Altars were places of sacrifice and worship constructed of various materials. They could be either temporary or permanent. Some altars were in the open air; others were set apart in a holy place. They could symbolize either God’s presense and protection or false worship that would lead to God’s judgment.

Old Testament

Noah and the patriarchs. The first reference in the Bible is to an altar built by Noah after the flood (Gen. 8:20). This action suggests the sanctuary character of the mountain on which the ark landed, so that theologically the ark’s resting place was a (partial) return to Eden. The purpose of the extra clean animals loaded onto the ark was revealed (cf. 7:2–3). They were offered up as “burnt offerings,” symbolizing self-dedication to God at this point of new beginning for the human race.

Abram built altars “to the Lord” at places where God appeared and spoke to him (Gen. 12:7) and where he encamped (12:8; 13:3–4, 18). No sacrifice is explicitly mentioned in association with these altars. Thus, they may have had the character of monuments or memorials of significant events. In association with Abram’s altars, he is said to have “called on the name of the Lord” (12:8)—that is, to pray. The elaborate cultic procedures associated with later Israelite altars (e.g., the mediation of priests) were absent in the patriarchal period. Succeeding generations followed the same practices: Isaac (26:25) and Jacob (33:20; 34:1, 3, 7). God’s test of Abraham involved the demand that he sacrifice his son Isaac as a burnt offering. In obedience, Abraham built an altar for this purpose, but through God’s intervention a reprieve was granted, and a ram was substituted (22:9, 13). Moses erected an altar after the defeat of Amalek at Rephidim, to commemorate this God-given victory (Exod. 17:15–16).

Moses and the tabernacle. In the context of making the covenant with Israel at Sinai, God gave Moses instructions on how to construct an altar (Exod. 20:24–26; cf. Josh. 8:31). It could be “an altar of earth” (of sun-dried mud-brick construction?) or else made of loose natural stones. The Israelites were expressly forbidden to use hewn stones, perhaps for fear of an idolatrous image being carved (making this prohibition an application of Exod. 20:4; cf. Deut. 27:5–6). Even if the altar was large, it was not to be supplied with steps for the priest to ascend, lest his nakedness be shown to God. The requirement that priests wear undergarments reflects the same concern (Exod. 28:42–43). An altar made of twelve stones, the number representing the number of the tribes of Israel, was built by Moses for the covenant-making ceremony (Exod. 24:4), in which half the blood of the sacrifice was sprinkled on the altar (representing God?) and the other half on the people, the action symbolizing the covenant bond created (24:6–8).

For the tabernacle, a portable “altar of burnt offering” was made (Exod. 27:1–8; 38:1–7). It had wooden frames sheathed in bronze and featured a horn at each corner. There was a ledge around the altar halfway up its sides, from which was hung bronze grating, and it had four bronze rings into which poles were slipped for transport. As part of the cultic ritual, blood was smeared on the horns (29:12). This altar stood in the open air in the courtyard of the tabernacle, near the entrance to the tabernacle. Included among the tabernacle furnishings was a smaller “altar of incense,” with molding around the top rim (30:1–10; 37:25–28). This altar was, however, overlaid with gold, for it stood closer to God’s ritual presence, inside the tabernacle, “in front of the curtain that shields the Ark of the Covenant law,” the curtain that separated the most holy place from the holy place. The high priest placed fragrant incense on this altar every morning and evening. The fact that this was a daily procedure and the description of the positioning of the tabernacle furnishings in Exod. 40:26–28 (mentioning the altar of incense after speaking about the lampstand) might be taken as implying that the incense altar was in the holy place, but 1 Kings 6:22 and Heb. 9:4 suggest that it was actually in the most holy place, near the ark.

