o 
 
 .K PRINCETON. N. J. \ 
 
 €■ Part of Ilia i 
 
 ^ AhDISOV Af.KXAKOKR LIBRARY, 
 
 I wlii 1, was pr.'^.'iited by 
 
 \ ', 1,. AM> A. STI AKT. 
 
 '♦-- - 
 
 1 .S/*r7/'. ice 
 
 \ lifPo/,-. •' |x|o, 
 
 
\K 
 
 N 
 
 
 K^' 
 
 \ 
 
 
 
 V^ 
 
 y' 
 
 w 
 
 \ 
 

 LITERAL TRANSLATION 
 
 BOOK OF PSALMS; 
 
 INTENDED TO ILLUSTRATE THEIR 
 
 POETICAL AND MORAL STRUCTURE 
 
 TO WHICH ARE ADDED 
 
 DISSERTATIONS 
 
 ON THE WORD SELAH, AND ON THE AUTHORSHIP, ORDER, TITLES, 
 AND POETICAL FEATURES OF THE PSALMS. 
 
 BY 
 
 THE KEY. JOHN JEBB, A.M. 
 
 RECTOR OF PETERSTOW, IN THE DIOCESE OF HEREFORD. 
 
 I hold it for a most infallible rule in expositions of sacred Scripture, that 
 where a literal construction will stand, the farthest from the letter is commonly 
 the worst. Hooker. 
 
 IN TWO VOLUMES. 
 
 VOL. 11. 
 
 LONDON: 
 LONGMAN, BROWN, GREEN, AND LONGMANS, 
 
 rATERNOSTER-KOW. 
 
 1846. 
 
LoNnON : 
 
 Priiitiil by A. Si-oTTiswooDE, 
 
 Nuw- Street- Square. 
 
CONTENTS 
 
 THE SECOND VOLUME. 
 
 DISSERTATIONS ON THE PSALMS. 
 
 DISSERTATION I. 
 
 ON THE WORD SELAH. 
 
 § 1. On the meaning and function of the word, 1, — § 2. Psalms of 
 two divisions, 13. — § 3. Psalms of three divisions, with a 
 burthen, 43. — § 4. Psalms of three divisions, with progressive 
 sentiment, 56. — § 5. Psalms of three divisions, with the cardinal 
 truth in the centre, 66. — § 6. Psalms of moi'e than tliree divi- 
 sions, 84.— § 7. The Prayer of Habakkuk, 99.— § 8. Selah at 
 the termination of certain Psalms, 108. — § 9. On the variations 
 of the Septuagint, as to the occurrence of Selah, 112. — 
 § 10. Selah a key to the construction of other Psalms, 115. — 
 Note on Dissertation I., 127, 
 
 DISSERTATION IL 
 
 ON THE TITLES OF THE PSALMS. 
 
 § 1. General remarks, 133. — § 2. Of the terms. Psalm, Maschil, 
 INlichtam, Song, Prayer, and Song of Praise, 137. — § 3. On the 
 musical or choral titles, viz. the Chief IMusician, Neginoth, 
 Sheminith, Shoshannim, Alamoth, Muthlabbon, Gittith, Aije- 
 leth He-Shahar, Al-Taschith, Jonath-elem-rechokim, Maha- 
 lath, Nehiloth, Shiggaion, and Higgaion, 143. — § 4. Of the 
 titles which indicate the authorship : and first, of the Psalms 
 attributed to David, 159. — § 5. Of the Psalms of Asaph, 169. 
 — § 6. Of the Psalms of the Sons of Korah, 186. — § 7. Of the 
 Psalms in.scribed with the names of Ethan and Henian, 197. — 
 
iV CONTENTS. 
 
 § H. Of the Pealm nttribute*! to Moses, 201. — § 9. Titles con- 
 sisting of hi-torical notices, 20'). — 5^ 10. Titles indicating the 
 licntiuient, 2os. — Notts <>n Dissertation II., 211. 
 
 DISSERTATION III. 
 
 ON TIU: OUDEll AND CONNECTION OF THE PSALMS. 
 
 § I. General remarks, 219. — § 2. Tlie First Part of the Book 
 of Psalms, 22H. — § 3. The Second Part of the Book of Psalms, 
 244. — i^ 4. The Third Part of the Book of P.salms, 253. — 
 § '>. Tlic Fourth Part of the Book of Psalms, 2o6. — § 6. The 
 Fifth Part of the Book of Psalms, 268. — § 7. The 1 19th Psalm, 
 272. — § 8. The Songs of Degrees, 294. — § 9. The fifteen con- 
 cluding Psalms, 304. — Note on Dissertation III., 312. 
 
 DISSKRTATION IV. 
 
 ON THE METRICAL CONSTRUCTION OF THE PSALMS. 
 
 § 1. The rhythm of Hebrew poetry, 319. — §2. The analogy 
 bctwe«'n sacred and secular metre, 332. — Note on Dissertation 
 
 ^^, 350. 
 
 DISSERTATION V. 
 
 ON THE POETICAL IMAGERY OF THE PSALMS. 
 
 § 1. The two leading principles of sacred imagery, 357. — 
 § 2. The accuracy of sncred imagery, 359. — § 3. The anago- 
 pical princi|)le. 365. — § 4. Pictorial elTcct of sacred poetry, 
 3H3. — § 5. ( )n the accumulation of metuphors, 391. — § 6. Con- 
 clusion, 395. 
 
 Al'PENDIX TO vol.. II. 
 
 The Pltalm of David, recorded in 1 Chron. xvi. 7—36 401 
 
 Index 405 
 
 Pusagcs uf Scripture quoted 413 
 
DISSERTATIONS ON THE PSALMS. 
 
 DISSERTATION I. 
 
 ON THE WORD SELAH. 
 
 § 1. ON THE MEANING AND FUNCTION OF THE WORD. 
 
 It will be the object of the present Dissertation to 
 offer an explanation of the word Selah, which fre- 
 quently occurs in the Psalms, and in only one sacred 
 poem besides, the Prayer of Habakkuk ; and upon the 
 meaning of which the Church has never pronounced 
 any determinate judgment. 
 
 It cannot be denied, that investigations of this 
 kind are not generally encouraged by the learning or 
 piety of the present age. Two notions, well nigh 
 allied to puritanism, are not a little prevalent : tlie 
 first is, that the form and strncture of Holy Scripture 
 is a mystery, into which it were irreverent to search ; 
 the second is, that critical studies are a kind of me- 
 chanical employment, inconsistent with the salutary 
 meditation upon things divine. 
 
 In answer to such objections, it may suffice briefly 
 to observe, that since all Holy Scripture Avas given 
 for our learning, no one Avord is superfluous, or dis- 
 connected from the deep instruction imparted by the 
 Spirit of God. To seek, thereibre, the removal of 
 even one verbal obscurity in those divine oracles, is 
 
 B 
 
ON Tin: \\0\ll) SKLAII. LDisskrt. I. 
 
 ft task to which it would Ik' ai) lioiiour and priviloge 
 totU'Votc an entire lite, did |»njvidential circumstances 
 permit. It is enough to know that the task is a 
 sacred one : thi* result can be estimated ]jy the Author 
 oC Wisdom alone. For whatever object of a religious 
 kind the lioly soil of (iod's Word is cultivated ; for 
 whatever treasure the lield Is scai'died, we may be 
 certain, that if faith and humility accomi)any the 
 work, some riches of value inestimable will b(.' found, 
 even though these may prove altogether different 
 from the expectations of the seeker. So it is in every 
 work of faith. And as regards the study, whether 
 critical or meditative, of the IJook of Psalms in par- 
 tiiular, to this tiMitli the devout labours of the faithful 
 bear witness; who, in all ages, of lioththe former and 
 latter l)is[)ensation, have made that JJook the chief 
 companion of their devotions, and instructor of their 
 lives. 
 
 But it is conlitlently hoped, that the scrutiny of 
 the word now in (piestion will jjot i)rove a matter of 
 mere critical speculation, or mere literary curiosity. On 
 the contrary, if the view taken in the following pages 
 be correct, we shall discover in this word a significant 
 aid towards the intellectual, and therefore spiritual, 
 apprehension of the Psalms themselves. 
 
 In the present enc^uiry two principles have l)een 
 kept steadily in view ; the adherence, namely, to the 
 int*'rnaleviden<-e of Holy Scripture, in the first place; 
 in the second, an attention to the opinions of anti- 
 (puty, both dewish and Christian. From these several 
 iiulications are derived the materijils for constructing 
 a consist<'nt systt-m, whi<h carefully excludes the con- 
 jectures of mere jjrivate judgment and fancy. 
 
 The first obsi-rvation to be made is this: that the 
 wonl Sklaii cannot safely be regarded otherwise than 
 as an integral part of the original text of the sacred 
 Volume. Wh( ther it be coeval with the Psalms 
 
§1.] MEANING AND FUNCTION OF THE WORD. 
 
 themselves or not, this much at least is evident, that 
 it formed a part of tlie letter of Holy Scripture when 
 the earliest translation, that of the Septuagint, was 
 made. In that translation it is scrupulousl}^ retained ; 
 and no intimation whatever exists, in prior history 
 or tradition, of its having been inserted subsequently 
 to the time when the Canon of the Old Testament was 
 completed. Tt is true that the word is omitted in 
 the later editions of the Vulgate, and in the Syriac 
 and Arabic translations. The sense of the Psalms 
 was found to be complete "without it, and it evidently 
 formed no part of the sentence which it preceded or 
 followed. And since the public recitation and popular 
 use of the Psalms would be impeded by the retention 
 of a word of unknown, and apparently irrecoverable 
 meaning, its omission might be justified in manuals 
 intended for the liturgical use of the Church, like the 
 Psalter in our Book of Common Prayer. But to drop 
 it altogether from the text of an authoritative and 
 documentary version, was a precedent which the 
 translators of the English Bible Avisely refused to 
 follow. If any word of Holy Writ may be omitted 
 merely because it is unintelligible or obscure, the 
 integrity of God's -svTritten Word may soon be impaired 
 to an extent that is incalcula1.)le. 
 
 It is now in place to enquire into the meaning of 
 the word. This has given rise to a variety of conjec- 
 tures.* Some meanino;s have been assiomed to it of 
 no general acceptation, and evidently proceeding from 
 mere vague conjecture, though announced, as fanciful 
 surmises frequently are, with no little dogmatism. 
 Such are " Amen," " for ever," and " mark this 
 well," or " nota heneT These have found their sup- 
 porters among many of the Jewish and a few of the 
 Christian writers. But, in vindication of tliem, we 
 
 " For a detail of the various opinions, see the Note at the oiul of this 
 Dissertation. 
 
ON Tin: WOKD SKI, All. [Disskut. I. 
 
 have meryh the iissertion (it"im*n, who, accoi'diiig to 
 thoir wont, would sooner liazard an}' interpretation, 
 however irratuitous, tlian confess their iirnorance. 
 1 lie writings of tlic r:ii'L:iiiiiists and Kahhiiis Ix'tray 
 in general a total want ot" appreiiension ol" the true 
 style and sentiment of Holy Writ; and (as will pre- 
 sently be shown), there were obvious causes why the 
 n-al meaning of the word shoukl be forgotten by men 
 who had evidently lost the key to sacred poetry. But 
 in these interpretations there is a want of consistency 
 among tlu- dews themselves. 'Dial rliey arc utterly 
 unsupporteil by internal evidence, aiiv onu will per- 
 eeive who will but examine the sacred text in any of 
 its ti-anslations; for it will be found that each of 
 these significations is redundant, unnecessary, or un- 
 meaning, in the place where Selah occurs. 
 
 i'.ut liy far the greater luimber of Christian, and 
 many of the Jewish writers, afford a testimony alto- 
 gether in acconhmce with the evidence exhibited by 
 the structure of the Psalms them.selves. In general, 
 this testimony is given as traditional or conjectural. 
 As it has been already remarked in the first para- 
 graph of this section, no positive doctrine has been 
 laid down on the subject. Disconnected, and appa- 
 rently diverse, as may be the notes which we have 
 caught from the indistinct voice of remote anticpiity, 
 they will be ibund, when put together, to form but 
 parts of one consistent melody. 
 
 'IMujs, the world Sklaii is translated in the Septua- 
 gint by the word 1)iai'salma", which means either a 
 mark of division in tin- Psalm, like a line oi- space 
 which separates one stan/.a from :ni..tli(r; or that 
 portion of the Psalm which is followed by this word, 
 and by it .separated from the following c(jntext. 
 
 li<Miin:iiuiu<< ronsi.lcr.s i,d Iilto t<i (-igiiify ,„trr, a.s in Sidcrrvfjia, 
 nMraaii, Slip,),*, iiaylvoiiat. So that ii(i4,a\fia lucniis the iiiterposiiion of 
 in«lnim<'nlat mnaii . — Pn, ilr, vol. iii. p. 47;}. 
 
§ 1.] MEANING AND FUNCTION OK TUV. WORD. 
 
 Now, one of the earliest Christian Avriters, Justin 
 Martyr, thus applies the term : " In the Diapsalma'' 
 of the 48tli Psalm," (the 47th of our translation, at 
 the very place where Selah occurs,) " it is there said 
 of Christ, ' God hath gone up,' " &c. And so Opta- 
 tus '^ : " In the second Diapsalma, ' But to the un- 
 godly said God.' " This occurs in the 50th Psalm of 
 our translation, when the Diapsalma occurs in the 
 Greek, but not in the Hebrew. Both these writers 
 employ the word as if it were a well-known designa- 
 tion, indicating a new stanza or division. 
 
 With this view other conjectural or traditional 
 meanings will be found, on examination, to harmonize. 
 These are as follows: a sign or notice, indicating a 
 change in thought, in expression, in the subject 
 matter, in the person of the narrator or interlocutor 
 in the metre, or in the melody ; the raising of the 
 voices or instruments ; the interposition of a sym- 
 phony ; a pause ; or, lastly, the temporary suspension 
 of the flow of prophecy, or of inspiration. 
 
 It is evident that a change of person must imply 
 a change in thought, sentiment, or subject matter ; 
 that a change in any of these respects may justify a 
 change of metre. And as to metre, it is now suffi- 
 ciently established, as a literary axiom, that Hebrew 
 poetry has a metre, not of syllables and feet, but of 
 ideas or sentiments ; that its lines are measured, not 
 by the correspondence or regular recurrence of long 
 and short syllables or accents artificially disposed, 
 but by the correspondence or regular recurrence of 
 certain ideas, marshalled in a certain order. Thus, a 
 change in sentiment will be synonymous with a 
 change of metre, when applied to the poetr}- of the 
 Psalms. 
 
 " 'Ec 5ia\pd\uuTi TeffffapaKoffTou iktov ij/oA,uaC, eis top Xpicrruj' oZrws eiprjrai, 
 aveSr] 6 &ehs, k. t. A. — Dial, cum Trijpli. p. 205. edit. Par. 
 
 '' Sub secundo diapsahiiato, " Peccatori autem dixit Deus." — Contra 
 Parmenium, in Psal. 49. 
 
 B 3 
 
UX Tin: WOUl) SKLAII. [Disskkt. I. 
 
 So fur, tlien, several of these dirtereiit ineaiiings 
 urc ill aceordance, each l)eing ])Ut a c<»ini)()iieiit part 
 of one eoinprelieiisive notion. 
 
 Now any change of tliis kind would obvi<JUsly be 
 marked eitlier by a pause, wlien the I'sahn was 
 simply recited ; or l)y a synipliony, or change in the 
 method of accomininiment, when performed, as the 
 Psalms were in the- Temple, by singers and minstrels. 
 
 Tiiat the word Selah included this accompaniment 
 is in the highest degree probable. For we are to 
 consider, not only that the poetry of the Psalms was 
 divinely inspired, but that the nuisic which accom- 
 panied them was a matter of Divine appointment, as 
 we are told by the words of Holy Scripture, too 
 gcnerallv overlooked: "And he (Hezekiah) set the 
 Levites in the house of the J.ord with cymljals, with 
 psalteries, and with harps, according to the command- 
 ment of David, and of Gad the king's seer, and of 
 Nathan the prophet ; for so was the connnandment of 
 the Lord by his prophets." " 
 
 We may be confident, therefore, that the musical 
 accompaniment was as perfect as the poetry; that it 
 was constructed according to the laws of harmony, 
 unknown to the rest of the world, but divinely re- 
 vealed to the Israelites; that it was at once grave, 
 religious, and expressive ; but, above all, that it was 
 far more accurately subservient to the sentiment than 
 the best nuisit- of any other nation. It is, therefore, 
 far from strange that some marks of choral direc- 
 tion siiould be Ibund accomjianying the sacred text 
 itself. 
 
 This a j>riori su|)po>ition, however, is not a little 
 confirmed by the ioll<»wiiig iiicts. Of the thirty-nine 
 Psalms in which Selah occurs, twenty-eight have mu- 
 sical directions jirefixed ; while all either have these, 
 «ir !ir.- a-.rilM'd in their titles to David, Asaph, Ethan, 
 
 * 2 C'liroii. xxix. 25. 
 
