Awe mingles dread with wonder, especially toward God (Ps. 33:8 KJV). Translations use “awe” almost exclusively for God and his deeds. Modern translations use “awe,” “awesome,” and “awe-inspiring” to render numerous Hebrew and Greek terms.

The Bible never records a person encountering God without being visibly shaken by God’s awesomeness. Awe is a personal disposition more than an emotional state. In God’s presence Moses hides his face (Exod. 3:6), and Isaiah declares, “Woe to me!” (Isa. 6:5).

In the OT, the Hebrew words ruakh (“breath, spirit”) and neshamah (“blast, spirit”) are the standard terms, even collectively translated “wind.” Constructively, these terms reflect the vibrant relationship between God and humankind. However, God’s “breath” can also be an agent of judgment. So “breath/wind” is the invasive power of God—proof of his supremacy—capable of disruption or transformation of human life.

It is in human creation that God’s breath is given one of its most dynamic illustrations. Formed of “dust” (’apar), the human being must be enlivened by the Creator’s breath. In the OT, human flesh remains dormant and helplessly passive until God breathes; then a living human being (nepesh) is animated (Gen. 2:7; 6:17; cf. Pss. 33:6; 104:29). “Soul” (nepesh) must be thought of in a holistic way in the OT, not as part of a dualism: “Praise the Lord, my soul; all my inmost being, praise his holy name” (Ps. 103:1). For human existence, “breath” is God’s gracious gift that mortals cannot “possess.” Reflecting on this, the psalmist writes, “When you take away their breath, they die and return to the dust” (Ps. 104:29; cf. Gen. 7:22). Theologically, Israel understood that life is utterly dependent on God; the “self” has no permanent properties of its own.

“Breath/wind” is also a powerful force in God’s anger, when a “blast of breath from his nostrils” can undo and destroy (2 Sam. 22:16). Similarly, a “strong east wind” rolls back the Red Sea for the Israelites’ crossing (Exod. 14:21), but the very same force is the undoing of Pharaoh’s army, which was destroyed as God, Israel’s warrior, “blew” with his “breath” (Exod. 15:10). Whether in the aimless waters of creation (Gen. 1:2; 8:1) or the mighty waters of “un-creation” (Exod. 15:10), the same cosmic might of God’s ruakh is evident.

Not surprisingly, themes combining breath, wind, and spirit are also used to describe new creation (Ezek. 37:9). The life-generating force of the ruakh/spirit emerges in the NT as the Holy Spirit, manifested in wind, a breath, or Spirit (Gk. pneuma). At Pentecost “a violent wind came from heaven,” enacting another creation (Acts 2:2). John clearly symbolizes Jesus’ “breathing” on the disciples (John 20:22). Not only does this illustrate John’s theology of being born “from above” (3:3 NRSV), but also “he breathed” reenacts the enlivening of Gen. 2:7. The two creations are connected: God’s enlivening in Gen. 2:7 and Jesus’ creation of eternal life following his own resurrection.

Dwelling can refer to a place (“building, residence” [e.g., Exod. 15:17; Acts 7:46]) or an action (“to reside” [e.g., 1 Sam. 2:29]). While dwelling characterizes people’s residence (Gen. 27:39; Num. 24:21; Prov. 24:15; Isa. 32:18; Hab. 1:6; Zeph. 3:6–7), God’s sanctuary, where the ark of the covenant resides (Exod. 25–26; Ps. 132:8), is described as his dwelling among his people (Exod. 15:13, 17; Lev. 15:31; 26:11; 1 Sam. 2:29, 32; 1 Chron. 9:19; Zech. 2:13). Both the tabernacle (2 Sam. 7:6; 15:25; 1 Chron. 16:1) and the temple (2 Chron. 31:2; 36:15; Pss. 84:1; 132:5; Ezek. 3:12; Mic. 1:2–3) are so described. A sanctuary for the needy and oppressed (Pss. 27:5; 31:20; 68:5), it is also a post from which God watches the earth (Pss. 33:14; 132:6–9). God himself can also be described as a “dwelling” in which people seek refuge (Pss. 90:1; 91:9; Ezek. 37:27).

Deuteronomy, perhaps in an effort to eliminate any misconception of God’s omnipresence or in reaction to the destruction of the first temple, describes the sanctuary as the “dwelling for his Name” (Deut. 12:11; 14:23; 16:2, 6, 11; 26:2; cf. 1 Kings 8:29; Isa. 18:2–7; Jer. 7:12), while Kings and Chronicles (1 Kings 8:30, 39, 43, 49; cf. 1 Chron. 17:5; 2 Chron. 6:21, 30, 33, 39; 30:27) maintain that God’s dwelling is in heaven and not on earth. As Solomon confesses, not even the heavens can contain God, let alone a temple (1 Kings 8:27; cf. Ps.74:7; Jer. 25:30). Some prophets and writings refer to Jerusalem, the location of the now destroyed temple, as the “dwelling of God” (e.g., Ezra 7:15; Jer. 31:23; Lam. 2:6), while others prefer the “dwelling place of God’s Name” (e.g., Neh. 1:9; Isa. 18:7).

Job’s friend Bildad identifies the dwelling of an evil person as one characterized by calamities (Job 18:5–21), while Job, who wants to make his claim of innocence to God, laments his inability to locate God’s dwelling (23:3).

Jesus is described in John’s Gospel as the Word (logos) of God that dwelled or “tabernacled” (skēnoō) among humans (John 1:14). Paul describes believers as groaning in waiting to be clothed with their “heavenly dwelling,” by which they attain immortality (2 Cor. 5:2–4), and says that they are being built into a dwelling of God’s Spirit (Eph. 2:22). This latter sentiment is echoed in Revelation, which says that the new city of God will need no physical temple because God and the Lamb themselves are the temple, dwelling among the people (21:3, 22; cf. 1 Cor. 3:16–17).

The Hebrew word ’erets occurs 2,505 times in the OT and is most frequently translated “country” or “land.” “Earth” renders the Greek word gē in the NT. Not surprisingly, ’erets appears 311 times in Genesis alone, the book that initiates Israel’s landed covenant (Gen. 15:18). The primary uses of ’erets are cosmological (e.g., the earth) and geographical (e.g., the land of Israel). Other uses of ’erets include physical (e.g., the ground on which one stands) and political (e.g., governed countries) designations. Less frequently, “earth” translates the Hebrew word ’adamah (“country, ground, land, soil”).

Heaven and Earth

Israel shared the cosmology of its ancient Near Eastern neighbors. This worldview understood the earth as a “disk” upon the primeval waters (Job 38:13; Isa. 40:22), with the earth having four rims or “corners” (Ps. 135:7; Isa. 11:12). These rims were sealed at the horizon to prevent the influx of cosmic waters. God speaks to Job about the dawn grasping the edges of the earth and shaking the evil people out of it (Job 38:12–13). Similarly, the Akkadian text Hymn to the Sun-God states, “You [Shamash] are holding the ends of the earth suspended from the midst of heaven” (I:22). The earth’s boundaries were set against chaos (Ps. 104:7–9; Isa. 40:12). In this way, the Creator and the Savior cannot be separated because, taken together, God works against chaos in the mission of redemption (Ps. 74:12–17; Isa. 51:9–11). The phrase “heavens and earth” is a merism (two extremes representing the whole) for the entire universe (Gen. 1:1; Ps. 102:25). Over the earth arched a firm “vault” (Gen. 1:6). Heaven’s vault rested on the earth’s “pillars,” the mountains (Deut. 32:22; 1 Sam. 2:8). Below the heavens is the sea, part of the earth’s flat surface.

There was no term for “world” in the OT. The perception of world was basically bipartite (heaven and earth), though some tripartite expressions also occur (e.g., heaven, earth, sea [Exod. 20:11; Rev. 5:3, 13]). Though rare, some uses of ’erets may refer to the “underworld” or Sheol (Exod. 15:12; Jer. 17:13; Jon. 2:6). The earth can be regarded as the realm of the dead (Matt. 12:40; Eph. 4:9). However, the OT is less concerned with the organic structure of the earth than with what fills the earth: inhabitants (Ps. 33:14; Isa. 24:1), people groups (Gen. 18:18; Deut. 28:10), and kingdoms (Deut. 28:25; 2 Kings 19:15). The term ’erets can be used symbolically to indicate its inhabitants (Gen. 6:11). However, unlike its neighbors, Israel acknowledged no divine “Mother Earth,” given the cultural associations with female consorts.

The Theology of Land

In biblical faith, the concept of land combines geography with theology. The modern person values land more as a place to build than for its productive capacities. But from the outset, human beings and the “earth” (’erets) functioned in a symbiotic relationship with the Creator (Gen. 1:28). God even gave the land agency to “bring forth living creatures” (Gen. 1:24). The “ground” (’adamah) also provided the raw substance to make the human being (’adam [Gen. 2:7]). In turn, the human being was charged with developing and protecting the land (Gen. 2:5, 15). Showing divine care, the Noahic covenant was “between [God] and the earth” (Gen. 9:13). Thus, land was no mere onlooker; human rebellion had cosmic effects (Gen. 6:7, 17). The land could be cursed and suffer (Gen. 3:17; cf. 4:11).

Israel’s promised land was built on the sanctuary prototype of Eden (Gen. 13:10; Deut. 6:3; 31:20); both were defined by divine blessing, fertility, legal instruction, secure boundaries, and were orienting points for the world. Canaan was Israel’s new paradise, “flowing with milk and honey” (Exod. 3:8; Num. 13:27). Conversely, the lack of fertile land was tantamount to insecurity and judgment. As Eden illustrated for Israel, any rupture of relationship with God brought alienation between humans, God, and the land; this could ultimately bring exile, as an ethically nauseated land “vomits” people out (Lev. 18:25, 28; 20:22; see also Deut. 4; 30).

For Israel, land involved both God’s covenant promise (Gen. 15:18–21; 35:9–12) and the nation’s faithful obedience (Gen. 17:1; Exod. 19:5; 1 Kings 2:1–4). Conditionality and unconditionality coexisted in Israel’s relationship of “sonship” with Yahweh (Exod. 4:22; Hos. 11:1). Yahweh was the earth’s Lord (Ps. 97:5), Judge (Gen. 18:25), and King (Ps. 47:2, 7). Both owner and giver, he was the supreme landlord, who gifted the land to Israel (Exod. 19:5; Lev. 25:23; Josh. 22:19; Ps. 24:1). The land was God’s “inheritance” to give (1 Sam. 26:19; 2 Sam. 14:16; Ps. 79:1; Jer. 2:7). The Levites, however, did not receive an allotment of land as did the other tribes, since God was their “portion” (Num. 18:20; Ps. 73:26). Israel’s obedience was necessary both to enter and to occupy the land (Deut. 8:1–3; 11:8–9; 21:1; 27:1–3). Ironically, the earth swallowed rebellious Israelites when they accused Moses of bringing them “up out of a land flowing with milk and honey” (Num. 16:13). As the conquest shows, however, no tribe was completely obedient, taking its full “inheritance” (Josh. 13:1).

Land possession had serious ethical and religious ramifications (Deut. 26:1–11). Israel was not chosen to receive a special land; rather, land was the medium of Israel’s relationship with God. Land functioned as a spiritual barometer (Ps. 78:56–64; Lam. 1:3–5). The heavens and earth stood as covenant witnesses (Deut. 4:26). Blood, in particular, could physically pollute the land (Num. 35:30–34). National sin could culminate in expulsion (Lev. 26:32–39), and eventually the land was lost (Jer. 25:1–11). For this reason, Israel’s exiles prompted a profound theological crisis.

Inheritance

The notion of inheritance connected Israel’s religious worship with practical stewardship. Land was not owned; it was passed down through patrimonial succession. God entrusted each family with an inheritance that was to be safeguarded (Lev. 25:23–28; Mic. 2:1–2). This highlights the serious crime when Naboth’s vineyard was forcibly stolen (1 Kings 21). It was Israel’s filial sonship with Yahweh and Israel’s land tenure that formed Yahweh’s solidarity with the nation. The law helped limit Israel’s attachment to mere real estate: Yahweh was to be Israel’s preoccupation (see Jer. 3:6–25). When the nation was finally exiled, the message of the new covenant transcended geographical boundaries (Jer. 32:36–44; Ezek. 36–37; cf. Lev. 26:40–45; Deut. 30:1–10). In postexilic Israel, sanctuary was prioritized (Hag. 1:9–14).

It was Israel’s redefinition of land through the exile that prepared the way for the incorporation of the Gentiles (Ezek. 47:22–23), an integration already anticipated (Isa. 56:3–7). The prophets saw a time when the nations would share in the inheritance of God previously guarded by Israel (Isa. 60; Zech. 2:11; cf. Gen. 12:3). Viewed as a political territory, land receives no substantial theological treatment in the NT; rather, inheritance surpasses covenant metaphor. Using the language of sonship and inheritance, Paul develops this new Gentile mission in Galatians (cf. Col. 1:13–14). The OT land motif fully flowers in the NT teaching of adoption (cf. 1 Pet. 1:3–5). Both curse and covenant are resolved eschatologically (Rom. 8:19–22). Inheritance is now found in Christ (Eph. 2:11–22; 1 Pet. 1:4). In the economy of the new covenant, land tenure has matured in fellowship (koinōnia). Koinōnia recalibrates the ethical significance of OT land themes, reapplying them practically through inclusion, lifestyle, economic responsibility, and social equity.