God, through Moses, instructed the people that on entering the Promised Land they were to destroy all Canaanite altars along with the other paraphernalia of their pagan worship (Deut. 7:5; 12:3). Bronze Age altars discovered at Megiddo include horned limestone incense altars and a large circular altar mounted by a flight of steps. In Josh. 22 the crisis caused by the building of “an imposing altar” by the Transjordanian tribes was averted when these tribes explained to the rest of the Israelites that it was intended as a replica of the altar outside the tabernacle and not for the offering of sacrifices. The worship of all Israel at the one sanctuary both expressed and protected the religious unity and purity of the nation at this vital early stage of occupation of the land. In later narratives, however, Gideon (Judg. 6), Samuel (1 Sam. 7:17), Saul (1 Sam. 14:35), and David (2 Sam. 24) are said to build altars for sacrifice and to have done so with impunity, and in fact with the apparent approval of the biblical author. The established custom of seeking sanctuary from threat of death in the nation’s shrine is reflected in 1 Kings 1:50–53; 2:28–35, where Adonijah and Joab are described as “clinging to the horns of the altar.”

Solomon’s temple and rival worship centers. In the temple built by Solomon, the altar of incense that belonged to the “inner sanctuary” was overlaid with gold (1 Kings 6:20, 22). Solomon’s prayer at the dedication of the temple was made before the bronze altar in the courtyard (1 Kings 8:22, 54). The altar for sacrifices was much larger than the one that had been in the tabernacle (1 Chron. 4:1 gives its dimensions).

Although many of the psalms may originally have been used in worship in the first temple, there are surprisingly few references to the altar in the Psalter (only Pss. 26:6; 43:4; 51:19; 84:3; 118:27). They express the psalmist’s devotion to God and the temple as the place where God’s presence is enjoyed as the highest blessing.

After the division of the kingdom, Jeroboam offered sacrifices at the rival altar that he set up in Bethel (1 Kings 12:32–33). An unnamed “man of God” (= prophet) predicted Josiah’s desecration of this altar, which lay many years in the future (1 Kings 13:1–5). Amos and Hosea, who prophesied in the northern kingdom of the eighth century BC, condemned this and the other altars in that kingdom (e.g., Amos 3:14; Hos. 8:11–13). Ahab set up an altar to Baal in Samaria (1 Kings 16:32), and the suppression of Yahwism by Jezebel included the throwing down of the Lord’s altars in Israel (19:10, 14). The competition on Mount Carmel between Elijah and the prophets of Baal involved rival altars (1 Kings 18), and Elijah’s twelve-stone altar recalls that of Exod. 24, for he was calling the nation back to the exclusive monotheism preached by Moses (1 Kings 18:30–32).

With regard to the southern kingdom, the spiritual declension in the time of Ahaz manifested itself in this king making an altar modeled on the Assyrian prototype that he had seen on a visit to Damascus (2 Kings 16:10–14). He shifted the Lord’s altar from in front of the temple, where it had previously stood. Godly Hezekiah’s religious reform included the removal of the altars at the high places that up to that time had been centers of deviant worship (2 Kings 18:4, 22). The apostasy of King Manasseh showed itself in his rebuilding the high places that Hezekiah his father had destroyed and in erecting altars to Baal (2 Kings 21), thus repeating the sin of Ahab (cf. 1 Kings 16:32). Josiah’s reform included the destruction of all altars outside Jerusalem (2 Kings 23) and the centralizing of worship in the Jerusalem temple.

In Ezekiel’s vision of the new temple of the future, the sacrificial altar is its centerpiece (Ezek. 43:13–17). The altar was to be a large structure, with three-stepped stages and a horn on each corner, and it was to be fitted with steps on its eastern side for the use of the priests.

The second temple. The Israelites’ return from Babylonian exile was with the express aim of rebuilding the temple. The first thing that the priests did was to build “the altar on its foundation” (i.e., its original base; Ezra 3:2–3). The returnees placed the altar on the precise spot that it had occupied before the Babylonians destroyed it along with the temple. They took such care because they wanted to ensure that God would accept their sacrifices and so grant them protection. At the very end of the OT period, the prophet Malachi condemned the insincerity of Israel’s worship that was manifested in substandard sacrifices being offered on God’s altar (Mal. 1:7, 10; 2:13).