§ I.] MEANING AND FUNCT[ON OF TIFK WM^IU). J 
 
 or Heman, or the sons of Korah, that is, the directors 
 and composers of the psahnody, or the members of the 
 Temple clioirs. Again, it does not occur in any of 
 those Psabns Avhich have no title prefixed, the alpha- 
 betical Psalms, or the Songs of Degrees. These are 
 for the most part poems of a simple and uniform tex- 
 ture", at least without very marked or abrupt tran- 
 sitions of sentiment or subject, and such therefore as 
 would require an equality of strain in their accom- 
 paniment. Nor is it found in any of the Psalms 
 which were composed after the Captivity, when the 
 choirs of the Temple had suffered a considerable dimi- 
 nution. The Prayer of Habakkuk, in which it occurs, 
 was composed at a time when we are expressly told 
 tliat the service of the Temple was restored by King 
 Josiali to its pristine magnificence.'' 
 
 Before proceeding to make the deduction from the 
 evidence now stated, a remark must be made upon 
 the notion, that Selah signified the cessation of the 
 flow of prophecy, or of inspiration. This notion had 
 its rise from the partial observation of a fact. There 
 are certain Psabns (the 89th especially) in which the 
 change consists in a transition f6hn thanksgiving CV q 
 to complaint, from the prophetical announcement of 
 blessings to the bewailment of reverses and woes. 
 But such a definition is plainly wrong, since both the 
 triumphal songs, and the lamentations and elegies, 
 were equally inspired from above, and equally tended 
 to the instruction and edification of the Church 
 throughout all time. 
 
 It now remains to ofter an explanation of the word 
 Selah. And first, as to its functions. It is a word, 
 
 " Herder remarks, tliat Selah indicates a change of tone : " quaj in 
 carminibus aSectuosis crebra f'uerit, in quibus etiaui ha^c nota tantum 
 occurrit, in Psahnis vcro doguiaticis non reperiatur." — De Genio Poes. 
 Hebr. ii. 376. 
 
 " 2 Chron. xxxv. 15 — 18. 
 
 B 4 
 
«JN Tin: WOKl) SlvLAll. [Dissert. I. 
 
 inarkiiifr the conuncnceineiit of a new division of the 
 Psahn. These divisions are uniformly found to be 
 diseriminated upon riLiular and consistent ])rineiples. 
 Thus tlie l)ia|)s:ilnia sometimes separates the exordium 
 from tile main subject, or the main subject oi" action 
 from tlie catastrophe or conclusion ; or, to use the 
 langiia<2;e of ancient traucdy, (whose ])rinciples, I doubt 
 not, were ultimately <lerived from the Hebrews,) the 
 Prologue from the Kjjisode, and tlie Episode from the 
 Exode. Sometimes it marks u transition from the 
 narrative to the speech, from tlie prophecy to the 
 prayer, I'rom the thanksgivinii" to the complaint, from 
 the narration to tlie mural inlerence. At other times 
 it divides the Psalm into parallel stanzas, responding 
 to one another in sentiment, as the strophes and 
 antistrophes of the Greek choral ode d« in metre. 
 Again : it marks the limits of the various stages of 
 sentimental or moral progression, with a precision 
 which teai'hes the mind to ])onder the intrinsic value 
 of each separate lesson of heavenly wisdom. 
 
 That all the Psalms in which the I)ia])salnia occurs 
 are marked at the places of its insertion by one or 
 other of these characteristics, will, it is hoped, be evi- 
 dent to those who will accompany the writer through 
 the following pages. Though in one or two Psalms 
 the application may not l)e so ol)vious, yet it is appre- 
 liended that in no one instance is the gencial theory 
 contradictcil. 
 
 'Ihe fimction of the wonl is the consideration of 
 chief importance. As to its etymological meaning, 
 nothing can lu* said with conlidcnce, in so great oId- 
 scurity is the ixiint iii\olved. However, the lollowin"- 
 solution IS oft'ercd, as one which a])pears highly pro- 
 bable, and accords with iIi.- notion ali-cady expressed, 
 of Selah being peculiarly employed as a musical 
 direction. 
 
 According to nuiny critics, the root of the word is 
 
§ 1.] MEANING AND FUNCTION OF THE WORD. 
 
 one which signifies to elevate." That the verb is ap- 
 plicable to jubilant praise, is collected from the 68th 
 Psahu, where it is translated, " Magnify him that 
 rideth upon the heavens." Some liave considered it 
 as meaning an exaltation of the voice, the raising of 
 a higher strain. But this inter[)retation will ob- 
 viously not apply to many of the Psalms, in which 
 the following Diapsalma, or division, would require a 
 depression, not an elevation, of the music. If, how- 
 ever, we consider it to mean the performance ^ of a 
 symphony, or the raising tlie strain by some instru- 
 ments peculiarly used for the purpose, we shall arrive 
 at a consistent meaning. 
 
 Now we have some indications, by no means obscure, 
 both in the Jewish traditions and in Scripture history, 
 of such a symphony being used in the intervals of the 
 Psalm. Thus, as Dr. Lightfoot records", the Jewish 
 tradition was, that certain Psalms were statedly per- 
 formed at the daily sacrifice, one for each day in the 
 week : that each of these was divided into three parts, 
 and that after the conclusion of each part a pause was 
 made, and the priests then sounded their trumpets. 
 In this account we have probably the substance of 
 truth, but, as often happens, distorted and modified. 
 There is a regularity and method in this artificial 
 canon of the Rabbins which is generally to be found 
 
 " KimcliI derives it from ppD, find applies it to the elevation of the 
 voice. So Bythner. ]VIi-. Mudge (on Psalm iii. 2., ix. 16.), has the same 
 opinion, and considers it to mean " some strain of music higher than 
 ordinary, some bold flourish of trumpets amid the words." And in his 
 note to Ps. Ixviii. 4. he says : " l'?D I translate by raising a Selah, to 
 make it agree with verse 32, 33., whei-e there is the same expression of a 
 Selah to Him that rideth on the heavens." 
 
 ** "Selah, a bold symphony." — Dr. Kennicott. Remarks on Select 
 Passages in the Old Testament, on Ps. iii. 2., p. 223. Oxf. 1787. And 
 Solomon Van Til, as cited by Heumannus (Pcecile, iii. 478.) : " Si"-- 
 num (juo admoniti buccinatores cantum interpellarint, idque vividius 
 fervidiusque." Schlcusner thus interprets it ; " quod fidibus inter- 
 cinitur : variatio vocis ac modulationis inter canendum." 
 
 •^ Temple Service, c. vii. § 2. 
 
\0 ()\ iiii; \V()i;i) SKI.AII. [DissKRT. I. 
 
 in susi>irioiis trailitioiis. Jt is cndiMc tluit at proper 
 intervals tlic tnimi)C'ts sounded; but tliat tlic-re was 
 un uniformly triple division of each psalm is contra- 
 dicted by the evidence afforded by their structure, 
 especially of those in daily use, mentioned by Dr. 
 Lii:htf«)ot.' 
 
 It is conceived, however, that the use of Selah was 
 not coimected so much with this daily service as with 
 the psalmody on the more soleuui festivals, — ''the 
 days of f^ladness, the solemn days, and ])e<:inning of 
 months, over burnt-offerinfrs and peace-offerings;'"' 
 when, according to the Divine command, the priests 
 blew the silver trumpets. Condjining this command 
 with the above tradition, it seems likely that the 
 trumpets were blown at intervals of the psalmody, 
 and that Selah means the raising of the strain of 
 symphony. From many passages of Scripture it ap- 
 j)ears that this more solenm use of the trumpets was 
 also observed on other great occasions, as the dedi- 
 cation or restoration of the Temple. For example, 
 at the gixiat festival celebrated by King Ilezekiah : 
 " And the Levites stood with the instruments of 
 David, (Hid the pneiits irith the trumpets. And Ileze- 
 kiah eonnnanded to offer the burnt-offering upon the 
 altar: and when the burnt-offering began, the song 
 of the Lord began also u'itli the ^r?/«?y/t'As, and with the 
 instruments ordained by David king of Israel. And 
 all the congregation worshipped ; and the singers sang, 
 aw/ the tnnnjieters sounded; and all this continued 
 until the burnt-<)irering was linished.'" 
 
 If this view be correct, then it mav be understood 
 why the wonl Selah is found in so small a nuinlu'r of 
 the I'>:iliiis. '{'here are iiiMUN' others precisely similar 
 
 - i iH- -' »iii, a .s.-lah I'-aiin, !■* Iii|)artilf ; Imt tiic 48tli, Klsf, and 82ik1, 
 nl«o Sdiih IValni^, linvc litit two divisiims carli. Tlu" i(2ii<l, JKlrd, and 
 !Mlli Iinvf no diapviilinii marked. Tin- laltir is (•a])alilc' (if a trijiarlite 
 division. 
 
 •• Numlwr.-. V ; ■ '2 ( linm. xxix. 2(1— 28. 
 
§1.] MEANING AND FUNCTION OF THE WORD. 11 
 
 in construction (as will be sho^\^l in a future section 
 of this Dissertation), in wliicli tlie word is wanting. 
 This ditticulty is explained, if we suppose the Psalms 
 wherein it occurs to have been appropriated to certain 
 more solemn occasions. And such will appear to be 
 the case Avith a considerable nnnd^er of the Selah 
 Psalms. Thus, the 81st was composed for the Feast 
 of Trumpets, or that of the new moon ; and se- 
 veral others have specific reference to great events 
 of Jewish history, when we find that there were ex- 
 traordinary assemblages of priests and Levites at the 
 Temple. This will be more largely discussed in a sub- 
 sequent Dissertation on the order and authorship of 
 the Psalms. 
 
 The theory that Selah was a notice adapted to the 
 more solenni psalmody of the Temple service may 
 satisfactorily account for the meaning of the word 
 having been first obscured, and then lost to the 
 Jewish Church in later times. In the first place, the 
 choirs suffered great diminution on the return from 
 the Captivity : the families of Ethan and Heman 
 having disappeared, that only of Asaph remaining.'' 
 So that, although the memory of the former mode of 
 solemn choral worship may have been preserved, it 
 appears not improbable that its performance was, 
 from necessity, considerally modified and changed. *" 
 And there is reason to suppose that, during subse- 
 quent times, and the desolation of the Temple, under 
 the oppression of foreign rulers, it degenerated, and 
 finally disappeared. We are told, upon respectable 
 authority'', that the Jews of more recent times had 
 lost all tradition even of the ancient Temple nmsic. 
 It is certain that the sister arts had perished ; that 
 
 " Ezra, ii. 41. 
 
 ^ Geierus (comm. ad Ps. cxi. 3.) thinks that Selah had become obso- 
 lete before the Captivity, as, in his opinion, it occurs in those Psalms only 
 whicli were composed by David, or in his reign. 
 
 '^ See Burney's History of IMusic, vol. i. p. 251. 
 
J2 oN llli: WniM) sr.LAlI. [Dissert. I. 
 
 constructivo mid iircliitcrturnl skill, which ruiscd the 
 first Toni[)k', and tliose peculiar features of Jlebrcw 
 poetry wliich can liardly be traced in the oriental 
 literaUire of later days. These features are not to be 
 found in tlie IJabbinical wiitinp:s; and it seems that 
 tlie knowledge »)f the measured system of the sacred 
 lyrics had l)een judicially extinguished, till revived 
 bvtlie Spirit of (Jod in the songs of the Virgin Mary, 
 «)f Simeon, and of Zacharias, and apparently confined 
 to the oracles of those harbingers of our blessed Lord, 
 and to his own revealed word. So little indication is 
 there in Jewish criticism of a genuine apprehension 
 of the structure, whether metrical or sentimental, 
 of the r>:diiis, that when once the ancient method of 
 the Temi)le music liad fallen into oblivion, it may be 
 presumed, that no <'lue remained towaivls elucidating 
 the meaiiinji of a word, tlic praeticid i'uiietion of which 
 had loiiiT been obsolete. 
 
 It may be well, before ])roceeding to an analysis of 
 thf i's:ilms, in which the Diapsalma occurs, to offer a 
 few remarks upon the advantage of this investigation. 
 There arc utilitarians in religion as well as in secular 
 matters; and to these, as it has been already observed, 
 critical or intellectual research in sacred studies ap- 
 pears unprofitable. Let it, however, be remembered, 
 that in these studies the iiitcUcetnal is inseparably 
 comiected with the S[)iritual. WIkh tlie Holy Sj/irit 
 speaks to the understanding, he seeks at tlie same 
 time to influ«'ncc the heart. And since he has thought 
 fit to cast his divine instruction in a certain mould, 
 to clothe it with a definite form, it cannot be a super- 
 fluous wi>h to trace that form, to examine that won- 
 derful anatomy of his WonI, and to ascertain the 
 precise channels through which lii> inspiration flows. 
 But the moral structure of the Psalms will clearly 
 show, for our warning, the stages and progress of 
 human sin, and for our encouragement, the gradual 
 
§ 2.] PSALMS OF TWO DIVISIONS. 13 
 
 course of true repentance, of forgiveness, of growth in 
 heavenly virtue ; it will disclose the progress of God's 
 Providence and Grace, and it will regulate both the 
 taste, the imagination, the intellect, and affections, by 
 an orderly discipline, so that they may not exceed 
 their proper limits and functions, but be fitted for the 
 reasonable service of their Bestower. It will check 
 the presumption of human fancy, and promote that 
 regularity of thoirghf, which is the promoter of real 
 piety, the corrective of fanaticism, and the hand- 
 maid of Truth itself 
 
 In the following sections the l^salms in which 
 Seluh occurs will be analysed, beginning with those 
 of most simple construction, that is, of two divisions. 
 
 § 2. PSALMS OF TWO DIVISIONS. 
 
 The most obvious and remarkable instance of Ps. i. 
 the bipartite division occurs in the 50th Psalm, 
 where the Prologue or Introduction is separated by 
 Selali from its main subject. The exordium, un- 
 equalled for sublimity, even in the Holy Scriptures 
 themselves, represents the preparation lor assembling 
 the world before the Divine judgment-seat. God 
 himself appears, as he did once on Mount Sinai, and 
 as he shall a2:)pear at the end of the ^vorld, sur- 
 rounded by fire, and lightnings, and tempest ; the 
 heaven and the earth being the witnesses of the 
 sentence he is about to pronounce. 
 
 The God of Gods, the Lord hath spoken, and called the earth 
 From the rising of the sun, unto the going down thereof. 
 
 Out of Slon, the perfection of beauty, God hath sliined. 
 
 He shall couie, even our God, and shall not keep silence: 
 
 A fire before him shall devour, 
 
 And round about him shall be a mighty tempest. 
 He shall call to the heavens from above, 
 And to the earth, th:it he may judge his people. 
 
14 <»N TIIK WORD SELAII. [Disskrt. I. 
 
 " Gather unto inc my saints. 
 
 Those that have covenanted with nie with sacrifice." 
 And the heavens shall declare his righteousness. 
 For God is judj;e himself. 
 
 Selaii. 
 
 Then inllows the oracuhir voice of God, which 
 forms the substunce of the Psahii, prefaced by the 
 solemn but lovinii; terms of appellation, " Plear, 
 my people," so often employed in prophetical Scrip- 
 ture. 
 
 Hear, O my peo])le, and I will speak : 
 () Israel, and I will testify unto thee : 
 God, even thy God, am 1. 
 
 This second part contains, in the first place, a 
 waniini:: to his j)eople not to neglect his word and 
 spiritual religion, without which the outward cere- 
 monial of the law, though of divine prescription, could 
 be of no avail; a warning erpially essential to Chris- 
 tians, to wiiom the Holy Spii-it still speaks in these 
 imperishable words, reminding them of the tdtimate 
 object of tlie ordinances of the more perfect Cove- 
 nant. 
 
 Not for thy sacrifices will I reprove thee : 
 
 (For thy burnt oiferin^s are before me continually" :) 
 
 1 will not take out of thy house a bullock, 
 
 Nor out of thy folds the he-goats. 
 
 For mine is every beast of the forest : 
 
 The cnttlc upon a thousand hills. 
 
 1 know every fowl of the hills. 
 
 And the wild beast of the field is btlore me. 
 
 If I be hungry, I will not tell thee, 
 
 For mine is the world, and the fulness thereof. 
 
 Will I eat the fiesh of bulls. 
 
 And the blood of goats will I drink? 
 
 " Thy nntcrial sacrifices arc suflicicnt : I rctpiire nothinjj more from 
 thee f>l" this kin<l. I will take nn tnorr bullocks, &c. Tlic spirit u:il 
 H:uTifice is that which I rciiuiri'. 
 
§ 2.] PSALMS OF TWO DIVISIOXS. 15 
 
 Sacrifice unto Goil'^ thanksgiving, 
 
 And perform to the Most High thy vows : 
 
 And call on me in the day of" trouble : 
 
 I will deliver thee, and thou shalt glorify me. 
 
 In the next place it contains an address to the 
 ungodly : 
 
 But unto the ungodly saith God, 
 
 ^Vhat is it to thee to declare my statutes. 
 
 Or to take my covenant into thy mouth ? 
 
 For it is thou who hatcst instruction. 
 
 And easiest my words behind thee. 
 
 If thou seest a thief, then thou consentest unto him, 
 
 And with adulterers is thy portion. 
 
 Thy mouth thou givest to wickedness. 
 
 And thy tongue frameth deceit. 
 
 Thou sittesf^ ; against thy l)rother thou speakest ; 
 
 Against the son of thy mother thou settest forth slander. 
 