Beyond cosmological realms, heaven and earth are also theological horizons still under God’s ownership. What began as the creation mandate to fill and subdue the earth (Gen. 1:28) culminates in the new creation with Christ (Rom. 8:4–25). Under the power of Satan, the earth “lags behind” heaven. Christ’s mission brings what is qualitatively of heaven onto the earthly stage, often using signs of the budding rule of God (Matt. 6:10; Mark 2:10–11; John 3:31–36; Eph. 4:9–13; Heb. 12:25). As Israel was to stand out in a hostile world (Deut. 4:5–8), now those of Abrahamic faith stand out through Christian love (John 13:34–35; Rom. 4:9–16). According to Heb. 4:1–11, Israel’s initial rest in the land (see Exod. 33:14; Deut. 12:9) culminates in the believers’ rest in Christ (Heb. 4:3, 5). The former inheritance of space gives way to the inheritance of Christ’s presence. The OT theme of land is ultimately fulfilled in Jesus’ exhortation to “abide in me” (John 15).

Earthquake–In Palestine there have been about seventeen recorded major earthquakes in the past two millennia. One of the major sources of these earthquakes is believed to originate from the Jordan Rift Valley. In antiquity earthquakes were viewed as fearful events because the mountains, which represented everlasting durability, were disturbed. The confession of faith is pronounced in association with such phenomena (“We will not fear, though the earth give way” [Ps. 46:2]). An earthquake must have made a great impact in Amos’s day (“two years before the earthquake” [Amos 1:1; cf. Zech. 14:5]).

An earthquake has many symbolic meanings. First, the power of God and his divine presence are manifested through it (Job 9:6; Ps. 68:8; Hag. 2:6). It accompanied theophanic revelation (Exod. 19:18; Isa. 6:4; 1 Kings 19:11–12) when the glory of the Lord appeared (Ezek. 3:12). His divine presence was especially felt when earthquakes occurred during the time of the crucifixion and the resurrection of Jesus Christ (Matt. 27:54; 28:2). It led the centurion to confess of Christ, “Surely he was the Son of God!” (Matt. 27:54). God’s salvation power is represented when an earthquake comes at the appropriate moment, such as when it freed Paul and Silas from prison (Acts 16:26).

Second, it is used in the context of God’s judgment (Isa. 13:13; Amos 9:1; Nah. 1:5). It becomes the symbol of God’s anger and wrath (Ps. 18:7). God brought earthquakes upon the people to destroy evil in the world and to punish those who had sinned against him (Num. 16:31–33; Isa. 29:6; Ezek. 38:19). Earthquake activity possibly explains the background to the story of Sodom and Gomorrah (Gen. 19:24).

Third, earthquakes are said to precede the end of time (Matt. 24:7; Mark 13:8; Luke 21:11). In the apocalyptic book of Revelation, earthquakes are regular occurrences (Rev. 6:12; 11:13, 19; 16:18).

In the NIV, “fashion” is a verb meaning “to craft, shape, form.” Often it is used pejoratively, as in the crafting of an idol out of wood, stone, or metal (Exod. 32:4; 2 Kings 19:18; Isa. 37:19; 40:19; 44:15; Hos. 13:2). Job speaks of the cunning and scheming of those who think they are wise but are godless: “their womb fashions deceit” (Job 15:35). In a positive sense, items are fashioned for God’s purpose: Aaron’s breastpiece is fashioned by “the work of skilled hands” (Exod. 28:15; cf. 39:8). God is the master craftsman who “fashioned and made the earth” (Isa. 45:18). But God’s fashioning is a synonym for creation rather than crafting; he fashions his work out of nothing.

In the KJV God’s fashioning extends to his creation of human beings (Job 10:8; 31:15; Ps. 119:73), his oversight of the human heart (Ps. 33:15), his ordaining of a person’s life span (Ps. 139:16), and his transformative work in the glorification of believers (Phil. 3:21).

The most common noun usage for the word “fashion” in the KJV OT is as a plan, blueprint, or specification (2 Kings 16:10)—for example, of the ark (Gen. 6:15), the tabernacle (Exod. 26:30), and the temple (1 Kings 6:38; Ezek. 43:11). “Fashion” is also used as a synonym for “likeness, appearance, manner, form” (Exod. 37:19; Mark 2:12; Luke 9:29; 1 Cor. 7:31; Phil. 2:8; James 1:11). Finally, Peter cautions believers against “fashioning [themselves] according to the former lusts” (1 Pet. 1:14 KJV), a warning not to model or conform to worldly desires.

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

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

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

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

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

For Christians, God is the creator of the cosmos and the redeemer of humanity. He has revealed himself in historical acts—namely, in creation, in the history of Israel, and especially in the person and work of Jesus Christ. There is only one God (Deut. 6:4); “there is no other” (Isa. 45:5). Because “God is spirit” (John 4:24), he must reveal himself through various images and metaphors.

Imagery of God

God’s character and attributes are revealed primarily through the use of imagery, the best and most understandable way to describe the mysterious nature of God. Scripture employs many images to describe God’s being and character. Some examples follow here.

God is compared to the father who shows compassion and love to his children (Ps. 103:13; Rom. 8:15). The father image is also used by the prophets to reveal God’s creatorship (Isa. 64:8). Jesus predominantly uses the language of “Father” in reference to God (Mark 8:38; 13:32; 14:36), revealing his close relationship with the Father. God is also identified as the king of Israel even before the Israelites have a human king (1 Sam. 10:19).

The Psalter exalts Yahweh as the king, acknowledging God’s sovereignty and preeminence (Pss. 5:2; 44:4; 47:6–7; 68:24; 74:12; 84:3; 95:3; 145:1). God is metaphorically identified as the shepherd who takes care of his sheep, his people, to depict his nature of provision and protection (Ps. 23:1–4). The image of the potter is also employed to describe the nature of God, who creates his creatures according to his will (Jer. 18:6; Rom. 9:20–23). In Hos. 2:4–3:5 God is identified as the long-suffering husband of the adulterous wife Israel. In the setting of war, God is depicted as the divine warrior who fights against his enemy (Exod. 15:3).

God is also referred to as advocate (Isa. 1:18), judge (Gen. 18:25), and lawgiver (Deut. 5:1–22). The image of the farmer is also frequently adopted to describe God’s nature of compassionate care, creation, providence, justice, redemption, sanctification, and more (e.g., Isa. 5:1–7; John 15:1–12). God is often referred to as the teacher (Exod. 4:15) who teaches what to do, as does the Holy Spirit in the NT (John 14:26). The Holy Spirit is identified as the counselor, the helper, the witness, and the guide (John 14:16, 26; 15:26). God is often metaphorically compared to various things in nature, such as rock (Ps. 18:2, 31, 46), light (Ps. 27:1), fire (Deut. 4:24; 9:3), lion (Hos. 11:10), and eagle (Deut. 32:11–12). In particular, the Davidic psalms employ many images in nature—rock, fortress, shield, horn, and stronghold (e.g., Ps. 18:2)—to describe God’s perfect protection.

Last, anthropomorphism often is employed to describe God’s activities. Numerous parts of the human body are used to speak of God: face (Num. 6:25–26), eyes (2 Chron. 16:9), mouth (Deut. 8:3), ears (Neh. 1:6), nostrils (Exod. 15:8), hands (Ezra 7:9), arms (Deut. 33:27), fingers (Ps. 8:3), voice (Exod. 15:26), shoulders (Deut. 33:12), feet (Ps. 18:9), and back (Exod. 33:21–22).

Names and Attributes of God

The OT refers to God by many names. One of the general terms used for God, ’el (which probably means “ultimate supremacy”), often appears in a compound form with a qualifying word, as in ’el ’elyon (“God Most High”), ’el shadday (“God Almighty”), and ’el ro’i (“the God who sees me” or “God of my seeing”). These descriptive names reveal important attributes of God and usually were derived from the personal experiences of the people of God in real-life settings; thus, they do not describe an abstract concept of God.

The most prominent personal name of God is yahweh (YHWH), which is translated as “the Lord” in most English Bibles. At the burning bush in the wilderness of Horeb, God first revealed to Moses his personal name in sentence form: “I am who I am” (Exod. 3:13–15). Though debated, the divine name “YHWH” seems to originate from an abbreviated form of this sentence. Yahweh, who was with Moses and his people at the time of exodus, is the God who was with Abraham, Isaac, and Jacob. According to Jesus’ testimony, “the God of Abraham, the God of Isaac, and the God of Jacob” is identified as the God “of the living” (Matt. 22:32). Hence, the name “Yahweh” is closely tied to God’s self-revelation as the God of presence and life. (See also Names of God.)

Many of God’s attributes are summarized in Exod. 34:6–7: “The Lord, the Lord, the compassionate and gracious God, slow to anger, abounding in love and faithfulness, maintaining love to thousands, and forgiving wickedness, rebellion and sin. Yet he does not leave the guilty unpunished; he punishes the children and their children for the sin of the parents to the third and fourth generation.” Below are further explanations of some of the representative attributes of God.

Holiness. The moral excellence of God is the attribute that underlies all other attributes. Thus, all God’s attributes can be modified by the adjective holy: holy love, holy justice, holy mercy, holy righteousness, holy compassion, holy wisdom, and so forth. God is the only supremely holy one (1 Sam. 2:2; Rev. 15:4). God’s name is also holy; those who profane God’s name are condemned as guilty (Exod. 20:7; Lev. 22:32). God is depicted as the one who has concern for his holy name, which the Israelites profaned among the nations; God actively seeks to restore the holiness of his defiled name (Ezek. 36:21–23). God’s holiness is revealed by his righteous action (Isa. 5:16). Not only is God holy, but also he expects his people to be holy (Lev. 11:45; 19:2). All the sacrificial codes of Leviticus represent the moral requirements of holiness for the worshipers. Because of God’s character of holiness, he cannot tolerate sin in the lives of people, and he brings judgment to those who do not repent (Hab. 1:13).

Love and justice. Because “God is love,” no one reaches the true knowledge of God without having love (1 John 4:8). Images of the father and the faithful husband are frequently employed to portray God’s love (Deut. 1:31; Jer. 31:32; Hos. 2:14–20; 11:1–4). God’s love was supremely demonstrated by the giving of his only Son Jesus Christ for his people (John 3:16; Rom. 5:7–8; 1 John 4:9–10). God expects his people to follow the model of Christ’s sacrificial love (1 John 3:16).

God’s justice is the foundation of his moral law and his ways (Deut. 32:4; Job 34:12; Ps. 9:16; Rev. 15:3). It is also seen in his will (Ps. 99:4). God loves justice and acts with justice (Ps. 33:5). God’s justice is demonstrated in judging people according to their deeds—punishing wickedness and rewarding righteousness (Ezek. 18:20; Ps. 58:11; Rev. 20:12–13). God establishes justice by upholding the cause of the oppressed (Ps. 103:6) and by vindicating those afflicted (1 Sam. 25:39). God is completely impartial in implementing justice (Job 34:18–19). As with holiness, God requires his people to reflect his justice (Prov. 21:3).

God keeps a perfect balance between the attributes of love and justice. God’s love never infringes upon his justice, and vice versa. The cross of Jesus Christ perfectly shows these two attributes in one act. Because of his love, God gave his only Son for his people; because of his justice, God punished his Son for the sake of their sins. The good news is that God’s justice was satisfied by the work of Jesus Christ (Rom. 3:25–26).

Righteousness and mercy. God’s righteousness shows his unique moral perfection. God’s nature, actions, and laws display his character of righteousness (Pss. 19:8–9; 119:137; Dan. 9:14). “Righteousness and justice” are the foundation of God’s throne (Ps. 89:14). God’s righteousness was especially demonstrated in the work of Jesus Christ (Rom. 3:21–22). God’s righteousness will ultimately be revealed in his final judgment (Rev. 19:2; 20–22; cf. Ps. 7:11).

The English word “mercy” renders various words in the original languages: in Hebrew, khesed, khanan, rakham; in Greek, charis, eleos, oiktirmos, splanchnon. English Bibles translate these variously as “mercy,” “compassion,” “grace,” “kindness,” or “love.” The word “mercy” is chosen here as a representative concept (cf. Ps. 86:15). God’s mercy is most clearly seen in his act of forgiving sinners. In the Psalter, “Have mercy on me” is the most common form of expression when the psalmist entreats God’s forgiveness (Pss. 41:4, 10; 51:1). God’s mercy is shown abundantly to his chosen people (Eph. 2:4–8). Because of his mercy, their sins are forgiven (Mic. 7:18), their punishments are withheld (Ezra 9:13), and even sinners’ prayers are heard (Ps. 51:1; Luke 18:13–14). God is “the Father of mercies” (2 Cor. 1:3 NRSV).

God keeps a perfect balance between righteousness and mercy. His righteousness and mercy never infringe upon each other, nor does one operate at the expense of the other. God’s abundant mercy is shown to sinners through Jesus Christ, but if they do not repent of their sins, his righteous judgment will be brought upon them.

Faithfulness. God’s faithfulness is revealed in keeping the covenant that he made with his people. God “is the faithful God, keeping his covenant of love to a thousand generations of those who love him and keep his commandments” (Deut. 7:9). God is faithful to his character, his name, and his word (Neh. 9:8; Ps. 106:8; 2 Tim. 2:13; Heb. 6:13–18). God’s faithfulness is clearly seen in fulfilling his promise (Josh. 23:14). God showed his faithfulness by fulfilling all the promises that he made to Abraham (Gen. 12:2–3; Rom. 9:9; Gal. 4:28; Heb. 6:13–15), by having Solomon build the temple that he promised to David (2 Sam. 7:12–13; 1 Kings 8:17–21), and by sending his people into exile in Babylon and returning them to their homeland (Jer. 25:8–11; Dan. 9:2–3). God’s faithfulness was ultimately demonstrated by sending Jesus Christ, as was promised in the OT (Luke 24:44; Acts 13:32–33; 1 Cor. 15:3–8).

