, temples served as monumental edifices that provided divine legitimacy for the king or dynasty. While temples should be considered part of the religious sphere of society, their construction, maintenance, and associated activities are interlinked with the political sphere. The construction of the temple in Jerusalem is also linked to state formation by the Israelites. The Solomonic temple ushered in a new period of religious activity among the ancient Israelites. Previously, Israel had worshiped at various shrines and sanctuaries, and its central religious practice was associated with the tabernacle. With the establishment of the monarchy, dynastic kingship and centralized authority were created. Although the biblical text credits Solomon as the Israelite king who built the temple, the project was initiated under David. David united the Israelite tribes, captured Jerusalem and made it the capital of the kingdom, and built a royal palace. He made Jerusalem the political capital but also the religious center when he brought the holy ark, the visible symbol of Yahweh’s presence, to Jerusalem (2 Sam. 5–6). David intended to build Yahweh a permanent dwelling (2 Sam. 7:2).

Location. The biblical text preserves multiple traditions and accounts of the location and acquisition of land for the temple. In the ancient world the city temple was commonly located on the acropolis (highest point) of the city. The temple is located on the highest point of a ridge where the OT city of Jerusalem is located (Jebusite city, later the City of David). There are two accounts of the purchase of the land: the threshing floors of Araunah (2 Sam. 24:18–25) and of Ornan (1 Chron. 21:15–30; 2 Chron. 3:1 [here the NIV supplies “Araunah,” but see, e.g., the NET, NASB, ESV]). It is possible that Araunah and Ornan were kin, but most likely they are the same person, with Samuel and Chronicles using variant names. However, the two accounts disagree further on the amount paid for the land: fifty silver shekels (2 Sam. 24:24) and six hundred shekels of gold (1 Chron. 21:25). One theory explains this discrepancy as arising from two separate transactions. First, David purchased the threshing floor to build an altar to Yahweh, and he later purchased the whole mountain to build a temple. Later tradition associates the hill where David built an altar with the location where earlier Abraham built an altar to sacrifice Isaac (Mount Moriah).

Construction and dimensions. Solomon started to build during the fourth year of his reign (2 Chron. 3:1), and construction lasted for seven years. The plan of the temple was revealed to Solomon during a night in the sanctuary at Gibeon (2 Chron. 1:7–13). The king obtained building materials, specifically cedar from Lebanon (2 Chron. 2:3–10), and construction and design expertise from Phoenician artisans (1 Kings 7:13–14, 45). The Solomonic temple consisted of a tripartite plan similar to other temples in Syro-Palestine during this period. There are two accounts for the construction and dedication of the first temple (1 Kings 6–8; 2 Chron. 3–7). Both accounts offer similar descriptions but there are some differences in measurements. Most scholars account for these differences by viewing the dimensions in the book of Chronicles as reflecting the temple measurements after Hezekiah’s repair and rebuilding projects.

The basic plan was a rectangle, 70 cubits long (120 ft. 7 in.) and 20 cubits wide (34 ft. 5 in.) on a straight axis facing east; the height was 30 cubits (51 ft. 7 in.). These measurements refer to the inside dimensions (1 cubit = 20.67 in.). The three distinct architectural units formed three distinct rooms where various functions were performed and also reflected levels of holiness. The three units were the ’ulam (“porch” or “vestibule”), the hekal (“cella” or “nave”), and the debir (the innermost sanctuary, the most holy place). In the biblical accounts the whole building is called the “house [bayit] of the Lord,” and the word “temple” is used for the hekal. There was a three-story structure built around the sides and back of the temple (see below).

The porch was 10 cubits (17 ft. 2 in.) by 20 cubits (34 ft. 5 in.). The account in Kings does not provide its height; the account in Chronicles gives the height as 120 cubits. In its description and measurements in the biblical text, the porch is considered separate from the temple (bayit, house). The porch contained two pillars of bronze: yakin (“he will establish”) on the right side and bo’az (“in strength”) on the left (see Boaz; Jakin). The pillars were bronze, 18 cubits (35 cubits in Chronicles) in height, with elaborate double capitals. The bottom capital was 5 cubits, round in shape, and surrounded by nets with pomegranates. Above this was another capital, 4 cubits high, shaped like a lily.