 These things thou hast done ; and I kept silence : 
 
 Thou thoughtest that I am altogether as thyself. 
 
 I will reprove thee, and set them in order before thine eyes. 
 
 And the last five lines form an epode, or con- 
 clusion, briefly summing up the subject matter of 
 the Psalm, addressing, in the iirst place, the con- 
 temners of God, in the second place his obedient 
 followers. 
 
 Consider now, ye that forget God, 
 
 Lest I tear in pieces, aud there be none to deli^■er. 
 
 He that sacrificeth praise, honoureth me. 
 
 And he that ordereth his way. 
 
 To him shall I shew the salvation of God. 
 
 The second part of this Psalm is thus a complete 
 poem in itself. 
 
 In another Dissertation will be shown the con- 
 nection of this Psalm with the follo^\dng, in which 
 it is expanded and illustrated. ^ 
 
 "■ Tliis shows a delibeiMte liiibit of wickedness. 
 ^ See this discussed in Dissertation II. \ 5. 
 
16 ON rilK WOKD SELAH. [Disskrt. I. 
 
 Ps. ixvv. Tlie iiitntdiu'tioii of the 7.')tli Psalm is in like 
 iiiaiiiier pivtiitory. 'I'lic speaker is a ri;;litcoiis 
 king of Israel, in all likelihood Jehoshaphat, iiow 
 newly j)Ossessed of his kingdom. He begins with 
 acknowledging the presence and sovereignty of God, 
 from whom all power is derived : he declares his 
 intention of making the l)i\ine Law the guide of his 
 administration, "when he receives the congregation," 
 that is, when he enters on the duties of his govern- 
 ment ; Jind in avowing his ])urpose, laments the 
 Avickedness of tiie world in general, and the unhappy 
 degeneracy of Israel, broken by their wars, and 
 almost alienated from God by their sins. In this 
 state of things, he feels that he has a great weight of 
 responsil)ilitv, in setting an example to the world, 
 in u))h()lding the almost forgotten rule of right, 
 and in reeonstrncting and prop])ing up the social 
 edifice. 
 
 We give thanks to thee, O God, we give thanks : 
 For near is thy Name: thy wonders do declare it. 
 When I receive the congregation, I in upi'ightncss will judge : 
 The earth is dissolved, ami nil the inlial)itants thereof: 
 I myself bear up the pillars of it. 
 
 Selah. 
 
 Then follows the main sul)ject ; which consists of 
 his address to the ungodly among his people. It is 
 an obvious enlargement of the introductory part, 
 whicli <-ontains, as fre(piently liappens in the Psahns, 
 the germ or general subject of the poem. In a 
 strain much resendding tliat of the 82nd Psalm, he 
 exliorts tliem to a godly sobriety and humilitv, 
 warning them of the retributive justice from on high; 
 and concludes with a reiteration of religious praise, 
 and of his own determination to re-establish justice; 
 an<l piety in the land. i'lie regnlar construction of 
 the stanzas is to be observed, each consisting of four 
 
§ 2.] PSALMS OF TWO DIVISIONS. 1 7 
 
 lines. The Psalm ends, as it began, with ascribing 
 
 praise to Gocl. 
 
 1. 
 
 I said unto the fools, Deal not fooHshly, 
 And to the ungodly, Exalt not the horn : 
 Exalt not on high yoin* horn : 
 Speak not with a stiff neck. 
 
 2. 
 For not from the east, nor from the west, 
 Nor from the south, is exaltation : 
 For God is the Judge : 
 This one he putteth down, and that one he exalteth. 
 
 3. 
 For a cup is in the hand of the Lord, and the wine is red, 
 It is full of mixture, and he poureth out of the same ; 
 But the dregs thereof, they shall wring them out. 
 They shall drink them, even all the ungodJy of the earth. 
 
 4. 
 But as for me, I will declare for ever, 
 I will make a Psalm to the God of Jacob : 
 And all the horns of the ungodly will I break : 
 The horns of the righteous shall be exalted. 
 
 In the next place are to be considered those 
 Psalms, of two divisions, in wliicli the first is distin- 
 guished from the second by a change of metre and of 
 style. The reader must be again reminded, as was 
 stated in the iirst section, that by metre is here to be 
 understood the metre of sentiment, not of syllables ; 
 the artiticial collocation of ideas, not of sounds, which 
 is the essence of Hebrew Poetry. The word metre 
 is strictly applicable ; since we have here to do, not 
 with the oratio soluta, but with measured thoughts, 
 having fixed proportions, defined and restricted by 
 certain laws. 
 
 The prologue, or first part of the 7th Psalm, is Ps. vii. 
 an expression of complaint. It consists of two 
 stanzas or strophes, one parallel to the other : but the 
 second an enlargement of the first. 
 
 c 
 
18 ON THE WORD SELAH. [Dissert. I. 
 
 1. 
 
 O Lord my God, in thee do I seek refuge : 
 Save me from all luy persecutors, and deliver me : 
 Lest he devour, like a lion, my soul : 
 Rending it, and there be none to help. 
 
 2. 
 O Lord my God, if I have done this, 
 If there be indeed iniquity in my hands. 
 If I have rewarded unto him that was at peace with me 
 
 evil ; 
 (Yea, I have delivered hiin that troubled me without 
 cause) 
 Then let mine enemy pursue my soul, and overtake it : 
 And let him tread down upon the earth my life. 
 And my glory in the dust let him lay. 
 Selah. 
 
 The strain now evidently changes. Instead of 
 being constructed in regular stanzas, the second part 
 forms an ode of irregular character, whence, in all 
 probabilit}', the title of Shiggaion ^, a Wandering Ode. 
 The tone of complaint is relieved by a confident invo- 
 cation of judgment, with thanks for the approaching 
 and certain deliverance. It is a pra37er of faith, and 
 therefore of thanksgiving. 
 
 Arise, O Lord, in thy wrath. 
 
 Lift up thyself, because of the rage of those that trouble 
 me : 
 
 And awake for me in the judgment that thou hast com- 
 manded. 
 
 And the congregation of the people shall be round about 
 thee : 
 
 Therefore for their sakes do thou on high return. 
 
 The action of the poem now proceeds : and issues 
 in the discoinfifure of tlie wicked : liis OAvn Aveapons, 
 by the over-ruling power of divine vengeance, being 
 turned against liimself, Tlit- Avliole concludes with 
 an cpode, expressive of tlianksgiving for this over- 
 throw of his enemies. 
 
 • See the next Dissertation, on the Titles of the Psalnij. 
 
§ 2.] PSALMS OF TWO DIVISIONS. ' 19 
 
 I will give thanks unto the Lord, according to his righte- 
 ousness. 
 
 And I will make a Psalm to the Name of the Lord Most 
 High. 
 
 Of a similar change of style, the 24tli Psalm affords ^^- ''"^• 
 an obvious instance. 
 
 The first part speaks of the worshipper : the second, 
 of Him who is worshipped. It would seem that its 
 inspired author had in his mind the ascent of Moses 
 into the Mount : the context here prescribing the 
 same moral requisites for approaching God's Presence 
 in his Temple, as were essential for approacliing him 
 when revealed in ancient time on Mount Sinai. 
 " Behold, the heaven and the heaven of heavens is the 
 Lord's thy God, the earth also, with all that therein 
 is. Only the Lord had a delight in thy fathers to 
 love them, and he chose their seed after them, even 
 you, above all people, as it is this day.'"* This appears 
 the more probable from his adoption of the Mosaical 
 expression, " The earth is tlie Lord's, and the fulness 
 thereof." The first part is constructed in simple 
 cognate parallelism : that is to say, in a series of lines, 
 in which, for the most part, the second line of each 
 couplet is parallel in sense, and in the order of the 
 words, to the first, bnt invariably Avith some ampli- 
 fication and modification.^ 
 
 The Lord's is the earth, and the fulness thereof. 
 
 The world, and they that dwell therein : 
 
 For he himself on the seas hath founded it ; 
 
 And on the floods hath established it. 
 
 Who shall ascend into the hill of the Lord, 
 
 And who shall rise up in the place of his holiness ? 
 
 The clean of hands, and the pure of heart. 
 
 Who hath not lifted up to vanity his soul, 
 
 And hath not sworn deceitfully. 
 
 He shall receive the blessing from the Lord, 
 
 And righteousness from the God of his salvation. 
 
 " Deut. X. 14, 15. '' See Bishop Jebb's Sacred Literature, p. 38, 
 
 c 2 
 
20 ON THE WOKD SELAH. [DissEET. I. 
 
 This is the p;cncration of them that rctiuirc him, 
 That seek thy lace, [O God] of Jacob. 
 Selah. 
 
 The second part, or division, a song of triumph, 
 which tlic Church interprets as prophetical of our 
 Saviour's ascension, is totally distinct both in subject 
 and in style iVoni the first. It forms four stanzas, 
 progressive in their sentiment, and alternated, in ap- 
 pearance something like the strophes of an Alcaic ode. 
 Aben Ezra well remarks upon the nature of the climax 
 which it exhibits : that as the second stanza, " Who 
 is the King of Glory ? " refers to the Lord's battles 
 upon earth, so the fourth refers to his future glory, 
 when all battles shall cease, and when he shall reign 
 in peace over the hosts of heaven. In the fourth stanza 
 the greater urgency of demand is shown by the phrase, 
 " "Who is he^ this King of Glory ? " a feature which is 
 not marked in either of our authorized translations. 
 On the occurrence of Selah at the end of the Psalm 
 remarks will be presently made in a future section. 
 
 1. 
 
 Lift up, O ye gates, your heads, 
 
 And be ye lift xip, yc everlasting doors, 
 
 And he shall come in, the King of Glory. 
 
 2. 
 Who is this King of (ilory ? 
 The Lord strong and miglity, 
 Tlie Lord mighty in battle. 
 
 3. 
 Lift II 1 1, () yc gates, your heads, 
 And be yc lift up, ye evcrlaisting doors: 
 And he shall come in, tiic King of Glory. 
 
 4. 
 \\\\u U he, this King of Glory ? 
 The Loud of Hosts: 
 Even He is the King of Glory. 
 Selah. 
 
§2.] PSALMS OF TWO DIVISIONS. 21 
 
 The first part of the 44th Psahn is a song of Ps, xUt. 
 triumph, consisting of four alternated stanzas, with a 
 couplet forming an epode in conclusion, the whole 
 being a perfect poem in itself. In the first two stanzas 
 God's past wonders are commemorated. 
 
 1. 
 O God, with our ears we have heard, our fathers have told us 
 The work thou workedst in their days, in the days of old. 
 It was Thou : thine hand the heathen did drive out, and 
 
 plant them : 
 Thou didst afflict the nations, and cast them out. 
 
 2. 
 
 For not by their own sword got they the land in possession. 
 
 And their own arm did not save them : 
 
 For it tvas thy right hand, and thine arm, and the light of 
 
 thy countenance, 
 Because thou favoiu'cdst them. 
 
 In the next two stanzas his present favour is cele- 
 brated, in terms evidently responding to the former. 
 
 3. 
 Thou art He, my King, O God ; 
 Command salvation for Jacob : 
 
 Through thee them that trouble us will we push down ; 
 Through thy Name will we tread them under that rise up 
 against us. 
 
 4. 
 For not in my bow wiU I trust. 
 And my sword shall not save me : 
 For thou hast saved us from them that trouble us. 
 And them that hate us thou hast put to shame. 
 
 The two concluding lines form an epode, which 
 answers to the first and third stanzas, the holy Name 
 of God being mentioned in each. 
 
 In God we boast all the day, 
 And thy Name for ever we praise. 
 Selah. 
 
 c 3 
 
P». Ix. 
 
 22 ON THE WORD SKLAH. [Dxssert. I. 
 
 The second part forms in sentiment and construc- 
 tion a direct contrast to tlie first. It reverses the 
 picture, and speaks of abandonment, defeat, and 
 sorrow. 
 
 But thou hast cast us off, and puttcst us to confusion. 
 And gocst not forth with our hosts, &c. 
 
 It is written in simple parallelism, not in alternate 
 stanzas. 
 
 There are other Psalms of two divisions, in which 
 no change of construction in the stanzas takes place, 
 tliouoh a change of strain evidently does. Thus in 
 the GOth Psalm, an order is observed, the reverse of 
 that last noticed. The first part is elegiac, the second 
 part triumphant. 
 
 O (i(»(l, thou hast cast us off; thou hast broken us: 
 
 Thou hast l)cen displeased: O return to us: 
 
 Thou hast made the earth to tremble : thou liast rent it 
 
 asunder : 
 Heal the breaches thereof; for it shaketh. 
 Thou hast shewed thy jieople heaviness: 
 Thou liast made us to drink the wine of astonishment. 
 Thou hast given to them that fear thee an ensign, 
 That it may be a sign because of the truth. 
 
 SliLAH. 
 
 As if he had said, " Why hast thou cast us out, 
 when thou hast set one up as an ensign, as a leader 
 to thy people? Shall that banner be displayed in 
 vain ?" Ijut he pn-scntly calls to mind his own pro- 
 vidential position, and is encouraged by the thought 
 to express that confidence which forms the subject of 
 the second part. The two last lines of the first part 
 thus fi)rm a note of pr('])aration, as it were, for modu- 
 lating int(»ii more joyful kty. 
 
 Tliat thy beloved may be delivered, 
 Save witli tliy rli^lit liand, and liear me. 
 God hath sj)ukcu in hib holiness : 
 
§ 2.] PSALMS OF TWO DIVISIONS. 23 
 
 I will rejoice : I will divide Sichem ; 
 
 And the valley of Succotli I will mete out. 
 
 Mine is Gilead, and mine is Manasseh : 
 
 And Ephraini is the strength of my head : 
 
 Judah is my lawgiver. 
 
 Moab is my wash-pot : 
 
 Over Edom will I cast out my shoe : 
 
 Because of me, Philistia, triumjjh thou." 
 
 Who will bring me into the city of strength ? 
 
 Who will lead me into Edom ? 
 
 Wilt not thou, O God, who didst cast us off? 
 
 Even thou, O God, loho didst not go forth with our hosts ? 
 
 Give us help fx'om trouble : 
 
 For vain is the salvation of man. 
 
 Through God we shall do valiantly. 
 
 And he it is that shall tread down them that trouble us. 
 
 The meaning may be thus briefly explained : Save 
 with thy right hand, and hear me, in order to the 
 deliverance of thy chosen people. And I am confi- 
 dent he will save us : for so he has promised. I will 
 therefore rejoice, and maintain the possession he 
 has given me of Gilead (which had revolted during 
 the reign of SauP), of Manasseh, and Ephraim, the 
 chief tribes of Israel, now reunited to the monarchy 
 of Judah " ; while in Judah is the metropolis both of 
 civil and religious government. And already I have 
 had victory over Moabites, Edomites, and Philistines, 
 the earnest of greater conquests to come.'^ But who 
 will mature these conquests for us ? Is it not He who 
 in our faint-heartedness had been supposed to have 
 cast us off? 
 
 It is remarkable that the latter portion of this 
 Psalm forms also the latter portion of the 108th. 
 
 » Or rather, as in the parallel Psalm, the 108th : " Upon Philistia will 
 I triumph," as the Syriac reads ; and which, though found in but one 
 Hebrew copy, seems the genuine reading. 
 
 " 2 Sam. ii. 8. ' <" 2 Sam. v. .3. 
 
 '' 2 Sam. viii. See the title of this Pealm. 
 
 c 4 
 
O.J ON Till': WORD SELAII. [Dissebt. I. 
 
 And the former part of the lOSth forms the tliird 
 stanza of the oTtli ; in which hist J*salm Sehih sepa- 
 rates it from the preceding portion. 
 
 Tlie foHowing Psahn, the 61st, is of a similar con- 
 p,. M. struction. The change, however, is not so abrupt. 
 
 The first part contains a prayer, not expressed in 
 the usual strain of miser}' ; but in a hopeful, though 
 earnest and anxious spirit. The Psalmist does not 
 so much desire deliverance from evil, as the blessing 
 of the Divine Presence. The desire is that he may 
 dwell in the Tabernacle of God for ever, and abide 
 under the shadow of his wdngs. 
 
 Hear, O Clod, my crying: 
 Attend unto my jirayer. 
 
 From tlie end of the earth to thee will I cry, 
 In the overwhelming of my heart. 
 To the rock that is higher than I lead me : 
 For thou lia^t been a refuge to me : 
 A tower (»f strength from the face of the enemy. 
 I would abide in thy tabernacle for ever : 
 I would take refuge in the covering of thy wings. 
 Selait. 
 
 In the second part it has its fulfilment, not only in 
 the granting of what he sought, but in the bestowing 
 of length of days, and j^rosperity, both now and for 
 ever. The kingdom of God and his righteousness 
 have been sought, and all other things have been by 
 Divine mercy added unto him. 
 
 For tlion, () Ijonl, hast hoard my vows: 
 
 Thou hast given me the heritage of those that fear thy 
 
 Name. 
 Days to the days of the king shalt thou add : 
 His years shall l)c as generations an<l generations. 
 lie shall dwell for ever in the presence of Ciod : 
 Mercy and truth do thou prepare: they shall preserve him. 
 So shall I make a psalm to thy Name for ever ; 
 That I may perform my vows day by day. 
 