Goodness. Jesus said, “No one is good—except God alone” (Mark 10:18). God demonstrates his goodness in his actions (Ps. 119:68), in his work of creation (1 Tim. 4:4), in his love (Ps. 86:5), and in his promises (Josh. 23:14–15).

Patience. God is “slow to anger” (Exod. 34:6; Num. 14:18), which is a favorite expression for his patience (Neh. 9:17; Pss. 86:15; 103:8; Joel 2:13). God is patient with sinful people for a long time (Acts 13:18). Because of his patient character, he delays punishment (Isa. 42:14). For instance, God was patient with his disobedient prophet Jonah and also with the sinful people of Nineveh (Jon. 3:1–10). The purpose of God’s patience is to lead people toward repentance (Rom. 2:4).

God of the Trinity

The Christian God of the Bible is the triune God. God is one but exists in three persons: the Father, the Son, and the Holy Spirit (Matt. 28:19). The Son is one with the Father (John 10:30); the Holy Spirit is one with God (2 Sam. 23:2–3). All three share the same divine nature; they are all-knowing, holy, glorious, and called “Lord” and “God” (Matt. 11:25; John 1:1; 20:28; Acts 3:22; 5:3–4; 10:36; 1 Cor. 8:6; 2 Cor. 3:17–18; 2 Pet. 1:1). All three share in the same work of creation (Gen. 1:1–3), salvation (1 Pet. 1:2), indwelling (John 14:23), and directing the church’s mission (Matt. 28:18–20; Acts 16:6–10; 14:27; 13:2–4).

Scope and Uses of the Word “Hope”

At times simply indicating a wish (2 Cor. 11:1), in the Bible the word “hope” most often designates a disposition of soul, the grounds for one’s hope, or the outcome for which one hopes.

Those whom God has helped and delivered expect to see God’s power again when future needs arise, knowing that in God there are reasons for hope. Mere optimism assumes that bad circumstances will improve with the passing of time. In contrast, hope assumes that God is faithful and is convinced that he is able to bring about his good purpose (Isa. 44:1–8). So at its core, biblical hope is hope in God, rooted in God’s covenant faithfulness (Ps. 62:5–8; Jer. 14:8; 17:13; Rom. 4:18; 5:1–5). Hope trusts God in the present and lives even now on the strength of God’s future accomplishments (Gal. 5:5; Heb. 11:1).

Both of the main OT words for “hope” (Heb. roots qwh and ykhl) are at times translated “wait.” By definition, hope means that God’s promised outcome has not arrived, and that some time will pass before it does. But that time is filled with a sense of waiting on God, often with a deep ache of longing for God to act (see Pss. 25:16–21; 39:4–7; Isa. 40:28–31; Lam. 3:19–24).

The inner disposition of hope may be seriously threatened by injustice and other devastating life experiences, as reflected in Job 6:8–13; 14:19; 19:10. The refrain of Pss. 42:5–6, 11; 43:5 is a psalmist’s self-exhortation to hope amid oppressive and depressing circumstances: “Why, my soul, are you downcast? Why so disturbed within me? Put your hope in God, for I will yet praise him, my Savior and my God.” Words for “hope” function similarly in other psalms of lament (Pss. 9:18; 31:24; 71:5, 14; cf. Mic. 7:7).

The OT usually locates individual hope within the horizon and limits of this world. One hopes for outcomes that may be realized in one’s own lifetime; indeed, when life ends, hope ends (Prov. 11:7; 24:20; Eccles. 9:4; Isa. 38:18). Proverbs that mention hope regarding someone’s character development show an underlying concern that God’s purposes be vindicated in one’s life (e.g., Prov. 19:18; 26:12). When used in conjunction with Israel as a whole, hope looks to a more distant future and coming generations.

In the NT, hope is closely associated with Christ and his saving work. Christians now live by hope in Christ (Eph. 1:12; 1 Pet. 1:3; 3:15); indeed, he is “Christ Jesus our hope” (1 Tim. 1:1), and his future appearing is “the blessed hope” (Titus 2:13). Thus, hope refers to eschatological glory (2 Cor. 3:11–12; Eph. 1:18). It is “the hope of the resurrection” (Acts 23:6; cf. 24:15; 26:6–9), our transformation into Christ’s likeness (1 John 3:1–3). That expectation stimulates various hopes for God’s plans to be realized in one’s own or others’ lives (1 Cor. 9:10, 13; Phil. 2:19, 23; 2 Tim. 2:25; 2 John 12). So hope is named repeatedly as an essential Christian attribute (Rom. 12:12; 15:4, 13; 1 Cor. 13:13).

Hope as a Biblical Theme

With the God of hope as its covenant Lord, hope is a defining reality for Israel and a persistent theme in the historical books (e.g., 2 Sam. 23:1–7; 2 Kings 25:27–30). Psalmists find hope either in continuity with present structures (Ps. 37) or in drastic change (Pss. 33; 82), such as personal or corporate restoration.

Judgment dominates the message of the preexilic prophets, although expressions of hope are also found. But Judah’s downfall in 587/586 BC marks a turning point in prophetic hope. While preexilic prophecy bases its indictment, appeal, and warning in the exodus and the covenant, Jeremiah and Ezekiel tend to redirect hope and expectation to a new work of salvation that God will accomplish through and after the judgment of exile (e.g., Jer. 31:31–34; Ezek. 11:16–21; cf. Isa. 43:18–19). In the wake of Judah’s destruction, these prophets grasp a remarkable new vision of grace and promise. Restoration will be personal as well as national; forgiveness of sin will enable obedience to God’s law, now to be found written on their hearts.

During the exile, collection of Israel’s sacred texts enabled the shattered community to sustain identity and hope. Postexilic prophecy is often “text prophecy” that arises from reflection upon and reapplication of written prophecies, psalms, and other scriptural texts. For example, the book of Zechariah (especially chaps. 9–14) alludes to many earlier writings and also moves toward apocalyptic literature, contributing dramatic new imagery of God’s conquest of evil to establish his cosmic reign and fulfill his covenant. Messianic hopes rose throughout this period, fueled by earlier prophecies (e.g., Isa. 9; 11; 65:17; Jer. 23:5; Mic. 5:2).

If the OT gives occasional hints of an afterlife, this hope becomes manifest in the NT (2 Tim. 1:10). Jesus promises the thief on the cross fellowship after death (Luke 23:43). For Paul, “to depart and be with Christ” is such a vivid hope that “to die is gain” (Phil. 1:21–24). Such texts imply that death ushers the believer into Christ’s presence. Yet this intermediate state is not the whole picture. We are saved in hope of the redemption of our bodies (Rom. 8:23–25)—our resurrection from the dead and entry into a new glorified, bodily existence (1 Cor. 15; Phil. 3:20–21).

Christ is judge as well as savior (Matt. 16:27; 25:31–46; Acts 17:31; Rom. 2:16), and the NT anticipates final judgment of all persons and powers arrayed against God, including sin and death (1 Cor. 15:24–26; 2 Thess. 1:5–10). Christian hope involves nothing less than the return and full revelation of Jesus Christ, the resurrection of the dead, and the renewal of all creation (1 Thess. 4:13–18; Rev. 21–22)—the complete vindication of God’s rule, secured already in Christ. Then God’s redeemed people will see his face and live in his presence forever (Matt. 5:8; Jude 24; Rev. 22:4). A vision of this future enables us to press on with hope, stretching toward what is to come (Phil. 3:13–14).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

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 deep” (Heb. tehom; Gk. abyssos) refers to the deep sea or the depths of the sea, in particular to the primeval sea that was understood to exist prior to God’s creative work, which brought order to the chaotic initial state of the world (Gen. 1:2), and that re-covered the earth as creation was reversed in the flood (Gen. 7:11; 8:2). The Hebrew term is etymologically related to the primeval Babylonian goddess who, according to the creation myth in the Mesopotamian text known as the Enuma Elish, was slain by the god Marduk and from whose carcass the universe was formed. In spite of this, there is no indication that the term as used in the Bible was in any way associated with the Babylonian deity, particularly given that the root itself was also used at Ugarit and Ebla to mean “the deep.”

Although the OT does not import the mythological and religious ideas associated with the deep from Mesopotamia, the deep nevertheless often represents a somewhat ominous place, a fearful place of chaos (e.g., Ps. 148:7; Jon. 2:5), sometimes symbolically representing the depths of despair (Ps. 71:20). Yet the OT affirms God’s complete control and sovereignty over the deep (Pss. 33:7; 77:16; 135:6; Isa. 51:10). Elsewhere, however, the term can simply refer to the source of springs and appears to reflect an abundant supply of water (Deut. 8:7; Ps. 78:15).

In the NT, the deep (or the abyss) is presented as a place of the dead (Rom. 10:7) or a prison for demons (Luke 8:31; Rev. 9:1–11) from which opposition to God arises. Revelation also continues the view that the deep sea is a place of darkness and opposition to God with the pronouncement that in the new heaven and new earth there is no longer any sea (Rev. 21:1).

The word “vain” can refer to either of two related but distinct concepts: futility and conceit. In the first sense, the word often is used to refer to the inability to accomplish anything in reliance on merely human strength or resources, or without God’s approval, blessing, or assistance (Lev. 26:16; Pss. 33:17; 127:1–2), and to any attempt to stand against God’s purposes (Ps. 2:1). In the second sense, it refers to the self-conceit of those who would trust in their own resources (Phil. 2:3).

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

Created World

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

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

Earth and Its Inhabitants

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

Ungodly Culture and Worldview

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

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

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

The Bible depicts war and warlike acts throughout. The arms are both offensive and defensive in nature. The most common types of offensive weapons are swords, axes, spears, bows and arrows, slings, and stones. Defensive weapons include the shield and the helmet. An army’s arsenal was usually kept in a storehouse called an armory (1 Kings 10:17; Isa. 22:8; Neh. 3:19).

Arms

Sword. In the OT, the word “sword” (khereb) appears for the first time in Gen. 3:24 after Adam and Eve have been evicted from the garden of Eden. A flaming sword was placed there “to guard the way to the tree of life.” Thus, the first use of the sword is defensive. Later in Genesis, Jacob’s sons use swords to avenge the rape of their sister Dinah (Gen. 34:25–26). In most cases the word describes the weapon of choice for most of antiquity. Swords were manufactured of iron (1 Sam. 13:19; Joel 3:10). Some were short and easy to maneuver (Judg. 3:16), while others were long and heavy (1 Sam. 21:9). They could be single- or double-edged, and they were worn in a sheath or scabbard (1 Sam. 17:51; 2 Sam. 20:8). The sword was also supported by a girdle made of leather studded with nails (1 Sam. 18:4; 2 Sam. 20:8). Sometimes, the sword was used figuratively to speak of God’s judgment (Lev. 26:6; Isa. 1:20; Jer. 47:6; 50:35–37; Ezek. 21:9, 28; Hos. 11:6). In the NT, the most common word describing a sword is the Greek machaira, which is used to describe the weapons wielded by the mob that came to arrest Jesus (Matt. 26:47, 55; Mark 14:48), as well as the weapon used by Peter to cut off Malchus’s ear (John 18:10). Another Greek word translated “sword” is rhomphaia, which describes a longer sword, generally worn over one’s shoulder (Rev. 1:16; 6:8; 19:21). The word “sword” is also used figuratively in the NT. The word of God is designated as “the sword of the Spirit” (Eph. 6:17) and as a “double-edged sword” (Heb. 4:12).

Spear. Four main words in the Bible are translated as “spear” or “javelin.” The Hebrew word romakh is translated “spear” or “javelin,” and it appears fifteen times in the OT. The spear was made of iron (Joel 3:10), and those who fell prey to it never survived its penetration (Num. 25:7; 1 Kings 18:28). The other Hebrew word used for the spear is khanit, which appears about fifty times in the OT. It is used to describe Goliath’s spear when he fought David (1 Sam. 17:7), Saul’s spear when he hurled it at David (1 Sam. 18:10–11), and the Assyrian-made “glittering” spear (Nah. 3:3). The third word is khidon, which appears about ten times in the OT. It describes a weapon in the arsenals of Joshua (Josh. 8:18, 26), Goliath (1 Sam. 17:6), and the Babylonians (Jer. 6:23). In the NT, the word “spear” (Gk. longchē) occurs only once, referring to the weapon used to pierce Jesus’ side at his crucifixion (John 19:34).

Bow and arrow. The bow and arrow was an important offensive weapon in Israel and the surrounding cultures. In the Bible, bow and arrow, either in combination or individually, appear in both a literal (2 Kings 9:24; Isa. 37:33) and a figurative sense (Pss. 11:2; 64:7; Isa. 49:2; Lam. 3:12; Zech. 9:13). There is extrabiblical evidence suggesting that the Egyptians and the Syrians also used the bow and arrow as part of their military arsenal.

Sling. Primitive but effective, the sling was used not only in Israel but also in Egypt and Babylon. Easy to manufacture, it used stones as ammunition; thus it was the weapon of choice for those lacking raw material to build weapons made of metal. Besides David’s use of the sling in his encounter with Goliath (1 Sam. 17:40), men from the tribe of Benjamin used the sling with remarkable accuracy (Judg. 20:16).

