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PRUNING-HOOK-PSALMS, BOOK OF.

the time of Moses, (Levit. 25. 3,4,) and no doubt both were similar to those employed by the Egyptians. See VINE; VINEYARD.

PSALMS, BOOK OF,

Tehillim. This canonical book is in the Gospels variously called, "The Book of Psalms," "The Prophet," or David," from its principal author.

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The right of the Psalms to a place in the sacred canon has never been disputed: they are frequently alluded to in the Old Testament, and are often cited by Our Lord and his Apostles as the work of the Holy Spirit. They are generally termed the Psalms of David, that Hebrew monarch being their chief author. Origen, Chrysostom, Augustine, Ambrose, Euthymius, and others of the ancient Fathers, indeed, were of opinion, that he was their sole author: but they were opposed by Hilary and Athanasius, (or the author of the Synopsis attributed to him,) Jerome, Eusebius, and other Fathers of equal eminence. And, indeed, this notion is manifestly erroneous; for an attentive examination of the Psalms will immediately prove them to be the compositions of various authors, in various ages, some much more ancient than the time of David, some of a much later age; and others were evidently composed during the Babylonish captivity. Some modern commentators have even referred a few to the time of the Maccabees: but for this opinion there does not appear to be any foundation.

The Jews commonly divide the Psalter into five books, at the end of each of which we read the same conclusion, which is thought to have been put there by Ezra, or by those who had the care of collecting the sacred books after the captivity of Babylon. The first book ends at our 40th Psalm; the second at the 71st; the third at the 88th; the fourth at the 105th; the fifth at the 150th. The first four books conclude with these words: "Amen, Amen;" the fifth with "Hallelujah."

The hearts of the pious in all ages have felt the value of the Psalms as helps to devotion, and many have laboured for expressions, in which to set forth their praise. All the Fathers of the Church are unanimously eloquent in the commendation of the Psalms: Athanasius styles them an epitome of the whole Scriptures; Basil, a compendium of all theology: while Luther terms them a little Bible, and the summary of the Old Testament; and Melancthon, the most elegant writing in the whole world. How highly the Psalter was valued subsequently to the Reformation, we may easily conceive by the very numerous editions of it which were executed in the infancy of printing, and by the number of commentators who have undertaken to illustrate its sacred pages. Carpzov, who wrote a century ago, enumerates upwards of one hundred and sixty; and of the subsequent modern expositors of this book, it would perhaps be difficult to procure a complete account.

The Book of Psalms is justly esteemed a general library, in which we may meet with whatever is requisite for salvation. The moral of life, the mystery of redeeming grace, the display of almighty power, and almighty love, the spiritual history of the world, the passage of Jehovah through the wonders of his creation; all that can alarm the wicked, revive the penitent, console the afflicted, and confirm the faithful, is to be found in the Book of the Psalms. But in this same book these subjects are often to be sought for, so much below the shining surface of its poetical beauties, so deep in the recesses of spiritual wisdom, and so near the border of the invisible world, that minds of the greatest grasp, and longest reach, are never more usefully employed for mankind, than when engaged in the interpretation of this part of holy ScripLessons of wisdom, however, as salutary as they

ture.

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are intelligible, there lie open to the ordinary reader; the attributes of God, the rewards of piety, the vanity of human cares, and the deceitfulness of human counsels, are enforced and exposed by examples, by images, and by descriptions, so magnificent, yet so familiar; so elevating, yet so natural; so suitable to common feeling, yet so commensurate with our highest faculties, that all must acknowledge their excellence, and few can wholly resist their influence; but to the mind inquisitively pious, and ardent in the pursuit of heavenly knowledge, these seraphic songs present a path of discovery continually opening before them, refulgent with the footsteps. of the Messiah, and resounding with the promises of the Gospel.

"The Psalms," as Bishop Horne has remarked, “are an epitome of the Bible, adapted to the purposes of devotion. They treat occasionally of the creation and formation of the world; the dispensations of Providence, and the economy of grace; the transactions of the patriarchs'; the exodus of the children of Israel; their journey through the wilderness and settlement in Canaan; their law, priesthood, and ritual; the exploits of their great men, wrought through faith; their sins and captivities; their repentances and restorations; the sufferings and victories of David; the peaceful and happy reign of Solomon; the advent of Messiah, with its effects and consequences; his incarnation, birth, life, passion, death, resurrection, ascension, kingdom, and priesthood; the effusion of the Spirit; the conversion of nations; the rejection of the Jews; the establishment, increase, and perpetuity of the Christian church; the end of the world; the general judgment; the condemnation of the wicked, and the final triumph of the righteous with their Lord and King."

