Death is commonly defined as the end of physical life, wherein the normal biological processes associated with life (such as respiration) cease. This definition, however, does not adequately encompass the varied nuances associated with death in the Bible.

The Beginning of Death

Death is introduced in the Bible as the penalty for transgressing the prohibition against eating the fruit of the tree of knowledge of good and evil—a contrast to Mesopotamia, where death was part of the divine design of human beings. In Gen. 2:16–17 God tells the first man, “When you eat from [the fruit of the tree] you will certainly die.” The consequences of eating provide a useful basis for discussing the nature of death from a biblical perspective.

First, as is apparent from the subsequent narrative, neither the man nor the woman experiences physical, biological death immediately after eating the fruit. In this way, Gen. 2–3 reflects the common biblical notion that death refers to more than just biological death, pointing to the more significant aspect of death that embodies alienation and separation from the source of life, God. The point is presupposed by Jesus when he offers life to those who are dead (John 5:24), and by Paul when he proclaims that before Christ all were dead in their sins and transgressions (Eph. 2:1, 5). It is also reflected in the common punishment prescribed in the Pentateuch whereby offenders were cut off from the people (Gen. 17:14; Exod. 12:15, 19; 30:38; cf. Gen. 9:11; Exod. 9:15). Within Gen. 2–3, death arrives with loss of access to the tree of life in the garden. Biologically, the first man and woman may continue to live for a while outside the garden, but their fate is sealed when they are cut off from the garden and the intimate fellowship with the Creator that had been enjoyed therein.

Second, the strong implication of Gen. 2:16–17 is that human beings, as originally created, were not subject to death (see also Rom. 5:12; 6:23; 1 Cor. 15:21). This does not mean that they were immortal in the same manner as God (cf. 1 Tim. 6:16), but rather that they were contingently immortal: they were not subject to death but sustained by their relationship to the life-giving God through the provision of the tree of life (cf. Rev. 2:7; 22:2, 14). Once they were cut off from the source of life, death ensued.

The account of the arrival of death in Gen. 3, however, tells us little about how death affected animals, since the Bible consistently presents a predominantly human focus. While Eccles. 3:21 affirms human ignorance over the relative postmortem fate of humans and animals, little else is said on the matter. Similarly, it is not entirely clear whether death is introduced as a punishment for sin for humans only (and so whether animals could have died prior to the fall) or whether animals were perceived as sharing in immortality prior to the fall.

Death in the Old Testament

Death is frequently depicted negatively throughout the OT. Aside from its initial presentation as a divine punishment for sin, it is presented as that which seeks out and devours life and is terrifying (Pss. 18:4–5; 55:4; Prov. 30:15–16; Hab. 2:5). For the author of Ecclesiastes, death is that which ultimately undermines any possible value that life may otherwise have (e.g., Eccles. 9:3). The tragedy of death, in the OT, is that it results in separation, from God (as noted above in the context of Gen. 2–3) and from people. The psalms, for example, frequently cite the finality and profundity of death’s effects (e.g., Pss. 6:5; 88:5; 115:17; cf. Isa. 38:18). Even those few passages that appear to present death more positively (e.g., Job 3:13, 17) ultimately serve to highlight the appalling circumstances of the speaker’s life rather than any blessed state of the dead (for a similar idea in the NT, see Rev. 9:6).

The OT does, however, depict death as the natural end of life, and a good death as one that arrives only after a long and prosperous life. So Abraham (Gen. 25:8), Isaac (Gen. 35:29), and Job (Job 42:16–17) are said to live long lives before they die. Furthermore, some passages refer to the person being “gathered to his people,” suggesting some form of reunion with previous generations in death, presumably in Sheol, although the location and state of the dead are never explicated. Isaiah can even include the idea of death within language used to describe the ideal future world (Isa. 65:20).

Although there are no laws relating to the manner in which the bodies of the dead were to be handled, all the descriptive indicators show that burial was normative, often in a family tomb or plot (e.g., Gen. 23; cf. 1 Kings 13:22). Indeed, the importance of an appropriate burial is apparent in Ecclesiastes’ comment that a stillborn child is better off than someone who lives a long life but receives no burial (Eccles. 6:3) and in the prophets’ presentation of those not buried as being accursed (Jer. 8:2; 14:16; 16:4).