New Testament

In the NT, the altar is mentioned in a number of Jesus’ sayings (e.g., Matt. 5:23–24; 23:18–20). In the theology of the book of Hebrews, which teaches about the priesthood of Jesus Christ (in the order of Melchizedek), the role of the priest is defined as one who “serve[s] at the altar” (7:13), and Christ’s altar (and that of Christ’s followers) is the cross on which he offered himself as a sacrifice for sin (13:10). Another argument of Hebrews is that since on the most important day in the Jewish ritual calendar (the Day of Atonement), the flesh of the sacrifice was not eaten (see Lev. 16:27), the eating of Jewish ceremonial foods is not required, nor is it of any spiritual value. The altar in the heavenly sanctuary is mentioned a number of times in the book of Revelation (6:9; 8:3, 5; 9:13; 11:1; 14:18; 16:7). It is most likely the altar of incense and is related to the prayers of God’s persecuted people, which are answered by the judgments of God upon the people of the earth.

A valley mentioned in Ps. 84:6. Worshipers are said to pass through this valley on the way to worship in Zion. The translation and significance of the name are debated. The Hebrew word baka’ may mean “balsam tree,” thus “Valley of the Balsam.” In 2 Sam. 5:22–24; 1 Chron. 14:13–16, David was to wait until he heard the sound of marching in the balsam trees (NIV: “poplar trees”) (signifying the advance of the heavenly army) before he attacked the Philistines. The word baka’ also is similar to the Hebrew word for “weeping,” thus “Valley of Weeping.” Perhaps the name of the valley alludes to both words.

Levitical priests served as doorkeepers, or gatekeepers (see 2 Chron. 34:9), responsible for collecting money from Israelite census taxes and sacrificial gifts to be used for temple maintenance (2 Kings 12:10; 22:4; 23:4; 25:18; Jer. 52:24). Gatekeepers were also tasked with restricting entrance to the temple in order to preserve its purity (2 Chron. 23:19). Levitical priests were appointed as doorkeepers responsible for aspects of the transportation of the ark of the covenant (1 Chron. 15:23–24). The job of doorkeeper apparently was low in prestige, as Ps. 84:10 indicates when it contrasts the excellence of serving as a lowly doorkeeper in God’s temple with the evil of dwelling comfortably in the tents of wicked people.

Elsewhere in the Bible, eunuchs guard the doorway to the Persian king’s palace (Esther 2:21). In John 18:16–17, while Caiaphas questions Jesus, Peter remains outside the court of the high priest, where a young girl, who is responsible for letting people into the court and passing messages on to the priestly authorities, stands watch. See also Gatekeeper.

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).

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).

In the ancient world, shame and honor are two binary opposites used to depict one’s status or behavior, which a culture approves or disapproves. The system of honor and shame serves as a primary means of social control. Thus, knowing how to act to conform to the code of social behavior expected by one’s group is essential to the maintenance of that community.

In the Bible, the noun “honor” is represented by kabod (from the verb “to be heavy”) in the OT, and by timē (from the verb “to honor”) in the NT. The reverse of honor is shame, which is represented by a variety of Hebrew and Greek terms, such as boshet in the OT, and aischynē in the NT.

In Israel, the Holiness Code (Lev. 17–26; cf. Num. 5:2–3; 8:6–7, 14–15) is comparable to the code of honor and shame. As a covenant community, Israel has the obligation to abide by the sanction imposed by God to attain honor (Deut. 4:6–8; 26:18–19; Pss. 34:5, 8–9; 37:18–19; 127:5; cf. 2 Chron. 26:18; Pss. 8:5; 62:7; 84:11; Rom. 2:7–11). Israel is honored (Exod. 32:11–12; Deut. 32:26–27) before the nations when God’s honor is upheld (Exod. 7:5; 10:1–2; 14:4, 17–18). Violation of covenantal stipulations—for example, deceptions in trading (Deut. 25:16), acts of “abomination” (Lev. 18:17, 22–23, 26–29), idolatry (Deut. 31:20; 32:15–17), and failure to perform duties prescribed in the law (Deut. 25:7–10)—results in disgrace before others (Exod. 32:25) and God (Deut. 28:25–26, 37).

The status of honor can be ascribed to an individual. A person is more honorable who is the firstborn (Gen. 49:3), comes from an esteemed family (Ps. 45:9), or is married into a dignified family (Gen. 41:45; Ruth 4:5). This worth will last a lifetime unless the reputation of the family is compromised, either because of economics (Ruth 1:1–21) or violation of the codes of conduct, such as adultery and incest (Exod. 20:14; Lev. 18:20; 20:10–21; Deut. 5:18; 22:22; Prov. 6:32–33), though not necessarily divorce (Deut. 24:1–4). Certain groups of people are honored because of special privilege granted to them (Prov. 8:15–16; Dan. 2:21; Rom. 13:1–5)—for example, priests (Exod. 28:2, 40; Ps. 110:4; Heb. 7:21), kings (Ps. 2:7), sages (Prov. 3:35), Israel (Exod. 19:6; Deut. 7:6; 8:11–9:7; 26:16–19), and the church (1 Pet. 2:9).