The number of Psalms which are throughout more eminently and directly prophetical of the Messiah, is indeed comparatively small; but the passages of particular Psalms which are predictive of Him in various ways are very numerous; hence no part of the Old Testament is cited in the New so frequently as this book. That those Psalms which were composed by David himself were prophetic we have David's own authority: "which," Bishop Horsley remarks, " may be allowed to overpower a host of modern expositors." For thus King David, at the close of his life, describes himself and his sacred songs: "David the son of Jesse said, and the man who was raised up on high, the anointed of the God of Jacob, and the sweet psalmist of Israel, said, The Spirit of Jehovah spake by me, and his word was in my tongue." (2Sam. 23. 1,2.) It was the word therefore of Jehovah's Spirit which was uttered by David's tongue. But, it should seem, the Spirit of Jehovah would not be wanting to enable a mere man to make complaint of his own enemies, to describe his own sufferings just as he felt them, and his own escapes just as they happened. But the Spirit of Jehovah described, by David's utterance, what was known to that Spirit only, and that Spirit only could describe. So that, if David be allowed to have had any knowledge of the true subject of his own compositions, it was nothing in his own life, but something put into his mind by the Holy Spirit of God; and the misapplication of the Psalms to the literal David has done more mischief than the misapplication of any other parts of the Scripture, among those who profess the belief of the Christian religion.

Augusti, De Wette, and some other German critics, have termed the Book of Psalms, the Hebrew Anthology, that is, a collection of the lyric, moral, historical, and elegiac poetry of the Hebrews. This book presents every possible variety of Hebrew poetry. All the Psalms, indeed, may be termed poems of the lyric kind, that is,

adapted to music, but with great variety in the style of composition. Thus, some are simply odes*; others, others, again, ethic, or didactic, delivering grave maxims of life, or the precepts of religion, in solemn, but for the most part simple, strains. To this class we may refer the 119th, and the other Alphabetical Psalms, which are so called, because the initial letters of each line or stanza follow the order of the alphabet. Nearly one-seventh part of the Psalms is composed of elegiac or pathetic compositions on mournful subjects. Some are Enigmatic, delivering the doctrine of religion in enigmatic sentences contrived to strike the imagination forcibly, and yet easy to be understood; while a few may be referred to the class of Idyls, or short pastoral poems; but the greater part, according to Bishop Horsley, is a sort of dramatic ode, consisting of dialogues between certain persons sustaining certain characters. In these dialogue psalms the persons are frequently the Psalmist himself, or the chorus of priests and Levites, or the leader of the Levitical band, opening the ode with a proem declarative of the subject, and very often closing the whole with a solemn admonition drawn from what other persons say. The other persons are, Jehovah, sometimes as one, sometimes as another of the three Persons. Christ in his incarnate state, sometimes before, sometimes after his resurrection; the human soul of Christ as distinguished from the Divine essence. Christ, in his incarnate state, is personated sometimes as a priest, sometimes as a king, sometimes as a conqueror; and in those Psalms in which he is introduced as a conqueror, the resemblance is very remarkable between this conqueror in the Book of Psalms, and the warrior on the white horse in the Book of Revelation, who goes forth with a crown on his head and a bow in his hand, conquering and to conquer. And the conquest in the Psalms is followed like the conquest in the Revelation, by the marriage of the conqueror. These are circumstances of similitude which, to any one versed in the prophetic style, prove beyond a doubt that the mystical conqueror is the same Personage in both.

