The word “enemy” primarily translates the Hebrew word ’oyev and the Greek word echthros. The word ’oyev occurs almost three hundred times in the OT, with several uses. Other terms commonly occur in parallel with ’oyev (in the NIV, these are generally translated as “enemy”): “adversary” (tsar [Ps. 27:2; Mic. 5:9]), “foe” (tsorer [Exod. 23:22; Ps. 23:5]), “hating one” (sone’ [Deut. 30:7]), and “one rising up” (qam [Ps. 18:48; NIV: “foes”]). Saul was a personal enemy of David (1 Sam. 18:29; 24:4, 19). Other pairs of enemies include David and Ish-Bosheth (2 Sam. 4:8), and Ahab and Elijah (1 Kings 21:20).

In most occurrences, Israel’s politico-military enemies are in view: Midianites, Assyrians, Babylonians, and often the Philistines. Periods of national peace and rest were the exception rather than commonplace (Lev. 26:6; Josh. 14:15; 2 Sam. 10:19). Neighboring nations routinely harassed and oppressed Israel (Deut. 1:42; Josh. 7:8; 1 Kings 8:33; Mic. 4:10). International fighting against Israel was viewed as divine judgment (Deut. 28:25–26, 31, 48, 68; Judg. 2:14). As the supreme warrior, Yahweh could crush his enemy (Exod. 15:6; cf. Isa. 1:24; Nah. 1:2). More startling are human claims that God was acting as their enemy: the captive Israel made such a claim (Jer. 30:14; Lam. 2:4–5), as did Job (Job 13:24).

The OT commonly refers to a national enemy, as does the NT (e.g., Luke 1:71: “salvation from our enemies and from the hand of all who hate us”). The NT also speaks of enemies in a more personal sense. Jesus acknowledged that believers have personal enemies (Matt. 5:44). Sinners were God’s enemies (Rom. 5:8–10), but Satan remained God’s adversary (Matt. 13:24–30; Luke 10:19).

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.

A wooden walking stick that could have various functions. In ancient times, people did considerable amounts of walking. The ground in Israel is very uneven and rocky, making a walking stick a useful item (Gen. 32:10; Matt. 10:10). It is likely that walking sticks were customized so that they could serve as identification (Gen. 38:25).

Besides their utilitarian purpose, a rod or staff also came to denote an office and/or one’s authority. Military figures carried staffs that indicated their status (Judg. 5:14), and Gen. 49:10 predicts that the ruler’s staff will not depart from the tribe of Judah. Shepherds also carried a staff (Ps. 23:4; Mic. 7:14).

Sometimes a staff signified the presence of God with an individual. It was symbolic of the tree from which it was made, and a tree sometimes symbolically represented God. For this reason, some divine signs are associated with a raised staff. This was the case of Aaron’s staff. The Red Sea split after Moses extended his rod, and the Israelites had the better of the Amalekites on the battlefield as long as Moses kept the rod above his head. See also Aaron’s Rod.

A shadow may refer to shade generally, darkness, or to a specific shadow cast by something; “shadow” and “shade” also have other uses by extension. Perhaps because shade is a protection from the heat of the sun, shade and shadow are metaphors for protection (Pss. 91:1; 121:5; Isa. 49:2), as in the phrase “shadow of [God’s] wings” (Pss. 17:8; 36:7; 57:1; 63:7). Since shadows change through the day and pass away, shadow becomes a metaphor for brevity, particularly the brevity of life (1 Chron. 29:15; Job 8:9; 14:2; Pss. 102:11; 109:23; 144:4), and for change (James 1:17 [though this text has other interpretations]). As darkness, shadow sometimes refers to a place to hide (Job 34:22) or to gloom or danger (Pss. 44:19; 107:10, 14; Isa. 9:2; Jer. 2:6). The “land of darkness and deep shadow” appears to be a reference to death (Job 10:21 ESV, NASB). And since a shadow’s shape resembles the outline of what casts the shadow, shadow may refer to that similarity as a copy, however imperfect (Col. 2:17; Heb. 8:5; 10:1).

Two miracles involved shadows. God gave Hezekiah a miraculous sign by moving the shadow on the steps backward (2 Kings 20:9–11). As people believed the apostles’ message, they brought the sick to Solomon’s Colonnade, where they were healed when Peter’s shadow fell on them (Acts 5:12–16).

The Hebrew word for “deep darkness,” tsalmawet, was seen as two words by LXX translators and rendered as “shadow of death” (skia thanatou). This wording came into the NT as a quotation or allusion (Matt. 4:16; Luke 1:79). Texts discovered from around the time of the judges in Ugaritic, a language closely related to Hebrew, have shown that tsalmawet is one word, meaning “deep darkness” or “gloom.” Modern translations have tended to change the rendering of this word, but some may leave “shadow of death” in Ps. 23:4 because of the popularity of this traditional wording.

Shepherds were pastoralists who herded sheep and goats for meat, milk, clothing, and sacrifices. Shepherding was an integral part of life and a potent symbol in Israelite culture, reflected in biblical portrayals of Abel (Gen. 4:2), Moses (Exod. 3:1), David (1 Sam. 16:11), and Jesus (Luke 2:8–20; John 10:11, 14).