§ 2.] rSALMS OF TWO DIVISIONS. 25 
 
 Of the second stanza voivfi form both the com- 
 mencing and the concluding topic. It is to be ob- 
 served that this second division may be taken in con- 
 nection with the first part both of the 20th and 21st 
 Psalm ; both of which are divided from the sequel 
 by Sehdi ; and both of which, while directl}^ alhiding 
 to the family of David and Solomon, have their ulti- 
 mate and proper reference to the Messiah. The 27th, 
 28th, and 29th Psalms appear to be but a continuous 
 expansion of that which has l)een now examined. 
 
 The 54th Psalm contains, in like manner, two divi- Ps- i»v« 
 sions. The contrast, however, is here more marked. 
 The first contains the frequent subject of complaint, 
 namely, the oppression of enemies ; the second speaks 
 of deliverance and praise, being, like the sequel of 
 the 6 1 st, the fulfilment of prayer. 
 
 O God, by thy Name save inc, 
 And by thy strength judge me. 
 O God, hear my prayer ; 
 Give ear to the words of my mouth. 
 For strangers are risen up against me. 
 And oppressors seek after my soul : 
 They have not set God before them. 
 Selah. 
 
 Behold, God is a helper to me : 
 
 The Lord is with them that uphold my soul: 
 
 He shall reward evil to those who watch for me ; 
 
 In thy truth thou shalt cut them off. 
 
 Freely will I sacrifice to thee : 
 
 Thy name will I praise, O Lord, for it is good : 
 
 For from all my trouble he hath delivered me. 
 
 And on mine enemies mine eyes have looked. 
 
 The 83rd Psalm, in its first division, speaks of the I's. ixxxiiL 
 confederacy of God's enemies ; in the second, invokes, 
 in a prophetical strain, the judgments of Heaven. 
 
2G ON THE WORD SELAU. [Dissebt. I. 
 
 O God, keep not thou still silence: 
 Hold not thy peace, and be not still, O God. 
 For lo, thine enemies make a murmuring, 
 And they that hate thee lift up the head, &c. 
 
 In this strain it proceeds. The second part thus 
 opens : 
 
 Do to them as to Midian, 
 
 As to Sisera, as to Jahin at the l)rook of Kison, &c. 
 
 And the whole concludes witli this moral reflection: 
 
 And they shall know, that thou, whose Name is Jehovah, 
 Art alone the Most High over all the earth. 
 
 The next class of bipartite Psalms is that consist- 
 ing of two parts, which are not marked by any strong 
 contrast, but which rather form two divisions of the 
 subject, in many respects circumstantially different, 
 though in the main resembling one another, and 
 responsorial. 
 rs.xivii. Thus in the 47th Psalm, the latter division forms 
 a noble gradation, and shows an advance in the action 
 of the j)oem. 
 
 The first part contains an exhortation to the in- 
 liabltants of the earth to praise the Almighty as their 
 God and King; and his special benefits to his chosen 
 people are predicted. 
 
 O all ye people, clap the liand : 
 Shout unto God with a voice of melody : 
 For the LouT) Mo^t High is to be feared : 
 A King who is great over all the earth. 
 Ho shall subdue the ])eoj)le under us: 
 And the nations under our feet : 
 He shall choose for us an inbt ritanee: 
 The excellency of Jacob, wiiom he lovcth. 
 Sklaii. 
 
 In the second part, God is represented as sitting 
 on the throne, not of conquest, but of holiness. It 
 
§ 2.] PSALMS OF TWO DIVISIONS. 27 
 
 speaks of that reign of Grace, which had its beginning 
 when Christ ascended up on high, and received gifts 
 for men. The Gentiles are no longer captive, but are 
 joined to the people of the God of Abraham, the father 
 of the promised seed, adopted into their family, and 
 sharing their privileges. 
 
 God is gone on high with a shout : 
 
 The Lord with the voice of a trumpet. 
 
 Sing psalms to God, sing psalms ; 
 
 Sing psalms to our King, sing psalms : 
 
 For the King of all the earth is God : 
 
 Sing ye psalms with understanding. 
 
 A King is God over the heathen : 
 
 God sitteth upon the throne of his holiness. 
 
 The princes of the people are gathered to the people of the 
 
 God of Abraham : 
 For of God are the shields of the earth : he is greatly 
 
 exalted. 
 
 The 48th Psalm has two parts, the latter in a Ps. xiviH. 
 great measure parallel with the former, but rising 
 in sentiment, and implying a change of place and 
 action. 
 
 The first part commemorates God's power visibly 
 displayed; the second, his goodness and spiritual in- 
 visible influences. The Psalm begins in a jubilant 
 strain, celebrating his greatness, and proceeds to a 
 graphic description of the strength and beauty of 
 Sion, the chosen and visible seat of his earthly do- 
 minion. Then follows the amazement of the con- 
 federated kings, who had assembled to attack this 
 sacred fortress, at the manifestation of the divine 
 power wdiich caused their overthrow. The concluding 
 lines of this part form an epanodos^^ again adverting 
 
 ° That is, " a stanza so constnicted, that, whatever be the number of 
 Hues, the first line shall be parallel with the last ; the second with the 
 penultimate; and so throughout, in an order that looks inward." — Sa- 
 cred LitcratiLfe, Sect. iv. p. 53. 
 
28 ON Tin-: word SELAII. [Dissert. I. 
 
 to the Holy City, and declaring that God's power will 
 for ever uphold its external glory. 
 
 Great is the Lord, and to he praised highly 
 In the City of our God, the hill of his hohness. 
 Fair is that place, the joy of the whole earth. 
 The liill of 8ion, on the sides of the north". 
 The City of the great King : 
 God in her palaces is known for a refuge. 
 
 For lo, the kings were gathered'': 
 
 They passed hy together. 
 
 They themselves saw it : so they marvelled : 
 
 They were troubled : they hasted away. 
 
 TrenibHng came upon them there, 
 
 l*ain, as of one in travail. 
 With the east wind thou brcakest the ships of Tarshish." 
 As we have heard, so have we seen 
 
 In tiic City of the Loud of hosts, in the City of our God. 
 God will establish it for ever. 
 Selaii. 
 
 • Dr. bifrhtfoot, in his Chorographioal Century, c. xxii., remarks, that 
 " It is an old dispute, and lasts to this day, whether Sion or Jerusalem 
 lay on the North part of the oity. We phice Sion on the North ;" and 
 he proceeds to justify this opinion by the passage in the psalm to which 
 this note refers, and by tlie authority of Aben Ezra, Kinuhi, and Ly- 
 ranus. Hut this is certainly contrary to the opinion of many eminent 
 choro}Trai)hers. See the map in Mr. Williams's learned and valuable 
 work, " The Holy City." Bishop Ilorsloy thus e.xjdains the text : "Beau- 
 tiful is the hill of Zion. In the northern (juarters are the buildings of the 
 great King, i.e., the Temple." This would remove the diflioidty, were it 
 consistent with the How of Hebrew poetry, which it perhaps hardly is. 
 Tiic north wouhl seem rather to refer to the position of the city as 
 viewed by its invading enemies, who apju-oached from the south. See 
 2 Chron. xx. 1, 2., to which chapter this Psalm refers, according to 
 Bisho]) I'atriik. 
 
 •• This pass.age is in the abrupt style of Job, vi. If^. : — 
 
 Tlie paths of their way are turned aside ; 
 
 They go to nothing, and jicrish. 
 
 The troops *)f Tema looked : 
 
 The companies of Shcba waited for them : 
 
 They were confoumled because they had hoped ; 
 
 They came thither, ami were ashamed. 
 
 » That mighty force is compared to the cast wiml, whiih broke the 
 ship of Tanhisb in Jehoshnphat's reign. 2 Chron. xx. ^1 . 
 
§ 2.] PSALMS OF TWO DIVISIONS. 29 
 
 In the coiTesponding portion tlie scene is changed 
 from the outward fortress to the courts of the Temple, 
 where the holy influences of the Divine Inhabitant, 
 his mercy and righteousness, are experienced, and are 
 made the subject of peaceful meditation. The praise 
 of God is declared to extend not merely throughout 
 Jerusalem, but to the ends of the earth. Mount Sion 
 and the daughter of Judah are then called upon to 
 rejoice ; and as the enemies of God were before asto- 
 nished at the terrible wonders issuing from his for- 
 tress, so now his servants are summoned to admire 
 its outward strength and beauty, as the peculiar scene 
 and receptacle of his Spirit. And in the concluding 
 line it is declared that God is our God (an expression 
 which always implies his fatherly goodness), and that 
 he will be our guide even to death. The arrange- 
 ment of the lines here made is intended to exhibit 
 the antiphonal correspondence of the second to the 
 first division. 
 
 We have waited, O God, for thy loving kindness 
 In the midst of thy temple. 
 According to thy Name, O God, 
 So is thy praise unto the ends of the earth : 
 Of righteousness thy right hand is full. 
 Let Mount Sion be glad : let the daughters of Judah re- 
 joice. 
 Because of thy judgments. 
 
 Walk about Sion, and go round about her : 
 
 Tell the towers thereof: 
 
 Mark ye well her bulwarks : consider her palaces. 
 
 That ye may tell it to the generation following. 
 . For this God is our God for ever and ever : 
 Even he shall be our guide unto death.* 
 
 The 81st Psalm is divided by Selah into two Ps.ixi«i. 
 parts, accurately discriminated, and differing in con- 
 struction. 
 
 ' See this Psahu historically explained in the second Dissertation. 
 
30 ON THE WOKD SELAH. [Djsseet. I. 
 
 The first part is an instructive exhortation. Jt opens 
 witli a sunnnons to tlie people to celebrate the Feast 
 of Trumpets, at the prescribed season, in the seventh 
 month, the first of the civil year." No explicit reason 
 is given in Holy Scripture for the institution of this 
 festival ; but the Psalm before us seems to confirm 
 the opinion of Theodoret", that the Feast of Tninipets 
 connnemorated the promulgation of the law on Blount 
 Sinai, when the people heard the Trumpet of God, of 
 which such emphatic mention is made in the Book of 
 Exodus, and in the Epistle to the Hebrews." 
 
 Sing for joy to God our strength ; 
 
 Make a joyful noise to the God of Jacob : 
 
 Take a psalm, and l)ring the timbrel, 
 
 The harp of pleasantnes.s, with the lute: 
 
 Blow up, in the new moon, the Trumpet, 
 
 In the time appointed, on the day of our feast. 
 
 The second stanza of the first part sets forth the 
 divine institution of the festival, the first parallel tri]>let 
 declaring it to be peculiar to the chosen people ; the 
 concluding couplet defining the time of its appoint- 
 ment, namely, when those two cardinal events had 
 taken place, the Exodus, " when Israel went through 
 the land of Egypt," and the delivery of the Law, "when 
 he heard a language which he knew not." 
 
 For a statute of Israel is this, 
 
 A judgment of the God of Jacob ; 
 
 A testimnny in Joseph he ordained it, 
 
 AVlien he had gone forth throujih the land of Egypt, 
 
 ll'hcn a lantruage uhich I knew not I heard.*^ 
 
 In the third stanza occurs a change of person, pe- 
 culiarlv characteristic of the l\salms of Asaph. The 
 Almighty here speaks, and inculcates on his people of 
 
 • Lovit. xxiii. 2.; Nuinl). xxix. 1. '' Cinost. .'52. in Lovit. 
 
 ' Kx(.(l. xix. 15. 19. IIcl). xii. 15). 
 
 ^ The Septuagint reads " a language (whirli) he knew not he heard :" 
 yKuffffay %y oi)k l'7>'cii ^Kouo-tf. This is also the reading of the Syriac and 
 
§ 2.] PSALMS OF TWO DIVISIONS. 81 
 
 later times a motive for grateful obedience, by re- 
 minding them of those acts of divine mercy which 
 ought to have prepared the hearts of tlieir ancestors 
 for the subsequent delivery of the Law. These acts 
 are recorded in the strict order of time, being the 
 deliverance from the burthens of Egypt, the answer 
 to their cry, in the rescue from the armies of Pharaoh, 
 the bestowal of manna from heaven (the secret place 
 of thunder), and the mercy shown at the waters of 
 Meribali. 
 
 I eased from the burthen his shoulder : 
 His hands from the pots were removed. 
 In trouble thou calledst, and I delivered thee ; 
 I heard thee in the secret place of thunder ; 
 I proved thee at the waters of strife. 
 Selah. 
 
 The second part is retrospective and historical. 
 The whole of this division resembles so strongly, both 
 in sentiment and expression, the style of the Mosaical 
 songs in Deuteronomy, that I am disposed to consider 
 
 the Vulgate, and is followed by our rraycr Book version, which Dr. 
 Durell * (Crit. Remarks) defends : as also Bishop Hare, Mr. Diniock "j" 
 (Critical Notes) and Dr. Kennicott J (Select Pass, of the O. T. p. 260.). 
 Indeed it would appear, that both in this passage, and in the concluding 
 line, where the LXX reads, " should he have satisfied them," the per- 
 sonification of the Hebrew text is less consistent and intelligible. 
 
 * Dr.Durell's note is as follows : " One old version observes in the mar- 
 gin, that this is spoken by God, in the presence of the people, because he 
 was their leader. But this seems very forced. I would rather read, 
 with most of the old versions, yOC yi* viz. he (?. e. Joseph) heard a 
 language that he understood not; or, with less variation from the te.xt, 
 y'DC' nyn* ' I made thee hear a language which thou understoodest not.' 
 The two following verses would justify this change of persons." 
 
 I ]\Ir. Dimock remarks, that, " As one MS. reads DS'l^' X, I apprehend 
 the true reading was n2J^ *X ' He ordained it for a testimony in 
 Joseph, when he went out from the land of Egypt, ivhen he heard a 
 language he did not know : ?. e. when he was sold into Egypt.'" 
 
 + 1nXV3=^'1^^5V ny^ " The particle iiiiluonces the latter clause, where 
 I read, yo^*^ nyT N^ nsiy linguara, quam non intellexit, audivit." 
 
32 ON THE WORD SELAII. [Dissert. I. 
 
 it an ancient Udc, adapted to the service of the Temple 
 by Asaph; the first part being a prologue prefixed 
 by him. 
 
 It opens, after the manner of the second division of 
 the 50th Psalm, (which is also one of Asaph's,) with 
 the oracular formula, of frequent use in Holy Scrip- 
 ture : " Hear, my people." The Voice of God here 
 proclaims the great fundamental conunandment, 
 namely, the Avorship of the one true God ; and is an 
 evident epitome of the first table of the Law delivered 
 on Mount Sinai. 
 
 This part consists of three parallel stanzas. Their 
 correspondence is sufiiciently visible at a glance ; the 
 first line of each commemorates the Voice of God, the 
 second making mention of Israel. The first stanza 
 records the commandment and the promise. 
 
 Hear, O my people, and I will testify unto thee, 
 O Israel, if thou wilt hearken unto nie. 
 
 Tiicrc .^hall not be in thee a strange God, 
 
 Neither shalt thou worsliip any t)thcr God. 
 
 I am the Lord thy God, 
 
 "Who brought thee out of the land of Egypt : 
 Open wide thy mouth, and I will fill it. 
 
 The second stanza tells of the people's disobedience. 
 
 But my people hearkened not to my voice. 
 And Israel would have none of me ; 
 
 So I gave them uj) to the imaginations of their 
 own hearts ; 
 
 They walked in their own eounsels. 
 
 The third stanza eidarges on the consequences that 
 would have followed their obedience. 
 
 O that my peojde had hearkened unto me, 
 
 That Israel in my ways had walked : 
 
 Soon their enemies I should have i)ut down, 
 And against them that troubled them I should \\n\c 
 turned mine hand : 
 
§2.] PSALMS OF TWO DIVISIONS. 33 
 
 The haters of the Lord should huve been found liars 
 
 to him, 
 But their time should have been for ever. 
 And he should have fed them with the flour of wheat, 
 And from the rock with honey should I have satisfied 
 
 them." 
 
 The first and last stanzas are strietly correspondent, 
 containing each three topics : the two latter of which 
 (the discomfiture of enemies and divine nourishment) 
 are expanded, in the antistrophe, according to the 
 usual method of divine poetry. 
 
 From this analysis, it appears, that the Voice of 
 God, delivering the Law, forms the cardinal feature of 
 tlie Psalm. The note ofpreparation is given in the line, 
 *' When a language which I knew not I heard." This 
 line has given rise to a great difference of opinion. 
 By some ^ critics it has been considered as referring to 
 the barbarous language of the Egyptians, heard by 
 the Israelites. But this circumstance would, in the 
 Psalm before us, l)c trivial and redundant, and there- 
 fore inconsistent with the economical significancy of a 
 sacred lyric, of which every member is unifonnly 
 essential towards the completeness of the wdiole. 
 Others" have annexed this line to the following 
 stanza, considering it as a part of the Divine speech. 
 To this there are many objections. In the first place, 
 this position of the line would make the second stanza 
 defective, its fmirth line being unaccompanied by a 
 parallel, in opposition to the laws of sacred poetry. 
 The abruptness of such an arrangement is evident 
 even to a merely secular ear. In the next place, the 
 phrase, " A language which I knew not," if attri- 
 
 •'' " Should he have satisfied them" is the reading of tke LXX. 
 