Herder, in his Spirit of Hebrew Poetry, has some valuable remarks upon the Book of Psalms: he says,

"In the time of David, the lyric poetry of the Hebrews attained its highest splendour. The scattered wild flowers of the country were now gathered and planted, as a royal garland, upon Mount Zion. From his youth upwards the mind of David had been attuned to music and poetry. He had spent the happiest years of youth, as a tender of flocks, and amidst their usual haunts. There he had gathered those flowers of pastoral poetry, which often adorn, also, his heroic Psalms, and even those expressive of sadness and affliction. By music, with which was then combined not only poetry, but whatever of cultivation belonged to the age, he had first found access to the person of the king. This circumstance, undoubtedly, contributed to make him cultivate and strengthen still more the powers of his Muse. Soon after, as if the same act was to be for him the occasion both of good and evil fortune, in consequence of the triumphal song of the women, who went out to meet him, he was regarded as the rival of Saul, and in several instances scarcely escaped, with his harp in his hand, the javelin of the king. He betook himself to flight, and for years either alone or with a few companions, wandered about the deserts of Judæa, and was like a

* "An ode," remarks Bishop Horne, in his Commentary on the Psalms, "is a dignified sort of song, a narrative of the facts, either of public history, or of private life, in a highly adorned and figured style. But the figure in the Psalms is that, which is peculiar to the Hebrew language, in which the figure gives its meaning with as much perspicuity as the plainest speech."

bird upon the mountains. Here his harp became his comforter and friend. To it he uttered the complaints, which he could confide to none else. It calmed his fears, made him forget his misery, as once it had subdued the evil spirit in Saul, and made him forget his envy and vexation. From it he now drew forth tones, which were an echo to his feelings in sorrow and in joy, and the most tender and impassioned among them were prayers;-prayers by which his courage was excited, his hope confirmed, until in the providence of God he triumphed over all. Now his harp became in his royal hands consecrated as a thank-offering to the public. Not merely that he himself, as he had often promised, made public the prayers relating to his own distress and deliverance; he organized and devoted, in a far greater measure than had before been done, music and poetry for celebrating the service of God, and promoting the magnificence of the Temple. Four thousand Levites, distinguished by a peculiar dress, were arranged in classes and choirs under master-singers, of whom the three most distinguished, Asaph, Heman, and Jeduthun, are known to us by specimens of their art. The children of Korah, probably, belonged to the middle class. David employed himself even as king to increase the treasures of this temple music. Dangers and triumphs, especially the very great danger and affliction experienced from the rebellion of Absalom, awakened again the slumbering tones of his youthful harp, to sing of royal cares and troubles. Every important measure which he adopted, especially the consecration of Mount Zion, was brought into general notice, and placed in a clear light by his own poetical effusions, and those of the poets employed under his patronage. In his Psalms his whole kingdom still lives. These were sung at the public festivals. Dazzled with the magnificence of the king and the royal city, the people sung them with enthusiasm. They were treasured up and preserved as royal psalms; everything which could be, was included and arranged as such; and these were imitated as far as possible by other writers.

"The poets patronized by David followed the splendid example of their king, not by devoting themselves to song merely, but by doing so in the same spirit and style which he had adopted; and why should not the succeeding ages, in which David was become a sacred name, the father of the whole race of kings, and associated with the future hopes of the nation, why should they not follow so glorious a model? Even the prophets imitated him, because David was the favourite name among the people, because his Psalms were the song-book of the nation, wherever it took part in Divine worship, in music and poetry. In this way was formed the collection which we have under the name of David's Psalms. Not all are his, or of his age. Only an individual song of Moses, however, is from more ancient times, and later writers obviously followed him as their model, even when they did not ascribe their songs to himself. The superscription ascribing them to David, where it stands without farther limitation, seems to be as indefinite in its import as the ascription to Solomon of whatever proverbs and delicious songs belong, in any sense, to his age, or correspond with his character. In short, this greatest and most renowned king of Israel succeeded in uniting the garland of lyric poetry with the triumphal and regal crown, and among the Hebrews a beautiful song is synonimous with a song of David.

"No book of Scripture, except the Song of Solomon, has suffered so many misinterpretations and perversions from its original sense as the Book of Psalms. As David, in his own age, gave his own feelings and sentiments general currency, and rendered his own style the

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predominant one in the songs of the Temple, so the book was destined to become the book of devotional song for every age, for every nation, and all hearts, though they had no connexion either with the spirit or the deeds of David. What else could result from this but a great extension of the sense of the author, and an application of his language to objects and feelings very different from those which it originally designated. Every commentator, every versifier, found here his own. age, the wants of his own soul, his own domestic and family relations, and on this ground adapted it to the singing and reading of his own church. In that, all the Psalms of David were sung, as if every member of the church had wandered upon the mountains of Judah, and been persecuted by Saul. They sung with zeal against Doeg and Ahitophel, imprecated curses upon the Edomites and the Moabites, and where they could do no more, they put the imprecations in the mouth of Him who never returned railing for railing, nor threatening for injustice. Let any one read the most individualized, the most characteristically beautiful songs of David, of Asaph, and of Korah, in many versifications of them, then turn back to the original situations and sources of the feelings which they depict, and will he find them always retaining even a shadow of their ancient form?