Wealth symbolizes one’s status and claims respect for its owners (Gen. 12:10–20; 14:21–24; 1 Kings 3:13; Prov. 3:16; 8:18; 22:4; Ps. 49:16; Isa. 61:6, 12) but does not equate the state of being poor with shame (cf. Ps. 12:5) unless it is a result of moral lassitude (Prov. 13:18). Parts of the human body symbolize worth and value. Certain parts of the body are less honorable than others, and to expose them is to invite disgrace (2 Sam. 10:4–5; 1 Chron. 19:4; Isa. 20:4; 1 Cor. 12:23–24).

The status of honor can also be achieved by an individual’s merits (cf. Rom. 2:7–11). Certain types of behavior are honorable—for example, humility (Prov. 15:33; 18:12; 29:23), taking care of one’s master (Prov. 27:18), honoring parents (Exod. 20:12; 21:15; 22:28; Prov. 19:26; Mal. 1:6; Matt. 15:4; Eph. 6:2), good service (Gen. 45:13), military exploits (2 Sam. 23:19–23; cf. 2 Chron. 32:21), almsgiving and justice (Prov. 21:21). One important aspect of achieving honor is the pursuit of wisdom. The ways of wisdom are honorable (Prov. 3:16–17; 4:8; 8:18), preserving a person from dishonor (Prov. 3:16–17, 31–33, 35; 24:14), but the ways of folly, such as injustice (Prov. 1:22; 14:31) and dishonoring parents (Prov. 30:17; cf. Exod. 20:12; 21:15; Lev. 20:9; Deut. 27:16), are a disgrace (Prov. 20:3; 26:1). The failure to perform one’s duty (Gen. 40:1–3) or a defeat in battle (Isa. 23:9; Lam. 1:8; Nah. 3:10) results in shame and, accordingly, loss of social status (Isa. 16:14; 23:9; Jer. 46:12; Lam. 1:6, 8; Hos. 4:7). An ultimate form of disgrace is to be hanged for public viewing (Deut. 21:22–23; Esther 5:14; 7:7–10; Matt. 27:32–44; Mark 15:22–32; Luke 23:33–43; John 19:17–24; 1 Cor. 1:18–25). In a patriarchal society, the status of women is obtained through their sexual exclusiveness. Their chastity (Gen. 38:24; Lev. 20:10; Deut. 22:13–21; cf. 2 Sam. 13:13; Song 8:8–9) and fertility (Gen. 16:2; 30:2; 1 Sam. 1:3–8) become indicators of family and social worth.

In the OT, “pool” has three basic meanings: (1) a reservoir for containing and conserving water for a community; typically rectangular or round, and if constructed, either hewn from rock or created by damming a dry streambed; it may be fed by an aqueduct (2 Sam. 2:13; 4:12; 1 Kings 22:38; 2 Kings 3:16; 18:17; 20:20; Neh. 2:14; 3:15–16; Eccles. 2:6; Song 7:4; Isa. 7:3; 22:9, 11; 36:2; Nah. 2:8); (2) a naturally occurring pond, lake, lagoon, or marsh characterized by still or slow-moving water and the presence of reeds and other water plants (Exod. 7:19; 8:5; Pss. 107:35; 114:8; Isa. 14:23; 35:7; 41:18; 42:15); (3) a ditch filled with water (2 Kings 3:16). Elsewhere in the OT, some English translators use “pool” in rendering a metaphor or phrase that could be expressed another way (Deut. 8:7; Ps. 84:6; Song 5:12; Jer. 41:12).

In the NT, “pool” occurs only in John’s Gospel, where it refers to two constructed reservoirs or bathing places in Jerusalem: the Pool of Bethesda (once associated with an asclepeion, or pagan healing temple) and the rock-cut Pool of Siloam. Jesus performed healing miracles in both places (John 5:2, 7; 9:7, 11). See also Bethesda; King’s Pool; Siloam.