The hekal was 40 cubits long and 20 cubits wide and was the only part with windows (1 Kings 6:4). The debir was a cube, 20 cubits per side. The debir is also called the “holy of holies.” The difference in height (10 cubits shorter than the hekal  ) is due to the rise in the bedrock. This measurement is confirmed today in the interior of the Dome of the Rock.

The walls of the house (hekal and debir) were built of whole stones dressed in the quarry, as “no hammer, chisel or any other iron tool was heard at the temple site while it was being built” (1 Kings 6:7). The roof was made of cedar wood (1 Kings 6:10), with crossbeams and intersecting boards. The stone walls were covered from ground to ceiling with boards of cedar wood, and the floor was made of cypress wood, covered with gold (1 Kings 6:30). The wood had carved engravings of cherubim, palm trees, and open flowers. The hekal and the debir were separated by a partition made of olive wood.

The three-story structure surrounding the temple was constructed of cedar wood. Each story was 5 cubits. The width of the first floor was 5 cubits, the middle 6 cubits, and the top 7 cubits. This structure was entered from the right side of the temple, and the floors were connected by openings with ladders. This structure formed chambers and storage for the activities of the priests.

In front of the temple was a courtyard surrounded by a wall. Inside the courtyard was a great bronze basin (known as “the Sea”). This basin rested on the backs of twelve bronze oxen. Ten smaller basins in groups of five were set on elaborate wheeled stands. A large altar also was located in this courtyard.

In the holy of holies stood two large cherubim of olive wood covered with gold. They were 10 cubits in height, with a wingspan of 10 cubits. These cherubim stood over the ark of the covenant. In the hekal were the golden altar, the golden table, and ten lampstands.

History. From Solomon to Zedekiah, the temple was used for political and religious power shifts. Kings of Israel raided the temple treasury to pay off invaders, closed the temple, or placed idols in the temple in periods of apostasy. During periods of reform they repaired and rebuilt the temple and its furnishings.

Under Rehoboam’s reign, Shishak king of Egypt ransacked the temple and removed all its treasures (1 Kings 14:25–28; 2 Chron. 12:9). Asa and his father, Abijah, added to the treasure of the temple with silver, gold, and other vessels (2 Chron. 15:18) but used these to pay Ben-Hadad of Syria to help him fight Baasha king of Israel (16:2–3). Asa’s son Jehoshaphat (2 Chron. 17) ruled during a time of prosperity and reform. It was under his rule that the court in front of the temple probably was enlarged (20:5). The sons of Athaliah broke into the temple and worshiped Baal. During the reign of Amaziah the temple was plundered by Jehoash king of Israel (2 Chron. 25). Uzziah ruled for a long period of prosperity (787–736 BC) but attempted to burn incense on the altar in the hekal, a ritual kept solely for the priests. A later king, Jotham, built the Upper Gate of the house of Yahweh (2 Kings 15:35; 2 Chron. 27:3). Jotham’s son Ahaz took the silver and gold from the temple and sent it as a present to the king of Assyria. He moved and changed various vessels of the temple and shut its doors (2 Chron. 28:24).

Hezekiah son of Ahaz ruled during a time of prosperity and revival. He reopened the temple doors (2 Chron. 29), cleaned out the temple, and created a 500-cubit-square mount around the temple. Hezekiah conducted many building projects in Jerusalem and reforms throughout the land. He also “stripped off the gold with which he had covered the doors and doorposts of the temple of the Lord” to pay a ransom to Sennacherib king of Assyria (2 Kings 18:16). Due to his building activities, most scholars attribute major changes to the temple to Hezekiah’s reign. The differences in the temple descriptions in Kings and Chronicles probably reflect two different periods of history concerning the temple (e.g., Kings represents the temple during the period of Solomon, while Chronicles represents the changes to the temple by Hezekiah). Manasseh, Hezekiah’s son, undid the work of his father by building altars in the temple.