"In order to attain a clear view of the Psalms, as lyric poems of the age of David, the following particulars are indispensable.

"(1). That we forget all modern imitations and commentators, even though most highly prized, and the best of their own times. They read them in accordance with the purpose at which they aimed, each for his own age, and with an application to this of the language, the consolations, and instructions of the book. Our aim is to see it in its circumstances of time and place, and in these the heart and understanding of David, and the poets associated with him.

" (2.) In accordance with this aim, the first inquiry should be for the objects and situations, in reference to which these songs were severally composed. These are given at the head of many of the Psalms; in others they are determined by the contents, and in others it must be left undetermined. Two things here, however, must be guarded against. In the first place, that we do not insist upon finding a Psalm for every trifling event in the life of David, nor invent for every figurative expression in the Psalms a corresponding situation in his life. The first has been done in relation to David just as in relation to other lyric poets. A locality is sought for every thing, and a memorial for every event. In pursuit of the second, to find a situation to which every word refers, strange things have been imagined, of which the interpreter indeed might know something, but of which the poet certainly knew nothing.

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" (3.) We must study the peculiar language of David and his contemporaries by comparing the different Psalms with each other, and with the history of the age. That the royal poet had his favourite expressions needs no proof; and they may all be explained from the situations in which he was placed. The Lord is my shield, he is on my right hand, he setteth me in a wide place, he leadeth me to high places,' &c., are of this kind, and a series of others, which in fact with some modification of sense were for centuries current in the Church. A collection of poetical idioms for all these songs would be a useful book, and indeed we are in need of a similar collection for all the principal writers of the Old Testament.

“(4.) We should regard the feelings that prevail in the Psalms neither as an enemy, nor yet as blind defenders of them. They exhibit the characteristic traits

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of individual men, and, as such, should be explained, without being dressed up as a model of holy feelings for all men. David had his peculiar feelings and cares, both as an exiled wanderer and as a king; we are neither of these, and need therefore neither imprecate curses upon enemies, whom we have not, nor magnify ourselves as their conquerors; but we must learn, at the same time, to understand and appreciate these feelings. The Scripture itself gives us a rich commentary on the subject, for it does not disguise the character of David, even in regard to his failings. The man who sinned against Uriah and Bathsheba may also be too hasty in his language. He was rash, oppressed, and a warrior. He spake often not in his own name, but in the name of his people, as a father of his country. But always, and in all circumstances, he was a man. His songs illustrated his history; but he that aims to see everywhere in them the superhuman and unearthly, will at last see nothing distinctly.

"(5.) Again, in studying these as specimens of art, we must take no examples from other nations and languages, as models, by which to judge of them; for the composition of such effusions must be judged with reference to the peculiar nature of the feelings, sentiments, and language, out of which they have grown. To what does it amount, indeed, when we say that this or that Psalm is Pindaric? merely that it contains bold transitions, lofty sentiments, and historical allusions? and must not the same necessarily be found in all laudatory odes? Yet in regard to the art of composition, David has nothing more than this in common with Pindar. The language of Pindar's lyric poetry, his periods and metrical arrangement, the mode of treating his subjects, derived from mythology and ancient history, and the nature of his subjects themselves, hardly admit of a comparison, and we are sure to draw false conclusions when we suffer ourselves to be blinded by the word chorus. A Hebrew is by no means the same thing with a Grecian chorus.

"(6.) Still less should the style of David be judged by the rules of lyric poetry formed in our own age, and not applicable even to all the odes of Horace, though from these they are professedly abstracted. The critic who formed them had, for the most part, too narrow views, was not extensively acquainted with the lyrical treasures of different languages, confined himself to a few favourite specimens, and by these framed his general rules. How, then, can they be expected to apply to an entirely different age? to situations and languages far more simple? Whoever is not qualified to feel the beauty of musical and harmonious poetry, unaided and of himself, will never learn to feel it by force of artificial rules. In higher criticisms upon the poetry of the Hebrews we are still but children. We either stifle ourselves with various readings, or embellish the simplicity of the original with the modish attire of modern lan

guages.

