Perhaps the most discussed foundation in the Bible is that of the temple. Solomon’s temple foundation was made from choice stones (1 Kings 5:17; 7:9), was laid “in the fourth year, in the month of Ziv” (1 Kings 6:37), and was “sixty cubits long and twenty cubits wide” (2 Chron. 3:3). The laying of the foundation for the second temple by Zerubbabel (Zech. 4:9), on “the twenty-fourth day of the ninth month” (Hag. 2:18), was accompanied by mixed emotions. Some were disappointed with its meager stature in comparison to the earlier one, while others simply rejoiced for the restoration of the temple (Ezra 3:3–12).

God is said to have set his “foundation” on the holy mountain (Ps. 87:1), and the “Foundation Gate” is referenced in 2 Chron. 23:5 in relation to the temple. The earth is said to be set on a foundation (Job 38:4) whose cornerstone (’eben pinnah) was laid by God (38:6). The earth itself serves as the foundation of God’s dwelling, which is in the heavens (Amos 9:6; Zech. 12:1).

Figuratively, justice and righteousness are the foundation of God’s throne (Pss. 87:1; 89:14; 97:2), while divine judgment may be described as removal of a foundation (Jer. 51:26). Isaiah’s reference to the laying of a foundation stone in Zion (Isa. 28:16; 33:6) attains messianic fulfillment for the NT authors in the person of Jesus (1 Pet. 2:6; 5:10), who, in accordance with Zech. 10:4, is the cornerstone from Judah.

Laying a firm foundation is NT imagery for preaching or accepting the gospel. In the parables of Jesus a firm foundation (themelios), laid on rock rather than sand, is symbolic of wisdom and correct faith. Catastrophic destruction results from having the foundation set in the wrong place (Matt. 7:25; Luke 6:48–49; 14:29). “Foundation” language is heavily employed by Paul (Rom. 15:20; 1 Cor. 3:10–12), as well as by the author of Hebrews (6:1), in reference to the gospel. In a slightly different interpretation, apostles and prophets are described as the foundation of the church, with Jesus as the cornerstone (Eph. 2:20). Acts of goodness are commended as the laying down of a foundation for the world to come (1 Tim. 6:19; 2 Tim. 2:19), while the book of Revelation describes a heavenly city whose foundation is built with layers of precious stones (Rev. 21:19).

The central city and capital of ancient Israel. The original meaning of the name probably is “founded by [the Canaanite god] Salem.” The Amarna letters refer to a Beth-Shalem, and its first reference in the Bible is Salem (Gen. 14:18). Throughout its history, the city has also been referred to variously as Zion, Jebus, Mount Moriah, and the City of David.

The name “Jerusalem” occurs more than 650 times in the OT, particularly in the history of Israel, and in the NT more than 140 times. The OT prophets used the city as a symbol of God’s dealing with his people and his plan. Jerusalem is viewed collectively as God’s abode, his chosen place, and his sovereignty, while its destruction is also representative of God’s judgment on apostasy among his people (e.g., Jer. 7:1–15; 26:18–19; Mic. 3:12). The rebuilding of the city represents the hope and grace of God (e.g., Isa. 40:1–2; 52:1, 7–8; 60–62; Jer. 30:18–19; 31:38–39; Ezek. 5:5; Hag. 2:6–8; Zech. 8:3–8). Like the writers of the OT, the NT authors spoke of Jerusalem in metaphorical and eschatological terms. Paul used Jerusalem to contrast the old and the new covenants (Gal. 4:24–26), and the writer of Hebrews used it as the place of the new covenant, sealed through the blood of Jesus (Heb. 12:22–24). In Revelation the concept of a new Jerusalem is related to the future kingdom of God (Rev. 3:12; 21:1–22:5).