A shepherd could herd his or her own flock (Gen. 30:37–43). Sons (Gen. 37:2), daughters (Gen. 29:6, 9), or hirelings (Gen. 13:7; 1 Sam. 25:7; Luke 17:7) could assume the task. As agriculture developed and crops were cultivated, shepherds became marginalized (note that it was the youngest son of Jesse, David, who tended the sheep [1 Sam. 16:11–13]) and even despised (Gen. 46:34). Shepherds could live in villages, daily herding their flock to and from nearby arable land (Gen. 29:7–14). Once all the grazing land had been consumed, shepherds led the flock to pastureland far enough from town to prohibit daily returns. They would then live a seminomadic existence, wandering when new grazing land and water were needed (Gen. 37:12; cf. Isa. 13:20). Shepherds constructed makeshift enclosures out of available materials (stones, brush) or used a cave and remained with the flock throughout the night (Gen. 31:40; Song 1:8; Luke 2:8).

A shepherd’s tools included a clublike rod used to guard the flock and fend off predators and thieves (Gen. 31:39; Isa. 31:4; Mic. 7:14) and as a tool for dividing the flock (Lev. 27:32; Jer. 33:13); a crook or staff to retrieve strays and injured (Ezek. 34:16; Zech. 11:7); a sling and some sort of pouch (1 Sam. 17:40); and even dogs (Job 30:1). A shepherd was held accountable for any losses in the flock and was required to pay restitution (Gen. 31:39; Exod. 22:10–13).

The vital role of shepherding in ancient Near Eastern culture naturally led to the metaphorical use of the term to refer to both civil authorities (Num. 27:17; 1 Kings 22:17; Isa. 44:28; Ezek. 34:1–19) and deity (Gen. 48:15; 49:24; Pss. 23:1; 78:52), both in Israel and among its neighbors. Both the exodus (Exod. 15:13, 17; Ps. 78:52–55, 71–72) and the return from Babylonian exile (Ps. 44:11–23; Jer. 23:1–8; 31:8–14) are portrayed in pastoral terms as Yahweh shepherding his people to safe pasture. In the NT, Jesus called himself the “good shepherd” (John 10:1–16), and the metaphor is extended to church leaders who are to imitate the good shepherd in their provision and protection of God’s people (Acts 20:28; 1 Pet. 5:1–3).

A wooden walking stick that could have various functions. In ancient times, people did considerable amounts of walking. The ground in Israel is very uneven and rocky, making a walking stick a useful item (Gen. 32:10; Matt. 10:10). It is likely that walking sticks were customized so that they could serve as identification (Gen. 38:25).

Besides their utilitarian purpose, a rod or staff also came to denote an office and/or one’s authority. Military figures carried staffs that indicated their status (Judg. 5:14), and Gen. 49:10 predicts that the ruler’s staff will not depart from the tribe of Judah. Shepherds also carried a staff (Ps. 23:4; Mic. 7:14).

Sometimes a staff signified the presence of God with an individual. It was symbolic of the tree from which it was made, and a tree sometimes symbolically represented God. For this reason, some divine signs are associated with a raised staff. This was the case of Aaron’s staff. The Red Sea split after Moses extended his rod, and the Israelites had the better of the Amalekites on the battlefield as long as Moses kept the rod above his head. See also Aaron’s Rod.

From the Latin word tabula (“board”), “table” first denoted any flat surface, but especially one of wood or stone used for writing (Exod. 20:2–17). The Ten Commandments were originally inscribed upon two tables of stone. Eventually “table” in this sense was replaced by “tablet” (see Tablet).

Tables were used for eating, working, and displaying objects: domestic tables (Judg. 1:7; 1 Sam. 20:29), temple tables of Yahweh (2 Chron. 4:8; Ezek. 40:39–43) or of heathen gods (Isa. 65:11), the “Lord’s table” (Mal. 1:7, 12), and the table for the bread of the Presence in the sanctuary (Exod. 25:23–30; 1 Kings 7:48; Heb. 9:2).

Tables found in the ancient Near East usually stood no more than eighteen inches high. Most were made of wood (2 Kings 4:10), but the wealthy had tables of ornate stone. It was a great honor to be invited to eat at or be given food from the king’s table (2 Sam. 9:7, 10–13; 1 Kings 2:7; 4:27; Dan. 1:5). The custom of the rich reclining on couches around a low table (Amos 6:4; cf. 3:12) became commonplace in NT times. Although dining at a table was customary (Luke 22:21; Acts 6:2), to eat under the table was for dogs and the despised (Judg. 1:7; Matt. 15:27; Mark 7:28; Luke 16:21). Money changers used tables as stands where money was exchanged (Matt. 21:12; Mark 11:15).

Figuratively, “table” was used to represent the meal on which it was served. In the ancient Near East, eating with others expressed intimate fellowship and trust, yet Jesus shared table fellowship with Judas (Luke 22:21). At the Lord’s Table (i.e., Communion, Eucharist), Jesus is the host, who invites us to remember him as we eat (1 Cor. 10:21; 11:23–26). The imagery of a banquet table of thanksgiving is used to depict God’s provision for his people (Pss. 23:5; 78:19).