Ax. Besides its primary role for cutting down trees (Deut. 19:5; Judg. 9:48; Jer. 10:3), the ax probably was used in war as well. (See also Ax, Ax Head.)

Armor

Shield. The shield is one of the most ancient defense weapons. Two Hebrew words are used to depict a shield. The magen appears for the first time in Gen. 15:1, where it is used figuratively to speak of God’s protection of Abraham. It is used in the same manner one other time, in Deut. 33:29. It is frequently used as a figure of speech by the psalmists to denote the same idea of divine protection (Pss. 3:3; 7:10; 18:2, 30; 28:7; 33:20; 59:11; 84:9, 11; 115:9–11; 119:114; 144:2). When used literally, the term refers to a shield made of wood and sometimes overlaid with leather. Solomon used gold to manufacture shields (1 Kings 10:17), while Rehoboam manufactured them of bronze (1 Kings 14:27). This type of shield was used as a defensive weapon by the Israelites throughout their history (Judg. 5:8; 1 Chron. 5:18; 2 Chron. 9:16; 14:8; 17:17; 23:9; Neh. 4:16). It was also used by the Syrians (Isa. 22:6), Assyrians (Isa. 37:33), Egyptians (Jer. 46:3), and Persians (Ezek. 27:10). The other Hebrew term translated “shield” is tsinnah. This was larger than the magen and was meant to cover the fighter’s entire body. It was the type of shield carried by Goliath’s shield bearer (1 Sam. 17:7, 41), manufactured by King Solomon (1 Kings 10:16), used by the Gadites who joined David while fleeing from Saul (1 Chron. 12:8), and used by Israel’s army during the reigns of Rehoboam (2 Chron. 11:12) and Asa (2 Chron. 14:8). The Greek word thyreos is the LXX rendering of the Hebrew tsinnah, and it appears only once in the NT. Paul uses the word figuratively when speaking about the “shield of faith” (Eph. 6:16).

Helmet. The helmet had the obvious defensive purpose of protecting a combatant’s head. It was made of leather or light metal, such as bronze (1 Sam. 17:5, 38). In both Testaments, salvation is spoken of figuratively as a “helmet” (Isa. 59:17; Eph. 6:17; 1 Thess. 5:8).

Coat of mail. Body armor was used for the protection of the warrior not only in Israel but also in other ancient Near Eastern nations. The Hebrew term shiryon is variously translated as “coat of mail” (ESV, RSV, NRSV), “coat of scale armor” (NIV), or “habergeon” (KJV). Goliath wore this type of body armor (1 Sam. 17:5, 38), and his was manufactured of bronze. Despite wearing a shiryon, Israel’s king Ahab was fatally wounded in battle (1 Kings 22:34). In an attempt to strengthen Judah’s military power, King Uzziah also provided coats of mail for his army (2 Chron. 26:14). It was also used during postexilic times, Nehemiah’s workers having benefited from its protection (Neh. 4:16). Shiryon (Gk. thorax) is used figuratively to speak of a “breastplate” of righteousness and of love (Isa. 59:17; Eph. 6:14; 1 Thess. 5:8).

The Bible depicts war and warlike acts throughout. The arms are both offensive and defensive in nature. The most common types of offensive weapons are swords, axes, spears, bows and arrows, slings, and stones. Defensive weapons include the shield and the helmet. An army’s arsenal was usually kept in a storehouse called an armory (1 Kings 10:17; Isa. 22:8; Neh. 3:19).

Arms

Sword. In the OT, the word “sword” (khereb) appears for the first time in Gen. 3:24 after Adam and Eve have been evicted from the garden of Eden. A flaming sword was placed there “to guard the way to the tree of life.” Thus, the first use of the sword is defensive. Later in Genesis, Jacob’s sons use swords to avenge the rape of their sister Dinah (Gen. 34:25–26). In most cases the word describes the weapon of choice for most of antiquity. Swords were manufactured of iron (1 Sam. 13:19; Joel 3:10). Some were short and easy to maneuver (Judg. 3:16), while others were long and heavy (1 Sam. 21:9). They could be single- or double-edged, and they were worn in a sheath or scabbard (1 Sam. 17:51; 2 Sam. 20:8). The sword was also supported by a girdle made of leather studded with nails (1 Sam. 18:4; 2 Sam. 20:8). Sometimes, the sword was used figuratively to speak of God’s judgment (Lev. 26:6; Isa. 1:20; Jer. 47:6; 50:35–37; Ezek. 21:9, 28; Hos. 11:6). In the NT, the most common word describing a sword is the Greek machaira, which is used to describe the weapons wielded by the mob that came to arrest Jesus (Matt. 26:47, 55; Mark 14:48), as well as the weapon used by Peter to cut off Malchus’s ear (John 18:10). Another Greek word translated “sword” is rhomphaia, which describes a longer sword, generally worn over one’s shoulder (Rev. 1:16; 6:8; 19:21). The word “sword” is also used figuratively in the NT. The word of God is designated as “the sword of the Spirit” (Eph. 6:17) and as a “double-edged sword” (Heb. 4:12).

Spear. Four main words in the Bible are translated as “spear” or “javelin.” The Hebrew word romakh is translated “spear” or “javelin,” and it appears fifteen times in the OT. The spear was made of iron (Joel 3:10), and those who fell prey to it never survived its penetration (Num. 25:7; 1 Kings 18:28). The other Hebrew word used for the spear is khanit, which appears about fifty times in the OT. It is used to describe Goliath’s spear when he fought David (1 Sam. 17:7), Saul’s spear when he hurled it at David (1 Sam. 18:10–11), and the Assyrian-made “glittering” spear (Nah. 3:3). The third word is khidon, which appears about ten times in the OT. It describes a weapon in the arsenals of Joshua (Josh. 8:18, 26), Goliath (1 Sam. 17:6), and the Babylonians (Jer. 6:23). In the NT, the word “spear” (Gk. longchē) occurs only once, referring to the weapon used to pierce Jesus’ side at his crucifixion (John 19:34).

Bow and arrow. The bow and arrow was an important offensive weapon in Israel and the surrounding cultures. In the Bible, bow and arrow, either in combination or individually, appear in both a literal (2 Kings 9:24; Isa. 37:33) and a figurative sense (Pss. 11:2; 64:7; Isa. 49:2; Lam. 3:12; Zech. 9:13). There is extrabiblical evidence suggesting that the Egyptians and the Syrians also used the bow and arrow as part of their military arsenal.

Sling. Primitive but effective, the sling was used not only in Israel but also in Egypt and Babylon. Easy to manufacture, it used stones as ammunition; thus it was the weapon of choice for those lacking raw material to build weapons made of metal. Besides David’s use of the sling in his encounter with Goliath (1 Sam. 17:40), men from the tribe of Benjamin used the sling with remarkable accuracy (Judg. 20:16).

Ax. Besides its primary role for cutting down trees (Deut. 19:5; Judg. 9:48; Jer. 10:3), the ax probably was used in war as well. (See also Ax, Ax Head.)

Armor

Shield. The shield is one of the most ancient defense weapons. Two Hebrew words are used to depict a shield. The magen appears for the first time in Gen. 15:1, where it is used figuratively to speak of God’s protection of Abraham. It is used in the same manner one other time, in Deut. 33:29. It is frequently used as a figure of speech by the psalmists to denote the same idea of divine protection (Pss. 3:3; 7:10; 18:2, 30; 28:7; 33:20; 59:11; 84:9, 11; 115:9–11; 119:114; 144:2). When used literally, the term refers to a shield made of wood and sometimes overlaid with leather. Solomon used gold to manufacture shields (1 Kings 10:17), while Rehoboam manufactured them of bronze (1 Kings 14:27). This type of shield was used as a defensive weapon by the Israelites throughout their history (Judg. 5:8; 1 Chron. 5:18; 2 Chron. 9:16; 14:8; 17:17; 23:9; Neh. 4:16). It was also used by the Syrians (Isa. 22:6), Assyrians (Isa. 37:33), Egyptians (Jer. 46:3), and Persians (Ezek. 27:10). The other Hebrew term translated “shield” is tsinnah. This was larger than the magen and was meant to cover the fighter’s entire body. It was the type of shield carried by Goliath’s shield bearer (1 Sam. 17:7, 41), manufactured by King Solomon (1 Kings 10:16), used by the Gadites who joined David while fleeing from Saul (1 Chron. 12:8), and used by Israel’s army during the reigns of Rehoboam (2 Chron. 11:12) and Asa (2 Chron. 14:8). The Greek word thyreos is the LXX rendering of the Hebrew tsinnah, and it appears only once in the NT. Paul uses the word figuratively when speaking about the “shield of faith” (Eph. 6:16).

Helmet. The helmet had the obvious defensive purpose of protecting a combatant’s head. It was made of leather or light metal, such as bronze (1 Sam. 17:5, 38). In both Testaments, salvation is spoken of figuratively as a “helmet” (Isa. 59:17; Eph. 6:17; 1 Thess. 5:8).

Coat of mail. Body armor was used for the protection of the warrior not only in Israel but also in other ancient Near Eastern nations. The Hebrew term shiryon is variously translated as “coat of mail” (ESV, RSV, NRSV), “coat of scale armor” (NIV), or “habergeon” (KJV). Goliath wore this type of body armor (1 Sam. 17:5, 38), and his was manufactured of bronze. Despite wearing a shiryon, Israel’s king Ahab was fatally wounded in battle (1 Kings 22:34). In an attempt to strengthen Judah’s military power, King Uzziah also provided coats of mail for his army (2 Chron. 26:14). It was also used during postexilic times, Nehemiah’s workers having benefited from its protection (Neh. 4:16). Shiryon (Gk. thorax) is used figuratively to speak of a “breastplate” of righteousness and of love (Isa. 59:17; Eph. 6:14; 1 Thess. 5:8).

Awe mingles dread with wonder, especially toward God (Ps. 33:8 KJV). Translations use “awe” almost exclusively for God and his deeds. Modern translations use “awe,” “awesome,” and “awe-inspiring” to render numerous Hebrew and Greek terms.

The Bible never records a person encountering God without being visibly shaken by God’s awesomeness. Awe is a personal disposition more than an emotional state. In God’s presence Moses hides his face (Exod. 3:6), and Isaiah declares, “Woe to me!” (Isa. 6:5).

Bible Texts and Versions The NT and the OT have considerably different but partially overlapping textual histories. For clarity, it is best to begin with a survey of the NT manuscripts and versions.

Greek texts. Although no autographs of the NT books survive, there exist more than five thousand Greek texts covering anywhere from a portion of a few verses up to the complete NT. Traditionally, these texts have been classified into five groups: papyri, uncials, minuscules, lectionaries, and quotations in patristic texts. The most important manuscripts are listed below.

The earliest texts of the NT are those written on papyrus. Ninety-eight of these manuscripts have been identified, and they are represented by a “P” with a numerical superscript. The earliest of these papyri is P52, which contains parts of four verses in John 18 and dates to the early second century. For substantial portions of the NT text, the most important papyri are found in the Chester Beatty and Bodmer collections. P45, P46, and P47, all from the Chester Beatty collection, are from the third century and contain large sections of the four Gospels, eight of the Pauline Epistles, Hebrews, and Revelation. Within the Bodmer collection in Geneva are four very important codices. P66 dates to around AD 200 and preserves most of the Gospel of John. P72 dates to the third century and contains the earliest copies of 1–2 Peter and Jude, which are preserved in their entirety, as well as Greek translations of Pss. 33–34. P74 dates to the seventh century and contains portions of Acts, James, 1–2 Peter, 1–3 John, and Jude. Finally, P75, which dates to the early third century, contains most of Luke and John 1–15. It is the oldest extant copy of Luke. Among the remaining papyri, forty-three have been dated to the early fourth century or before.

The second category of manuscripts is the uncials, which usually were written on parchment and span the fourth through the tenth centuries. About 270 uncials are known, and they range from a few verses up to complete copies of the NT or even the entire Bible. Uncials originally were denoted by capital letters, but when the number of manuscripts grew beyond these limits, a new system was employed whereby each manuscript was given a number always beginning with zero. However, the most important uncials are still usually known by their letter. Among the most important uncials are the following five manuscripts. Codex Sinaiticus (designated by the Hebrew letter à) dates to the fourth century and is the only uncial that contains the entire NT. It also has almost all of the OT as well as the early Christian writings the Epistle of Barnabas and the Shepherd of Hermas. Dating from the fifth century, Codex Alexandrinus (designated as A) contains the OT, most of the NT—lacking only portions of Matthew, John, and 2 Corinthians—and 1–2 Clement. Along with Sinaiticus, the most important uncial is Codex Vaticanus (designated as B), which dates to the fourth century. It contains almost all of the OT and the complete NT, except for substantial portions between Hebrews and Revelation. It has been in the Vatican’s library for over five hundred years. The fourth important uncial is Codex Bezae Cantabrigiensis (designated as D), which contains Greek and Latin copies of the four Gospels, most of Acts, and a few verses from 3 John. It dates from the late fourth or early fifth century. The fifth important uncial is Codex Washingtonianus (designated as W), which dates to the early fifth century and contains virtually all of the four Gospels.