The last resurgence of the temple in the life of the people of Israel was under Josiah. He instigated a reform throughout the land and a cleansing of the temple. Hilkiah the high priest found a copy of the “Book of the Law” (2 Kings 22:8). After a reading of the law in the public square, a collection was taken from the people to be given to workers for temple repair. The Babylonians took some of the temple treasure (2 Chron. 36:7) under the rule of Jehoiakim. The last two kings of Judah, Jehoiachin and Zedekiah, also lost temple treasure to Babylon, and eventually the temple was destroyed during the destruction of Jerusalem in 586 BC (2 Chron. 36).

Second Temple: Zerubbabel and the Temple of Herod the Great

Zerubbabel’s temple. Solomon’s temple was rebuilt by the Jews who returned from exile under the decree of the Persian king Darius (Ezra 6:1–5). The temple was built under the direction of the governor Zerubbabel with the support of the prophets Haggai and Zechariah (Ezra 6:13–18) and was dedicated in 515 BC. This would have been a poorer temple due to the poverty of the inhabitants of Judah. During the Hasmonean period (152–37 BC) a platform and a fortress were constructed. Not much is known about the temple during this period. It would be greatly eclipsed by the work of Herod the Great.

Temple of Herod the Great. Herod invested heavily in building projects throughout his kingdom. He was keen on bringing Hellenistic culture to the Jews but also on upholding traditional Jewish religious practices, especially when it came to the temple. Just as the first temple mimicked the religious architecture of the ancient Near East, the second temple reflected the massive sacred architecture of the classical world. John 2:20 indicates that thus far it had taken forty-six years (beyond Herod’s life) to build. Herod could not alter the dimensions of the temple, but he was able to make additions to the outside, alter its outer furnishings, and expand the compound and platform to match the grandeur of Greco-Roman temples. Today scholars refer to all these buildings and the temple as the Temple Mount complex.

Herod expanded the space of the Temple Mount by building a “box” around the mountain. This was a massive wall with varying height due to the topography. This wall is still visible today, especially the current religious site of the Western Wall. This construction allowed for a level platform with various buildings and plazas on the top. The leveling was done by filling in the gaps and building subterranean arches in low areas. One of these areas is located on the southeast corner (the underground arched supports are erroneously called “Solomon’s Stables” today). The whole area was surrounded by a colonnaded portico (Solomon’s Colonnade [John 10:23; Acts 3:11; 5:12]). On the northwest corner was the Antonia Fortress (Acts 21:35), and the southern end of the complex contained the Royal Stoa, a basilica-style building (four rows of forty columns) that housed the Sanhedrin and had other religious and political functions (Luke 22:66).

This complex became the religious and political center of the city of Jerusalem, and Herod built many auxiliary components. Several entrances and bridges from the Upper City were built. The public entered the complex from the south. A southern complex consisting of monumental stairs (210 feet wide) and entrance and exit gates (Double and Triple Gates) took pedestrians from the outside up through underground tunnels to the top of the temple compound. These stairs became an area for public forums. In addition, several shops (Mark 11:15–17) were built around the complex, as well as a large bathhouse for ritual cleansing. In order to facilitate the many sacrifices, Herod built a complex hydrologic system that brought water into the city. This was accomplished by various aqueducts and storage pools. The Temple Mount had many cisterns and a new pool on the northeast end of the Temple Mount complex, the Pool of Israel. Although Herod could not alter the dimensions of the temple itself, he was able to enlarge the facade, added storage chambers and auxiliary buildings, build a second story above the temple, and construct several courtyards and various buildings associated with them. In keeping with the earlier tripartite level of holiness, these additional temple buildings and courtyards retained the same linear degree of holiness and exclusion.