 '' JMunsterus, Vatablus, Clarius, &c. One of the psoudo-Chrysostonis 
 refers tlie expression "he had hoard it, &c." to Joseph indiviihially, and 
 the strange hingnagc to Potiphar's wife. 
 
 " Bishop Ilorsley, Mr. INIiidge, Mr. Parkhurst, Burkius. 
 VOL. IT. D 
 
34 ON TIIK WORD SKLAII. [Disskrt. I. 
 
 biitod to the Divine Speaker, must iiienn one of two 
 things, the biirbarous and hlaspheinous hmguage of 
 the Egyptians, or the inunnurings of the Israelites. 
 The former reading wouhl l)e redundant: the latter 
 in no way contributes to the integrity of tlie poem. 
 For the great offence of the Israelites, upon which 
 stress is laid in the sequel, was not their murmuring 
 in tlie wilderness, ])ut their disobedience to God's 
 revealed Law. I>ut whetlicr tlie unknown language 
 be considered their rebellious complaint before the 
 delivery of the Law, or like conduct after, either inter- 
 j)retation would disturb the chronological sequence of 
 the stanza, which we have sho^v^l to be perfect. Be- 
 sides, a topic is thus introduced, which finds no re- 
 sponse in the second part. The strictness of sacred 
 par.'dlelism would require, in the antistrophe, or an- 
 swering stanza, a distinct recognition of the " hard 
 speeches " supposed to be mentioned in the strophe 
 or preceding stanza ; whereas the only correspondence 
 which can be alleged is a very vague one : " the ima- 
 gination of their hearts, and their own counsels." 
 But if, with many of the Fathers", and with some emi- 
 nent modern critics'", the interpretation already given 
 
 " Eiisfbiu?, Atlinnasius, Thcodoret. 
 
 S. Jerome. I'upulus ille gentium in coolcsia niandata qua; prius 
 jgnorabat arcepit. 
 
 S. Atigustinc. Cum autcm transieris rubrum mai-o, cum eductus fueris 
 a (lelictis tuis in manu potenti et bracbio forti, i)rioccplui'us es mysteria 
 qu:p non novcras : quia et ipse Joseph, cum exirot di- terra Algypt'i, 
 linguam quam non noverat audivit. 
 
 Among the Jewish writers, Aben Ezra. Ita dieit Psaltes, in persona 
 totius po])uli. 
 
 *' Cahnet, Miehaelis : wliose notion Bishop Ilor.sley thinks extravagant 
 and absurd. The Hishop must liavc overhioked the aiuient authorities 
 
 n<»ticed above De Dieu : " Hermo iiie non fuit iEgj|)liorum, sed Dei 
 
 dieentis, llemovi ah onere,ki\ Probat celebrandum esse Deum, quia ipse 
 Iiof pro testimonio posuerat in Jacob, et hoe ila factum probat ex ser- 
 UKUie Dei, qucm cum judicia sua in Egyptios exerceret, audiverat." 
 
 (ieicrus: Audivi scrmonem Dei, &c., nompe in legislatione. 
 
 C'onceius: Cum Deiis Jacdii, (pu>m recte non ai;noveram, nee auilivcram 
 
§2.] PSALMS OF TWO DIVISIONS. 35 
 
 be adopted, the second part of the poeiri will be t'ouiid 
 to contain an accurate dilation of the two leading- 
 topics announced in the first ; naniely, the Exodus with 
 all its awful acconipaniuinents, and the voice of God, 
 heard, for the first time, among the sons of men ; that 
 voice of which Moses speaks in more than one place, 
 with such emphatic earnestness : " Who is there of 
 all flesh that hath heard the Voice of the livino; God 
 speak out of the midst of the fire, as we have, and 
 lived ? " 
 
 The last bimembral Psalm of this kind that remains p«- cxiui. 
 to be noticed is the 143rd. Here indeed no change 
 of person, sentiment, or metre takes place ; though 
 the construction of the second strophe is somewhat 
 different, as is obvious to the eye. But a moral pro- 
 gression is to be observed. 
 
 The first division contains a plaintive prayer for 
 deliverance from deserved punishment; an expression 
 of desolate sorrow, and a sad recollection of past 
 mercies ; not unmixed, however, with hope. 
 
 1 . O Lord, hear my prayer : 
 
 Give ear unto my supplications in thy truth : 
 Answer me in thy righteousness : 
 And enter not into judgment Avith thy servant. 
 For no man shall be justified in thy sight. 
 
 2. For the enemy hath persecuted my soul : 
 He hath smitten to the earth my life : 
 He hath made me to dwell in darkness. 
 As those that have been dead long time. 
 And my spirit in me is overwhelmed : 
 Within me mv heart is desolate. 
 
 loqiienteni, qucm nuUus homo ex se novit. Vide INIattb. xi. 25, 27. ; e 
 Monte Sinai me allocutus est. liic autem sermo seqiiitur, v. 7. 
 
 Dathe quotes the following ingenious passage from Docderleiu : " Sed 
 nescio quern vocem audio ! " Subitanea et digna prophetico impetu 
 digressio, cum vates sese divino afflatu subito perculsum sentit, et oracu- 
 him audire sibi persuadet. Nam in sequentibus Dens loquitur. 
 
 D 2 
 
30 ON THE WOKD SKLAll. [Dissert. I. 
 
 .'}. I i\MiuMu])ov the (lays kT old : 
 I meditate on all thy doings: 
 ( )n the work of thy h:mds I nuise : 
 I stretch forth my hands unto thee, 
 And my soul, as a land of thirst, to thee. 
 Selah. 
 
 The second part reiterates tlie same complaint, with 
 an intensity of feeling. The frame is now sinking 
 tluYniiih the weijrht of sufterino^, and instant relief is 
 essential to the preservation of life. But though the 
 flesh is more weak, the spirit is more hopeful, and, 
 chastened by suffering, has higher objects of desire. 
 It prays, not only for acquittal, but for grace : not 
 only for deliverance from evil, but for guidance into 
 good : relief from vexation of heart, by the healing 
 influence and teaching of the Holy Spirit, and the 
 transplantation of the soul from the thirsty land, 
 mentioned in the former part, into the land of right- 
 eousness. 
 
 1. 
 
 Hear mc speedily, O Lokd ; my spirit faileth : 
 
 Hide not thy face from mc, 
 
 For I am become like them that go down to the pit. 
 
 2. 
 INIake me to hear in the morning of thy mercy. 
 
 For in thee do I trust : 
 Make me to know the way wherein I should walk, 
 
 For unto thee do I lift up my soul. 
 Deliver me from mine enemies, O LoKU : 
 
 Unto thee do IJicc to hide me. 
 Teach me to do thy i)lca8urc. 
 
 For thou art my God : 
 
 3. 
 
 Let thy good Spirit lead me into the Innd of u]»riiiht- 
 
 noss. 
 I'or thy Name's sake, O Loin>, (|uieken me; 
 III thy righteousness bring out of troiilile niv soul : 
 
§ 2.] rSALIMS OF TWO DIVISIONS. 37 
 
 And In thy mercy slay mine enemies : 
 
 And make all them perish that trouble my soul, 
 
 For I am thy servant. 
 
 The beauty, tenderness, and moral gradation of this 
 exquisite elegy is not to be excelled. The Avord 
 Selah discriminates its divisions with the minutest 
 accuracy. 
 
 There are four bimembral Psalms of a more intri- 
 cate construction than any of the foregoing. In these 
 the first part, or prologue, contains two or more topics 
 which are expanded in an inverted order, according 
 to the laws of the Epanodos, in the second. 
 
 Thus, the 20th Psalm contains three topics : the ^s. xx. 
 first is a declaration that God will hear ; the second, 
 that he will save ; the third, that he will accept the 
 gifts and sacrifice. 
 
 1 . The Lord shall hear thee in the day of trouble : 
 
 2. The Name of the God of Jacob shall exalt thee. 
 He shall send help from the holy place : 
 
 And out of Sion he shall uphold thee. 
 
 3. He will remember all thy gifts. 
 And thy burnt-oflPering he will accept. 
 
 Selaii. 
 
 In the second part, each of these topics is repeated, 
 but their order is reversed, and each is considerably 
 amplified. First are mentioned the sacrifices and 
 burnt offerings (the third topic of the former division); 
 not directly indeed, but implied in the pious desires 
 and counsels and petitions, of which the ceremonial 
 offerings were the outward type and channel. 
 
 He will grant thee according to thine heart, 
 And all thy counsel he will fulfil. 
 
 We will sing for joy in thy salvation, 
 And in the Name of our God we will set up our 
 banners. 
 The Lord will fulfil all thy petitions. 
 
 D 3 
 
3S ON Tin; W()i;l) SKLAII. [Diss^krt. I. 
 
 Next, the saviiiix power oi' God is proclaimed. And 
 observe the gradation : heaven is the antithetical 
 phrase to tlie holij place. And God's Name, one of 
 the particnlars in the corresponding' topic of the first 
 part, is here praised. In botli tlie stanzas of the se- 
 cond part a thanksgiving to God is interposed. 
 
 Now know 1 that tlic Lokd saveth liis Anointed ; 
 lie will hcai- liiin IVoui the heaven of his holiness, 
 A\'itli the strength of the salvation of his right hand. 
 Some trust in chariots, and some in horses : 
 But as for us, the Name of the Lord our God we 
 will remember : 
 As for them, they are bowed down and fallen : 
 But as for us, we are risen and stand upright. 
 
 The I'salm concludes with a (•ouj)let correspondent 
 to that with which it began — the hearing of prayer. 
 
 O Lord, save the King : 
 
 Hear us in the day when we call. 
 
 Ps. xxi. It is remarkable, that the following Psalm, the 
 
 21st, is of a construction exactly similar to the 
 20th, and the subject is in close connexion. It is 
 an advance upon the former, that spoke of benefits 
 to come ; these, of the same benefits accomplished. 
 The prayer has been heard: the King is saved: and 
 the pr(isent Psalm is a thanksgiving for the great sal- 
 vation. 
 
 Three topics arc contained in the introduction, 
 as in the 20th Psalm, expanded as before, inversely, 
 in the sequel. These are ; first, God's strength : se- 
 condly, his salvation : thirdly, the answer to prayer : 
 the last topic being of the same kind as that in the 
 corresponding place of the 2(Uh Psalm. And ob- 
 serve, that the offerings and sacrifice before spoken 
 of, are here shown to be accompanied with the 
 " desire of the heart, and the request ol" the lips," 
 the very soul of religious worship, the inward 
 
§2.] PSALMS OF TWO DIVISIONS. 39 
 
 meanin"' of all sacriiicc. In the first part wo iiuii- 
 tion is made of the " day of trouble : " that is now 
 passed aAvay. 
 
 1. O LoKD, in thy strength the King shall be glad, 
 
 2. And in thy salvation how exceedingly shall he rejoice ! 
 
 3. The desires of his heart thou hast given him, 
 
 And the request of his lips thou hast not withholden. 
 Selah. 
 
 The third of these topics is the first taken u[( in the 
 sequel. AVe arc shown what that thing was which his 
 heart desired and his lips requested (a matter unex- 
 plained in the preceding Psalm), and its ample fulfil- 
 ment : corresponding to God's blessing upon Solomon, 
 who obtained much more than he had asked. 
 
 For thou shalt prevent him with the blessings of goodness : 
 
 Thou shalt set on hi^ head a crown of pure gold. 
 
 Life he asked of thee : 
 
 Thou gavest him length of days for ever and ever. 
 
 Then follows the amplified expression of joy in God's 
 salvation ; (the second topic:) and the moral cause of 
 this great blessing : " because the King trusteth in the 
 Lord." 
 
 Great is his glory in thy salvation : 
 
 Honour and majesty shalt thou lay upon him. 
 
 For thou shalt set on him blessings for ever : 
 
 Thou shalt make him joyful with the gladness of thy coun- 
 tenance. 
 
 For the King trusteth in the Lord : 
 
 And through the mercy of the Most High he shall not ))e 
 moved. 
 
 The poem concludes with a magnificent epode, 
 which speaks of the efi^ects of God's strength (the 
 subject of the first line of the Psalm) : of the terror 
 inflicted on his enemies, and of the gladness bestowed 
 upon his servants. 
 
 D 4 
 
40 ON Tin: WoHD SKLAII. [Disseet. I. 
 
 Th'mc liaml f«liall find out all thine enemies: 
 
 Tliy ri^dit hand thall find out them that hate thee. 
 
 Tliou ^ihalt make them as a lurnace oi' fire in the time of 
 
 thy wrath : 
 The Loud in his displeasure shall swallow them up, 
 And the fire sliall devour tlieni. 
 Their Iruit tiDm the earth shall thou destroy, 
 And their seed from among the children of men : 
 For they intended against thee evil : 
 They imagined mischief: — they cannot do it. 
 Therefore shalt thou put them to flight : 
 On thy strings shalt thou make ready thine unmcs against 
 
 their face. 
 r>e thou exalted. Lord, in thine own strength ; 
 AVe will sing, and make a Psalm to thy power. 
 
 i\. Jxxxv. The 85th Psalm is constructed on a like model. 
 The introduction contains two topics, greatly ex- 
 panded in the latter part. The first is, the Divine 
 iroodness to the land of Judali : the second, the re- 
 versal of the captivity of God's people, and the forgive- 
 ness of their sins. 
 
 1. Thou hast become gracious, O LoRD, to tliy land : 
 
 2. Thou hast turned the captivity of Jacob : 
 Thou hast forgiven the iniquity of thy people: 
 Thou hast covered all their sins. 
 
 Selaii. 
 
 'I'licn follows in the sequel, first, the expansion of 
 the latter topics. The deliverance is spoken of as 
 partly fulfilled, partly future : and there is a prayer 
 for the entire remission of ])unishment, alroad>- in a 
 great measure granted. 
 
 I'liou hast taken away all thy dlsjileasure, 
 Thou hast turned thyself from the indignation of thy wrath. 
 Turn us, () God of our salvation. 
 And let thine anger cease from us. 
 
 Wilt thou lor ever be displeasf(l at us? 
 NVilt thou stretch out thy wrath from goneratluii to 
 generation ? 
 
§ ■2.'] rSALMS OF TWO DIVISIONS. 41 
 
 Wilt thou not thyself turn again, ivilt thoti not 
 quicken us, 
 
 That thy people may be glad in thee ? 
 
 Shew us, O Lord, thy mercy. 
 
 And thy salvation grant unto us. 
 I will hearken what God the Lord will speak, 
 For he shall speak peace to his people, and to his saints. 
 That they turn not again to folly. 
 
 Then follows an exquisite picture of God's gracious- 
 ness to the land, in which the moral and the natural 
 are intermingled in a manner peculiar to the poetry 
 of Holy Writ. By an unequalled personification, 
 Kighteousness and Trutli, hitherto at conflict with 
 Mercy and Peace, are now, by the grace of Christ, re- 
 conciled ; and all, having met in heaven, become the 
 guardians and inhabitants of the earth.'' The increase 
 of the land is Truth, the fruits of the Spirit ; and 
 Righteousness acts as the herald of the Lord. 
 
 Truly nigh unto them that fear him is his salvation. 
 That glory may dwell in our land. 
 Mercy and Truth have met tof/ctlicr, 
 
 llighteousness and Peace have kissed each other: 
 Truth out of the earth shall spring. 
 
 And llighteousness from heaven hath looked down.^ 
 
 * See Bishop Andrews's Sermon on this text (his eleventh Sermon on 
 the Nativity), wliich suggested the view here taken. The Sermons of that 
 great divine and eminent saint are remarkable, among other excellencies 
 of a yet higher kind, for an intellectual fertility, and critical acumen, of 
 which there is a lamentable dearth in our days. It is to be hoped that 
 the late republication of his works may be symptomatic of the revival of 
 a more vigorous theology among us, and of an increasing reverence for 
 the great Fathers of the Church of England. 
 
 '' A strong contrast to this beautiful image is ailbrded by the cele- 
 brated passage of Lucretius, when personifying his " Keligio." 
 
 Qufc caput a coeli regionibus ostendebat, 
 Ilorribili super aspcctu mortalibus instans : 
 
 "WTaen dire Religion showed her face from heaven, 
 
 With frightful aspect low'ring o'er mankind. 
 In his use of the word " Religion," so as to associate it with something 
 cruel, burthcnsome, or superstitious, what an index is ailorded tu the spirit 
 
42 ON THE WOKD .SKLAII. [Dissekt. I. 
 
 Yea, the Loud shall give that whieh id good. 
 
 And our land shall give her increase. 
 Righteousness shall go before liim, 
 And shall direct in the way his goings. 
 
 r.s. ixxxii. The 82nd Psalm has two divisions exactly similai-. 
 Ill siilyect it resembles the 75th, and was i)robably 
 by the same author. It has that sententious cha- 
 racter so observable in the Psalms of Asaph ; and 
 contains directions to the magistrates and judges of 
 Israel. The first topic is a declaration of this trutli, 
 recognised by the still Christian law of England, 
 that God is the source of all justice. The second 
 is a remonstrance Avith those who have perverted 
 this delegated authority. 
 
 1. God standeth in the congregation of princes": 
 Among the gods he judgcth. 
 
 2. llow long will ye judge wrongfully, 
 
 And the pci'sons of the Ungodly Avill ye accept? 
 Selaii. 
 