Jerusalem is located in the Judean hill country, about 2,700 feet above sea level. It borders the Judean desert to the east. The city expanded and contracted in size over various hills and valleys. There are two major ridges (Eastern and Western Hills) separated by the Tyropoeon Valley. The Eastern Hill contains a saddle, the Ophel Hill, and north of this is the traditional site of Mount Moriah, where later the temple was constructed. The Eastern Hill was always occupied, since the only water source is the Gihon Spring, located in the Kidron Valley. Two other ridges were important for the city, as they were used for extramural suburbs, cemeteries, and quarries. To the east is the Mount of Olives, which is separated from the Eastern Hill by the Kidron Valley. To the west of the Western Hill is the Central Ridge Route, separated by the Hinnom Valley.

Early History through the United Monarchy

The earliest occupation was near the Gihon Spring, where Chalcolithic pottery (c. 3500 BC) and structures dating to the Early Bronze Age (c. 3000–2800 BC) were found. The Bronze Age city is mentioned in the Ebla tablets, Execration texts, and the Amarna letters. Melchizedek, the king of Salem, received gifts from Abraham and blessed him (Gen. 14). Abraham was commanded to offer Isaac as a sacrifice on one of the mountains of Mount Moriah (Gen. 22:2), the location where Solomon later built the temple (2 Chron. 3:1). The Jebusite city of the Bronze Age extended over the lower part of the Eastern Hill for about twelve acres, with a population of about one thousand.

After Joshua made a treaty with the Gibeonites, the king of Jerusalem, Adoni-Zedek, formed a coalition of five kings to attack Gibeon. Joshua defeated this coalition and killed the kings (Josh. 10). The Canaanite inhabitants of Jerusalem are referred to as Amorites (Josh. 10:5) and as Jebusites (Judg. 1:21; 1 Chron. 11:4).

When David became king over both Israel and Judah, he made Jerusalem the political, spiritual, and administrative center of his kingdom. Jerusalem became synonymous with David and was called the “City of David.” Transferring the ark to Jerusalem made it the new religious center for the Israelites. David conquered the Jebusite stronghold through the tsinnor, possibly a water tunnel (2 Sam. 5:6–8; 1 Chron. 11:4–7). He took up residence in the city and began an extensive building program, but his vision of Jerusalem as the religious center was not fully realized until his son Solomon became king and built the temple.

Solomon greatly expanded the city by building fortifications, the temple, and the royal palace (1 Kings 7–9). This was the first initial expansion of the city as Solomon extended the city northward along the Eastern Hill, up the Ophel to the site of the present-day Temple Mount. This expanded the city to about thirty-two acres, with a population of around five thousand. During the united monarchy, Jerusalem became the center of Israelite administration and religion. All Israelites were to come to Jerusalem three times a year for religious festivals. Solomonic Jerusalem became the foundation for the imagery bestowed on the city by the psalms (e.g., Pss. 46; 48; 76; 84; 87; 122; 125; 132). Although major excavations were carried out in the 1980s in the City of David, little is known archaeologically about the city of that period.

From the Divided Monarchy to the Exile

During the divided monarchy, Jerusalem was attacked by foreign forces. Jerusalem was attacked by Shishak of Egypt at the end of the tenth century BC (1 Kings 14:25–26), by Syria and northern Israel during the ninth century BC (2 Kings 12:17; 15:37), and by Sennacherib of Assyria during the seventh century BC (2 Kings 18:13). Several Judean kings undertook building projects. Uzziah fortified Jerusalem by adding towers to the city walls (2 Chron. 26:9), and Jotham built the upper gate of the temple (2 Chron. 27:3).

Hezekiah greatly expanded Jerusalem. The city doubled in size during his reign as it extended to the Western Hill (Upper City). The city then encompassed about 125 acres, with a population of about twenty-five thousand. It had expanded due to the influx of immigrants from the north when the capital of Samaria fell to the Assyrians. Hezekiah reinforced the Millo, built and rebuilt walls, and erected towers as he extended the walls to encompass the Western Hill. In preparation for the siege by Sennacherib, he constructed an underground water system to bring water from the Gihon Spring to the Pool of Siloam inside the city (2 Kings 20:20; 2 Chron. 32:2–4, 30; Isa. 22:11). Manasseh refortified Jerusalem with the construction of a new outer wall (2 Chron. 33:14). Jerusalem was invaded when Jehoiakim rebelled and was finally destroyed by Babylon in 586 BC. Prophets during the divided monarchy spoke of the destruction of Jerusalem, but also of its exaltation in later times (e.g., Isa. 2:2–4; 24:23; Jer. 7:14; Mic. 3:12).