A banquet is a joyful celebration, usually involving wine, abundant food, music, and dancing. Banquets celebrated special occasions such as the forging of a relationship (Gen. 26:26–30), the coronation of a king (1 Chron. 12:28–40), the completion of the temple (2 Chron. 7:8), victory over one’s enemies (Gen. 14:18–19; Ps. 23:5), weddings (Gen. 29:22; John 2:1–11; Rev. 19:9), birthdays of royals (Mark 6:21), and the reunion of estranged relatives (Luke 15:23–24). Banquets also symbolized one’s status, since they were by invitation only. One’s seating arrangement corresponded to one’s social status in the group, since there were “higher” and “lower” positions (Luke 14:8–9). During the meal, people reclined on bedlike seats.

In the OT, the image of a banquet anticipates a future occasion when God will remove the reproach of his people (Isa. 25:6). It also becomes a metaphor for special access to God, who protects, blesses, and honors his people (Ps. 23:5).

The plot of the book of Esther revolves around banquets. The book opens with two big banquets held by Ahasuerus (Esther 1) that conclude with the removal of Vashti as queen, soon replaced by Esther. Esther invites the king and Haman to a banquet in order to expose the insidious plot of the latter (Esther 7). The book culminates with a great banquet that is the proto­type for an annual banquet celebrating the Jews’ victory over their enemies, Purim (9:2–32).

Jesus uses the banquet as a metaphor for the presence of the kingdom (cf. Matt. 9:14–17). He tells a parable of a king who has planned a wedding banquet for his son. Those who were invited have refused to attend (i.e., the Jewish leaders), so the king commands his servants to go out into the streets and gather as many people as they can find, both good and bad (Matt. 22:1–10).

Jesus also uses the imagery of a banquet to describe the final future manifestation of the kingdom. He exhorts his disciples to be prepared for the unexpected return of the bridegroom, lest they be excluded from the wedding banquet (Matt. 25:1–13). At the Last Supper, he commands the disciples to continue the practice of sharing bread and wine after his departure, to remember his atoning death and to anticipate his future coming (Matt. 26:26–29). This future banquet will celebrate Christ’s final union with his bride, the church (Rev. 19:6–9).

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.

Hope is one of the main themes of Scripture, and many of these hopes focus on the future. For example, Jeremiah gave his fellow countrymen in the Babylonian captivity this promise: “ ‘For I know the plans I have for you,’ declares the Lord, ‘plans to prosper you and not to harm you, plans to give you hope and a future’ ” (Jer. 29:11). The apostle Paul picks up this theme of hope: “May the God of hope fill you with all joy and peace as you trust in him, so that you may overflow with hope by the power of the Holy Spirit” (Rom. 15:13).

Hope Based on Promises

A believer’s hope focuses on several different kinds of promises. First, there are many promises of God’s assistance in the struggles and difficulties of life. Paul, for example, concludes, “For I am convinced that neither death nor life, neither angels nor demons, neither the present nor the future, nor any powers, neither height nor depth, nor anything else in all creation, will be able to separate us from the love of God that is in Christ Jesus our Lord” (Rom. 8:38–39). Christians can have the confidence that “no temptation has overtaken you except what is common to mankind. And God is faithful; he will not let you be tempted beyond what you can bear. But when you are tempted, he will also provide a way out so that you can endure it” (1 Cor. 10:13).

Second, believers also have promises that God will be with them and go with them through the future experiences of physical suffering and death. Here the classic promise is found in words of the psalmist: “Even though I walk through the darkest valley, I will fear no evil, for you are with me; your rod and your staff, they comfort me” (Ps. 23:4). It is because of promises such as this that Paul can wonder whether it is better to die or to keep on living: “I am torn between the two: I desire to depart and be with Christ, which is better by far” (Phil. 1:23).

Third, there are promises related to the whole constellation of events surrounding Jesus’ return and the conclusion of human history as we know it. Jesus’ return is described as “the blessed hope” (Titus 2:13). Furthermore, the trials and struggles of this present life will be over, and God will complete all his transforming work in our lives in one final moment of glorification. John describes this process this way: “When Christ appears, we shall be like him, for we shall see him as he is” (in 1 John 3:2). The classic depiction of the future hope is in Rev. 21–22, when “ ‘He will wipe every tear from their eyes. There will be no more death’ or mourning or crying or pain, for the old order of things has passed away” (21:4).

The Present World and the Future Hope

At the same time, it is no secret that the broader culture does not accept this future hope. Paul foresees, “The time will come when people will not put up with sound doctrine. Instead, to suit their own desires, they will gather around them a great number of teachers to say what their itching ears want to hear” (2 Tim. 4:3). Peter warns, “In the last days scoffers will come, scoffing and following their own evil desires. They will say, ‘Where is this “coming” he promised? Ever since our ancestors died, everything goes on as it has since the beginning of creation’ ” (2 Pet. 3:3–4). There is always the danger that “the worries of this life and the deceitfulness of wealth” (Matt. 13:22) will choke out and negate whatever positive spiritual influences a person has received in this present life.