 The second part expands the topics of the first, re- 
 versing their order. It contains, in the first place, an 
 exhortation to reform their unjust conduct, and a re- 
 petition of the reproof : in the second, a declaration of 
 the intrinsic weakness of men even in the highest 
 place ; and an appeal to God to resume his OAvn dele- 
 gated power, to arise and judge the earth. 
 
 2. .Judge the low and destitute: 
 
 Tu the poor and necessitous do justice: 
 
 as well of tlie systoin then jioiJiilaily ailojittMl, as of the so called jtliilo- 
 sopliio reli;^i<m of this gifted jioc't: to both of whieh that of llie (ios|)el 
 afionls a ha|ii)y contrast. Had the light of a more divine philosophy 
 reached him, with what diflerent feelings should we read the works of 
 one, whose [)oetry exhiljits l)oth the Iloman intellect and language in theii* 
 full vigour, before they had been enfeebled by the boasted but degenerate 
 "elegancies" of the Virgilian style, and the eireminacies of a servile 
 Angiistan age I 
 
 " ^K Ileb., butour l{il)le, with the LXX, reads D^n^N- The Syriac, 
 " angels," which fuvoui*» Justin Martyr's opinion, given in the next note. 
 
§ 3.] I'bALiMS OF THREE DIVISIONS. 43 
 
 Deliver the low and needy : 
 
 Out of the hand of the ungodly rid them. 
 
 They know not, neither will they understand : 
 
 In darkness they walk on : 
 
 All the foundations of the earth arc moved. 
 
 1 . As for me, I have said, Gods are ye "^ : 
 
 And children of the Most High are all of you : 
 
 But like men shall ye die : 
 
 And like one of the princes shall ye fall. 
 
 Arise, O God, judge the earth; 
 
 For it is thou who shalt inherit all the nations. 
 
 § 3. rSALMS OF THREE DIVISIONS, WITH A BUIITUEN. 
 
 Having exhibited the bimembral Psalms, we shall 
 now proceed to examine those of a more intricate 
 construction, which are divided by Selah into three 
 parts. 
 
 Of these, four are further defined by a recurring 
 word or phrase, which immediately precedes or fol- 
 lows Selah, forming what is commonly called tlic 
 burthen of the song ; of which visible boundary the 
 accurate propriety is further confirmed by the senti- 
 ment. This burthen, when it is found at the begin- 
 ning of a stanza, is called by rhetoricians the Ana- 
 phora ; when at the end, the Epistrophe. These 
 terms will be employed in the course of the present 
 Dissertation. 
 
 These, as most obviously marked, will be first exa- 
 mined ; being the thirty-ninth, the forty-sixth, the 
 fifty-ninth, and the sixty-second. 
 
 The burthen of the 39th Psalm is the line, " Verily Ps. 
 
 * Justin Martyr considers this passage as speaking of the fallen angels 
 Kai T-qv Trrwcriv rov ivh'i rwf a.pxofTwv, TOVTiari toO Ke/cAr;/ti€J'oi/ iKnt'ov orpews, ttc- 
 trovTOs TTTOxnu yue7aAj)i', 5ia to diToiT\o.f?)oai t)]v VLvav. (p. oOo. cd. 1 aviS.) 
 
44 on" the word SELAII. [Dissert. I. 
 
 every iiuiu living is altogether vanity." The divi- 
 sions mark a progression in the sentiment. This 
 Psalm is evidently eonnected with the preceding, the 
 thirty-eighth, the theme of which was a prayer for 
 relief, made by one suffering under the sore visitation 
 of God, manifested in plagues of mind and body, in- 
 flicted on account of sin, and under the moral torture 
 occasioned l)y the desertion of faint-hearted friends, 
 and tauntings of blaspheming enemies.* In making 
 this prayer, he adverts to circumstances which had 
 formerly increased his pain, the silence, namely, which 
 he had heretofore determined to observe. He had 
 become as a man that heareth not, and in whose 
 mouth are no reproofs. In the opening of the 39th 
 Psalm, this resolution of silence is more particu- 
 larly alluded to; which he shows to have been an 
 abstinence from good words, even from prayer. His 
 state was that elsewhere described", when he held his 
 tongue, and his bones consumed away through his 
 daily complaining. 
 
 I snid, I will take liced to my ways, 
 
 That I sin not in my tongue. 
 
 I will keei) i^^y mouth with a bridle 
 
 While tlic ungodly is before me. 
 
 I was dumb with silence : 
 
 I held my peace, even from good : 
 
 And my pain was stirred. 
 
 I'.ut Ills resolution, though in a great degree laud- 
 
 • That the thirty-eighth I'.s.h.. is in many respects prophetical of our 
 blesse.! Lord no one n.in.llul of the spiritual instructi.m of Holy Writ 
 can deny. The main object, however, of the treatises in the present work 
 has heen already explained: namely, the elucidation ofthe.lirJctand literal 
 mean.nj, of the Psahns. It is plain, that the application t<. our Lord's 
 Hum-rm^r, ,n„ be n.ade in those particulars only in whi.-l. human sin is 
 
 hiir ..r nhHi"'l" "V^"'"'"'-''"^" ""'' ^«'-Siveness. is quite distinct from 
 uicir prophetical apj)lication. 
 
 '■ I'salni -xxxviii. 3. 
 
§ 3.] PSALMS OF TIIKKE DIVISIONS. 45 
 
 able, appears to have been somewhat influenced by 
 that pride and obstinacy in which even good men 
 have unconsciously indulged, and mistaken for firm- 
 ness. And from these causes, as well as from the 
 stunning effect of his calamities, from fear and awe, 
 he has not yet found courage to open his heart to 
 God. His prayers have been ejaculatory and vague, 
 but there has not been yet that particularity of con- 
 fession and supplication which accompanies true re- 
 pentance. And, in consequence, his agony is almost 
 too great for human endurance ; when there is no 
 avenue for human sympathy, no outlet for over- 
 whelming grief; when the soul is in utter solitude, 
 estranged from God and man. At length, however, 
 nature breaks through the restraint — 
 
 My heart was hot within me : 
 
 While I was musing, the fire kindled : 
 
 I spake with my tongue : 
 
 and the Divine grace makes a way to escape, that he 
 may be able to bear his suflx^rings ; urging him, in 
 the first instance, not to revile his enemies, but to 
 seek the presence of his God. 
 
 But the first efforts of his prayer are full of per- 
 turbation, and the vehement expression of Avretched- 
 ness. The lesson of patience he has not yet learned ; 
 and, like Job, he wishes to die : he desires to know 
 when his end shall be, that he may count, with eager- 
 ness, the few useless hours that remain. 
 
 Make me to know, O Lord, mine end. 
 And the measure of my days, what it is, 
 That I may know how shortlived am I. 
 
 This Avish is fortified by the general aspect of the 
 vanity of life, which, as men are disposed to do when 
 under the heavy pressure of calamity, the Psalmist 
 exaggerates, using this strong expression, " Surely 
 
46 ON THE W(»I{I) SKLAII. [Djsskrt. I. 
 
 every man livinci^^^ or at his best estate, " is nitogether 
 vanity ; " making no exception. Under the pressure 
 of this melancholy conviction the first part of the 
 Psalm ends. 
 
 Behold, a span-long thou hast made my <lays : 
 And my short life is as nothing before thee : 
 Surely altogether vanity is every man living. 
 Selaii. 
 
 In the second part, the prayer is continued, but in 
 a hifdier strain. The course of his meditations leads 
 him to see clearly the cause of man's miser}-, which 
 consists, not in a common and unavoidable destiny of 
 the human race, but in wilful sin. He has already 
 seen that man is vanity. But he now recognises the 
 source of human disquiet, in those vain desires which 
 can never satisfy the heart, and which provoke the 
 judgment of God. 
 
 Surely in a shadow man doth walk : 
 
 Surely in vain are they disquieted : 
 
 He heapeth up, and knowcth not who shall gather. 
 
 This reflection leads him to a source, no less evi- 
 dent, of comfort ; and the light which breaks upon 
 his understanding enables him to remember that God 
 is his hope. In this recollection he finds relief. And 
 now his real prayer begins, the first effort of which is 
 to ask for deliverance, not from liis pains, but from 
 their cause, from sin. 
 
 And now, what is my hope? 
 () Lord, my waiting is even for thee. 
 From all my transgressions deliver me : 
 The reproach of the foolish make me not. 
 
 He is now enabled to anatomize his former train of 
 thought with more distinctness. Till now, he says, he 
 had been dumb, "because thou didst it;" that is. 
 
§3.] PSALMS OF THREE DIVISIONS. 47 
 
 under the pressure of a divine visitation. As lie 
 1)0 tore prayed that the cause of piuiishment, so now 
 lie prays that the punishment itself, may be removed ; 
 thus tacitly acknowledging- that prayer was the means 
 which he ought resolutely to have used at the first. 
 
 I was dumb, I opened not my mouth, 
 
 For it was thou who didst it. 
 
 Remove from me thy plague : 
 
 By the blow of thy hand I am even consumed. 
 
 But in praying for the removal of the plague, he is 
 brought to perceive, that sin must be removed also. 
 For that is the cause of God's chastisements ; that is 
 the cankerworm which, by the Divine judgment, 
 causes man's beauty to consume away, and makes his 
 years to be but vanity. 
 
 When thou with rebukes for iniquity dost chasten man. 
 Thou destroyest, as a moth, his beauty : 
 Surely vanity is every man. 
 
 Selah. 
 
 It is to be observed that the concluding sentiment, 
 which forms an epistrophei or burthen, is repeated 
 with less vehemence than in the first part. His first 
 expression was that " every man living is altogether 
 vanity ; " that man's life, even under the most favour- 
 able circumstances of life, was utterly insignificant. 
 The words living and altogether are here omitted. 
 The divine teaching has enabled him to form a more 
 temperate judgment. Though weakness, misery, and 
 evil undoubtedly make up a large portion of our pre- 
 sent condition, yet divine grace can make present 
 misery tend to future happiness, and temporal evil 
 to eternal good. Man is vanity, but not at his best 
 estate ; the life of the good shall not perish for ever, 
 but each one redeemed from the earth shall hereafter 
 become in truth a living soul. 
 
48 ON '1"1IE WOKl) SKLAll. [Disskrt. I. 
 
 The coiicliulin.u- portion, which is a brief deduction 
 from the reflections whicli preceded, consists of a 
 prayer to God to hear his supplication, and accept 
 liis repentance. In true accordance to the course of 
 human nature, tears are now described as coming to 
 the relief of an unburthened heart. He desires to 
 consider the shortness of liis life, and to strengthen 
 himself during tlie remainder of his journey. There 
 is no longer an impatient desire to " know the number 
 of his days," but an humble and profitable wish, to 
 improve those days, that he may apply his heart unto 
 wisdom'', and prepare himself for the life to come. 
 For that he looks to heaven as his proper^ country, is 
 evident from his confession that he is a stranger 
 upon earth ; a truth which to a mere child of this 
 world would appear so melancholy, but to a servant 
 of God is in itself a consolatory assurance. 
 
 Hear iny prayer, O Lord ; 
 
 And unto my calhng give ear : 
 
 At my tears hold not thy peace. 
 
 For a stranger am I with thee, 
 
 A sojourner, Hke all my fathers. 
 
 O spare me, that I may recover strength. 
 
 Before I go away, and be no more ! 
 
 From this analysis, it will, it is hoped, appear, that 
 the second portion is a moral advance upon the first; 
 the third is tlie application, or moral, of tlie whole. 
 The first represents a state of moral agony ; the 
 second, the Avorkings of a mind under the influence 
 of prayer: the i:)rogress of those right and practical 
 convictions to whicli the soul, submitted to divine 
 
 ■ " And tcacli us ... to see how frail and uncertain our own condi- 
 tion is ; and so to number our days, that we may seriously apply our 
 hearts to that holy and heavenly wisdom, whilst wo live here, which may 
 in the end bring us to life everlasting, through the merits of .Jesus 
 Christ, thine only Son, our Lord." — Commendutory Prayer in the Visita- 
 tion of the Sick. 
 
 " ileb. .\i. 1.?. 
 
§ :}.] PSALMS OF THREE DIVISIONS. 49 
 
 teaching, will always arrive; the tliird, the prayer of 
 matured faith and repentance. 
 
 AVith this Psalm the 40th is evidently connected, 
 in which the deliverance from evil, the result of reli- 
 gious patience, is fully announced. And it must be 
 noticed, that in this latter l^salm, so far from holding 
 his tongue, he speaks openly of God's truth, and of 
 his salvation ; he declares his mercy and truth in the 
 great congregation. 
 
 Of the 46th Psalm the burthen, or epistrophe, is, I's. xivi. 
 " The Lord of hosts is with us, the God of Jacob is 
 our refuge ; " occurring at the end of the second and 
 third parts. 
 
 The first division is prefatory. It is expressive of 
 strong reliance in the Divine protection against the 
 besiegers of Jerusalem, whose gathering is compared 
 to the swelling of a tempestuous flood. But this ex- 
 pression is rather negative than positive : " we will 
 not fear." 
 
 God is to us refuge and strength, 
 
 A help in troubles very present. 
 
 Therefore will we not fear, at the trembling * of the earth, 
 
 Or at the removing of the mountains into the heart of the 
 seas ; 
 
 They i*age, they are troubled, the waters thereof: 
 
 The mountains shake at the swellino; thereof. 
 Selah. 
 
 In the next division, which opens with a contrast 
 between the turbulent floods of the wicked, and the 
 peaceful streams'' of 
 
 " Siloa's brook, that flowM 
 Fast by the oracles of God, " 
 
 " Or, breakiiig. 
 
 •^ The river of God has doiibtless a prophetical allusion to the sancti- 
 fying waters of Baptism. But I would hazard another interpretation : 
 viz., these floods, tempestuous as they are, but make the city of God 
 rejoice the more in its security ; the floods are come, and beat upon the 
 house, which falls not, since it is founded on a rock. However, I con- 
 fess that the word C'iSs' is applied generally to peaceful streams : and 
 parallel texts strengthen its reference to the River of God. 
 
 VOL. IT. E 
 
50 ON Tin: WOUl) SKLAII. [Dissert. I. 
 
 there is botli :iii julvaiuH- in the sentiment, and an 
 ex[)ansion of each particnlar tii-cunistanec Tlic re- 
 itei'ated expression of hope is now accompanied with 
 religious joy. The holiness of the fortress, the hal)ita- 
 tion of God, not hitherto mentioned, is made an ad- 
 ditional ground of security. The time of expected 
 deliverance, uncertain hitherto, is now declared to be 
 near at hand ; the enemies before alluded to in a 
 general way, are now defined as the heathen king- 
 doms of the earth, against whom the voice of God 
 is to denounce destruction; and the Avenger of his 
 enemies, and the Refuge of his people, is called by 
 his revealed Name, the Lokd of hosts, the God of 
 Jacob. 
 
 A river there is, the streams wliei'eof shull luiike glad the 
 
 City of God, 
 The holy place of the tabernacle of the Most High. 
 God is in the midst of her : she shall not he moved : 
 God shall help her at the dawn of the morning. 
 Tlic heathen raged, the kingdoms were moved : 
 lie hatli uttered his voice : the earth sliall melt. 
 The Lord of hosts is with us : 
 A high place for us is the God of Jacob. 
 Selah. 
 
 The third division proclaims the deliverance 
 achieved, the war supernaturally stilled ; the instru- 
 ments of war destroyed ; and the voice of God, an- 
 nounced in the preceding division, utters an oracular 
 sentence, declaring his universal dominion. The 
 poem concludes with the same epistro|)he, " The 
 I.oui) of hosts," &c. Selah occurs at the end, about 
 whieli an observation will ha made in its place. 
 
 () come, IkIioM the works of the LoHD, 
 What desolation he hath made desolate on the earth, 
 Making wars to cease unto the end of the earth. 
 The how he hreaketh. and snap|)e(h the spear: 
 
§3.] PSALMS OF TTFREE DIVISIONS. 51 
 
 The cliariots he burneth in the fire. 
 " Be still, and know that I am God ; 
 " I will be (ixaltcd among the heathen : 
 " I will be exalted in the earth." 
 
 The Lord of hosts is with us : 
 
 A high place for us is the God of Jacob. 
 
 The burthen, or anaphora, of the 59th Psalm re- Ps. lix. 
 curs at the beginning of the second and third parts. 
 
 As in the tripartite Psalm already examined, the 
 first part is introductory, the second may be called 
 the action, the third the catastrophe, as in a regular 
 drama. The first part contains a prayer for deliver- 
 ance under the instant apprehension of harm from 
 unprovoked enemies. There is no want of faith, but 
 there is no certain assurance of the issue. It consists 
 of three regular stanzas, of four lines each. This pro- 
 logue is different in metrical arrangement from the 
 two latter portions, which are of a more intricate 
 construction, and to a considerable degree parallel. 
 
 1. 
 DeUver me from mine enemies, O God, 
 From them that rise against me set me on high ; 
 Deliver me from the workers of iniquity, 
 And from the men of blood save me. 
 
 2. 
 
 For lo, they lie waiting for my soul ; 
 They are gathered against me, the mighty men ; 
 Notybr my ti'ansgression, wox for my sin, O Lord : 
 Without my fault they run and prepare themselves. 
 