Life after Death in the Old Testament

Belief in some form of postmortem existence was common in many parts of the ancient world. In Egypt, an elaborate set of beliefs relating to the state of those who had died included the possibility of an ongoing existence that could even surpass what one may have experienced before death (although such an opportunity was a reasonable expectation only for the upper classes, while the general population probably had more modest expectations of the nature of their existence in the afterlife). By way of contrast, Mesopotamian beliefs depicted a far darker and more troubling afterlife for all but the very few whose lives and deaths were sufficiently blessed to ensure them some degree of postmortem comfort. For the remainder, there was little hope for any positive experience following death.

The OT, however, has little to say about the state of those who have died. The widespread belief in some form of continued existence beyond biological death in the ancient world suggests that, in the absence of contrary data in the Bible, the people of Israel probably assumed that some aspect of a person persisted beyond death. Furthermore, there are hints that this may have been the case, such as the raising of Samuel’s shade by the medium at Endor (1 Sam. 28), the escape from death of Enoch (Gen. 5:24) and Elijah (2 Kings 2:11), the revivification of the body dropped on Elisha’s bones (2 Kings 13:21), and expressions used to refer to death such as “gathered to his people” (Gen. 25:8, 17; 35:29; 49:29; Num. 27:13; Deut. 32:50; cf. Gen. 47:30; Deut. 31:16). The dead (sometimes referred to by the term repa’im, “shades/spirits of the dead”) were thought to dwell in Sheol, generally described as under the earth (e.g., Ezek. 31:14). Beyond this, there are prophetic expectations that God will ultimately destroy death (e.g., Isa. 25:8), and that God does not take pleasure in anyone’s death (Ezek. 18:23, 32).

Death in the New Testament

The NT continues, and in some places expands upon, the negative view of death presented in the OT. The notion that death is a consequence of and punishment for the sinful state that imprisons all humanity is stated emphatically (e.g., Rom. 3:23; 6:23) and reinforced by the notion that, although biologically alive, sinful humans are dead in their sin and so incapable of reviving themselves (Eph. 2:1). Death, according to Paul, is the last enemy (1 Cor. 15:26), and yet to die is gain (Phil. 1:21–24) because it heralds being with Christ, which, explains Paul, “is better by far” than being alive in this body in this world.

Central to both the message of the Bible and to the significance of death in the Bible is the death of the Messiah, God’s Son. Jesus’ death provides the basis for countering the consequences of the original rebellion against God by the first couple (2 Cor. 5:21). Consequently, Paul could write that Jesus’ death itself destroyed death (2 Tim. 1:10). Furthermore, the life that Jesus offers—eternal life—is available to the believer in the present (John 3:36; 5:24), prior to the time when death is ultimately abolished, such that Jesus could assert that all those who believe in him will live even though they die (John 11:25–26).

The NT expands somewhat on the details relating to the state of the dead from the OT. For one thing, the existence of an afterlife is clearly presented. Furthermore, the parable of the rich man and Lazarus (Luke 16:19–31) reflects a more comprehensive understanding of the existence of distinctions among those who have died, such that the rich man is said to be suffering in Hades (Gk. hadēs, used in the LXX to translate Heb. she’ol in the OT), while Lazarus is far off with Abraham and being comforted. Although there is a danger in reading too much into a parable, the detail appears to reflect something of the expanded understanding of the afterlife among some in Jesus’ day.

The NT makes several references to a “second death” (Rev. 2:11; 20:6, 14; 21:8; cf. Jude 12). The expression refers to the state of eternal judgment under God’s wrath, a death from which there will be no escape. But those who remain faithful to Christ will not experience this second death (Rev. 20:6), and in their dwelling place with God, the new Jerusalem, death will be no more (21:4).