Archaeological excavations have revealed much about Jerusalem during the time of the later Judean kings. Several walls, towers, and fortifications attributed to Hezekiah have been excavated in the Jewish Quarter. Hezekiah’s tunnel and the Siloam Inscription have been discovered, highlighting the preparations made by Hezekiah for the Assyrian siege. Several quarries and tombs have been found on the slopes of the Mount of Olives and the western slope (Ketef Hinnom) of the Hinnom Valley. In one of the Ketef Hinnom tombs, a silver amulet containing the earliest known biblical text (Num. 6:24–26) was found. Evidence of the Babylonian destruction was found in excavations of the Jewish Quarter and the City of David. A group of bullae (fired clay impressions) was found with the name of “Gemariah ben-Shaphan,” probably the scribe mentioned in Jer. 36.

From Persian to Roman Rule

After the Persian conquest of Babylon (539 BC), Cyrus II allowed the Jews to return to Jerusalem and rebuild the temple. Judah became the Persian province Yehud, and Jerusalem was the administrative center. Nehemiah was appointed governor of Judea by Artaxerxes in 445 BC. Nehemiah undertook a hasty rebuilding project against the wishes of the local population (Neh. 2:19; 4:7). The rebuilt city was constricted to the area of the Eastern Hill, comprising some thirty acres, with a population of about forty-five hundred.

Alexander the Great captured Jerusalem in 332 BC. This victory marked the end of Persian rule. Following Alexander’s death, his empire was divided between the Ptolemies of Egypt and the Seleucids of Syria. Ptolemy I captured Jerusalem in 320 BC, but the Jerusalem temple continued to be the center of local Jewish life and administration. The Seleucids defeated the Ptolemies and annexed Palestine around 201–198 BC. The city and the temple were repaired during their reign. During this period the Jews were struggling with the acceptance of Hellenistic culture. The high priest Jason favored Hellenization and transformed Jerusalem into a Hellenistic polis (a Greek city-state). Jerusalem became known as Antiochia, and the city expanded to the eastern slope of the Western Hill (Upper City). Jason built a gymnasium (1 Macc. 1:11–15; 2 Macc. 4:9–17). The Maccabeans revolted, and Antiochus IV destroyed the walls of Jerusalem, erected a fortress (the Akra), and desecrated the temple. Judas Maccabeus liberated Jerusalem in 164 BC, and the temple was purified and rededicated (1 Macc. 4:36–55). Hasmonean rule lasted from 142 to 63 BC. Hasmonean Jerusalem occupied the Western and Eastern Hills. The Upper City was joined to the Temple Mount by an arched bridge across the Tyropoeon Valley (Wilson’s Arch). A fortress (the Baris) was built northwest of the temple. The Romans conquered Jerusalem in 63 BC under the rule of Pompey and ended Hasmonean rule.

The Time of Jesus and the First Century AD

Jerusalem during the time of Jesus was largely the product of Herod the Great’s policies and building programs. Herod was a Roman vassal and brought Hellenistic culture to the city. He built an amphitheater and a theater. Jerusalem became a city divided between the wealthy of the Upper City and the poor in the Lower City. Herodian Jerusalem’s population was about forty thousand, and the city extended over 230 acres, not including suburbs on the Mount of Olives and west of the city. Herod’s main building activity was the complex on the Temple Mount. Herod built a massive podium over the northern summit of the Eastern Hill. This podium stood forty-five meters high above the bottom of the Kidron Valley. This formed a rectangular platform for the temple that measured 144,000 square meters. Most of the retaining walls are visible today, and the best-known section is the Western Wall. To the south of the Temple Mount complex was the Royal Stoa, and on the northwest corner was the Antonia Fortress.