 3. 
 Arise to help me% and behold: 
 
 Even thou, O Lord God of hosts, the God of Israel : 
 Awake to visit all the heathen : 
 Be not merciful to all that oifend wickedly. 
 Selah. 
 
 ' Or, to meet me- 
 E 2 
 
52 ON THE WORD SELAII. [Dissert. I. 
 
 His euemic's iire now brought to view more dis- 
 tinctly, and their insatiable rapacity is represented 
 under the image of dogs", in pursuit of prey. But 
 the prayer of faith is matured into a certain conviction 
 of their discomfiture. In announcing the approaching 
 vengeance, the Psalmist, desirous that a moral lesson 
 maybe imparted to his countrymen, prays tliat a stand- 
 ing monument may remain of the L)ivine retribution, 
 by the preservation of the scattered nation : but pre- 
 sently, horrified at their blasphemies, he recalls his 
 words, and prays that they may be utterly consumed. 
 
 They will return in the evening, 
 They will make a noise like a dog, 
 And go round about the city. 
 
 Behold, they belch out with their mouth : 
 
 Swords are in their lips : 
 
 For who doth hear? 
 
 But thou, O Lord, shalt laugh at them : 
 
 Thou shalt have in derision all the heathen. 
 My strength, on thee will I wait : 
 For God is my high place : 
 The God of my mercy shall prevent me : 
 God shall make me look upon those who watch for mo. 
 
 Destroy them not, lest my pco))le forget it : 
 
 Scatter them by thy power, 
 
 And bring them down, thou ivho art our shield, O Lohd. 
 
 O the sin of their mouth ! 
 
 O the words of tlieir lips ! 
 
 They shall be even taken in their pride, 
 And for the cursing and lying which they sj)eak. 
 Consume them in thy wrath. 
 Consume them, and they shall not be : 
 And they shall know that God ruUtli in .bicolt. 
 Even unto the ends of the earth. 
 Sklah. 
 
 ' The name of " Dogs" lias been assumed as a nom dr ^ncrrr hy the 
 Arabian tribe of Dumah, who call themselves Beni Kelb, sons of a dop. 
 This name, assiimed most proliably as the war-cry of the tribe, <lerives 
 striking illustration from the 59th Psalm. — Forsters Hislnrical Geo- 
 grnphij of Arahiti. vol. i. p. 28.'?. 
 
§ 3.] PSALMS OF THREE DIVISIONS. 53' 
 
 The third part represents the security he enjoys 
 under the Divine protection. His enemies are again 
 represented as in pursuit of their prey ; but their 
 search is fruitless. Meantime the Psahnist ascribes 
 praise to God for his present protection, the earnest 
 of that total defeat of his enemies which is about to 
 follow ; and he concludes with the same thanky;;iving 
 which he had uttered in the second part, " My 
 strength, to thee will I sing," &c. 
 
 And they will return in the evening ; 
 
 They will make a noise like a dog, 
 
 And go round about the city. 
 They will wander for meat ; 
 
 If they be not satisfied, then they will stay all night. 
 But as for me, I will sing of thy ])Ower, 
 And I will praise in the morning thy merey : 
 For thou hast been a high plaee for me, 
 And a refuge in the day of trouble to me. 
 
 My strength, to thee will I sing : 
 
 For God is my high place, 
 
 The God of my mercy. 
 
 The urt hen, or anaphora, of the ()2nd Psalm, Ps. ixii. 
 is the sentiment which begins the first two divisions : 
 " Truly upon God waiteth my soul." Truly also 
 begins the third. 
 
 Of this Psalm Bishop Patrick justly remarks, that 
 it is one altogether of thanlvsgiving ; there is no 
 prayer. The subject is confidence in the Divine pro- 
 tection. Its construction is most re2:ular. In each 
 part there is an address to men : in each, a reference 
 to the justice and mercy of God. The poem opens 
 with the expression of confidence, which inspirits him 
 to predict the downfal of his intriguing and deceitful 
 enemies, whose secret snares he describes. It consists, 
 like the first topic of the preceding Psalm, of three 
 quatrains. 
 
ON niE WOKD SELAII. [Dissert. L 
 
 1. 
 Truly iijion God waiteth my soul : 
 From him is my salvation : 
 Truly he is my rock, and my salvation: 
 My high place ; I shall not be moved greatly. 
 
 2. 
 
 How long will ye imagine mischief against a man ? 
 Ye shall be slain, all of you : 
 As a wall that is tottering, 
 As a hedge that is cast down. 
 
 3. 
 Truly from his exaltation they consult to cast him down : 
 They delight in lying : 
 With their mouth they bless : 
 But in their * inmost thought they curse. 
 Selah. 
 
 The second part repeats the like sentiment, but, as 
 usual, in a higher strain. God is not only his salva- 
 tion, but his hope : for so the burthen of the song is 
 varied. His confidence is now more firm. Before, 
 he knew he should not be "greatly moved : " now, he 
 shall not be moved at all. The hope now exi)ressed 
 does not, as before, regard mere temporal deliverance 
 — it regards positive and internal benefits, namely, 
 the spiritual health derived from the God of his 
 salvation and glory. And he is urged, by his per- 
 sonal experience of the Divine presence, to invite the 
 peo])le to share in his happy feelings : he therefore 
 exhorts them to put their trust in God, to give him 
 the homage of their heart, and to seek that heavenly 
 refuge, which he had found for himself. 
 
 1. 
 Truly upon God waitetli my soul, 
 For from him is ray jiope. 
 Truly he is my rock, and my salvation, 
 My high place: J shall not be moved. 
 
 ' Dmp Vide Vf. xlix. 12. 
 
§ 3.] PSALMS OF TIIKKE DIVISIONS. 55 
 
 In God is my salvation and my glory : 
 The I'ock of my might: my refuge is in (Jod. 
 Trust in him, at all times, yc people : 
 Pour out before him your heai'ts : 
 God is a refuge for us. 
 
 Selau. 
 
 The tliird part forms the catastrophe. No indis- 
 tinct allusion is made to the final judgment, wlien 
 those Avho trust in riches, and who do wrong-, slmll 
 be weighed in the balance and found wanting. Thr 
 wicked being addressed in this division, as the [)('<)])!(■ 
 of God were in the former, in order to Avarn them of 
 their approaching doom, the poem concludes -svith the 
 oracular voice of God, proclaiming a just retribution 
 both to the good and evil. The structure of the Psalm 
 is therefore in strictest conformity, like many othei's, 
 to the dramatic rules of ancient poetry. 
 
 1. 
 
 Truly vanity are the sons of Adam* ; 
 
 A lie are the sons of men : 
 
 In the balance they are lighter than vanity itself. 
 
 2. 
 Trust not in oppression, 
 And in robbery become not vain : 
 Upon riches, if they increase, set not your heart. 
 
 3. 
 
 Once God hath spoken, 
 
 Twice tliis I have heard. 
 
 That power belongeth unto God : 
 
 And that to thee. Lord, hehnrfctk mercy. 
 
 For thou shalt reward a man accordins" to his work. 
 
 " I give the literal interpretation of the Hebrew, Sons of Adam — 
 Sons of Men ; the former meaning men of low, the latter, of high de- 
 gree, as sometimes rendered in our translation. 
 
 E 4 
 
5(i ON TUK WOWD SKLAII. [Disskrt. I. 
 
 § 4. rSAL-AIS OF TllKEE DlVI.SlO.NS, WITH riiOCiKESSl VK 
 SENTIMENT. 
 
 Of the tripartite Psalms, tlicre arc lour ■which are 
 not marked by any recurring burthen, but in wliich the 
 word discriminates the several progressive stages of 
 the sentiment. These are the 3rd, 4tli, 67th, and 
 88th. 
 i^. iii. Xhe 3rd Psalm eminently bears the hand of David. 
 
 There is that alternation of deep feeling and moral 
 tenderness, wliich stami)s all his compositions with a 
 character peculiarly their own. 
 
 Of the first division, as frequently ha})pens in 
 the Psalms, the theme is a plaintive prayer, forming 
 the prologue to the poem, against the aggressions of 
 blaspheming enemies. 
 
 Lord, how muuy are they that trouble me : 
 Many are they that rise against me : 
 Many are they that say to my !<oul, 
 There is no salvation for him in (tocI. 
 Selah. 
 
 Presently, fear is dispelled, and confidence and joy 
 succeed : and he lies down with that assurance of 
 Divine protection, which is the answer to faithful 
 prayer. 
 
 lint thou, O Loud, art a cihicld about me., 
 My glory, and the ril'tcr uj) of my head: 
 With my voiee upon the Loud I (fid call. 
 And he heard me from the hill of his holiness. 
 Selah. 
 
 Ill tJie concluding division, he rises iVom sice]), 
 having been ])rotected tJirough the perils of the night : 
 and, refreshed and fortified, he is now jn'epai'ed to meet 
 his enemies, in certainty of eon(|uest. The Psalm 
 ends wilii an acknowlcd-jiiiciit of (lod"- >a\iii'> ijowci-. 
 
§ 4.] PSALMS OF THREE DIVISIONS. 57 
 
 and his blessing, nut upon himself only, but upon the 
 people at large. 
 
 As for me, I lay down, I awaked : 
 
 For the LoKD sustained me. 
 
 I will not be afraid for ten thousands of the people. 
 
 Which round about have set themselves against me. 
 
 Arise, O IjOKD : 
 
 Save me, O my God : 
 
 For thou hast smitten all mine enemies on the cheek 
 
 bone : 
 The teeth of tlic ungodly thou hast broken. 
 To the Lord hehngeth salvation : 
 Upon thy people is thy blessing. 
 Selaii.* 
 
 The Psalm ends with Selah, indicating its connec- 
 tion, either in whole or in part, with another Psalm. 
 Now a remarkable resemblance is discoverable be- 
 tween this and the Psalm which follows, exactly 
 like that which we have already observed as hold- 
 ing between the 20th and 21st. The 4th Psalm, 
 therefore, will now be examined in connection with 
 the 3rd. 
 
 The three divisions of the 4th Psalm exactly p». iv. 
 correspond in sentiment to those of the 3rd : the 
 first speaks of prayer against persecution ; the second, 
 of the Divine protection before the repose of the night: 
 the third, of the active and courageous service of the 
 
 But in this Psalm there is a great moral progression, 
 explanatory and expansive of the former. Thus, in 
 the exordium of the 3rd, God is simply addressed 
 under his awful name of Jehovah ; in the 4th, by 
 
 " The Syviac, wliicli usually leaves Selah untranslated, here renders 
 \^ for ever. 
 
58 ON THE WORD SKLAII, [Dissert. I. 
 
 the more kindly (lesip:iiation ot" "God of my righte- 
 ousness : " which implies a rescue, not from danger 
 onl}', but from moral evil. In the 3rd Psalm, the 
 apprehension of danger is stronger than the hope of 
 rescue : in the 4th, hope predominates : past mer- 
 cies are recollected, and made the ground of present 
 confidence. And in again mentioning his enemies, he 
 lays open their innate turpitude, their delight in 
 wickedness, which was the cause of their blasphe- 
 mies : and he addresses them with the strong lan- 
 guage of confident reprobation. 
 
 "\Micn I call, hear nic, O God of my righteousness ; 
 In trouble thou hast enlarged me : 
 Have mercy upon me, and hear my prayer. 
 O sons of men, how long my glory will ye put to shame ? 
 Will ye love vanity, will ye seek after deceit ? 
 Selaii. 
 
 In the second division of the 3rd Psalm the Lord 
 was recognised in a general way, as his defender ; and 
 mention was simply made of the offering up and ac- 
 ceptance of the evening prayer. In the corresponding 
 portion of the 4th, the moral reason of God's de- 
 fence is assigned : the godliness, namely, of him whom 
 the Lord hath chosen to liimself. The nature of the 
 evening prayer is also divulged ; the fear of God, 
 the abstinence from sin, the examination of the heart, 
 and the patience of faith. 
 
 But know, that the Loud hath set apart the godlv to him- 
 self: 
 The Loud will iiear when I call ujxm him. 
 Stand in awe, and do no sin ; 
 
 Speak to your own heart upon your Ited, and be still. 
 Sklah. 
 
 And whereas in the concluding ])ortion of the 
 ?>}'(] Psiihii, the servant of God rises refreshed to 
 oj»jH)r,c lii> enemies, in the llh there is a distinct 
 
§ 4.] PSALMS OF THREE DIVISIONS. 59 
 
 mention made of the sacrifiee of righteousness ; in 
 other words, of those spiritual employments which give 
 courage to the heart, and are the channels of that holy 
 strength which enables the performance of the most 
 active duties. And superior blessings to those of 
 temporal defence, or even deliverance from moral evil, 
 are announced : the light of God's countenance, and 
 that gladness of the heart, that joy in the Lord, which 
 is better than all earthly increase.'' Under the influ- 
 ence of these blessings, having passed his day in 
 safety, he again lies down and takes his rest. The 
 same expression is used at the conclusion of this 
 part of the Psalm, which occurred at the opening of 
 the corresponding portion of the 3rd : both these 
 forming a noble epanodos. 
 
 Sacrifice the sacrifices of righteousness. 
 
 And trust in the Lord. 
 
 Many there be that say. Who will shew us good ? 
 
 Lift up on us the light of thy countenance, O LoKU. 
 
 Thou hast given gladness to my heart. 
 
 More than in the time that their corn and wine increased. 
 
 In peace I will both lay me down and sleep. 
 
 For thou. Lord, only, in hope dost make me dwell. 
 
 It is further to be observed, that while the 3rd 
 Psalm is altogether personal, except in the slight allu- 
 sion to God's people in the last line, the fourth con- 
 tains, in each division, an address either to the ungodly 
 or the righteous. The Psalmist, according to his fre- 
 quent usage, turns his secret meditations to profit, in 
 making them lessons to the people of whom Divine 
 Providence had appointed him the ruler. 
 
 ' Is there not an allusion here to the feast of tabernacles ? " Thou 
 shalt observe the feast of tabernacles seven days, after that thou hast 
 gathered in thy corn and thy wine. And thou shalt rejoice in thy feast," 
 &c. Deut. xvi. 13. The religious joy of tlie heart is greater than that 
 wliich attends the external observance of the most glad festivals. 
 
60 ON THE WORD SKLAIJ. [Disskrt. I. 
 
 i»s. ixvii. The 67th l*saliii has two general topics, the pko- 
 
 viDENCE and GRACE of Gocl. The blessings of each 
 are briefly implored in the first division, which forms 
 the prologue, or prosode. 
 
 God be merciful unto us, aud ble:?s us ; 
 Let the light of his countenance be with us. 
 Selaii. 
 
 The second and third divisions are each an expan- 
 sion of the first. In tlie second, blessings more uni- 
 versal than had been prayed for in the two opening 
 lines, namely, the benefits of Grace and Providence 
 to the world at large, are announced in a stanza 
 which forms a perfect epanodos : a couplet being in- 
 ter})osed (" Let the people praise thee," &c.), expres- 
 sive of the praise rendered first by his peculiar people, 
 then by all the world. Li the first line, the know- 
 ledge of God's providential ways" is announced; in 
 the last two lines it is fulfilled. In the second line 
 his great salvation is promised, in which salvation 
 the nations are subsequently made to rejoice and bf 
 glad. 
 
 For the knowledge upun earth of thy way '', 
 Among all the heathen thy salvation.'' 
 Let tlie people praise thee, O God : 
 Let all tlie people praise thee. 
 Let the heathen be glad and sing for joy : 
 For thou shalt judge the jicople ri<rhtcously, 
 And the nations upon earth sluUt thou lead. 
 Sklaii, 
 
 " Tlic way of Cind is liis Provuloiice, as will appear Iroiii a ooinparisoii 
 with I'salin Iviii. 13. For this view of tlic distinction between (Jod's 
 I'roviilenee and (inicc as exhibited in this rsalni, the aullior is indel)ted 
 to Hishop Jebb : whose annotations are subjoined as appended to an 
 arrangement of this Psalm, which was submitted to him in the \Qnr 
 1827. These annotations are jiiven as notes in the proj)er places. 
 
 '' (jiofl's Providence. (Hishop Jebb.^ 
 
 ' (iod's (iracc. (Bishop Jebb.) 
 
4| 4.] PSALMS OF THREE DIVISIONS. 61 
 
 The conclusion proclaims the perfect fulfilment of 
 religious knowledge and prosperity, and the maturity 
 of blessings both of Providence and Grace. It begins 
 with a repetition of the praise ascribed in the second 
 part, and concludes with an epanodos, the first and 
 last lines of which commemorate the increase of the 
 whole Avorld, an increase in spirituals as well as tem- 
 porals, and that godly fear which this prosperity, 
 instead of hindering (as now unhappily too nnicli 
 prevails), shall promote ; while the central part is 
 God's blessing upon his chosen people. 
 
 Let the people praise thee, O God ; 
 
 Let all the people praise thee. 
 The earth shall give her increase * : 
 
 God, even our God, shall bless us : 
 
 God shall bless us^. 
 And they shall fear him, all the ends of the earth.*^ 
 
 The 88th Psalm is of peculiar construction. The first Ps.ixxxviii. 
 part contains two topics, which are reverted to with 
 great concentration in the second part, with greater 
 depth and expansiveness in the last ; namely, a prayer 
 for deliverance, and. a complaint of a state of present 
 captivit}^, which may be considered either as temporal 
 or as spiritual. 
 