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

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

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

Deceitful cunning, usually employed in taking advantage of others through scheming and underhanded methods (e.g., Exod. 21:14; Pss. 32:2; 34:13; 55:21; 2 Cor. 12:16 KJV; 2 Macc. 12:24; 1 Pet. 2:1 NRSV). Although Nathaniel is not initially impressed with Jesus’ messianic credentials, Jesus nevertheless praises him for his straightforwardness: “Behold an Israelite indeed, in whom is no guile” (John 1:47 KJV [NIV, NRSV: “no deceit”]). The reference to an Israelite may be a pun on the meaning of Jacob’s name, which means “deceiver” (see Gen. 25:26; 27:35–36; cf. Gen. 28:12 with John 1:51). Judas Iscariot is an unfortunate contrast (John 12:6). God cannot lie (Titus 1:2), and therefore his word is without guile or “pure” (cf. 1 Pet. 2:1–2; 3:10).

To spend the night while traveling, usually under a host’s roof (Gen. 24:23 KJV), but the word can also apply to sleeping out in the open (Judg. 19:20 KJV). It also means “to dwell or associate with” (Ruth 1:16 KJV); “to dwell metaphorically,” as evil thoughts in the heart (Ps. 55:15); and “to roost or nest,” as a bird (Matt. 13:32 KJV). To lodge a charge is to make a legal or public accusation (Ezra 4:6). As a noun, a “lodge” is a place to spend the night (Isa. 1:8 KJV).

The period of the day beginning at sunrise and often described as a time of great activity, such as embarking on a journey (Gen. 44:3), initiating a battle (Judg. 9:33), offering sacrifices (Amos 4:4), starting to work (Matt. 20:1), and meeting with God (Exod. 34:2–4; Mark 1:35; cf. Ps. 55:17). Morning is a time of joy (Ps. 30:5), though some may express this joy more loudly than others (Prov. 27:14).

The middle of the day (1 Kings 18:26–27; 20:16; 2 Kings 4:20; Neh. 8:3; Job 5:14; Ps. 55:17; Isa. 16:3; Jer. 6:4; 20:16; Amos 8:9; Acts 10:9; 22:6; 26:13), at which point the sun is at or near its meridian and the midday meal is eaten (Gen. 43:16). See also Midday.

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 payment made to redeem a slave, release a captive, or free a criminal from punishment.

In the OT, slaves could be set free by ransom (Lev. 19:20), and certain kinds of criminals are excluded from ransom (Num. 35:31–32), implying that others could be ransomed to escape their punishment. Ransom is also used more broadly to include notions of atonement (Exod. 30:12) and as a near synonym for “redemption” (Jer. 31:11 NASB, NRSV, KJV). “Ransom” is frequently used metaphorically to describe God’s saving actions on behalf of the nation (Isa. 43:3; 50:2; Jer. 31:11; Hos. 13:14), saving them from their enemies, or of individuals (Job 5:20; Ps. 55:18), saving them from death. In these cases, the emphasis is on the rescue effected, not the price paid.

In the NT, “ransom” is used to describe the atoning work of Christ. Jesus describes his own purpose: “The Son of Man did not come to be served, but to serve, and to give his life as a ransom for many” (Mark 10:45 // Matt. 20:28). Paul uses the same language: “Christ Jesus, who gave himself as a ransom for all people” (1 Tim. 2:5–6). The author of Hebrews describes the effect of this ransom: “He has died as a ransom to set them free from the sins committed under the first covenant” (Heb. 9:15). All three references indicate that the price paid for the ransom is Jesus’ life, given up to death on the cross. Each of the literal meanings of “ransom” has its metaphorical equivalent: Christ’s death frees us from our slavery to sin and death (Rom. 6:6), releases us from our captivity to the law (7:4–6), and pays the price of the punishment that our sins deserved (3:25–26). The ransom was not paid to the devil, and it is best understood as the satisfaction of God’s own justice (Rom. 6:23).

A broad designation for certain regions in Israel, typically rocky, although also plains, with little rainfall. These areas generally are uninhabited, and most often “wilderness” refers to specific regions surrounding inhabited Israel. A fair amount of Scripture’s focus with respect to the wilderness concerns Israel’s forty-year period of wandering in the wilderness after the exodus (see also Wilderness Wandering).