Josephus called Herod’s temple “a structure more noteworthy than any under the sun” (Ant. 15.412). Herod built a new monumental facade in front of the existing temple and added a second story. Herod’s temple measured 100 cubits (172 ft.) in all three dimensions. It stood on top of a foundation that gave it added height. It had two stories, each one 45 cubits (77.5 ft.) in height. On the roof was a parapet, 3 cubits in height, which contained golden spikes, 1 cubit in height, to prevent birds from perching on the roof’s edge. The temple was decorated with gold overlay. The opening between the ’ulam (“porch”) and the sanctuary was 20 cubits high and 10 cubits wide (34 ft. by 17 ft.). There were two sets of double folding doors. The sanctuary contained the golden menorah, the table of the bread of the Presence, and the altar of incense. Between the sanctuary and the holy of holies was a large tapestry (veil) (Matt. 27:51; Mark 15:38; Luke 23:45). The holy of holies had gold plating on its walls. Around the temple were thirty-eight cells built in three stories (m. Mid. 4:3–4). All of the cells were interconnected by openings between adjoining cells and by one in the ceiling to reach the cell above. To the north, between the outer wall of the temple and the cells, was an inner stairway with access to the top of the temple and the upper chamber (second story of the temple). The upper chamber allowed priests to service the holy of holies. They would be suspended in baskets, covered on three sides, through openings in the floor to clean the gold overlay in the holy of holies.

The temple courtyard was surrounded by various gates and buildings. These were specific entrances and buildings that the priests used for the various functions of the sacrifices and offerings (Mark 13:1–2). These included the Kindling Gate, Wood Chamber, Gate of the Firstlings, Golah Chamber, Water Gate, Chamber of the Hearth, Gate of Jeconiah, Rinsing Chamber, Gate of the Offering-Women, Salt-Parva Chamber, and Gate of the Flame-Singers. In front of the temple were two narrow courts: the court of the priests to the west and the court of the Israelites (men) to the east. Inside the temple court was the altar of burnt offering. During the Second Temple period it was a stationary, square-shaped altar constructed of unhewn stones. According to the Mishnah (m. Mid. 3:1), this altar was 32 cubits square at the base and about 10 cubits in height. A ramp 32 cubits long, also built of unhewn stones, led the priests up to the altar from the south. A laver, the great bronze basin known as “the Sea,” stood west of the altar between the altar and the temple porch (’ulam) for the washing of hands and feet. North of the altar was the place of slaughtering.

The court of the women, 135 cubits square, was in front of the temple to the east. This court had four smaller courts, one at each corner. Women could enter the temple only as far as this court. It was surrounded by a colonnade. Inside these porches (porticoes) were thirteen collection boxes for money. This is where Jesus saw the poor widow donating two copper coins (Luke 21:1–3). The court had four large lampstands nearly half the height of the temple. The Mishnah states that each of the corner chambers was 40 cubits square and roofless. The central area was exposed to the sky, with a portico around each courtyard—typical of Mediterranean buildings. The chamber to the immediate right of the court’s entrance (northeast) was the chamber of the woodshed, where priests examined logs for impurities (e.g., parasites). To the left (southeast) was the chamber of the Nazirites. To the northwest was the chamber of the lepers. A leper who had been healed brought an offering and then bathed in this chamber before coming to the priests for the performance of rituals. In the southwest corner was the chamber of the house of oil. Between the court of the women and the temple court was the Nicanor Gate. Fifteen semicircular steps led up to this gate. It was on these steps that the Levites sang the fifteen Psalms of Ascent (Pss. 120–134).

Surrounding the temple and the court of the women was a balustrade or railing that served as a boundary beyond which no Gentile could enter. Outside this boundary was the court of the Gentiles (see John 12:20–22; Acts 21:27–29). Archaeologists have found an inscription that forbids Gentiles, upon pain of death, to enter any farther. Herod’s temple was destroyed in AD 70. The Temple Mount continued to be used and considered sacred, as Roman temples, Crusader churches, and Muslim shrines marked the sacredness of the location.

Role of the Temple

The temple was the dwelling place of Yahweh. It was the domain of the religious leaders, priests, and Levites. It also represented the relationship/covenant between God and the nation of Israel. Various kings used the temple for their political maneuvering and attempts to shift the religious worship of the nation. The temple was the visible presence of God and embodied the political and religious aspirations of the people. The temple sat on top of a sacred mountain.

During turbulent political times the temple was central to God’s protection and judgment. From the Babylonian and Roman periods, two texts spoke of a future temple. Ezekiel’s vision saw a futuristic temple measuring 500 cubits square surrounded by a massive court measuring 3,000 cubits square (Ezek. 40:1–47:12). Among the DSS, the Temple Scroll also talks about a rebuilt temple. Today many Christians and Jews look to a future rebuilding of the temple.