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 small, predominantly brown, seed-eating bird that adapts well to towns. Species found in Israel include the house sparrow, the Spanish sparrow, and the Dead Sea sparrow. The Greek word strouthion may refer specifically to sparrows (Matt. 10:29, 31; Luke 12:6; Tob. 2:10), but the Hebrew word tsippor (translated as “sparrow” by the NIV in Ps. 84:3; Prov. 26:2) simply means “bird” and covers a wide range of species (see Gen. 7:14; Ezek. 39:4).

Ritually clean small birds were snared or taken from the nest to be used for sacrifice and food, especially by the poor (e.g., Lev. 14:4–7; Deut. 14:11; 22:6–7; Neh. 5:18; Eccles. 9:12). In poetry, they are mentioned in connection with their nests (e.g., Pss. 84:3; 104:17; Prov. 27:8), flight (Prov. 26:2), and song (Eccles. 12:4). Since many are normally gregarious and stay close to the nest, a solitary or straying small bird is a striking image (Ps. 102:7; Prov. 27:8).

In the first century AD a sparrow cost 1⁄32 or even 1⁄40 of a day’s wage. Jesus contrasts the low market price of sparrows with God’s providential care for each one of them, thereby assuring us that we are of far greater value to our Father (Matt. 10:29–31; Luke 12:6–7).

The Hebrew word for “swallow,” deror, which may include martins and swifts, is derived from a word meaning “free.” Almost constantly in agile flight hunting for insects, swallows nest under ledges of rock or on buildings. In Ps. 84:3–4 the swallow’s nesting instinct portrays the worshiper’s desire to “dwell” in God’s temple and presence, while in Prov. 26:2 its ceaseless flitting pictures “an undeserved curse.”

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).

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

A transliteration of a Hebrew word used in the superscriptions of Pss. 8; 81; 84. Its significance is uncertain. The word might designate a musical instrument or a musical sign denoting how the psalms were to be sung.

Altars were places of sacrifice and worship constructed of various materials. They could be either temporary or permanent. Some altars were in the open air; others were set apart in a holy place. They could symbolize either God’s presense and protection or false worship that would lead to God’s judgment.

Old Testament

Noah and the patriarchs. The first reference in the Bible is to an altar built by Noah after the flood (Gen. 8:20). This action suggests the sanctuary character of the mountain on which the ark landed, so that theologically the ark’s resting place was a (partial) return to Eden. The purpose of the extra clean animals loaded onto the ark was revealed (cf. 7:2–3). They were offered up as “burnt offerings,” symbolizing self-dedication to God at this point of new beginning for the human race.

Abram built altars “to the Lord” at places where God appeared and spoke to him (Gen. 12:7) and where he encamped (12:8; 13:3–4, 18). No sacrifice is explicitly mentioned in association with these altars. Thus, they may have had the character of monuments or memorials of significant events. In association with Abram’s altars, he is said to have “called on the name of the Lord” (12:8)—that is, to pray. The elaborate cultic procedures associated with later Israelite altars (e.g., the mediation of priests) were absent in the patriarchal period. Succeeding generations followed the same practices: Isaac (26:25) and Jacob (33:20; 34:1, 3, 7). God’s test of Abraham involved the demand that he sacrifice his son Isaac as a burnt offering. In obedience, Abraham built an altar for this purpose, but through God’s intervention a reprieve was granted, and a ram was substituted (22:9, 13). Moses erected an altar after the defeat of Amalek at Rephidim, to commemorate this God-given victory (Exod. 17:15–16).

Moses and the tabernacle. In the context of making the covenant with Israel at Sinai, God gave Moses instructions on how to construct an altar (Exod. 20:24–26; cf. Josh. 8:31). It could be “an altar of earth” (of sun-dried mud-brick construction?) or else made of loose natural stones. The Israelites were expressly forbidden to use hewn stones, perhaps for fear of an idolatrous image being carved (making this prohibition an application of Exod. 20:4; cf. Deut. 27:5–6). Even if the altar was large, it was not to be supplied with steps for the priest to ascend, lest his nakedness be shown to God. The requirement that priests wear undergarments reflects the same concern (Exod. 28:42–43). An altar made of twelve stones, the number representing the number of the tribes of Israel, was built by Moses for the covenant-making ceremony (Exod. 24:4), in which half the blood of the sacrifice was sprinkled on the altar (representing God?) and the other half on the people, the action symbolizing the covenant bond created (24:6–8).