Geography

More specifically, the geographical locations designated “wilderness” fall into four basic categories: the Negev (south), Transjordan (east), Judean (eastern slope of Judean mountains), and Sinai (southwest).

The Negev makes up a fair amount of Israel’s southern kingdom, Judah. It is very rocky and also includes plateaus and wadis, which are dry riverbeds that can bloom after rains. Its most important city is Beersheba (see Gen. 21:14, 22–34), which often designates Israel’s southernmost border, as in the expression “from Dan to Beersheba” (e.g., 2 Sam. 17:11).

Transjordan pertains to the area east of the Jordan River, the area through which the Israelites had to pass before crossing the Jordan on their way from Mount Sinai to Canaan. (Israel was denied direct passage to Canaan by the Edomites and Amorites [see Num. 20:14–21; 21:21–26]). Even though this region lay outside the promised land of Canaan, it was settled by the tribes of Reuben, Gad, and the half-tribe of Manasseh after they had fulfilled God’s command to fight alongside the other tribes in conquering Canaan (Num. 32:1–42; Josh. 13:8; 22:1–34).

The Judean Desert is located on the eastern slopes of the Judean mountains, toward the Dead Sea. David fled there for refuge from Saul (1 Sam. 21–23). It was also in this area that Jesus was tempted (Luke 4:1–13).

The Sinai Desert is a large peninsula, with the modern-day Gulf of Suez to the west and the Gulf of Aqaba to the east. In the ancient Near Eastern world, both bodies of water often were referred to as the “Red Sea,” which is the larger sea to the south. In addition to the region traditionally believed to contain the location of Mount Sinai (its exact location is unknown), the Sinai Desert is further subdivided into other areas known to readers of the OT: Desert of Zin (northeast, contains Kadesh Barnea), Desert of Shur (northwest, near Egypt), Desert of Paran (central).

Wilderness in the Bible

Wilderness is commonly mentioned in the Bible, and although it certainly can have neutral connotations (i.e., simply describing a location), the uninhabited places often entail both positive (e.g., as a place of solitude) and negative (e.g., as a place of wrath) connotations, both in their actual geological properties and as metaphors. The very rugged and uninhabited nature of the wilderness easily lent itself to being a place of death (e.g., Deut. 8:15; Ps. 107:4–5; Jer. 2:6). It was also a place associated with Israel’s rebellions and struggles with other nations. Upon leaving Egypt, Israel spent forty years wandering the wilderness before entering Canaan, encountering numerous military conflicts along the way. This forty-year period was occasioned by a mass rebellion (Num. 14), hence casting a necessarily dark cloud over that entire period, and no doubt firming up subsequent negative connotations of “wilderness.” Similarly, “wilderness” connotes notions of exile from Israel, as seen in the ritual of the scapegoat (lit., “goat of removal” [see Lev. 16]). On the Day of Atonement, one goat was sacrificed to atone for the people’s sin, and another was sent off, likewise to atone for sin. The scapegoat was released into the desert, where it would encounter certain death, either by succumbing to the climate or through wild animals.

On the other hand, it is precisely in this uninhabited land that God also showed his faithfulness to his people, despite their prolonged punishment. He miraculously supplied bread (manna) and meat (quail) (Exod. 16; Num. 11), as well as water (Exod. 15:22–27; 17:1–7; Num. 20:1–13; 21:16–20). God’s care for Israel is amply summarized in Deut. 1:30–31: “The Lord your God, who is going before you, will fight for you, as he did for you in Egypt, before your very eyes, and in the wilderness. There you saw how the Lord your God carried you, as a father carries his son, all the way you went until you reached this place.”

The harsh realities of the wilderness also made it an ideal place to seek sanctuary and protection. David fled from Saul to the wilderness, the Desert of Ziph (1 Sam. 23:14; 26:2–3; cf. Ps. 55:7). Similarly, Jeremiah sought a retreat in the desert from sinful Israel (Jer. 9:2).