Christians are called to protect themselves from this danger of being sidetracked by the attractions of this present world by learning to live life with a daily sense of expectation for Jesus’ return. Three verbs stand out in the description of this proper lifestyle: (1) “watch,” in the sense of being spiritually alert and ready at any time (Matt. 25:13: “Therefore keep watch, because you do not know the day or the hour”; 1 Thess. 5:6: “So then, let us not be like others, who are asleep, but let us be awake and sober”); (2) “wait,” in the sense of being prepared for a long wait (see the story of the five foolish virgins in Matt. 25:1–13); and (3) “work,” making the best use of our time (see the parable of the talents in Matt. 25:14–30). Truly, “our salvation is nearer now than when we first believed” (Rom. 13:11). The biblical teachings on eschatology are given not merely as information but rather to transform us. The future hope described in Scripture is repeatedly used as the basis for exhortations as to how we should live our lives here in the present. Jesus did not simply affirm that these great events were to occur; he also emphasized the appropriate behavior in light of this future reality. “He who testifies to these things says, ‘Yes, I am coming soon.’ Amen. Come, Lord Jesus” (Rev. 22:20).

In the Bible, gestures are made with either parts of the body or items, such as clothing and rings, directly connected to the body. For this reason, it makes sense to classify biblical gestures in relation to the different body parts that are identified with the gestures. It is, however, challenging to know where to draw a line on classifying a gesture. For example, a devious person is described in Prov. 6:13 as one “who winks maliciously with his eye, signals with his feet and motions with his fingers.” It is unclear whether this is a single gesture or multiple ones, and whether all signify different things or the same thing.

Head

Gestures that relate to the head range from simple head motions to semiviolent acts such as hair pulling. Simple head motions include lifting of one’s head in honor (Gen. 40:13), bowing one’s head in mourning (Ps. 35:14), tossing one’s head in mockery and derision (2 Kings 19:21), and shaking one’s head as insult (Ps. 22:7; Mark 15:29).

A common action is the shaving of the head, which can be for purification (Lev. 14:8–9; Num. 6:9; 8:7 [includes all body hair]), mourning (Deut. 21:11–13; Job 1:20; Isa. 15:2; Jer. 16:6; 47:5; 48:37; Ezek. 27:31; Amos 8:10; Mic. 1:16), remorse (Jer. 41:5), or shaming (Jer. 2:16). However, priests are forbidden from shaving their heads even in mourning (Lev. 21:5; Ezek. 44:20), while the high priest is to wear a turban on his head during sacrificial duties (Exod. 29:6).

Anointing of the head is done when a priest or king is installed (Exod. 29:7; Ps. 23:5) or simply as a sign of God’s goodness and blessing on a person (Eccles. 9:8). Blessing may also involve placing a hand on the head of the person being blessed (Gen. 48:14–18; Exod. 29:19), while the same gesture on the head of sacrificial animals is a symbolic means of transferring sin (Lev. 3:2, 8, 13; 4:4, 15, 24, 29, 33; 8:18, 22).

In the OT, a woman’s head can be shaved in mourning (Deut. 21:12–13; cf. Jer. 47:5), but in the NT, a shaved head can be a cause for disgrace (1 Cor. 11:5–6).

Face. Facial gestures range from expressions to actions such as touching or covering the face. A face can be downcast in anger (Gen. 4:5–6) or bowed to the ground in honor (Gen. 48:12), in dejection (Josh. 7:6), in humility (Ruth 2:10), in worship (2 Chron. 20:18; Ps. 138:2), in subjection, supplication, reverence (1 Sam. 20:41; 25:41; 28:14; 2 Sam. 14:4, 22; 18:28; 24:20; 1 Kings 1:23; 1 Chron. 21:20), or in dread (e.g., Moses before Yahweh [Exod. 3:6]).

The face can be covered or veiled as an indication of uncleanness (Lev. 13:45), in grief/mourning (2 Sam. 19:4; Ezek. 24:17), in resignation (1 Kings 19:13), with intent to deceive in adultery (Job 24:15), or in horror of judgment (Esther 7:8; Ezek. 12:6, 12). It can also be buried in the dust in remorse (Lam. 3:29).

God can be described as hiding or turning away his face against wickedness and evil (Deut. 31:18; 32:20; Ps. 34:16; Isa. 8:17; Jer. 33:5; Ezek. 7:22; 15:7; 20:46; 21:2) or in an act of withholding blessings (Job 13:15; Pss. 10:1; 13:1; 27:9; 30:7; 34:16; Isa. 54:8; 59:2; 64:7). God can also turn his face toward a place in judgment (Ezek. 4:3, 7; 6:2). In 1 Sam. 5:3–4 the idol of the Philistine god Dagon falls facedown before the ark of the covenant, apparently overpowered by Yahweh.