For the tabernacle, a portable “altar of burnt offering” was made (Exod. 27:1–8; 38:1–7). It had wooden frames sheathed in bronze and featured a horn at each corner. There was a ledge around the altar halfway up its sides, from which was hung bronze grating, and it had four bronze rings into which poles were slipped for transport. As part of the cultic ritual, blood was smeared on the horns (29:12). This altar stood in the open air in the courtyard of the tabernacle, near the entrance to the tabernacle. Included among the tabernacle furnishings was a smaller “altar of incense,” with molding around the top rim (30:1–10; 37:25–28). This altar was, however, overlaid with gold, for it stood closer to God’s ritual presence, inside the tabernacle, “in front of the curtain that shields the Ark of the Covenant law,” the curtain that separated the most holy place from the holy place. The high priest placed fragrant incense on this altar every morning and evening. The fact that this was a daily procedure and the description of the positioning of the tabernacle furnishings in Exod. 40:26–28 (mentioning the altar of incense after speaking about the lampstand) might be taken as implying that the incense altar was in the holy place, but 1 Kings 6:22 and Heb. 9:4 suggest that it was actually in the most holy place, near the ark.

God, through Moses, instructed the people that on entering the Promised Land they were to destroy all Canaanite altars along with the other paraphernalia of their pagan worship (Deut. 7:5; 12:3). Bronze Age altars discovered at Megiddo include horned limestone incense altars and a large circular altar mounted by a flight of steps. In Josh. 22 the crisis caused by the building of “an imposing altar” by the Transjordanian tribes was averted when these tribes explained to the rest of the Israelites that it was intended as a replica of the altar outside the tabernacle and not for the offering of sacrifices. The worship of all Israel at the one sanctuary both expressed and protected the religious unity and purity of the nation at this vital early stage of occupation of the land. In later narratives, however, Gideon (Judg. 6), Samuel (1 Sam. 7:17), Saul (1 Sam. 14:35), and David (2 Sam. 24) are said to build altars for sacrifice and to have done so with impunity, and in fact with the apparent approval of the biblical author. The established custom of seeking sanctuary from threat of death in the nation’s shrine is reflected in 1 Kings 1:50–53; 2:28–35, where Adonijah and Joab are described as “clinging to the horns of the altar.”

Solomon’s temple and rival worship centers. In the temple built by Solomon, the altar of incense that belonged to the “inner sanctuary” was overlaid with gold (1 Kings 6:20, 22). Solomon’s prayer at the dedication of the temple was made before the bronze altar in the courtyard (1 Kings 8:22, 54). The altar for sacrifices was much larger than the one that had been in the tabernacle (1 Chron. 4:1 gives its dimensions).

Although many of the psalms may originally have been used in worship in the first temple, there are surprisingly few references to the altar in the Psalter (only Pss. 26:6; 43:4; 51:19; 84:3; 118:27). They express the psalmist’s devotion to God and the temple as the place where God’s presence is enjoyed as the highest blessing.

After the division of the kingdom, Jeroboam offered sacrifices at the rival altar that he set up in Bethel (1 Kings 12:32–33). An unnamed “man of God” (= prophet) predicted Josiah’s desecration of this altar, which lay many years in the future (1 Kings 13:1–5). Amos and Hosea, who prophesied in the northern kingdom of the eighth century BC, condemned this and the other altars in that kingdom (e.g., Amos 3:14; Hos. 8:11–13). Ahab set up an altar to Baal in Samaria (1 Kings 16:32), and the suppression of Yahwism by Jezebel included the throwing down of the Lord’s altars in Israel (19:10, 14). The competition on Mount Carmel between Elijah and the prophets of Baal involved rival altars (1 Kings 18), and Elijah’s twelve-stone altar recalls that of Exod. 24, for he was calling the nation back to the exclusive monotheism preached by Moses (1 Kings 18:30–32).