Related somewhat to this last point is Jesus’ own attitude toward the wilderness. It was there that he retreated when he could no longer move about publicly (John 11:54). John the Baptist came from the wilderness announcing Jesus’ ministry (Matt. 3:1–3; Mark 1:2–4; Luke 3:2–6; John 1:23; cf. Isa. 40:3–5). It was also in the desert that Jesus went to be tempted but also overcame that temptation.

Death is commonly defined as the end of physical life, wherein the normal biological processes associated with life (such as respiration) cease. This definition, however, does not adequately encompass the varied nuances associated with death in the Bible.

The Beginning of Death

Death is introduced in the Bible as the penalty for transgressing the prohibition against eating the fruit of the tree of knowledge of good and evil—a contrast to Mesopotamia, where death was part of the divine design of human beings. In Gen. 2:16–17 God tells the first man, “When you eat from [the fruit of the tree] you will certainly die.” The consequences of eating provide a useful basis for discussing the nature of death from a biblical perspective.

First, as is apparent from the subsequent narrative, neither the man nor the woman experiences physical, biological death immediately after eating the fruit. In this way, Gen. 2–3 reflects the common biblical notion that death refers to more than just biological death, pointing to the more significant aspect of death that embodies alienation and separation from the source of life, God. The point is presupposed by Jesus when he offers life to those who are dead (John 5:24), and by Paul when he proclaims that before Christ all were dead in their sins and transgressions (Eph. 2:1, 5). It is also reflected in the common punishment prescribed in the Pentateuch whereby offenders were cut off from the people (Gen. 17:14; Exod. 12:15, 19; 30:38; cf. Gen. 9:11; Exod. 9:15). Within Gen. 2–3, death arrives with loss of access to the tree of life in the garden. Biologically, the first man and woman may continue to live for a while outside the garden, but their fate is sealed when they are cut off from the garden and the intimate fellowship with the Creator that had been enjoyed therein.

Second, the strong implication of Gen. 2:16–17 is that human beings, as originally created, were not subject to death (see also Rom. 5:12; 6:23; 1 Cor. 15:21). This does not mean that they were immortal in the same manner as God (cf. 1 Tim. 6:16), but rather that they were contingently immortal: they were not subject to death but sustained by their relationship to the life-giving God through the provision of the tree of life (cf. Rev. 2:7; 22:2, 14). Once they were cut off from the source of life, death ensued.

The account of the arrival of death in Gen. 3, however, tells us little about how death affected animals, since the Bible consistently presents a predominantly human focus. While Eccles. 3:21 affirms human ignorance over the relative postmortem fate of humans and animals, little else is said on the matter. Similarly, it is not entirely clear whether death is introduced as a punishment for sin for humans only (and so whether animals could have died prior to the fall) or whether animals were perceived as sharing in immortality prior to the fall.

Death in the Old Testament

Death is frequently depicted negatively throughout the OT. Aside from its initial presentation as a divine punishment for sin, it is presented as that which seeks out and devours life and is terrifying (Pss. 18:4–5; 55:4; Prov. 30:15–16; Hab. 2:5). For the author of Ecclesiastes, death is that which ultimately undermines any possible value that life may otherwise have (e.g., Eccles. 9:3). The tragedy of death, in the OT, is that it results in separation, from God (as noted above in the context of Gen. 2–3) and from people. The psalms, for example, frequently cite the finality and profundity of death’s effects (e.g., Pss. 6:5; 88:5; 115:17; cf. Isa. 38:18). Even those few passages that appear to present death more positively (e.g., Job 3:13, 17) ultimately serve to highlight the appalling circumstances of the speaker’s life rather than any blessed state of the dead (for a similar idea in the NT, see Rev. 9:6).

The OT does, however, depict death as the natural end of life, and a good death as one that arrives only after a long and prosperous life. So Abraham (Gen. 25:8), Isaac (Gen. 35:29), and Job (Job 42:16–17) are said to live long lives before they die. Furthermore, some passages refer to the person being “gathered to his people,” suggesting some form of reunion with previous generations in death, presumably in Sheol, although the location and state of the dead are never explicated. Isaiah can even include the idea of death within language used to describe the ideal future world (Isa. 65:20).