Acts of humiliation or dishonor can involve spitting in the face (Num. 12:14; Deut. 25:9; Job 17:6; 30:10; Isa. 50:6), slapping the face (1 Kings 22:24; 2 Chron. 18:23; Job 16:10; Lam. 3:30; Mic. 5:1), pulling a skirt up over someone’s face in shaming judgment (Jer. 13:26; Nah. 3:5), and hooking and dragging someone by the nose (2 Kings 19:28). Although being struck on the cheek is humiliating, Jesus instructs his disciples to “turn the other cheek” as a sign of resistance to violence (Matt. 5:39; Luke 6:29).

One can lift one’s face in worship (2 Kings 20:2; Job 22:26; Isa. 38:2) or in confidence (Job 11:15) and can fail to lift it in shame and disgrace (Ezra 9:6). Although the shaving of beards in mourning is common practice (Ezra 9:3; Isa. 15:2; Jer. 41:5; 48:37), the forced shaving of beards is an act of shaming and insulting (2 Sam. 10:4; 1 Chron. 19:4–5; Isa. 7:20; 50:6).

Eyes. Winking the eye is perceived as an evil, deceptive, or malicious act (Ps. 35:19; Prov. 6:13; 16:30). Eyes can be lifted up in worship and expectation (Pss. 121:1; 123:1).

Mouth. Pursed lips can characterize an evil person (Prov. 16:30), while a hand can be clapped over the mouth in awe and submission (Job 21:5; 40:4). Psalm 72:9 looks to the righteous king before whom the desert tribes will bow and whose “enemies lick the dust” in defeat.

Ears. An Israelite slave for life is to have a hole punched through his or her earlobe, held against a doorpost, with an awl (Exod. 21:6; Deut. 15:17). Blood is sprinkled on the lobe of the right ear for purification (Exod. 29:20; Lev. 8:23–24; 14:17), while supplication can be described as asking for the turning of an ear (2 Kings 19:16; Ps. 31:2). Turning one’s ear signifies paying attention or taking something to heart (Ps. 49:4; Prov. 4:20; 5:13).

Neck. The neck can be adorned (Song 1:10) as a sign of pride and honor (Gen. 41:42; Judg. 5:30; Prov. 1:9; Ezek. 16:11) or outstretched in arrogance (Ps. 75:5 TNIV: “Do not lift your horns against heaven; do not speak with outstretched neck”). Jeremiah put a yoke on his neck as a prophetic sign of the approaching Babylonian conquest (Jer. 27–28). While putting someone’s neck in a yoke is an act of triumphal conquest (Ps. 105:18), stepping on the neck of a subdued enemy is an act of subjugation and humiliation (Josh. 10:24).

Body

Nakedness in public is considered shameful (Gen. 9:22–23; Nah. 3:5; Rev. 3:18), so that it is sometimes pictured as part of divine judgment (Deut. 28:48; Isa. 47:2–3; Lam. 1:8; Mic. 1:11) or as a sign of promiscuity (Isa. 57:8; Ezek. 16:36). An unkempt body can be a sign of mourning, as it is for Mephibosheth (2 Sam. 19:24). A certain kind of body covering is a sign of marriage proposal or protection (Ezek. 16:8; 23:18; Hos. 2:9). Body dismembering, even in war, is an act of humiliation (2 Sam. 4:12).

Chest. In self-mortification, one can pound one’s chest in mourning (Ezek. 21:12) or in remorse (Jer. 31:19; Luke 18:13). The breasts of sacrificial animals are waved before God as a “wave offering” before being eaten (Exod. 29:26; Lev. 7:30; Num. 6:20).

Hand, arm. Hand gestures include motions such as lifting hands in worship, clapping hands in joy, and clapping a hand over one’s mouth in awe. The expression “outstretched arm” (Exod. 6:6; Deut. 4:34; 5:15; 7:19; 9:29; 11:2; 26:8; 1 Kings 8:42; 2 Kings 17:36; 2 Chron. 6:32; Ps. 136:12; Jer. 21:5; 27:5; 32:17, 21; Ezek. 20:33–34) indicates power, might, strength. It is often used of God to indicate his ability to defeat powerful armies and enemies. God is implored by the psalmist to lift his hand and act for the sake of the righteous (Ps. 10:12).

Since the right hand is the hand of power, the act of sitting at the right hand indicates being favored (1 Kings 2:19; Ps. 110:1; Matt. 22:44; Mark 12:36; Luke 20:43; Acts 2:35; Heb. 1:3; 8:1; 10:12; 12:2; 1 Pet. 3:22). When taking an oath, one places a hand under the thigh/crotch (Gen. 24:2; 47:29), most likely the right hand (see Gen. 48:14, 17–18; Lev. 8:23; 14:14).

Clapping the hands can be a sign of awe (Ezek. 6:11), malice, or remorse (25:6), while a bared arm can be a sign of judgment (4:7). Job claps his hand over his mouth in awe of God and in submission and repentance (Job 40:4–5).

Hands can be lifted in worship (1 Kings 8:22; 1 Tim. 2:8), to beseech (Ps. 28:2), to protect and bless (Ps. 10:12), in an oath (Deut. 32:40), or to harm (Exod. 24:11; 1 Sam. 24:6, 10; 2 Sam.1:14; 18:12).