The third category of NT manuscripts is minuscules. These texts date from the ninth century and later and comprise approximately 2,800 manuscripts, which are denoted by a number not beginning with zero. Among the more important minuscules are Codex 1, Codex 13, and Codex 33, which, along with their relatives, are considered reliable witnesses to early families of texts such as the Caesarean (1) or the Alexandrian (33). Codex 13 and its relatives are noteworthy for having the story of the adulterous woman at the end of Luke 21 instead of in John 8. The final two groups of NT manuscripts, the lectionaries and quotations in patristic sources, are not manuscripts in the strict sense of the term, but their use of portions of the NT presents important witnesses for the practice of textual criticism.

Versions. With the spread of Christianity during the time of the Roman Empire, the NT was translated into the language of the native peoples. These versions of the NT are important both for textual criticism of the NT and for the interpretive decisions that are reflected in how the text was rendered into a new language. Among the most important early versions of the NT are the following.

As Latin began to displace Greek as the dominant language of the empire, there was a need for a Latin version of the Bible. The earliest translation, known as the Old Latin or Itala, was made probably in the late second century, though the oldest manuscript (Codex Vercellensis) is from the fourth century. With the proliferation of Latin texts a standardized Latin translation became desirable, and in AD 382 Jerome was commissioned by Pope Damasus to provide a new translation known as the Vulgate.

Another family of NT versions is the Syriac texts. Around the late second century the four Gospels were translated into a version known as the Old Syriac. It is extant in two incomplete manuscripts that are probably fifth century. The translation that became the standard Syriac text is the Peshitta, which was produced in the early fifth century. It does not contain 2 Peter, 2–3 John, Jude, or Revelation because these were not considered canonical among the Syriac churches.

Other important versions of the NT from antiquity are the Coptic, Armenian, Georgian, and Ethiopic translations.

Old Testament

Hebrew texts. The text that has served as the basis for most modern editions and translations of the Hebrew OT is the Masoretic Text (MT), named after the Masoretes, the Jewish scribes who transmitted the text and added vocalization, accentuation, and notes to the consonantal text. The most important Masoretic manuscripts date from the end of the ninth century to the early eleventh century. Notable among these is the Leningrad Codex (AD 1008), denoted as L, which is the earliest Masoretic manuscript of the entire OT. Also important are the Aleppo Codex (c. AD 925), denoted as A, which preserves all of the OT except for most of the Pentateuch; the British Museum MS Or. 4445 (c. AD 925), denoted as B, which contains most of the Pentateuch; and the Cairo Codex (c. AD 896), denoted C, which contains Joshua through Kings and also the Prophets.

Although these manuscripts are much later than the biblical period, their reliability was largely confirmed with the discovery of the DSS beginning in 1947. Among the Qumran library are many manuscripts of biblical books as well as biblical commentaries, apocrphyal and pseudepigraphal works, and sectarian literature. All the OT books are represented among the scrolls that were found except Esther and Nehemiah, though the latter is usually presumed to have been at the end of Ezra but has not survived. The books with the most manuscripts are, in order, Psalms, Deuteronomy, and Isaiah. One of the striking characteristics of these scrolls is that they reflect a diversity of text types. For example, there is a copy of Jeremiah that is close to the Masoretic version, but also a manuscript of Jeremiah similar to the much shorter version found in the Septuagint (the Greek translation of the OT).

Another Hebrew text of the OT is that of the Samaritan Pentateuch, which is the text transmitted by the Samaritans. It is similar to the MT in some respects but also has differences that reflect theological interests. The main manuscripts for the Samaritan Pentateuch are from the twelfth century.

Versions. Between the third and first centuries BC, the entire OT was translated into Greek. This version, known as the Septuagint (designated by the abbreviation LXX), became the main version of the OT used by the early church. Due to its adoption by the church, the LXX has been preserved in numerous manuscripts, including Sinaiticus, Alexandrinus, and Vaticanus. By the late first century BC or early first century AD, there were two revisions of the Greek text: the Proto-Lucianic version and the Kaige recension. The latter aimed to revise the Greek toward closer conformity with the Hebrew text and derives its name from its peculiar tendency to translate the Hebrew word gam (“also”) with the Greek work kaige. In the second century AD three other Greek translations were made by Aquila, Theodotion, and Symmachus, all of which revised the Kaige recension back toward the MT.

Another important early version of the OT consists of the Targumim, which are Aramaic translations or paraphrases (and sometimes extensive elaborations) of OT books. The official Targumim for Judaism are Targum Onqelos for the Pentateuch (c. second century AD), which is quite literal, and Targum Pseudo-Jonathan for the Prophets (sometime before the fourth century AD), which ranges from being quite literal to somewhat paraphrastic. Unofficial Targumim for the Pentateuch include Targum Neofiti and Targum Pseudo-Jonathan. There are also various unofficial Targumim for the Writings section of the OT, except for Daniel and Ezra-Nehemiah (which are already written partly in Aramaic).

Besides the Greek and Aramaic translations, there are other important versions of the OT. Sometime in either the third or fourth century AD, the Peshitta of the OT was produced, though there is evidence that there were earlier Syriac translations of some books already circulating. Also important is a group of Latin translations known collectively as the Old Latin. These versions were produced sometime during the second century AD and were primarily made from already existing Greek translations rather than Hebrew texts. As with the NT, a later Latin translation was made by Jerome for the Vulgate.

Bible Texts and Versions The NT and the OT have considerably different but partially overlapping textual histories. For clarity, it is best to begin with a survey of the NT manuscripts and versions.

Greek texts. Although no autographs of the NT books survive, there exist more than five thousand Greek texts covering anywhere from a portion of a few verses up to the complete NT. Traditionally, these texts have been classified into five groups: papyri, uncials, minuscules, lectionaries, and quotations in patristic texts. The most important manuscripts are listed below.

The earliest texts of the NT are those written on papyrus. Ninety-eight of these manuscripts have been identified, and they are represented by a “P” with a numerical superscript. The earliest of these papyri is P52, which contains parts of four verses in John 18 and dates to the early second century. For substantial portions of the NT text, the most important papyri are found in the Chester Beatty and Bodmer collections. P45, P46, and P47, all from the Chester Beatty collection, are from the third century and contain large sections of the four Gospels, eight of the Pauline Epistles, Hebrews, and Revelation. Within the Bodmer collection in Geneva are four very important codices. P66 dates to around AD 200 and preserves most of the Gospel of John. P72 dates to the third century and contains the earliest copies of 1–2 Peter and Jude, which are preserved in their entirety, as well as Greek translations of Pss. 33–34. P74 dates to the seventh century and contains portions of Acts, James, 1–2 Peter, 1–3 John, and Jude. Finally, P75, which dates to the early third century, contains most of Luke and John 1–15. It is the oldest extant copy of Luke. Among the remaining papyri, forty-three have been dated to the early fourth century or before.

The second category of manuscripts is the uncials, which usually were written on parchment and span the fourth through the tenth centuries. About 270 uncials are known, and they range from a few verses up to complete copies of the NT or even the entire Bible. Uncials originally were denoted by capital letters, but when the number of manuscripts grew beyond these limits, a new system was employed whereby each manuscript was given a number always beginning with zero. However, the most important uncials are still usually known by their letter. Among the most important uncials are the following five manuscripts. Codex Sinaiticus (designated by the Hebrew letter à) dates to the fourth century and is the only uncial that contains the entire NT. It also has almost all of the OT as well as the early Christian writings the Epistle of Barnabas and the Shepherd of Hermas. Dating from the fifth century, Codex Alexandrinus (designated as A) contains the OT, most of the NT—lacking only portions of Matthew, John, and 2 Corinthians—and 1–2 Clement. Along with Sinaiticus, the most important uncial is Codex Vaticanus (designated as B), which dates to the fourth century. It contains almost all of the OT and the complete NT, except for substantial portions between Hebrews and Revelation. It has been in the Vatican’s library for over five hundred years. The fourth important uncial is Codex Bezae Cantabrigiensis (designated as D), which contains Greek and Latin copies of the four Gospels, most of Acts, and a few verses from 3 John. It dates from the late fourth or early fifth century. The fifth important uncial is Codex Washingtonianus (designated as W), which dates to the early fifth century and contains virtually all of the four Gospels.

The third category of NT manuscripts is minuscules. These texts date from the ninth century and later and comprise approximately 2,800 manuscripts, which are denoted by a number not beginning with zero. Among the more important minuscules are Codex 1, Codex 13, and Codex 33, which, along with their relatives, are considered reliable witnesses to early families of texts such as the Caesarean (1) or the Alexandrian (33). Codex 13 and its relatives are noteworthy for having the story of the adulterous woman at the end of Luke 21 instead of in John 8. The final two groups of NT manuscripts, the lectionaries and quotations in patristic sources, are not manuscripts in the strict sense of the term, but their use of portions of the NT presents important witnesses for the practice of textual criticism.

Versions. With the spread of Christianity during the time of the Roman Empire, the NT was translated into the language of the native peoples. These versions of the NT are important both for textual criticism of the NT and for the interpretive decisions that are reflected in how the text was rendered into a new language. Among the most important early versions of the NT are the following.

As Latin began to displace Greek as the dominant language of the empire, there was a need for a Latin version of the Bible. The earliest translation, known as the Old Latin or Itala, was made probably in the late second century, though the oldest manuscript (Codex Vercellensis) is from the fourth century. With the proliferation of Latin texts a standardized Latin translation became desirable, and in AD 382 Jerome was commissioned by Pope Damasus to provide a new translation known as the Vulgate.

Another family of NT versions is the Syriac texts. Around the late second century the four Gospels were translated into a version known as the Old Syriac. It is extant in two incomplete manuscripts that are probably fifth century. The translation that became the standard Syriac text is the Peshitta, which was produced in the early fifth century. It does not contain 2 Peter, 2–3 John, Jude, or Revelation because these were not considered canonical among the Syriac churches.

Other important versions of the NT from antiquity are the Coptic, Armenian, Georgian, and Ethiopic translations.

Old Testament

Hebrew texts. The text that has served as the basis for most modern editions and translations of the Hebrew OT is the Masoretic Text (MT), named after the Masoretes, the Jewish scribes who transmitted the text and added vocalization, accentuation, and notes to the consonantal text. The most important Masoretic manuscripts date from the end of the ninth century to the early eleventh century. Notable among these is the Leningrad Codex (AD 1008), denoted as L, which is the earliest Masoretic manuscript of the entire OT. Also important are the Aleppo Codex (c. AD 925), denoted as A, which preserves all of the OT except for most of the Pentateuch; the British Museum MS Or. 4445 (c. AD 925), denoted as B, which contains most of the Pentateuch; and the Cairo Codex (c. AD 896), denoted C, which contains Joshua through Kings and also the Prophets.

Although these manuscripts are much later than the biblical period, their reliability was largely confirmed with the discovery of the DSS beginning in 1947. Among the Qumran library are many manuscripts of biblical books as well as biblical commentaries, apocrphyal and pseudepigraphal works, and sectarian literature. All the OT books are represented among the scrolls that were found except Esther and Nehemiah, though the latter is usually presumed to have been at the end of Ezra but has not survived. The books with the most manuscripts are, in order, Psalms, Deuteronomy, and Isaiah. One of the striking characteristics of these scrolls is that they reflect a diversity of text types. For example, there is a copy of Jeremiah that is close to the Masoretic version, but also a manuscript of Jeremiah similar to the much shorter version found in the Septuagint (the Greek translation of the OT).

Another Hebrew text of the OT is that of the Samaritan Pentateuch, which is the text transmitted by the Samaritans. It is similar to the MT in some respects but also has differences that reflect theological interests. The main manuscripts for the Samaritan Pentateuch are from the twelfth century.

Versions. Between the third and first centuries BC, the entire OT was translated into Greek. This version, known as the Septuagint (designated by the abbreviation LXX), became the main version of the OT used by the early church. Due to its adoption by the church, the LXX has been preserved in numerous manuscripts, including Sinaiticus, Alexandrinus, and Vaticanus. By the late first century BC or early first century AD, there were two revisions of the Greek text: the Proto-Lucianic version and the Kaige recension. The latter aimed to revise the Greek toward closer conformity with the Hebrew text and derives its name from its peculiar tendency to translate the Hebrew word gam (“also”) with the Greek work kaige. In the second century AD three other Greek translations were made by Aquila, Theodotion, and Symmachus, all of which revised the Kaige recension back toward the MT.

Another important early version of the OT consists of the Targumim, which are Aramaic translations or paraphrases (and sometimes extensive elaborations) of OT books. The official Targumim for Judaism are Targum Onqelos for the Pentateuch (c. second century AD), which is quite literal, and Targum Pseudo-Jonathan for the Prophets (sometime before the fourth century AD), which ranges from being quite literal to somewhat paraphrastic. Unofficial Targumim for the Pentateuch include Targum Neofiti and Targum Pseudo-Jonathan. There are also various unofficial Targumim for the Writings section of the OT, except for Daniel and Ezra-Nehemiah (which are already written partly in Aramaic).

Besides the Greek and Aramaic translations, there are other important versions of the OT. Sometime in either the third or fourth century AD, the Peshitta of the OT was produced, though there is evidence that there were earlier Syriac translations of some books already circulating. Also important is a group of Latin translations known collectively as the Old Latin. These versions were produced sometime during the second century AD and were primarily made from already existing Greek translations rather than Hebrew texts. As with the NT, a later Latin translation was made by Jerome for the Vulgate.

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.

Famine was the most devastating catastrophe to an agrarian society. Caused by drought, crop failure, or siege (Ruth 1:1–2; 2 Kings 25), it often was accompanied by disease or war, which in turn brought adversity to many levels of society (Jer. 14:12; Matt. 24:7), including that of the animals (Job 38:41; Joel 1:20).