Although there are no laws relating to the manner in which the bodies of the dead were to be handled, all the descriptive indicators show that burial was normative, often in a family tomb or plot (e.g., Gen. 23; cf. 1 Kings 13:22). Indeed, the importance of an appropriate burial is apparent in Ecclesiastes’ comment that a stillborn child is better off than someone who lives a long life but receives no burial (Eccles. 6:3) and in the prophets’ presentation of those not buried as being accursed (Jer. 8:2; 14:16; 16:4).

Life after Death in the Old Testament

Belief in some form of postmortem existence was common in many parts of the ancient world. In Egypt, an elaborate set of beliefs relating to the state of those who had died included the possibility of an ongoing existence that could even surpass what one may have experienced before death (although such an opportunity was a reasonable expectation only for the upper classes, while the general population probably had more modest expectations of the nature of their existence in the afterlife). By way of contrast, Mesopotamian beliefs depicted a far darker and more troubling afterlife for all but the very few whose lives and deaths were sufficiently blessed to ensure them some degree of postmortem comfort. For the remainder, there was little hope for any positive experience following death.

The OT, however, has little to say about the state of those who have died. The widespread belief in some form of continued existence beyond biological death in the ancient world suggests that, in the absence of contrary data in the Bible, the people of Israel probably assumed that some aspect of a person persisted beyond death. Furthermore, there are hints that this may have been the case, such as the raising of Samuel’s shade by the medium at Endor (1 Sam. 28), the escape from death of Enoch (Gen. 5:24) and Elijah (2 Kings 2:11), the revivification of the body dropped on Elisha’s bones (2 Kings 13:21), and expressions used to refer to death such as “gathered to his people” (Gen. 25:8, 17; 35:29; 49:29; Num. 27:13; Deut. 32:50; cf. Gen. 47:30; Deut. 31:16). The dead (sometimes referred to by the term repa’im, “shades/spirits of the dead”) were thought to dwell in Sheol, generally described as under the earth (e.g., Ezek. 31:14). Beyond this, there are prophetic expectations that God will ultimately destroy death (e.g., Isa. 25:8), and that God does not take pleasure in anyone’s death (Ezek. 18:23, 32).

Death in the New Testament

The NT continues, and in some places expands upon, the negative view of death presented in the OT. The notion that death is a consequence of and punishment for the sinful state that imprisons all humanity is stated emphatically (e.g., Rom. 3:23; 6:23) and reinforced by the notion that, although biologically alive, sinful humans are dead in their sin and so incapable of reviving themselves (Eph. 2:1). Death, according to Paul, is the last enemy (1 Cor. 15:26), and yet to die is gain (Phil. 1:21–24) because it heralds being with Christ, which, explains Paul, “is better by far” than being alive in this body in this world.

Central to both the message of the Bible and to the significance of death in the Bible is the death of the Messiah, God’s Son. Jesus’ death provides the basis for countering the consequences of the original rebellion against God by the first couple (2 Cor. 5:21). Consequently, Paul could write that Jesus’ death itself destroyed death (2 Tim. 1:10). Furthermore, the life that Jesus offers—eternal life—is available to the believer in the present (John 3:36; 5:24), prior to the time when death is ultimately abolished, such that Jesus could assert that all those who believe in him will live even though they die (John 11:25–26).

The NT expands somewhat on the details relating to the state of the dead from the OT. For one thing, the existence of an afterlife is clearly presented. Furthermore, the parable of the rich man and Lazarus (Luke 16:19–31) reflects a more comprehensive understanding of the existence of distinctions among those who have died, such that the rich man is said to be suffering in Hades (Gk. hadēs, used in the LXX to translate Heb. she’ol in the OT), while Lazarus is far off with Abraham and being comforted. Although there is a danger in reading too much into a parable, the detail appears to reflect something of the expanded understanding of the afterlife among some in Jesus’ day.