Archaeological research has uncovered several components and features of NT Jerusalem. The temple rituals needed large amounts of water, and Herod built an elaborate water-delivery and storage system. Remains of both subterranean and surface aqueducts are found from the Bethlehem region to Jerusalem. Large water-storage pools are still visible today, such as the Serpent’s Pool in the Hinnom Valley, the Pool of the Towers of Amygdalon, the Sheep Pools, the Pool of Israel, as well as several other unnamed reservoirs and water-storage features. Several segments of the city fortification walls were found in various archaeological excavations, as well as remains of the Antonia Fortress and Herod’s Upper Palace with its three towers and adjacent Agora. Jewish Quarter excavations have revealed several palatial homes with various luxury goods, evidence of the wealth of the Upper City. These homes contained a courtyard surrounded by rooms and reception halls; several had private ritual baths. Excavations of the southern wall have revealed components of the Temple Mount complex, most notably the southern monumental stairway with the ritual-bath complex building and the two entrances that led up to the Temple Mount. Several tombs and cemeteries have also been excavated in the environs around the city.

Most of Jesus’ ministry was spent in Galilee. He would have come to Jerusalem at least three times each year to attend the major festivals. Of the Gospel writers, Luke most often referred to Jerusalem and the temple as he framed his account of the deeds and teachings of Jesus. Although the events of Passion Week took place in Jerusalem and its environs, the Gospels emphasize the events and teachings of Jesus, not the geography.

The early church started in Jerusalem with the events of Pentecost. Jerusalem was the origin and the center of the early church under the leadership of James. It seemed to serve as the center of the apostles’ authority, but the missionary zeal soon shifted the ministry and focus of the church to the eastern Mediterranean. Jerusalem was destroyed in AD 70 by the Romans under the direction of Titus. Jerusalem has been a central place for the Christian faith, whose followers acknowledge the city as the place of the death and resurrection of Jesus. Jerusalem played a major role throughout history and has always been a center of pilgrimage for Christians.

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.

(1) A woman associated with the conquest whose history is recounted in Josh. 2. Two Israelite soldiers entered Jericho and headed straight for the nearest brothel (Josh. 2:1). There, they “lay down” (the literal meaning of shakab, which the NIV translates as “stayed there”) with Rahab. They were on a reconnaissance mission under Joshua’s command, as a precursor to invasion. The king of Jericho demanded that Rahab hand over the spies to him. She lied and sent the pursuers away on a false path, enabling the Israelites to escape. Her justification for this action was that she, and all of Canaan, knew that Israel’s God was with Israel and surely would destroy Jericho. She asked the spies to spare her family. This they promised to do if she would mark her window with a red cord, which she did.

These acts identified Rahab with Israel and Israel’s God, making her, as it were, a de facto Israelite. Thus, her works justified her to Joshua and saved her family (James 2:25). Although the citizens of Jericho believed in the coming judgment, only Rahab’s faith moved her to switch loyalties. Thus, her faith saved her (Heb. 11:31). The red cord in the window connects her story with Passover, where the angel of death passed over Israelite houses marked with lamb’s blood. Joshua’s forces passed over Rahab’s house, since it bore this mark. She is found in the genealogy of Jesus (Matt. 1:5).

(2) A mythological monster especially associated with the ocean that represented the natural forces of chaos in the world. Many scholars believe that Rahab is identical to the Canaanite Leviathan. In the OT Yahweh fights Rahab in the process of ending chaos and creating the world. Rahab is depicted as a poor opponent (Job 9:13; 26:12; Ps. 89:10; Isa. 51:9). Later, Egypt is sometimes equated with the monster Rahab (Ps. 87:4; Isa. 30:7), although there is no historic relationship between the two. The NKJV transliterates the Hebrew in Isa. 30:7 as though a proper name, Rahab-Hem-Shebeth, but most versions translate it with a phrase such as “Rahab the Do-Nothing” (NIV) or “Rahab who sits still” (ESV, NRSV).

In the KJV, “register” refers to a genealogical record of names (Ezra 2:62; Neh. 7:5, 64). In the NIV and other modern translations, it is used in the verbal sense of recording in formal records (Ps. 87:6), as in a census (Luke 2:3, 5).