Dependence on rainfall caused some people to stockpile in anticipation of possible famine. In Egypt, Joseph implemented a grain ration that saved the people, supplied seed, and filled Pharaoh’s royal storehouses (Gen. 41:33–36; 47:23–24). Israel’s own temple contained storerooms (1 Chron. 26:15; Neh. 10:38–39). God used famine to encourage obedience from the Israelites (Deut. 11:17; 28:33) and as divine judgment upon them (Lev. 26:14–20; Jer. 29:17–18).

Famines had far-reaching results: price inflation, robbery, social exploitation, agricultural collapse, migration, and even cannibalism (Gen. 12:10; 26:1; Ruth 1; 2 Kings 6:24–29; Neh. 5:1–3; Lam. 2:20–21; 4:8–10). Therefore, faithfulness to God was a particularly vivid reality (Pss. 33:18–19; 37:19), and God’s blessings on the nation included its being free from famine (Ezek. 34:29; 36:29–30).

Joseph understood that God sent him ahead to Egypt to save his family from an international famine (Gen. 45:5–7). For forty years God tested the Israelites with hunger to rid them of self-reliance (Exod. 16:2–8; Deut. 8:2, 16). Moreover, God sent afflictions on Israel such as famine, drought, mildew, blight, and insects in order to arouse national repentance (Amos 4:6–12). This meant that sin and human suffering were tied to the land in interdependence (Lam. 4:3–4). Elijah’s contest with the Canaanite prophets of Baal vividly shows the theological implications of faith and food: Yahweh would prove that he was in control of nature’s forces (1 Kings 18:23–39; cf. Gen. 8:22). Even Elijah, however, required special divine care through this famine (1 Kings 17:1–6). For Amos, literal hunger funded his description of desperate spiritual hunger, “a famine . . . of hearing the words of the Lord” (Amos 8:11).

Jesus relived Israel’s experience in his own wilderness testing and rejected the bread that he could make for himself (Matt. 4:3–4; Deut. 8:3). His success showed that scarcity and hunger are intended to develop humility and trust in God, the divine provider (Matt. 4:2), something that Israel did not learn very well. Jesus fed a second manna to five thousand people to draw them to the bread of life (John 6:35), but the crowds followed Jesus more for the food than for him (6:26–27). Famines are mentioned in the NT (Luke 4:25; Acts 7:11 [historical]; 11:27–30 [contemporary]).

Jesus taught that famines would be a sign of his coming. Yet, without ignoring physical food, Jesus highlighted the spiritual hunger and thirst of people (Matt. 5:6; John 4:14, 34; 7:37–38). Because eating is a powerful part of fellowship, heaven will merely remove the desperation of hunger, not the use of food (Gen. 43:34; Luke 22:15–16; Rev. 19:9; cf. 1 Cor. 4:11; Rev. 7:16; 21:4).

In Gen. 2:18–25 the lone man is provided with a “helper.” This is not necessarily an unromantic view of the marriage relationship (cf. Gen. 1:27–28a), but the main thought is of companionship and partnership (cf. Eccles. 4:9–11). Also, the word “helper” does not require a subservient or demeaning function but rather can include active intervention, such as God himself renders (e.g., Ps. 33:20: “[The Lord] is our help and our shield”). The man needs help to carry out the mandate of Gen. 1:28b, so a wide-ranging helping role is in view. The helper must be “suitable for him” (Gen. 2:18b), that is, come alongside him, as his opposite and complement, and so no mere lowly assistant will be adequate for the task. (See also Help Meet.)

The psalms portray God as the helper of his needy people (Pss. 10:14; 30:10; 54:4; 70:5; 72:12; 146:5). The exodus deliverance is described by using the motif of God as “my helper” (Exod. 18:4). On the other hand, when God acts to judge wicked nations, no human helper (or ally) can provide protection (Isa. 30:5; Jer. 47:4; Ezek. 30:8). In the crisis of persecution forecast in Dan. 11:34, the “little help” (= helper) may be Judas Maccabeus, though the main point is that the godly will not be totally bereft of divine support. Among the charismatically gifted individuals who are to act for the common good listed by Paul in 1 Cor. 12:28 are those able to help others, though the kind of help in mind (distinguished from healing and administration) is not specified.

In biblical and systematic theology, “inspiration” is one of several descriptions of God’s involvement in the production of Scripture. It is not an exhaustive description of the many ways in which divine revelation is mediated.

Taken as a description of “all Scripture” (as in 2 Tim. 3:16), inspiration must necessarily encompass such diverse modes of revelation as words audibly spoken or dictated by God and written down by humans (i.e., dictation: “the Lord said to Moses,” “thus says the Lord”), words spoken by angels, texts in which a divine or angelic voice is entirely obscured by the voice and identity of the human author (e.g., the letters of Paul), and, in the vast majority of cases, texts that are essentially anonymous, invoking no human author or divine author in particular. Moreover, any catalog of divinely inspired texts must include not only direct quotations of God’s speech but also occasional letters (the NT Epistles), prayers directed to God by humans (the Psalter), divine oracles given through prophets, the results of historical research (e.g., Luke 1:1–4; 1 Kings 14:19), and anthological texts that were collected and edited over a long period of time, often by unnamed individuals or groups of individuals.

Thus, the inspiration of Scripture must be regarded as a concept that is applied in the broadest possible way to the materials of Scripture. While the doctrine of inspiration constitutes a strong statement concerning the authority and divine authorship of Scripture, it must remain highly flexible with regard to the particular modes and literary products of divine revelation in Scripture.

God-Breathed (theopneustos) in 2 Timothy 3:16

The idea of divine inspiration is stated most clearly in 2 Tim. 3:16–17: “All Scripture is God-breathed [theopneustos] and is useful for teaching, rebuking, correcting and training in righteousness, so that the servant of God may be thoroughly equipped for every good work.” Here, the fact of divine inspiration serves the apostle’s interest in the authority and relevance of Scripture, especially as Scripture undergirds Timothy’s religious education (2 Tim. 3:14–15). This sole biblical use of the term theopneustos says little about how inspiration is accomplished, and the emphasis is entirely on the consequences of the fact. Because it is inspired, all Scripture is useful and authoritative for a variety of purposes.

In some older English translations, the key term, theopneustos, was translated as “inspired,” following the ancient tradition of rendering the term in Latin as divinitus inspirata. Strictly speaking, “inspiration” is not a biblical term. In one classic Protestant evangelical exposition of the text and doctrine, B. B. Warfield noted that the Greek word denotes not so much a “breathing in” as a “breathing out” on God’s part. Scripture is not simply a container into which God has breathed his word (so that Scripture merely “contains” God’s word), nor is Scripture only “inspiring,” in the sense that it works an effect on the reader (taking theopneustos in an active rather than a passive sense: “God-breathing” rather than “God-breathed”). Scripture is not the product of inspiration, as if produced by inspired authors but not itself inspired. Rather than all these things, it is most correct to say that Scripture is, in the strictly literal sense of the word, “expired”—breathed out by God himself. This view of the matter is reflected in, among other places, the NIV translation of theopneustos as “God-breathed.”

The translation by the NIV—“all Scripture is God-breathed and is useful . . .”—takes theopneustos as a grammatical predicate. Others have suggested that theopneustos can be understood attributively: “all God-breathed Scripture is useful.” This interpretation remains a minority position, especially among evangelical scholars, both on grammatical grounds and because it implies a distinction between inspired and noninspired Scriptures. There is little other evidence for such a notion in the NT.

The application of the notion of inspiration to the whole of the Christian canon (OT and NT) inevitably involves some extension of the original meaning of 2 Tim. 3:16. By no account were the NT writings either composed or collected prior to the writing of 2 Timothy, and the final shape of the Christian OT canon may also have been undecided at the time 2 Tim. 3:16 was written. In postbiblical Christian theology, however, what is said of “all Scripture” (pāsa graphē) in 2 Tim. 3:16 is applied to all Christian Scripture, regardless of what was directly in view when the verse was written. It is likely that by “all Scripture,” the apostle meant nothing more than the Christian OT—that is, the books that lay before Timothy as he was educated in the faith from his infancy (2 Tim. 3:14–15). In systematic theology, the application of inspiration and other descriptors of “Scripture” to the NT writings owes much to a comment in 2 Pet. 3:16 that places the letters of Paul in the same class as “the other Scriptures” (tas loipas graphas).

Why “Inspiration”?

The sheer diversity of the modes of revelation described in the Bible raises a question: Why is “inspiration” (or, as Warfield argued, “expiration” or “breathing out”) a particularly appropriate description of God’s involvement in the production of the scriptural text? At the root of theopneustos, Greek pneuma (as well as its Hebrew cognate, ruakh) denotes several related concepts ranging from “wind” or “breath” to “spirit,” as in “the Holy Spirit.” It is from this complex of meanings that the relevance of theopneustos is evident.

Physiologically, several of the speech organs are also organs of respiration, so that the spoken word can be thought of as a kind of breathing, as in Acts 9:1: “Saul was still breathing out [empneuōn] murderous threats against the Lord’s disciples.” To speak of Scripture as “God-breathed,” then, is simply to identify it as God’s spoken utterance or word, as in the many biblical texts that introduce a scriptural utterance as “the word of the Lord” or with the phrase “thus says the Lord.” To the extent that 2 Tim. 3:16 has in view the physiological dimension of “breathing,” it extends these explicit statements of divine speaking to the whole of Scripture. In one sense, theopneustos is an anthropomorphism: God does not speak as a human, with lungs, throat, and mouth. Scripture is not God-breathed as opposed to being written by humans; the figurative breathing or speaking of God does not circumvent other processes of textual production. Again, the idea of inspiration pertains more to the authority of Scripture as revelation than to the mode of the mediation of God’s word.

As with the concept of “inspiration” itself, to speak of Scripture as the “word of God” specifies its divine authority without exhaustively describing how that word is mediated to the human author who then commits it to writing. To speak of Scripture as the “breathing out” of God is to invoke the broader concept of God’s (anthropomorphic) breath, and thus to place scriptural production among the other phenomena that are so described. These include the divine creation of life (Gen. 2:7; Job 33:4; Ezek. 37:5) and the cosmos (Ps. 33:6), divine judgment and destruction (Job 4:9; Isa. 30:33; 2 Thess. 2:8), the impartation of divine wisdom (Job 32:8), the impartation of the Holy Spirit (John 20:22), and the continuing action of God in creation (Exod. 15:10; Job 37:10; Isa. 40:7). In contrast to the living God of Israel, the idols lack breath (ruakh) and are therefore false gods (Jer. 10:14).

Equally important as the anthropomorphic description of God’s role as exhalation or speaking is the fact that pneuma refers not only to bodily breathing but also to the spirit of God—that is, the Holy Spirit. The inspiration of scriptural revelation is the particular work of the Holy Spirit, as comes to light particularly in 2 Pet. 1:20–21: “You must understand that no prophecy of Scripture came about by the prophet’s own interpretation of things. For prophecy never had its origin in the human will, but prophets, though human, spoke from God as they were carried along by the Holy Spirit.” Unlike 2 Tim. 3:16, this verse gives a description of the mechanism by which God is involved in scriptural production: the Holy Spirit “carries along” humans speaking from God. Again, however, if this is to be taken as a description of the entirety of the Christian Bible, it must encompass a wide variety of literary phenomena.

As in 2 Tim. 3:16, the emphasis is on the authority and divine origin of Scripture rather than on the worldly history of the Bible. Like the adjective “God-breathed,” the Holy Spirit’s “carrying along” of the prophets is figurative and anthropomorphic, and the expression leaves many questions unanswered regarding the mode of revelation. Nevertheless, the specific mention of the role of the Holy Spirit as the divine agent of scriptural production sheds light on the term theopneustos in 2 Tim. 3:16. This is consistent with the citation formula in Acts 4:25, which quotes Ps. 2:1–2 by saying, “You [God] spoke by the Holy Spirit through the mouth of your servant, our father David.” This verse highlights several facets of the notion of the inspiration of Scripture: its character as divine speech, the agency of the Holy Spirit, and the concurrence of divine and human authorship.

The Hebrew word ’erets occurs 2,505 times in the OT and is most frequently translated “country” or “land.” “Earth” renders the Greek word gē in the NT. Not surprisingly, ’erets appears 311 times in Genesis alone, the book that initiates Israel’s landed covenant (Gen. 15:18). The primary uses of ’erets are cosmological (e.g., the earth) and geographical (e.g., the land of Israel). Other uses of ’erets include physical (e.g., the ground on which one stands) and political (e.g., governed countries) designations. Less frequently, “earth” translates the Hebrew word ’adamah (“country, ground, land, soil”).

Heaven and Earth

Israel shared the cosmology of its ancient Near Eastern neighbors. This worldview understood the earth as a “disk” upon the primeval waters (Job 38:13; Isa. 40:22), with the earth having four rims or “corners” (Ps. 135:7; Isa. 11:12). These rims were sealed at the horizon to prevent the influx of cosmic waters. God speaks to Job about the dawn grasping the edges of the earth and shaking the evil people out of it (Job 38:12–13). Similarly, the Akkadian text Hymn to the Sun-God states, “You [Shamash] are holding the ends of the earth suspended from the midst of heaven” (I:22). The earth’s boundaries were set against chaos (Ps. 104:7–9; Isa. 40:12). In this way, the Creator and the Savior cannot be separated because, taken together, God works against chaos in the mission of redemption (Ps. 74:12–17; Isa. 51:9–11). The phrase “heavens and earth” is a merism (two extremes representing the whole) for the entire universe (Gen. 1:1; Ps. 102:25). Over the earth arched a firm “vault” (Gen. 1:6). Heaven’s vault rested on the earth’s “pillars,” the mountains (Deut. 32:22; 1 Sam. 2:8). Below the heavens is the sea, part of the earth’s flat surface.