The NT makes several references to a “second death” (Rev. 2:11; 20:6, 14; 21:8; cf. Jude 12). The expression refers to the state of eternal judgment under God’s wrath, a death from which there will be no escape. But those who remain faithful to Christ will not experience this second death (Rev. 20:6), and in their dwelling place with God, the new Jerusalem, death will be no more (21:4).

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 transliteration of the Greek word referring to the place of the dead. In addition to referring to the place of the dead, the term sometimes is used to signify death itself. During the OT period the Hebrew term she’ol was used to indicate the realm of the dead, and when the OT was translated into Greek, the translators employed the term hadēs when rendering she’ol. In the OT both righteous (Gen. 37:35) and unrighteous (Num. 16:30, 33) individuals go to Hades/Sheol at death. It is also usually specified as being located in a downward direction (Ps. 55:15; Isa. 14:15). Throughout apocryphal and other intertestamental Jewish literature, hadēs appears very frequently (e.g., Tob. 3:10; Sir. 21:10; Sibylline Oracles).

The Greek word hadēs is used ten times in the NT, and English translations vary in their rendering of the term. For example, the NIV translates it as “Hades” (Matt. 11:23; 16:18; Luke 10:15; 16:23; Rev. 1:18; 6:8; 20:13–14) or “the realm of the dead” (Acts 2:27, 31). It is occasionally used in conjunction with the idea of a place of punishment or torment (Luke 16:23), though the NT more frequently uses the Greek word geenna (a transliteration of Aramaic) when indicating future punishment in the afterlife. It is much more common to find hadēs associated with death, such as the four occasions in Revelation where the two concepts are linked together (1:18; 6:8; 20:13–14). See also Gehenna; Hell.

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

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

A transliteration of a Hebrew word (sg. and pl.) that appears in the superscription of a number of psalms (Pss. 4; 6; 54–55; 61; 67; 76). While the KJV transliterates the term in these psalm superscriptions as “Neginah, Neginoth” (but cf. Hab. 3:19 KJV), most modern versions, like the NIV, understand it to mean “stringed instruments.” In several other passages the Hebrew term refers to a mocking song or taunt (Job 30:9; Ps. 69:12; Lam. 3:14).

A transliteration of a Hebrew word (sg. and pl.) that appears in the superscription of a number of psalms (Pss. 4; 6; 54–55; 61; 67; 76). While the KJV transliterates the term in these psalm superscriptions as “Neginah, Neginoth” (but cf. Hab. 3:19 KJV), most modern versions, like the NIV, understand it to mean “stringed instruments.” In several other passages the Hebrew term refers to a mocking song or taunt (Job 30:9; Ps. 69:12; Lam. 3:14).

In modern cosmology, “outer space” refers to the vast expanse of the universe that lies beyond the earth’s atmosphere. Within the Bible, the sky and anything beyond it—including the space traversed by the sun, the moon, and the stars, as well as the cosmic region in which the divine court exists—are referred to by the term “heaven(s)” (Heb. shamayim; Gk. ouranos [sg.], ouranoi [pl.]). The abode of the sun, the moon, and the stars is most naturally equated with the modern concept of outer space, but the equation is somewhat artificial because the ancient conception of this region was comprehensively different from the modern understanding. For example, there is little indication that the Bible’s ancient audience would have understood that the stars populating the heavens are significantly larger than the earth and are many light-years distant. Such ideas had no significant bearing on the more important information that the writers of the Bible sought to convey. By way of contrast, biblical authors wrote according to commonly held notions of the structure of the universe (without offering explicit judgment about their veracity) in order to make theological points clear to their audience.

By the time of the NT, there apparently were a variety of views of the structure of the heavens. Some held that there was just one heaven, others three, five, or seven. Typically, the highest heaven was the special abode of God.

No expression equivalent to “outer space” exists in the Bible, and the closest parallel lies in references not to space beyond the earth’s atmosphere but to uninhabited wilderness (e.g., Ps. 55:7) or even to a place of judgment and punishment (Matt. 8:12). This highlights the difference between the conceptual worlds of the original settings of the biblical texts and those of their modern readers.