"I will now exhibit a few brief sketches in order to mark some of the chief varieties of their lyrical style.

"Some Psalms are short. They unfold only a single image in a simple and uniform tone of feeling, and terminate with a beautiful completeness in the expression. I might call them odes, expressive of a single thought. Of this sort is the beautiful 133rd Psalm, which breathes a fragrance delicate as a rose.

"The union of brothers, tribes, and families is here compared with objects of highest sacredness and beauty, and which diffuse an animating fragrance. So the good name of families dwelling in unison is diffused, and gives them dignity and honour. So the dew of Hermon descends to water the parched mountains of Zion, and

make them productive of blessings.

As a national song for these festivals, it has a perfect and beautiful close. From the flowing ointment he comes to the descending dew, and from this to the invocation of blessings upon Zion-the true compass of an ode. Aaron's name itself presents a fine example of a peaceful brother, whom his own brother anointed with the blessing of God and the glory of Israel.

"The 23rd Psalm. From the close it is plain that this beautiful Psalm was composed in exile. The commencement is a quiet pastoral, but his feelings lead him to drop the image of his sheep, and a table, a royal feast, is spread before the eyes of his oppressors. This joyful hope rises to a full conviction that success will attend him as long as he lives. The sudden transitions from one image to another is in the spirit of the Oriental ode. Yet but one feeling pervades the whole. Those who would examine more specimens of this sort may read the 15th, 29th, 61st, 67th, 87th, 101st, and 150th Psalms. "So soon as a lyrical effusion, either from the comprehensiveness of its subject, or the fuller expression of emotion, becomes extended, it requires variety, contrasts, a manifoldness of parts, which in the former kind we perceive only in the bud, in a trifling variation of the image. Here, according to the Oriental style, a great effect is produced by change of person, questions and answers, sudden appeals to inanimate or absent objects, and if, in the form thus enlarged, a sort of lyrical representation and action can be introduced, the ode attains its highest perfection. It has, in this way, a beginning, middle, and end, the last returning again to the first, and the whole forming thus a lyrical garland. This is what the critics call the beautiful irregularity, the ambitus of the ode, the flight in which it strays, but is never lost. The whole presents itself before us, a picture full of living action. No word can be taken away, no strophe change its place. The beginning and the end are necessary to the middle, and the middle remains impressed upon the memory. Perfect odes of this sort are few in number in all languages, because there are few subjects that admit of being treated in this way, but where they are found they should be kept in perpetual remembrance. To the class of songs composed of several members, I reckon among the Psalms the 8th, 20th, 21st, 48th, 50th, 76th, 96th, 99th, 111th, 113th, 120th, 129th. Among the perfect specimens which have not only variety and contrast, but a progressive lyric action, I venture to name the 2d, 24th, 45th, 47th, 50th, 110th, 114th, and 127th Psalms. Some include here also the 29th and 68th, because in the voice of God in the former, and the carrying of the ark in the latter, they suppose a local progress of the representation; but for this I see no ground. The principle of progression must be inward, from the one living fountain of excited emotion, and cannot come from outward geographical relations.

"The 24th Psalm commences magnificently with the sentiment, The earth is Jehovah's.' He is to dwell here upon the hill of Zion, and the whole earth will be spread out before him. The transition from the sentiment in the beginning to this little mountain is very beautiful. It becomes a holy mountain, because Jehovah dwells upon it, and that both in a moral and civil sense; for as nothing impure in sacrifices could be brought before God, so no impure worshipper could appear before Him. It seems appropriate, too, that only such vices are mentioned here as are injurious to the general welfare, for Jehovah dwelt here as their national God, as the founder and protector of the Jewish state. The remainder of the Psalm is full of action. A multitude presents itself knocking at the gates, and eager to be

hold the face of the monarch; and lo! it is Jehovah himself, the ark of the covenant, over which dwelt their ancient God, the leader of their armies. He who in ancient times had gained so many victories, a glorious king, renowned in war, and shown to be mighty in power, was proclaimed by the answering chorus, and as such, he was to dwell by the residence of the heroic king upon Mount Zion, his recent conquest. The ancient doors of his tabernacle must, therefore, raise their heads that such a monarch might come in! How picturesque and striking the representation! God entered into a small tent, and would have no Temple built for Him by David; so that its ancient narrow doors have no magnificence but what is derived from Him who enters within them. In order to give roundness and dignity to the piece, the particular incidents attending the procession, and historically described in the 68th Psalm, are here passed over. By comparing them, one may understand the difference between two songs, the one of which is a picture full of living motion, and the other history lyrically narrated.