Pilate washes his hands to proclaim his innocence over the death of Jesus (Matt. 27:24), while 1 Pet. 5:6 urges believers to humble themselves “under God’s mighty hand,” so that in due time they will be lifted up.

Buttocks. Exposure of the buttocks can serve as a humiliating insult and provocation, as happens to David’s men (2 Sam. 10:4; 1 Chron. 19:4) and Egyptian and Cushite captives (Isa. 20:4).

Leg. The leg or thigh is often a euphemism for the male reproductive organs, so that putting one’s hand under a thigh in oath (Gen. 24:2; 47:29) may involve actually grabbing the genitalia. Animal thighs are waved to God in offering before being consumed (Lev. 9:21; 10:14; Num. 6:20), while oaths administered to uncover adultery cause a guilty woman’s thighs to waste (Num. 5:2–27).

The most common gesture involving the knee is bowing, in worship or reverence (Deut. 33:3; Isa. 45:23; Rom. 11:4; 14:11; Phil. 2:10), in defeat (2 Sam. 22:40; Ps. 18:38; Isa. 60:14), in distress (Ps. 57:6), or in respect (1 Kings 1:31). In what seems to be a somewhat awkward position, Elijah puts his face between his knees in prayer (1 Kings 18:42).

Feet. Gestures involving the feet are probably the most common gestures in the Bible. Feet can be washed in hospitality (Gen. 18:4; 19:2; 24:32; 43:24; 1 Sam. 25:41), in ablution (Exod. 30:19, 21; 40:31), or in supplication (1 Sam. 25:41). Feet can be bathed in oil as a blessing (Deut. 33:24), uncovered in marriage proposals (Ezek. 16:8; cf. Ruth 3:4, 7), and stamped in remorse (Ezek. 25:6), and sandals can be removed from them in honor (Exod. 3:1–10) or disgrace (Deut. 25:9). The heavenly seraphs cover their feet in supplication before the throne of God (Isa. 6:2), while the feet of humans can signal deception (Prov. 6:13).

Enemies can be placed under one’s feet in subjugation (1 Kings 5:3; Pss. 8:6; 18:39; 45:5; 47:3; 110:1; Mal. 4:3; Rom. 16:20), have their feet shackled or ensnared (Job 13:27; 33:11; Pss. 25:15; 105:18), and be forced to lick the feet of victors in humiliation and defeat (Isa. 49:23). The righteous will bathe their feet in the blood of their enemies in revenge (Pss. 58:10; 68:23).

Those overwhelmed can grovel at the feet of the powerful (2 Kings 4:27, 37; Esther 8:3; Matt. 28:9; Mark 5:33; 7:25; Acts 10:25), while those emboldened can rise to their feet in confidence (Ezek. 2:1–2; 3:24; Dan. 8:18).

In the NT, dust can be shaken off one’s feet as an indication of divine judgment (Matt. 10:14; Mark 6:11; Luke 9:5), even as lying at a person’s feet is a recognition of authority/submission (Matt. 15:30; Mark 5:33; Luke 8:28, 35, 41, 47; 10:39; 17:16; Acts 4:37; 5:2). A woman publicly washes Jesus’ feet with her tears, wipes them with her hair, and kisses and perfumes them in what seems an act of love and repentance; but Jesus indicates that she has prepared his body for burial (Luke 7:38–46; John 11:2; 12:3). Jesus washes his disciples’ feet as instruction on servanthood and discipleship (John 13:5–14).

Fingers, Toes. Different fingers seem to have different roles assigned them. A finger sprinkles blood in cleansing (Lev. 4:6, 17, 25, 30, 34; 8:15; 9:9; 14:16; 16:14, 19; Num. 19:4), while blood on the tip of the right thumb and on the right big toe is for cleansing (Exod. 29:20; Lev. 8:23–24; 14:17, 25, 28).

One wears a signet ring as a sign of power (Esther 3:10) or a gesture of restoration and forgiveness (Luke 15:22). But fingers can also motion in deception (Prov. 6:13) or point in blame (Isa. 58:9). Jesus writes with his finger on the ground, apparently as a gesture of indifference to those pointing accusing fingers (John 8:6).

Clothes and Shoes

Garments. Garments attain significance as they are related to specific emotions. Wearing sackcloth and ashes in mourning is common (Gen. 37:34; Ezek. 7:18; 2 Sam. 3:31), while ripping garments in mourning is also frequently attested (Gen. 37:34; 44:13; Lev. 10:6; 21:10; Josh. 7:6; 2 Sam. 1:11; 3:31; 13:31; 1 Kings 21:27; 2 Kings 2:12; 19:1; Esther 4:1; Isa. 32:11; 37:1; Jer. 41:5).

Ripping someone’s clothing to expose nakedness (Ezek. 16:39; 2 Sam. 10:4) or pulling a person’s skirts up over the face (Jer. 13:26) is an act of shaming or insulting. But tearing one’s clothes off can be a sign of fury (Matt. 26:65). Persons with defiling diseases are expected to warn off others by wearing torn clothes and shouting, “Unclean! Unclean!” (Lev. 13:45).