There was no term for “world” in the OT. The perception of world was basically bipartite (heaven and earth), though some tripartite expressions also occur (e.g., heaven, earth, sea [Exod. 20:11; Rev. 5:3, 13]). Though rare, some uses of ’erets may refer to the “underworld” or Sheol (Exod. 15:12; Jer. 17:13; Jon. 2:6). The earth can be regarded as the realm of the dead (Matt. 12:40; Eph. 4:9). However, the OT is less concerned with the organic structure of the earth than with what fills the earth: inhabitants (Ps. 33:14; Isa. 24:1), people groups (Gen. 18:18; Deut. 28:10), and kingdoms (Deut. 28:25; 2 Kings 19:15). The term ’erets can be used symbolically to indicate its inhabitants (Gen. 6:11). However, unlike its neighbors, Israel acknowledged no divine “Mother Earth,” given the cultural associations with female consorts.

The Theology of Land

In biblical faith, the concept of land combines geography with theology. The modern person values land more as a place to build than for its productive capacities. But from the outset, human beings and the “earth” (’erets) functioned in a symbiotic relationship with the Creator (Gen. 1:28). God even gave the land agency to “bring forth living creatures” (Gen. 1:24). The “ground” (’adamah) also provided the raw substance to make the human being (’adam [Gen. 2:7]). In turn, the human being was charged with developing and protecting the land (Gen. 2:5, 15). Showing divine care, the Noahic covenant was “between [God] and the earth” (Gen. 9:13). Thus, land was no mere onlooker; human rebellion had cosmic effects (Gen. 6:7, 17). The land could be cursed and suffer (Gen. 3:17; cf. 4:11).

Israel’s promised land was built on the sanctuary prototype of Eden (Gen. 13:10; Deut. 6:3; 31:20); both were defined by divine blessing, fertility, legal instruction, secure boundaries, and were orienting points for the world. Canaan was Israel’s new paradise, “flowing with milk and honey” (Exod. 3:8; Num. 13:27). Conversely, the lack of fertile land was tantamount to insecurity and judgment. As Eden illustrated for Israel, any rupture of relationship with God brought alienation between humans, God, and the land; this could ultimately bring exile, as an ethically nauseated land “vomits” people out (Lev. 18:25, 28; 20:22; see also Deut. 4; 30).

For Israel, land involved both God’s covenant promise (Gen. 15:18–21; 35:9–12) and the nation’s faithful obedience (Gen. 17:1; Exod. 19:5; 1 Kings 2:1–4). Conditionality and unconditionality coexisted in Israel’s relationship of “sonship” with Yahweh (Exod. 4:22; Hos. 11:1). Yahweh was the earth’s Lord (Ps. 97:5), Judge (Gen. 18:25), and King (Ps. 47:2, 7). Both owner and giver, he was the supreme landlord, who gifted the land to Israel (Exod. 19:5; Lev. 25:23; Josh. 22:19; Ps. 24:1). The land was God’s “inheritance” to give (1 Sam. 26:19; 2 Sam. 14:16; Ps. 79:1; Jer. 2:7). The Levites, however, did not receive an allotment of land as did the other tribes, since God was their “portion” (Num. 18:20; Ps. 73:26). Israel’s obedience was necessary both to enter and to occupy the land (Deut. 8:1–3; 11:8–9; 21:1; 27:1–3). Ironically, the earth swallowed rebellious Israelites when they accused Moses of bringing them “up out of a land flowing with milk and honey” (Num. 16:13). As the conquest shows, however, no tribe was completely obedient, taking its full “inheritance” (Josh. 13:1).

Land possession had serious ethical and religious ramifications (Deut. 26:1–11). Israel was not chosen to receive a special land; rather, land was the medium of Israel’s relationship with God. Land functioned as a spiritual barometer (Ps. 78:56–64; Lam. 1:3–5). The heavens and earth stood as covenant witnesses (Deut. 4:26). Blood, in particular, could physically pollute the land (Num. 35:30–34). National sin could culminate in expulsion (Lev. 26:32–39), and eventually the land was lost (Jer. 25:1–11). For this reason, Israel’s exiles prompted a profound theological crisis.

Inheritance

The notion of inheritance connected Israel’s religious worship with practical stewardship. Land was not owned; it was passed down through patrimonial succession. God entrusted each family with an inheritance that was to be safeguarded (Lev. 25:23–28; Mic. 2:1–2). This highlights the serious crime when Naboth’s vineyard was forcibly stolen (1 Kings 21). It was Israel’s filial sonship with Yahweh and Israel’s land tenure that formed Yahweh’s solidarity with the nation. The law helped limit Israel’s attachment to mere real estate: Yahweh was to be Israel’s preoccupation (see Jer. 3:6–25). When the nation was finally exiled, the message of the new covenant transcended geographical boundaries (Jer. 32:36–44; Ezek. 36–37; cf. Lev. 26:40–45; Deut. 30:1–10). In postexilic Israel, sanctuary was prioritized (Hag. 1:9–14).

It was Israel’s redefinition of land through the exile that prepared the way for the incorporation of the Gentiles (Ezek. 47:22–23), an integration already anticipated (Isa. 56:3–7). The prophets saw a time when the nations would share in the inheritance of God previously guarded by Israel (Isa. 60; Zech. 2:11; cf. Gen. 12:3). Viewed as a political territory, land receives no substantial theological treatment in the NT; rather, inheritance surpasses covenant metaphor. Using the language of sonship and inheritance, Paul develops this new Gentile mission in Galatians (cf. Col. 1:13–14). The OT land motif fully flowers in the NT teaching of adoption (cf. 1 Pet. 1:3–5). Both curse and covenant are resolved eschatologically (Rom. 8:19–22). Inheritance is now found in Christ (Eph. 2:11–22; 1 Pet. 1:4). In the economy of the new covenant, land tenure has matured in fellowship (koinōnia). Koinōnia recalibrates the ethical significance of OT land themes, reapplying them practically through inclusion, lifestyle, economic responsibility, and social equity.

Beyond cosmological realms, heaven and earth are also theological horizons still under God’s ownership. What began as the creation mandate to fill and subdue the earth (Gen. 1:28) culminates in the new creation with Christ (Rom. 8:4–25). Under the power of Satan, the earth “lags behind” heaven. Christ’s mission brings what is qualitatively of heaven onto the earthly stage, often using signs of the budding rule of God (Matt. 6:10; Mark 2:10–11; John 3:31–36; Eph. 4:9–13; Heb. 12:25). As Israel was to stand out in a hostile world (Deut. 4:5–8), now those of Abrahamic faith stand out through Christian love (John 13:34–35; Rom. 4:9–16). According to Heb. 4:1–11, Israel’s initial rest in the land (see Exod. 33:14; Deut. 12:9) culminates in the believers’ rest in Christ (Heb. 4:3, 5). The former inheritance of space gives way to the inheritance of Christ’s presence. The OT theme of land is ultimately fulfilled in Jesus’ exhortation to “abide in me” (John 15).

Earthquake–In Palestine there have been about seventeen recorded major earthquakes in the past two millennia. One of the major sources of these earthquakes is believed to originate from the Jordan Rift Valley. In antiquity earthquakes were viewed as fearful events because the mountains, which represented everlasting durability, were disturbed. The confession of faith is pronounced in association with such phenomena (“We will not fear, though the earth give way” [Ps. 46:2]). An earthquake must have made a great impact in Amos’s day (“two years before the earthquake” [Amos 1:1; cf. Zech. 14:5]).

An earthquake has many symbolic meanings. First, the power of God and his divine presence are manifested through it (Job 9:6; Ps. 68:8; Hag. 2:6). It accompanied theophanic revelation (Exod. 19:18; Isa. 6:4; 1 Kings 19:11–12) when the glory of the Lord appeared (Ezek. 3:12). His divine presence was especially felt when earthquakes occurred during the time of the crucifixion and the resurrection of Jesus Christ (Matt. 27:54; 28:2). It led the centurion to confess of Christ, “Surely he was the Son of God!” (Matt. 27:54). God’s salvation power is represented when an earthquake comes at the appropriate moment, such as when it freed Paul and Silas from prison (Acts 16:26).

Second, it is used in the context of God’s judgment (Isa. 13:13; Amos 9:1; Nah. 1:5). It becomes the symbol of God’s anger and wrath (Ps. 18:7). God brought earthquakes upon the people to destroy evil in the world and to punish those who had sinned against him (Num. 16:31–33; Isa. 29:6; Ezek. 38:19). Earthquake activity possibly explains the background to the story of Sodom and Gomorrah (Gen. 19:24).

Third, earthquakes are said to precede the end of time (Matt. 24:7; Mark 13:8; Luke 21:11). In the apocalyptic book of Revelation, earthquakes are regular occurrences (Rev. 6:12; 11:13, 19; 16:18).

A Greek term meaning “word,” a title given to Jesus Christ that indicates his preexistent divine nature and his identity as the climactic revelation of God (John 1:1, 14; 1 John 1:1; Rev. 19:13).

Philosophical and Old Testament Backgrounds

The background of the Logos concept is complex. It has roots in both Greek philosophy (Stoicism) and the OT. Both of these likely influence to some degree the NT use of the term, but neither is decisive. The NT goes its own way in defining the Logos. The Logos is adapted to fit the unique NT context and redefined in a historical person, Jesus of Nazareth.

In Stoic thought, Logos was Reason, the impersonal rational principle governing the universe. Stoicism understood Logos as the omnipresent force used by God to create and sustain the world. Logos held the intricate workings of the world together. Philo, a Hellenistic Jewish philosopher, taught that the Logos was the ideal, primal human being from whom all other human beings derived.

Although the Stoic background of the Logos likely bears at least some influence on the NT use, the OT probably has a more direct influence. The Logos in the OT is closely associated with the Wisdom tradition (Prov. 8). Wisdom is personified as the “master worker” at God’s side during creation (8:30 NRSV). Similarly, Wisdom was “established from everlasting, from the beginning, before there was ever an earth” (8:23 NKJV). Wisdom, like the NT Logos, claims preexistence and participation in God’s creative activity.

The OT depiction of God’s Word as the agent of creation is perhaps an even more direct influence (Gen. 1). The phrase “In the beginning” (John 1:1) clearly echoes the introduction of the creation account (Gen. 1:1). The repeated phrase “And God said” in Gen. 1 illustrates how God is so powerful that he creates simply by speaking creation into existence. God’s Word is the powerful agent of creation (Ps. 33:6). In summary, God’s Wisdom and Word are both active agents in creation.

God’s Word is largely an impersonal force in Gen. 1, but it develops more personal characteristics in Isa. 55:9–11. God’s personified Word is sent by God in order to accomplish a specific divine purpose that will not fail (v. 11). It also returns to God, who sent it, after accomplishing its mission (v. 11). God’s Word functions as his personal and effective speech as it reveals God’s perfect will. Like Wisdom, God’s Word is personified and reveals God’s will to humanity, accomplishing its divinely ordained purpose. The Word of God as exemplified in Isa. 55 probably has the most direct influence on the NT use of the Logos.

New Testament Usage

Scholars debate which of the aforementioned concepts is the primary influence for the NT use of the Logos. Perhaps each bears at least some degree of influence, but more importantly, each is adapted and altered to fit the unique christological context of the NT. The NT goes its own way in defining the Logos; it is defined in the historical flesh-and-blood person of Jesus of Nazareth (John 1:14; 1 John 1:1; Rev. 19:13).

What is an impersonal force in Stoicism and the OT becomes profoundly personal in the NT. Similar to Stoic Reason, all creation is created by and through the Logos (John 1:3) and is even held together by him (Col. 1:16–17). But unlike Stoic Reason, the NT Logos is no abstract metaphysical principle but rather the historic person Jesus Christ. And unlike personified Wisdom, which was created by God (Prov. 8:22–25), the NT Logos exists eternally as God and was “with” God in the beginning (John 1:1–2). Where Wisdom is present with God and is one of his attributes, the NT Logos is God as the Second Person of the Godhead. Further, the Word of God in the Genesis creation narrative is largely an impersonal force by which God creates the universe, whereas Jesus is the personal agent of creation (John 1:3; Col. 1:16–17).

Finally, although Isaiah’s Word of God is God’s effective speech that leads to action and accomplishes its purpose, it remains impersonal. The NT language is strikingly similar to Isaiah’s Word of God, as Jesus is “sent” by the Father to do his will (John 4:34) and completes the work that God has given him to do (John 17:4). But while the Word of God in Isaiah remains a personification, the NT Logos refers to an actual historical person, the incarnate Lord Jesus Christ. The Word takes on flesh-and-blood humanity in Jesus and is the uniquely personal revelatory message of God. Jesus preached the Word with his mouth, enacted the Word with his actions, and embodied the Word in his person. “The Word became flesh and made his dwelling among us” (John 1:14).