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

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

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

(1) A woman associated with the conquest whose history is recounted in Josh. 2. Two Israelite soldiers entered Jericho and headed straight for the nearest brothel (Josh. 2:1). There, they “lay down” (the literal meaning of shakab, which the NIV translates as “stayed there”) with Rahab. They were on a reconnaissance mission under Joshua’s command, as a precursor to invasion. The king of Jericho demanded that Rahab hand over the spies to him. She lied and sent the pursuers away on a false path, enabling the Israelites to escape. Her justification for this action was that she, and all of Canaan, knew that Israel’s God was with Israel and surely would destroy Jericho. She asked the spies to spare her family. This they promised to do if she would mark her window with a red cord, which she did.

These acts identified Rahab with Israel and Israel’s God, making her, as it were, a de facto Israelite. Thus, her works justified her to Joshua and saved her family (James 2:25). Although the citizens of Jericho believed in the coming judgment, only Rahab’s faith moved her to switch loyalties. Thus, her faith saved her (Heb. 11:31). The red cord in the window connects her story with Passover, where the angel of death passed over Israelite houses marked with lamb’s blood. Joshua’s forces passed over Rahab’s house, since it bore this mark. She is found in the genealogy of Jesus (Matt. 1:5).

(2) A mythological monster especially associated with the ocean that represented the natural forces of chaos in the world. Many scholars believe that Rahab is identical to the Canaanite Leviathan. In the OT Yahweh fights Rahab in the process of ending chaos and creating the world. Rahab is depicted as a poor opponent (Job 9:13; 26:12; Ps. 89:10; Isa. 51:9). Later, Egypt is sometimes equated with the monster Rahab (Ps. 87:4; Isa. 30:7), although there is no historic relationship between the two. The NKJV transliterates the Hebrew in Isa. 30:7 as though a proper name, Rahab-Hem-Shebeth, but most versions translate it with a phrase such as “Rahab the Do-Nothing” (NIV) or “Rahab who sits still” (ESV, NRSV).

(1) A woman associated with the conquest whose history is recounted in Josh. 2. Two Israelite soldiers entered Jericho and headed straight for the nearest brothel (Josh. 2:1). There, they “lay down” (the literal meaning of shakab, which the NIV translates as “stayed there”) with Rahab. They were on a reconnaissance mission under Joshua’s command, as a precursor to invasion. The king of Jericho demanded that Rahab hand over the spies to him. She lied and sent the pursuers away on a false path, enabling the Israelites to escape. Her justification for this action was that she, and all of Canaan, knew that Israel’s God was with Israel and surely would destroy Jericho. She asked the spies to spare her family. This they promised to do if she would mark her window with a red cord, which she did.

These acts identified Rahab with Israel and Israel’s God, making her, as it were, a de facto Israelite. Thus, her works justified her to Joshua and saved her family (James 2:25). Although the citizens of Jericho believed in the coming judgment, only Rahab’s faith moved her to switch loyalties. Thus, her faith saved her (Heb. 11:31). The red cord in the window connects her story with Passover, where the angel of death passed over Israelite houses marked with lamb’s blood. Joshua’s forces passed over Rahab’s house, since it bore this mark. She is found in the genealogy of Jesus (Matt. 1:5).

(2) A mythological monster especially associated with the ocean that represented the natural forces of chaos in the world. Many scholars believe that Rahab is identical to the Canaanite Leviathan. In the OT Yahweh fights Rahab in the process of ending chaos and creating the world. Rahab is depicted as a poor opponent (Job 9:13; 26:12; Ps. 89:10; Isa. 51:9). Later, Egypt is sometimes equated with the monster Rahab (Ps. 87:4; Isa. 30:7), although there is no historic relationship between the two. The NKJV transliterates the Hebrew in Isa. 30:7 as though a proper name, Rahab-Hem-Shebeth, but most versions translate it with a phrase such as “Rahab the Do-Nothing” (NIV) or “Rahab who sits still” (ESV, NRSV).