"Let us now take up the 45th Psalm, the most beautiful epithalamium of early times. It begins with an annunciation of the subject, and a sort of dedication to the king. It then, first, clothes the bridegroom in all the ornament of beauty, grace, heroic and regal costume, and makes him worthy of reverence and love, before it places his bride beside him.

"The ode is from the age of Solomon. This is shown by the description of the magnificent palace, by the daughters of foreign kings, but especially by the representation of the king himself, on whom are heaped all the blessings which God had promised to the lineage of David. As a hero and king, he is represented with arms, his golden sceptre in his hand, the rich anointing oil upon his head, and his garments breathing precious odours. All these representations are derived, partly from the history of Solomon, who was preferred to the throne before his brothers, and partly from the benediction pronounced upon him, that his kingdom should be a peaceful and perpetual reign of righteousness, in which oppression should cease, and the rights of the oppressed be vindicated. A transition is then made to the bride. Kings' daughters minister to his happiness in his palace, but one is the special object of his love and admiration. As bride and consort, she stands beside him clothed in finest gold. The song then, with child-like simplicity, addresses itself to the modest and timid bride, admonishing her to look from her veil and observe him; to forget now her own country, and devote herself to her king, who would then love her in return, and be attracted by her beauty. All this is in accordance with Oriental customs, where the bride is little more than a child, and the superior power and influence of the husband over her is very great. Soon, however, she shall enjoy the prerogatives of her station. The daughters of Tyre, the mart of all costly and precious things, shall wait upon her with bridal presents, and rich princes shall sue to her for her friendship and intercession. In language still more personal and flattering it is then added, that she is beautiful not only in her outward embellishments, but that her own hidden person constitutes her loveliness, and excels in beauty all the precious stones of her attire. In like manner she is brought, richly adorned, to the palace; the procession moves with songs and rejoicing out of the view of the poet, and he only adds his wish, modestly intimated, that she may enjoy the blessings of a happy marriage. The song closes in a lofty tone, as it had begun in a style of refinement, and exhibits throughout discernment, loftiness of conception, and a gracefulness of style.

"The captivity of Babylon, the 137th Psalm. I do not

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join in the imprecations of the last lines; but if the song was written during, or immediately after, the Babylonish captivity, its accents must be felt as touching and natural, and his beloved country is in the view of the poet sacred above every other object.

"Every emotion has its perfect sphere, in which its action may be contemplated as a whole. The sorrow, which exalts itself to joy; the anxiety, which extends itself and sinks to rest; the calm tranquillity, which changes into joyful confidence; the contemplative mood, that at length loses itself in an ecstasy; and the rapture, which sinks again into calm contemplation; every affection has its own determinate course, and gives consequently a corresponding ambitus to the lyric expression of it, in which we feel its completeness.

"Psalms, in which the feelings are elevated from a tone of lamentation to hope and confidence, are the 6th, 22nd, 60th, 62nd, 85th, 145th, and many others..

"Psalms, in which an ardent and heroic spirit is raised, till it sinks again to repose in the remembrance of God, are the 7th, 10th, 13th, 17th, 26th, 35th, 36th, 52nd, 59th, 61st, 64th, 69th, 71st, 86th, 88th, 94th, 109th, 140th, 142nd. These too are very numerous.