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The English word derives from the Latin omnis (“all”) and sciens (“knowing”). Though not found in Scripture, the term accurately describes an exclusively divine attribute. God has perfect infinite knowledge of himself and everything actual and possible (1 Sam. 23:8–13; Job 37:16; Pss. 33:13–15; 139:2–6, 11–12; 147:5; Prov. 15:3; Isa. 40:14; 46:10; Dan. 2:22; Matt. 11:21–23; John 21:17; Acts 15:18; 1 Cor. 2:10–11; Heb. 4:13; 1 John 3:20). God’s omniscience is eternal, encompassing all things past, present, and future. It includes complete knowledge of all human choices, the occurrence of all events, and the outworking of all contingencies.

The Bible often refers to songs, music, musical sounds and instruments, and dancing. We can infer several details about the instruments from their descriptions in the Bible as well as from archaeological finds and other ancient texts. NT references to music are scant; the OT material may be supplemented by ancient Near Eastern resources from Egypt, Canaan/Israel, Ugarit, and Mesopotamia.

Music

Style. In all likelihood, Israel’s music sounded much like that of its neighbors. This conjecture is particularly strengthened by findings from Ugarit, a city on the Syrian coast across from Cyprus. These findings, roughly from the time of the judges, mention some of the same musical instruments found in the Bible, some of which have been uncovered by archaeologists. The style of the poetry is very similar to the Song of Deborah (Judg. 5). Lyrically, some of the descriptions and titles used by the Canaanites for Baal are applied by Israel to Yahweh, to assert that he is the true God who has these attributes. Given these similarities in text, poetic style, and instrumentation, it is most probable that Israel’s music sounded much like that of its neighbors. Still, there is some evidence for regional styles. The direction to play psalms “according to gittith” (superscription to Pss. 8; 81; 84) may refer to the style of Gath, and similar regional interpretations are proposed for other directions in the psalms.

Lyrics. The lyric side of Israel’s songs exhibits rhythm and deliberate structure. The most obvious planned structure is the alphabetic acrostic, where the poet or songwriter composes one or more verses to begin with successive letters of the Hebrew alphabet. But the psalms exhibit many other structures involving symmetries and balance, such as equal halves, centered lines, symmetrical patterns of stanza length, and other features. The lines themselves usually demonstrate balance among their parts, having similar numbers of beats or accented syllables. Several lament poems exhibit a particular pattern known as qinah meter, which presumably also fits a musical template.

Performance. The performance of the psalms was, on at least some occasions, accompanied by multiple instruments and performed in a choir to achieve the volume necessary for community gatherings, which had no amplification equipment. It is generally assumed, though not known, that all choir members sang melody rather than in parts. They may well have integrated solo performances and musical interludes. From the poetry of the psalms, we observe different speaking voices. That is, in some instances, we hear the voice of the king, or of the people generally, or an official who addresses the audience, or a priestly or prophetic speaking voice, even the words of God himself. This is very suggestive that public performance may have brought different singers to the foreground at different times. There are also poems that employ a repeated refrain, suggesting an antiphonal performance, and others in which the priests or people in Jerusalem take up parts different from those of the arriving worshipers. While the exact execution of these songs is speculative, these elements suggest a certain amount of pageantry, at least for community settings. David is responsible for setting up Israel’s musical orders for the temple, with professional musicians with rotating responsibilities (1 Chron. 16; 25).

Instruments

Strings. The most frequently mentioned instrument is the kinnor, a lyre, also often referred to as a harp. The sound box of the harp is at the base, from which a straight or curved neck rises at a sharp angle so that the strings going from the box to the neck are of different length. The lyre has two uprights and a crosspiece on top, from which the strings of similar length stretch down to the sound box. The kinnor-lyre had eight to ten strings (based on Akkadian and Ugaritic findings and Jewish descriptions) and could be played with a pick or by hand. David’s “harp” was such a lyre. The “harp” mentioned in the NT (1 Cor. 14:7; Rev. 5:8; 14:2; 15:2) probably was also a lyre. Another OT lyre, or perhaps a harp, the nebel, complemented the kinnor-lyre. Jewish tradition about the strings implies that it produced a lower sound. The nebel-lyre is most often mentioned with other instruments, though occasionally alone. Another stringed instrument mentioned three times, the ’asor, may have been a harp or a lyre with ten strings (Pss. 33:2; 92:3; 144:9). In Pss. 45:8; 150:4 there is mention of “the strings,” which may refer to more than just the stringed instruments specifically mentioned in the Bible. The ancient world also had lutes, an instrument with a long, straight neck, fretted like a guitar or ukulele, proceeding from a small sound box.

Percussion. Timbrels, cymbals, and castanets or rattles are percussion instruments mentioned in the Bible. The timbrel, also known from Egypt and Ugarit, was a hand drum, like a tambourine but without metal jingles. The timbrel accompanies dancing and may have been used by the dancers (Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). Cymbals may have been paired or individual, but it is not certain whether these latter were suspended cymbals or finger cymbals, being four to six inches in diameter. In 2 Sam. 6:5 there is mention of another percussion instrument, mena’an’im (the root of this word means “to shake”), perhaps “sistrums” (NIV) or “castanets” (NASB) (although the KJV renders it as “cornets”). Egyptian sistrums were small, forked, metal instruments with three sliding crossbars that had hooked ends. Archaeologists have also found rattles made of pottery, with ceramic balls inside. Castanets were small hand-clappers joined with a string. Israel likely had all of these, though it is hard to know which is referred to in 2 Sam. 6:5. The cymbal is mentioned once in the NT (1 Cor. 13:1), though not as musically pleasing in that context.

Woodwinds and horns. The OT attests to both an animal horn, most frequently called a shopar, and a metal trumpet, the khatsotserah (Num. 10:2–10). The NT refers to a horn with a word used to translate both OT terms (salpinx). The ancient world had both flutes and shawms. Shawms have a bell-like flare at the end, while the shaft of a flute is straight to the end. What is likely a double-reed shawm is frequently translated “flute” (1 Sam. 10:5; 1 Kings 1:40; Isa. 5:12; 30:29; Jer. 48:36 [NIV: “pipes”]). It is unclear whether the instrument mentioned in Gen. 4:21; Ps. 150:4 commonly translated as “flute” is a woodwind or a stringed instrument. The NT also mentions a flute or reed instrument (Matt. 11:17; 9:23; 1 Cor. 14:7; Rev. 18:22) that could be played for dancing or mourning.

Simplicity and complexity. Instruments such as horns, trumpets, and some percussion instruments were not used only for making music. The blowing of the ram’s horn or the trumpet might be used to sound the alarm, convene an assembly, or in preparation for an announcement. Aaron was to wear metal bells on the hem of his robe when entering the holy place (Exod. 28:33–35). Some of the percussion instruments may have been used to augment dance and keep rhythm more than to make music for singing. The strings were the primary instruments to accompany singing, though they were not necessarily accompanied by song.

A few Assyrian texts treat the tuning and playing of music with technical notations. From their string designations and tuning directions we can infer that their scales utilized seven notes as in the modern octave (seven notes plus one repeating). The notes for tuning stringed instruments suggest that the tunings produced different scales. Musical theory, then, was not completely absent. Many of the pictorial representations of musicians from Egypt and Mesopotamia include multiple instruments being played together (cf. Nebuchadnezzar’s instructions in Dan. 3:5, 7, 10, 15 and David’s celebration in 2 Sam. 6:5). These are not simply multiple kinds of noisemakers, although community gatherings would require volume. Rather, they exhibit a sense of understanding which instruments complemented each other well. While the singing of the ancient Near East no doubt included chanting, singing with multiple instruments suggests something more melodious than mere chanting interspersed with the strumming of a lute. This music could be styled to fit different moods, to soothe, to celebrate, to mourn, to worship. It is reasonable to suggest that the music accompanying the psalms reflected the wide range of emotions mentioned in the text.

Dancing

The dancing mentioned in the Bible is usually celebratory and positive and is combined with singing or the playing of musical instruments. Such dancing may occur at any happy occasion but is mentioned most often in connection with victory or worship (e.g., Exod. 15:20; Judg. 11:34; 1 Sam. 18:6). The women of Shiloh “join in the dancing” (Judg. 21:21) at an annual festival, which implies some manner of folk dancing. The dancing of Herodias’s daughter probably was erotic (Matt. 14:6; Mark 6:22), and the dancing of the Israelites around the golden calf probably was laden with sensuality as well (Exod. 32:19).

The word “providence” comes from the Latin word providentia, which means “foresight.” However, the modern theological use of the term refers not to foresight or foreknowl-edge per se but rather to how God continues to sustain and guide his creation. There is no single term in either the OT or the NT that translates as “providence.” The one time the word occurs in the NIV (Job 10:12), the Hebrew word (peqqudah) is one that the NIV in other places usually translates with words such as “care,” “charge,” or “oversight.” The concept of divine providence comes not from any one word but rather from numerous statements in the Bible that speak of God’s continuing supervision of his world. The biblical data can perhaps best be organized under four headings: created order, world history, salvation history, and individual history. These headings are, however, not discrete; they continually intersect.

Created Order

Scripture testifies in numerous places to God’s ongoing supervision of his creation. The psalms play a special role here. As one commentator has remarked, there are no nature lyrics in the psalms, only admiration and awe at how God runs his world. God actively cares for the land and waters it, causes grass to grow, plants trees, and makes sure that they are well watered (Pss. 65:9; 104:14, 16). God brings darkness on the land and tells the sun when to set and when to rise (Ps. 104:19–20). God is the zookeeper who makes sure all the animals are fed (Ps. 104:27). Every birth of every living creature is regarded as a new creative work of God, and he constantly renews the face of the earth (Ps. 104:30).

God blankets the earth with snow and lays down a sheet of frost (Ps. 147:16). When the snow and frost melt, it is because God commanded it by his word and sent breezes to make the melting waters flow (Ps. 147:18). Hail, snow, clouds, and stormy winds do their Master’s bidding (Ps. 148:8). God commands the morning to dawn and keeps the snow and hail in storehouses, ready to be deployed on the day of battle (Job 38:12, 22–23). The sea waves roar because God stirs them up (Jer. 31:35). God even speaks of being in a covenant relationship with his creation (Jer. 33:20, 25).

In the NT, we find that Jesus Christ himself sustains “all things by his powerful word” (Heb. 1:3). In him “all things hold together” (Col. 1:17).

World History

What happens on the world scene is under God’s sovereign control. If the nations are scattered over the world and speak different languages, it is because God made it so (Gen. 11:1–9). God determines whether the nations are blessed or cursed (Gen. 12:3). God is the one who has apportioned each nation’s inher-i-tance and has established their boundaries (Deut. 32:8). Yahweh is the God of Israel, which is his special possession, but he has also appointed deities for the other nations to worship (Deut. 4:19 [evidently false gods, but still under Yahweh’s sovereignty]). He judges the world and carries out justice for the peoples, foils the plans of the nations, forms the hearts of all people, reigns over the nations and guides them (Pss. 9:8; 33:10, 15; 47:8; 67:4).

It is by God’s sanction that kings reign, and a king’s heart is like a watercourse, which God can redirect at will (Prov. 8:15; 21:1). God “does as he pleases with the powers of heaven and the peoples of the earth” (Dan. 4:35). All thrones, powers, rulers, and authorities “were created through him and for him” (Col. 1:16). God is actively working to bring the whole universe and all peoples and nations under one head, his Son, Christ Jesus (Eph. 1:10).

Salvation History

Within world history, God has also worked through one particular people, the Israelites, to accomplish his redemptive purposes. When Joseph told his brothers that what they had intended to do to him for evil, God had intended for good, for “the saving of many lives” (Gen. 50:20), he may not have fully realized how much his words were in accord with, and could even be said to summarize, redemptive history. God took the harm that Joseph’s brothers intended and used it to fulfill the promises that he had made years earlier to Abraham with regard to what would happen to his descendants (Gen. 12:1–3). In the early chapters of Exodus, God’s sovereignty over the “forces of nature” intersects with his deliverance of the Israelites in the plagues that he brings on the Egyptians. Of course, God had raised up Pharaoh for the very purpose of displaying his own glory in victory over Pharaoh and “all the gods of Egypt” (Exod. 9:16; 12:12; cf. Rom. 9:17).

Throughout the ensuing Israelite history, God demonstrates his providential care for the Israelites. The Jews return from their Babylonian captivity because God raised up Cyrus, even though Cyrus did not acknowledge him (Isa. 44:28–45:13), for the very purpose of issuing the decree that allowed them to return. Even in narratives in which God’s name is not mentioned, such as the book of Esther, we are to understand that God is directing the action, and certainly the narrator wants us to connect the account of the origin of the festival of Purim (“lots”) with the idea that “the lot is cast into the lap, but its every decision is from the Lord” (Prov. 16:33).

In the NT the act that secures our redemption, the crucifixion of Jesus, is not an unforeseen occurrence that God makes the best of; rather, the death of Jesus is that which he himself would “accomplish” (Luke 9:31 NRSV [NIV: “bring to fulfillment”]). No one takes Jesus’ life from him; he lays it down of his own accord (John 10:18). Jesus even gives Judas Iscariot directions on the night of his betrayal (John 13:27). What happens in the crucifixion is in accord with “God’s deliberate plan and foreknowledge” (Acts 2:23) and with what his “power and will had decided beforehand should happen” (4:28).

Individual History

Jesus promises that for those who seek the kingdom of God, “all these things will be given to you as well” (Matt. 6:33). If God feeds the birds of the air and clothes the grass of the field, much more will he take care to feed and clothe us (Matt. 6:26, 30). Indeed, “in all things God works for the good of those who love him, who have been called according to his purpose” (Rom. 8:28).