By laying their clothes at Saul’s feet, the crowd may be acknowledging his authority in the stoning of Stephen (Acts 7:58).

Sandals. A woman can remove a man’s sandal in contempt (Deut. 25:5–10), while a sandal can be removed by a kinsman-redeemer to indicate giving up a right or as a transfer of property (Ruth 4:7–8). A sandal can also be removed in mourning (Ezek. 24:17) or be cast over a piece of land to claim ownership (Pss. 60:8; 108:9).

Prophetic Gestures

Prophetic gestures in the OT are mostly concerned with the call to repentance and approaching judgments upon failure to heed the warning. Jeremiah puts a yoke on his neck (Jer. 27–28; cf. Deut. 28:48), Ezekiel cooks with dung (Ezek. 4:12) and sleeps on his left side for 390 days and then on his right side for 40 days (4:5–6), Isaiah strips off his clothing (Isa. 20:2–3; 32:11), and Hosea marries an unfaithful wife (Hos. 1:1–3).

In the NT, Jesus cleanses the temple as an act of symbolic judgment (Matt. 21:12; Mark 11:15; John 2:15). He also breaks bread and drinks wine (Matt. 26:26; Mark 14:22; Luke 22:19; 24:30, 35; Acts 2:46; 20:11; 27:35; 1 Cor. 11:24–25) and washes his disciples’ feet (John 13:1–13), thereby establishing symbolic Christian practices.

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).

Imagery pertains to the literary use of colorful figures of speech that can be visualized in the imagination. The biblical writers employ imagery frequently, for the images they use help to communicate God’s message more powerfully. Imagery communicates with readers not only at the cognitive (knowledge) level but also at the emotional level. For example, the prophet Amos could have just said to Israel that “God is angry” with them. But such language is flat and bland. Instead, Amos paints a graphic picture with his words by stating, “The lion has roared!” (Amos 3:8). This is a figure of speech in which Amos compares God to a lion roaring over its prey. In a culture where people did encounter dangerous lions and where all people held respect for the power of lions, this imagery connected at both the knowledge level and the emotional level.

Since, in essence, images are figures of speech, they can be used in a variety of ways: as metaphors, similes, direct analogies, or anthropomorphisms. Like these other figures of speech, biblical images reflect both points of similarity and points of difference in the two items being compared in the image. In Amos 3:8 the prophet is telling his audience something about God by using language normally associated with lions. Both God and the lion are extremely dangerous, and both are about to pounce on their prey. However, Amos expects his readers to also keep in mind that God is quite different from a lion in many, many ways.

The Bible contains hundreds of colorful images. To celebrate God’s wonderful love and care, David describes God with the image of a caring shepherd (Ps. 23). To communicate the joy of God’s material blessings, David paints a picture of meadows and valleys shouting and singing in joy (Ps. 65:13). Jeremiah wants to convey God’s disgust with Israel’s idolatry, so he refers to Jerusalem as a prostitute (Jer. 3:1). To underscore the strong contrast between sin and forgiveness, Isaiah states, “Though your sins are like scarlet, they shall be as white as snow” (Isa. 1:18).

Jesus uses imagery frequently in his teaching. For example, he compares the kingdom of heaven to a mustard seed, which starts small but slowly grows to become the largest of shrubs (Matt. 13:31–32). To illustrate the difficulty of a rich person entering the kingdom of heaven, Jesus paints a colorful and humorous image of a camel trying to get through the tiny eye of a needle (Matt. 19:24). He uses dozens of images to communicate different aspects of his personality and mission, comparing himself to a wide range of things: a gate, a vine, a light, a road, a shepherd, bread, and more. Paul uses imagery when he tells us to put on the armor of God (Eph. 6:10–18) and when he compares Jesus to a cornerstone (2:20). The book of Revelation is packed with vivid images, portraying, for example, Jesus as a lamb (Rev. 5:6) and Satan as a dragon (20:2).

Imagery pertains to the literary use of colorful figures of speech that can be visualized in the imagination. The biblical writers employ imagery frequently, for the images they use help to communicate God’s message more powerfully. Imagery communicates with readers not only at the cognitive (knowledge) level but also at the emotional level. For example, the prophet Amos could have just said to Israel that “God is angry” with them. But such language is flat and bland. Instead, Amos paints a graphic picture with his words by stating, “The lion has roared!” (Amos 3:8). This is a figure of speech in which Amos compares God to a lion roaring over its prey. In a culture where people did encounter dangerous lions and where all people held respect for the power of lions, this imagery connected at both the knowledge level and the emotional level.

Since, in essence, images are figures of speech, they can be used in a variety of ways: as metaphors, similes, direct analogies, or anthropomorphisms. Like these other figures of speech, biblical images reflect both points of similarity and points of difference in the two items being compared in the image. In Amos 3:8 the prophet is telling his audience something about God by using language normally associated with lions. Both God and the lion are extremely dangerous, and both are about to pounce on their prey. However, Amos expects his readers to also keep in mind that God is quite different from a lion in many, many ways.