With regard to the southern kingdom, the spiritual declension in the time of Ahaz manifested itself in this king making an altar modeled on the Assyrian prototype that he had seen on a visit to Damascus (2 Kings 16:10–14). He shifted the Lord’s altar from in front of the temple, where it had previously stood. Godly Hezekiah’s religious reform included the removal of the altars at the high places that up to that time had been centers of deviant worship (2 Kings 18:4, 22). The apostasy of King Manasseh showed itself in his rebuilding the high places that Hezekiah his father had destroyed and in erecting altars to Baal (2 Kings 21), thus repeating the sin of Ahab (cf. 1 Kings 16:32). Josiah’s reform included the destruction of all altars outside Jerusalem (2 Kings 23) and the centralizing of worship in the Jerusalem temple.

In Ezekiel’s vision of the new temple of the future, the sacrificial altar is its centerpiece (Ezek. 43:13–17). The altar was to be a large structure, with three-stepped stages and a horn on each corner, and it was to be fitted with steps on its eastern side for the use of the priests.

The second temple. The Israelites’ return from Babylonian exile was with the express aim of rebuilding the temple. The first thing that the priests did was to build “the altar on its foundation” (i.e., its original base; Ezra 3:2–3). The returnees placed the altar on the precise spot that it had occupied before the Babylonians destroyed it along with the temple. They took such care because they wanted to ensure that God would accept their sacrifices and so grant them protection. At the very end of the OT period, the prophet Malachi condemned the insincerity of Israel’s worship that was manifested in substandard sacrifices being offered on God’s altar (Mal. 1:7, 10; 2:13).

New Testament

In the NT, the altar is mentioned in a number of Jesus’ sayings (e.g., Matt. 5:23–24; 23:18–20). In the theology of the book of Hebrews, which teaches about the priesthood of Jesus Christ (in the order of Melchizedek), the role of the priest is defined as one who “serve[s] at the altar” (7:13), and Christ’s altar (and that of Christ’s followers) is the cross on which he offered himself as a sacrifice for sin (13:10). Another argument of Hebrews is that since on the most important day in the Jewish ritual calendar (the Day of Atonement), the flesh of the sacrifice was not eaten (see Lev. 16:27), the eating of Jewish ceremonial foods is not required, nor is it of any spiritual value. The altar in the heavenly sanctuary is mentioned a number of times in the book of Revelation (6:9; 8:3, 5; 9:13; 11:1; 14:18; 16:7). It is most likely the altar of incense and is related to the prayers of God’s persecuted people, which are answered by the judgments of God upon the people of the earth.

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

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

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

Early History through the United Monarchy

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

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

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

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

From the Divided Monarchy to the Exile

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

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

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

From Persian to Roman Rule

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

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

The Time of Jesus and the First Century AD

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

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

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

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

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

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

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

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).

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).

In the ancient world, shame and honor are two binary opposites used to depict one’s status or behavior, which a culture approves or disapproves. The system of honor and shame serves as a primary means of social control. Thus, knowing how to act to conform to the code of social behavior expected by one’s group is essential to the maintenance of that community.

In the Bible, the noun “honor” is represented by kabod (from the verb “to be heavy”) in the OT, and by timē (from the verb “to honor”) in the NT. The reverse of honor is shame, which is represented by a variety of Hebrew and Greek terms, such as boshet in the OT, and aischynē in the NT.

In Israel, the Holiness Code (Lev. 17–26; cf. Num. 5:2–3; 8:6–7, 14–15) is comparable to the code of honor and shame. As a covenant community, Israel has the obligation to abide by the sanction imposed by God to attain honor (Deut. 4:6–8; 26:18–19; Pss. 34:5, 8–9; 37:18–19; 127:5; cf. 2 Chron. 26:18; Pss. 8:5; 62:7; 84:11; Rom. 2:7–11). Israel is honored (Exod. 32:11–12; Deut. 32:26–27) before the nations when God’s honor is upheld (Exod. 7:5; 10:1–2; 14:4, 17–18). Violation of covenantal stipulations—for example, deceptions in trading (Deut. 25:16), acts of “abomination” (Lev. 18:17, 22–23, 26–29), idolatry (Deut. 31:20; 32:15–17), and failure to perform duties prescribed in the law (Deut. 25:7–10)—results in disgrace before others (Exod. 32:25) and God (Deut. 28:25–26, 37).