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“Psalms, in which a tranquil confidence is expressed throughout, are the 3rd, 5th, 11th, 21st, 25th, 27th, 28th, 30th, 37th, 41st, 44th, 63rd, 65th, 131st, 132nd. The leading trait of the character of David as a Psalmist is truth. His songs are a faithful picture of his life, his feelings, and his age. Hence Luther called them, in his preface to the Psalms, a garden, where all beautiful flowers and fruits flourish, but where also at times the most violent winds sweep over them. If his language were but only poetical colouring, we should have nothing to do but to praise his colours. Now we may derive instruction from his writings by the picture which they present both of good and evil. In David is manifested throughout a tender heart, and a soul full of sensibility. He exhausts the emotions and the language of joy and sorrow, and there are expressions of this sort in his Psalms, for which modern language has almost nothing corresponding. He is afflicted either by God or his enemies; (the later misfortunes of his reign he looked upon as the chastisements of Jehovah ;) and how is his spirit bowed! How does his harp complain! He is dissolved with anguish and tears. These tears are poured out to God, but soon change into trust, courage, or child-like submission. God had taken him from a keeper of sheep, and anointed him as the shepherd of his people, had delivered him from many dangers, and sustained him under many sufferings. All this inspires him with an individual, personal confidence in his most faithful and best friend, and this confidence is the theme of his songs; they utter the feelings of personal confidence and friendship in his communion with God, and hence they have been so highly prized by all great and noble minds, who have placed a similar confidence in God. For all found in them the proper language of their own hearts, and could find no better expression of their feelings than in the words of David. Perhaps no one has exemplified this more strikingly than our own Luther, who found his whole heart in the Book of Psalms, and applied it to his own times whenever and wherever he could do so. It is a great and good characteristic in a man to believe in a particular Providence. All who have been exposed to severe and numerous trials, and been proved upright, have had this faith. They knew God, not from books, but from the truth of their own hearts, the experience of their own lives. No topic in relation to God is unfolded in the Psalms with a scientific or theoretical purpose. God is he, who everywhere looks through the soul of the Psalmist, knows the

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truth and uprightness of his heart, as well as his secret griefs and necessities. This occasions him joy and grief, inspires him with confidence and humility.

In didactic Psalms, Asaph excels David. His soul was less tender, but more calm and free from passion. The best of his Psalms are formed on a beautiful plan, and his national songs also are peculiarly excellent. How beautiful are the sentiments of the 73rd Psalm. It begins with a brief moral sentiment, the result of many reflections, with which it also closes. Soon and imperceptibly he comes to his situation of trial, describes how he fell into error, and when he has placed this picture in the clearest light, makes another transition. He is brought into the counsels of Divine Providence, and sees that in his former opinion he was brutish. New vows of fidelity to God (having reference to his former wavering,) are uttered with the greatest fervour, till a general moral sentiment again closes the Psalm. Both in its sentiment and arrangement it is a beautiful didactic Psalm. We must not extend his views beyond their proper bounds. Asaph saw the prosperity of the wicked, and saw it vanish away, while the happiness of the upright is true and abiding-this is the extent of his view. Neither future retribution of the former, nor an exposition of the eternal blessings of the latter, was the purpose of his ode.

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Songs of the Sons of Korah. Were these songs written by David? If so, why was not his name attached to them? since to him as well as to Asaph other songs are ascribed, which probably belong to later times. Perhaps they may have been from one of Heman's choir, and their author may not unjustly be esteemed the most elevated and truly lyric poet of all in the collection. His national songs are brief, full, and animated. The 45th Psalm is one of the most beautiful bridal songs; the 42nd one of the finest elegies.

"Songs of Anonymous Authors. We have a considerable number of Psalms with no name attached to them, of which many were probably from later times, but which are not therefore less valuable. In some of them we discover more refined doctrines than belonged to the age of David. At present I can only say a word of the so called Ascending Songs, or Songs of Degrees.

"Some consider the songs of degrees as marching songs in the return from Babylon, because Ezra 7. 9 calls this return an ascent. The contents of most of them have little to confirm this supposition. Many are at all events from late periods, and the 137th distinctly sings of the captivity in Babylon, but very few of them seem to refer directly to the journey towards Jerusalem. Does the word ascent mean nothing else in Hebrew? Was it not the expression commonly used of those who went up to Jerusalem, and especially to the national festivals? Why may we not suppose, then, these songs of degrees to be only the same sort of travelling festival and national songs, as many others from David, Asaph, and the sons of Korah? Such they plainly are, and with this enlarged view of their character they are for the most part intelligible.

"The 121st Psalm explains itself more fully. There is nothing in it of Babylon, but it exhibits a march towards Jerusalem and the holy mountains.

"Let us conceive a young Israelite, who, like a newfledged bird, looks towards the mountains, in which his confidence is placed, who eagerly desires to proceed upon the journey, and to see Jerusalem, and whose aged father bestows blessings on him as he departs, and so it will be word for word explained. It is no going up from Babylon, for who there should bestow such blessings? It is the voice of a tender farewell, which cannot find a last word, and satisfy itself with the bestowment of bless

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