The Bible contains hundreds of colorful images. To celebrate God’s wonderful love and care, David describes God with the image of a caring shepherd (Ps. 23). To communicate the joy of God’s material blessings, David paints a picture of meadows and valleys shouting and singing in joy (Ps. 65:13). Jeremiah wants to convey God’s disgust with Israel’s idolatry, so he refers to Jerusalem as a prostitute (Jer. 3:1). To underscore the strong contrast between sin and forgiveness, Isaiah states, “Though your sins are like scarlet, they shall be as white as snow” (Isa. 1:18).

Jesus uses imagery frequently in his teaching. For example, he compares the kingdom of heaven to a mustard seed, which starts small but slowly grows to become the largest of shrubs (Matt. 13:31–32). To illustrate the difficulty of a rich person entering the kingdom of heaven, Jesus paints a colorful and humorous image of a camel trying to get through the tiny eye of a needle (Matt. 19:24). He uses dozens of images to communicate different aspects of his personality and mission, comparing himself to a wide range of things: a gate, a vine, a light, a road, a shepherd, bread, and more. Paul uses imagery when he tells us to put on the armor of God (Eph. 6:10–18) and when he compares Jesus to a cornerstone (2:20). The book of Revelation is packed with vivid images, portraying, for example, Jesus as a lamb (Rev. 5:6) and Satan as a dragon (20:2).

A banquet is a joyful celebration, usually involving wine, abundant food, music, and dancing. Banquets celebrated special occasions such as the forging of a relationship (Gen. 26:26–30), the coronation of a king (1 Chron. 12:28–40), the completion of the temple (2 Chron. 7:8), victory over one’s enemies (Gen. 14:18–19; Ps. 23:5), weddings (Gen. 29:22; John 2:1–11; Rev. 19:9), birthdays of royals (Mark 6:21), and the reunion of estranged relatives (Luke 15:23–24). Banquets also symbolized one’s status, since they were by invitation only. One’s seating arrangement corresponded to one’s social status in the group, since there were “higher” and “lower” positions (Luke 14:8–9). During the meal, people reclined on bedlike seats.

In the OT, the image of a banquet anticipates a future occasion when God will remove the reproach of his people (Isa. 25:6). It also becomes a metaphor for special access to God, who protects, blesses, and honors his people (Ps. 23:5).

The plot of the book of Esther revolves around banquets. The book opens with two big banquets held by Ahasuerus (Esther 1) that conclude with the removal of Vashti as queen, soon replaced by Esther. Esther invites the king and Haman to a banquet in order to expose the insidious plot of the latter (Esther 7). The book culminates with a great banquet that is the proto­type for an annual banquet celebrating the Jews’ victory over their enemies, Purim (9:2–32).

Jesus uses the banquet as a metaphor for the presence of the kingdom (cf. Matt. 9:14–17). He tells a parable of a king who has planned a wedding banquet for his son. Those who were invited have refused to attend (i.e., the Jewish leaders), so the king commands his servants to go out into the streets and gather as many people as they can find, both good and bad (Matt. 22:1–10).

Jesus also uses the imagery of a banquet to describe the final future manifestation of the kingdom. He exhorts his disciples to be prepared for the unexpected return of the bridegroom, lest they be excluded from the wedding banquet (Matt. 25:1–13). At the Last Supper, he commands the disciples to continue the practice of sharing bread and wine after his departure, to remember his atoning death and to anticipate his future coming (Matt. 26:26–29). This future banquet will celebrate Christ’s final union with his bride, the church (Rev. 19:6–9).

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

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

Inclusion and Chiasm

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

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

Succinctness and Imagery

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

Parallelism

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

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

Pastors provide spiritual oversight for God’s people. The fact that the term “pastor” appears only a single time in most English translations (Eph. 4:11) has more to do with the peculiarities of the English language than anything else. In Greek, the same word, poimēn, is used for both “shepherd” and “pastor,” so that all the references in Scripture to shepherds and sheep need to be studied together. Ultimately, Jesus is the “great Shepherd of the sheep” (Heb. 13:20) and the “Shepherd and Overseer of your souls” (1 Pet. 2:25), so everything from Ps. 23 to Jesus’ story of the good shepherd (John 10) are relevant role models for being a pastor. In the NT, this responsibility was entrusted to called and gifted leaders. For example, Peter is called to “take care of” (Gk. poimainō, “to shepherd”) Jesus’ sheep (John 21:16). This responsibility is given to the Ephesian elders/overseers in Acts 20:17, 28 and to the elders/overseers in 1 Pet. 5:1–2. God warns of the curse of “shepherds who lack understanding” (Isa. 56:11), who “do not inquire of the Lord” (Jer. 10:21), and who scatter the sheep (Jer. 23:1). One of God’s greatest blessings is giving his people shepherds (or pastors) after his own heart to lead them “with knowledge and understanding” (Jer. 3:15).

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

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

Inclusion and Chiasm

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

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

Succinctness and Imagery

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

Parallelism

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

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