The status of honor can be ascribed to an individual. A person is more honorable who is the firstborn (Gen. 49:3), comes from an esteemed family (Ps. 45:9), or is married into a dignified family (Gen. 41:45; Ruth 4:5). This worth will last a lifetime unless the reputation of the family is compromised, either because of economics (Ruth 1:1–21) or violation of the codes of conduct, such as adultery and incest (Exod. 20:14; Lev. 18:20; 20:10–21; Deut. 5:18; 22:22; Prov. 6:32–33), though not necessarily divorce (Deut. 24:1–4). Certain groups of people are honored because of special privilege granted to them (Prov. 8:15–16; Dan. 2:21; Rom. 13:1–5)—for example, priests (Exod. 28:2, 40; Ps. 110:4; Heb. 7:21), kings (Ps. 2:7), sages (Prov. 3:35), Israel (Exod. 19:6; Deut. 7:6; 8:11–9:7; 26:16–19), and the church (1 Pet. 2:9).

Wealth symbolizes one’s status and claims respect for its owners (Gen. 12:10–20; 14:21–24; 1 Kings 3:13; Prov. 3:16; 8:18; 22:4; Ps. 49:16; Isa. 61:6, 12) but does not equate the state of being poor with shame (cf. Ps. 12:5) unless it is a result of moral lassitude (Prov. 13:18). Parts of the human body symbolize worth and value. Certain parts of the body are less honorable than others, and to expose them is to invite disgrace (2 Sam. 10:4–5; 1 Chron. 19:4; Isa. 20:4; 1 Cor. 12:23–24).

The status of honor can also be achieved by an individual’s merits (cf. Rom. 2:7–11). Certain types of behavior are honorable—for example, humility (Prov. 15:33; 18:12; 29:23), taking care of one’s master (Prov. 27:18), honoring parents (Exod. 20:12; 21:15; 22:28; Prov. 19:26; Mal. 1:6; Matt. 15:4; Eph. 6:2), good service (Gen. 45:13), military exploits (2 Sam. 23:19–23; cf. 2 Chron. 32:21), almsgiving and justice (Prov. 21:21). One important aspect of achieving honor is the pursuit of wisdom. The ways of wisdom are honorable (Prov. 3:16–17; 4:8; 8:18), preserving a person from dishonor (Prov. 3:16–17, 31–33, 35; 24:14), but the ways of folly, such as injustice (Prov. 1:22; 14:31) and dishonoring parents (Prov. 30:17; cf. Exod. 20:12; 21:15; Lev. 20:9; Deut. 27:16), are a disgrace (Prov. 20:3; 26:1). The failure to perform one’s duty (Gen. 40:1–3) or a defeat in battle (Isa. 23:9; Lam. 1:8; Nah. 3:10) results in shame and, accordingly, loss of social status (Isa. 16:14; 23:9; Jer. 46:12; Lam. 1:6, 8; Hos. 4:7). An ultimate form of disgrace is to be hanged for public viewing (Deut. 21:22–23; Esther 5:14; 7:7–10; Matt. 27:32–44; Mark 15:22–32; Luke 23:33–43; John 19:17–24; 1 Cor. 1:18–25). In a patriarchal society, the status of women is obtained through their sexual exclusiveness. Their chastity (Gen. 38:24; Lev. 20:10; Deut. 22:13–21; cf. 2 Sam. 13:13; Song 8:8–9) and fertility (Gen. 16:2; 30:2; 1 Sam. 1:3–8) become indicators of family and social worth.

A valley mentioned in Ps. 84:6. Worshipers are said to pass through this valley on the way to worship in Zion. The translation and significance of the name are debated. The Hebrew word baka’ may mean “balsam tree,” thus “Valley of the Balsam.” In 2 Sam. 5:22–24; 1 Chron. 14:13–16, David was to wait until he heard the sound of marching in the balsam trees (NIV: “poplar trees”) (signifying the advance of the heavenly army) before he attacked the Philistines. The word baka’ also is similar to the Hebrew word for “weeping,” thus “Valley of Weeping.” Perhaps the name of the valley alludes to both words.