 That by " the grave " in this Psalm is understood 
 the natural grave, our Church implies, by her selection 
 of this Psalm as one of those proper for Good Friday ; 
 thus considering the deep sufferings here recorded 
 as prophetical of those of our blessed Lord. 
 
 O Lord God of my salvation, 
 By day I have cried, by night before thee : 
 Let my prayer enter into thy presence : 
 Incline thine ear unto my calling. 
 
 ' God's Providence. (Bishop Jebb.) 
 
 *■ God's Grace. (Bishop Jobb.) 
 
 '•■ See St. John xvii. -20— -2:3. (Bishop Jobb.) 
 
62 '>N tup: WOIU) SKLAH. [Dissert. I. 
 
 For full of f roubles is my soul : 
 Ami my life to hell draweth nigh : 
 I am counted among them that go down to the pit ; 
 I am even as a man without strength : 
 Free among the dead ", 
 Like the wounded, that lie in the grave, 
 Whom thou remembercst no more ; 
 And they from thy hand are cut off. 
 Thou hast laid me in the lowest pit. 
 In thick darkness, in the deeps. 
 On me licth hard thy wrath; 
 And with all thy waves thou hast afflicted me. 
 Selah. 
 
 The second part takes up the mournful topic, and 
 represents a state of utter destitution, forsaken by 
 friends, shut up in prison : prayer as yet unanswered : 
 concluding with a sentiment which but darkly and 
 obscurely speaks of the deliverance from these evils, 
 by the resurrection from the dead. " Wilt thou shew 
 wonders to the dead ? Shall the dead bodies arise ? 
 shall they praise thee ?" 
 
 1.) Thou hast put away mine acquaintance from me, 
 Thou hast made me an abomination to them. 
 
 2.) I am shut up, and I cannot get forth : 
 Mine eye faileth for affliction. 
 
 3.) I have called upon thee, O Lord, all day : 
 I have stretched forth to thee mine hands. 
 
 ■ This passage is in the style of Ezekicl, xxxii. 21 — 27. 
 
 The strong among the niiglify shall speak to him, 
 
 Out of the midst of hell with them that help him : 
 
 They arc gone down : they lie uncircxinicised, slain by the sword. 
 
 Asshiir is there, and all her company : 
 
 Ilis graves are about him ; 
 
 All of them slain, fallen by the sword : 
 
 Whose graves arc set in the sides of the jiit ; 
 
 And her company is round about her grave ; 
 
 All f>f (hem slain, fallen by the swcjril, 
 
 AVliich cim^cil fenvir in the bind of iho liviii'.'. 
 
§ 4.] PSALMS OF THREE DIVISIONS. 63 
 
 4.) Wilt thou to the (lead sliew wonders? 
 
 Shall the dead bodies arise ? shall they praise thee ? 
 Selah. 
 
 That a belief in the resurrection from the dead, 
 however, is conveyed in this aAvfiil interrogation, T 
 collect from the parallel passage in Isaiah, whose style 
 that of this Psalm closely resembles. 
 
 Thy dead men shall live : 
 
 Together with my dead body shall they arise.'' 
 
 In the thanksgiving of Hezekiah a like sentiment is 
 expressed, but more obscurely. 
 
 For the grave cannot praise thee, 
 
 Death cannot celebrate thee : 
 
 They that go down into the pit cannot hope for thy truth. 
 
 The living, the living, he shall praise thee.'' 
 
 The living here seem to mean those who shall be 
 raised from the dead hereafter, of which resurrection 
 his own recovery was the type. 
 
 The Syriac translation makes this clause an affirm- 
 ation, not an interrogation, I doubt, indeed, whether 
 this division should not be considered as containing 
 the central and cardinal truth of the poem, and whe- 
 ther this Psalm should not be therefore classed among: 
 those to be examined in the section followino*. If 
 this be the proper view, a solution is afforded to 
 the deep and apparently irremediable griefs witli 
 which the poem begins and ends. We should thus 
 discover the keystone which binds the whole fabric 
 together: and the objections of certain critics would 
 be overruled, who maintain that this Psalm is imper- 
 fect, because it concludes, contrary to the usual prac- 
 tice, without a prayer for deliverance, or a thanks- 
 giving for obtaining it.'' 
 
 " Isa. xxvi. 19. '■ Isa. xxxviii. li). 
 
 '' Vide Kcnnicott, in loco. 
 
^4 ON THE WORD SKLAH. [Dissert. I. 
 
 Now here, as in muny instances, the Diapsalma 
 might seem to inten-upt tlie parallelism : the two 
 roncludinfr linos of the second part forminfr an ob- 
 vions connexion witli those at the ])eo:inninij of the 
 third. 
 
 Ihit an attentive examination will shew, that the 
 third part forms a perfect epanodos to the second, 
 the most distant objects in one stanza being the 
 nearest in tlie mirror that reflects it " ; the second 
 part being largely expansive and explanatory of the 
 first; as already seen in the 85th, 20th, and 21st 
 Psalms, which that under consideration resembles, 
 with the addition of a Prosode or Introduction. 
 
 Thus the middle part consists of four couplets, 
 each of which has a corresponding sentiment in the 
 third, in most instances amplified ; as will be at once 
 seen by the exhibition of that part. 
 
 4.) Shall thy incrcy be declared in the grave. 
 
 Thy faitlifulncss in destrnction ? 
 
 Shall thy wonders be known in the dark. 
 
 And thy righteousness in the land of forgetfuhiess? 
 3.) But as for me, unto thee, O Lord, I have cried : 
 
 And in the morning shall my prayer prevent thee. 
 2.) Why, O Lord, castest thou off my soul? 
 
 IVJiif liidcst thou thy face from me ? 
 
 Afflicted am T, and weary ; 
 
 From my youth I suffer thy terror: I am troul)]ed : 
 
 Over me goeth thy fierce wrath : 
 
 Thv terrors have cut mc of^'. 
 
 " " Distichs, it is well known, were usually constructed with a view to 
 alternate recitation, or cliantinjr, by the opposite divisions of the choir, 
 in Jewish worship ; and, when one line of the couplet closed with an 
 important word or sentiment, it was often so contrived that the anti- 
 phonal line of the couplet should commence with a word or sentiment 
 precisely parallel: a practice obviously in the order of nature; for, if 
 you present any object to a mirror, the part of it which is most distant 
 from yoTi will appear nearest in the reflected image." — Sacred Litrrn- 
 tiirfi, sect. iv. p. GO. 
 
§ 4.] rSALMS OF THREE DIVISIONS. 65 
 
 They came about me, like the watere, all day, 
 They compassed me on every side. 
 1.) Thou hast put away from me lover and friend: 
 Mine acquaintance are in darkness. 
 
 The first of these, " Thou hast put away mine 
 acquaintance," &c., is represented by the two con- 
 cluding lines of the Psahn : 
 
 Thou hast put away from me lover and friend ; 
 Mine acquaintance are in darkness. 
 
 Not only common acquaintance, but the dearest 
 connections, are removed ; and these are alienated, 
 not only through prejudice, which may be overcome, 
 but by obstacles which Divine Providence has inter- 
 posed. 
 
 The next two lines, " I am shut up," &c., describe 
 his imprisonment, and the depth of his grief. In the 
 corresponding portion, consisting of eight lines, this 
 is shown to be caused by the hiding of God's coun- 
 tenance, the absence of the Comforter from his soul. 
 Perils beset his prison-house, and increase the in- 
 trinsic terrors of darkness. God's fierce wrath is 
 rolling over him like tempestuous waves, disturbing 
 the unfathomable abysses of a wintry sea, the more 
 terrible, because the sufferer is shut up, and cannot 
 see them. He hears the roaring of the elements ; 
 and his mind, wandering beyond his prison-house, 
 pictures to itself destruction in its most aj^palling 
 form. 
 
 The following couplet, in the second part, " I have 
 called upon thee, Lord," &c., affording a gleam of 
 hope, which gradually increases and brightens the 
 centre of the poem, though the circumference is so 
 dark, is answered by a couplet, that speaks hopefully 
 of the issue of his prayer. 
 
 The Septuagint version has but one Diapsalma, 
 that, namely, after the Inti'oduction. Were this 
 
 VOL. II. F 
 
66 ON THE WORD SELAII. [Dissert. I. 
 
 reading supported by any manuscript, sucli an ar- 
 rangement would atibrd a more obvious, but not so 
 perfeet a construetion as that given by tlic Hebrew 
 text. 
 
 § a. rSALMS OF THREE DIVISIONS, AVITU THE CARDINAL 
 TRUTH IN THE CENTRE. 
 
 Of the tripartite Psalms, eiglit are distinguished by 
 a feature alUided to in the conchision of the preceding 
 section. They (contain in the central part, the main 
 action, or the catastrophe of the poem, or some car- 
 dhial truth or sentiment, which forms as it were the 
 kernel of the whole composition. From whatever 
 reason it was so ordained by the Divine Wisdom, it is 
 evident that announcements of the deepest moment 
 with respect to the world to come are often similarly 
 enveloped in the Old Testament. Thus, in the inti- 
 mation of the Resurrection in Job's parable", and in 
 the benediction of Jacob *", dark sayings of this kind 
 are recorded. Perhaps it Avas because such precious 
 truths require to be guarded from the profane touch 
 of a careless multitude ; and the patient investigation 
 of faith was necessary towards obtaining knowledge 
 so profound : according to the frequent usage of 
 parabolical instruction. These Psalms are the 9th, 
 (taken in connection with the 10th, which obviously 
 forms its sequel,) the 49th, the 52nd, the 55th, the 
 57th, the 76th, the 84th, and the 87tli. 
 Ps. ix. X. The 9th and 10th Psalms form but one in the Sep- 
 
 tuagint and Vulgate versions, and in two of Kenni- 
 cott's manuscripts. The 10th is one of the very few 
 in the first book which has no title prefixed : an 
 argument, according to some writers, of an identity of 
 authorship with the preceding, and in this instance, 
 
 ' Jol) xix. -25, 2G, 'J7. " (icnesis, xlix. l.s. 
 
§ 5.] PSALMS OF THREE DIVISIONS. 67 
 
 indicating an identity of subject. The 10th Psalm 
 corresponds, in fact, to the first part of the 9th : 
 the con chiding topic of the 10th announcing God's 
 victory over the wicked : — 
 
 The Lord is King for ever and ever : 
 
 The heathen are perished out of liis land : 
 
 The desires of the meek thou hast lieard, O Lord ; 
 
 Thou wilt establish their heart ; 
 
 Thou wilt cause thine ear to hear : 
 
 That thou mayest judge the fatherless and oppressed : 
 
 That the man of the earth may terrify no more. 
 
 This is antiphonal to the thanksgiving Avith whicli 
 the 9th Psalm began : — 
 
 I will give thanks unto the Lord with my whole heart : 
 
 I will shew forth all thy marvels: 
 
 I will be glad and rejoice in thee : 
 
 I will make a psalm to thy Name, O Most High. 
 
 The rest of the first part is a detail of the Divine 
 vengeance inflicted on the heathen : while the corre- 
 sponding, or first part of the 10th Psalm is a detail 
 of the wickedness which was thus punished. 
 
 The central part (that is, the concluding portion of 
 the 9th), contains the awful truth, taught by Reve- 
 lation alone, of the final punishment of the wicked in 
 hell, and the final reward of the righteous. Evi- 
 dently this refers to a state of future retribution : 
 since, in the present world, by the confession of the 
 salmist elsewhere, it is often seen, that the un- 
 godly do actually triumph. 
 
 The wicked shall be turned into hell. 
 All the heathen who forget God : 
 For not alway shall the needy be forgotten : 
 The hope of the poor shall not be destroyed for ever. 
 Arise, O Lord, let not man prevail : 
 Let the heathen be judged in thy sight : 
 F 2 
 
68 • ON THE WORD SHLAII. [Dissert. I. 
 
 Tilt. Icar in tlicm : 
 
 The heathen shall know that they are l)ut men. 
 Selaii. 
 
 The concluding lines of the first part, it is to be 
 remarked, form the note of preparation for this more 
 profound truth. God's judgments are there an- 
 nounced : but less distinctly : and there seems to be 
 a more immediate reference to temporal punish- 
 ment. 
 
 The heathen are sunk down in the pit that they made : 
 In the net which they hid, their foot is taken : 
 The Lord is kno\vn by the judgment which he hath done, 
 In the work of his hands the ungodly is snared. 
 
 Another remark remains to be made with respect 
 to this central division ; namely, th;it each of its 
 topics is expanded in direct order in the lUth Psalm: 
 the machinations of the wicked : the sufferings of 
 the poor: the rising of the Lord to judgment. 
 Ps. xiix. The terms in which the 49tli Psalm is intro- 
 
 duced, gives an intimation of its peculiar depth and 
 difficulty. A solemn appeal is made to all conditions 
 and generations of mankind, and there is an an- 
 nouncement of some special and inspired exercise of 
 communicative wisdom, of reflective understanding. 
 
 hear ye this, all ye peoi)le, 
 
 Give car, all ye that dwell in the world. 
 
 Sons of Adam, and sons of men, 
 
 Rich and poor together. 
 
 My mouth shall speak of wisdom ", 
 
 And the meditations of i\iy heart shall he underslaiuling. 
 
 1 will incline to a ])arable mine ear: 
 
 I will open upon the harp my dark saying. 
 
 Now the parable arid the dark saying appear to be 
 the announcement of the future retributive judgment, 
 
 " Wisdom and understanding arc bolli in (lie plural, si<.>nirviiii: llicir 
 depth and eopiousncss. 
 
§5.] rSALMS OF TllUEE DIVISIONS. 69- 
 
 which is contained in the central portion ot" the 
 Psahn. For tlie other portions, though containing 
 profound wisdom, would yet, if disconnected from 
 their cardinal truth, be little more than the results oi" 
 ordinary philosophy and experience, though clothed 
 in language to Avhich no uninspired poet has ever 
 approached in dignity and depth. An analysis of 
 the first part of the Psalm may, it is hoped, illustrate 
 this position. 
 
 The Psalmist opens his subject by intimating that, 
 though encompassed by great and apparently dis- 
 couraging evils, which seemed to mark an absence of 
 divine retribution, yet some source of real comfort is 
 opened to him. 
 
 Wherefore should I fear in the days of wickedness, 
 When the wickedness of those who would supplant nie 
 conipasseth me ? 
 
 Before, however, he discloses this source of com- 
 fort, he enlarges upon that to[)ic of melancholy reflec- 
 tion, obvious to every thinking mind, the vanity, 
 namely, and transitory nature of earthly things ; a 
 reflection most gloomy indeed, were there no life to 
 come. 
 
 Some men trust in their wealth, 
 
 And in the multitude of their riches boast themselves. 
 
 For though men may heap up riches, yet not the 
 wealth of worlds could redeem the soul of an human 
 creature from death: the price is more than any 
 could pay : and his state of existence on this eartli 
 comes to an end, never to be renewed. All must 
 die, however wise, however gifted, as the experience 
 of every one must shew. 
 
 But a brother no man can by any redemption redeem : 
 He cannot give to God a ransom for liim : 
 [For precious is the redemption of their soul ; 
 And he ceaseth to be for ever.] 
 p 3 
 
70 UN THE WOKD SELAll. [Dissert. I. 
 
 Though he may still live long, 
 
 Though he see not corruption. 
 
 For he seeth that wise men die ", 
 
 Both the foolish and the brutish perish, 
 
 And leave, to those who come after, their wealtii. 
 
 And yet, with this fact staring them in the face, 
 men are vain enough to act as if their possessions 
 and names were to endure for ever: and not only 
 are they blind themselves, but even their posterity 
 praise this their vanity. " This their way is folly 
 to them ;" that is, their inward hopes as to the perpe- 
 tual stability of their houses and dwelling-places, is 
 the foolish habit of their minds; and acting upon it, 
 they call their lands after their own names, as in the 
 case of Cain ; and of this their posterity aj^prove. 
 Notwithstanding, man, however honoured in this 
 life, meets with the same certain doom of death which 
 awaits dumb creatures : a doom, Avhich to the mind 
 uninstructed by revelation, appears to end his exist- 
 ence, like theirs, altogether. 
 
 Their inward thought is, that their houses shall be for ever. 
 Their dwelling-places from generation to generation, 
 They call after their own name the lands. 
 
 But man that is in honour shall not abide : 
 
 lie is like unto the beasts that perish. 
 This their way is folly to them : 
 Yet those that come after of their sayings approve. 
 Selah. 
 
 Such is the obvious course of reflection. But in 
 the central portion a higher and more divine philo- 
 sophy is revealed : namely, the final puiiishment of 
 tlie wicked, and final triumph of the righteous, on 
 the morning of the Besurrection ; that great trutli, 
 without which the reflections of the preceding Psalms 
 
 " TIk; vt'ib is impersonal : " ]'\ir one sees," or experience shews. 
 
§5.] rSALMS OF THREE DIVISIONS. 71 
 
 were altogether unavailing, but which gives to them 
 an awful and practical cogency. That redeni})tioii 
 which man is unable to accomplish, shall be accom- 
 plished by God the Son, who shall redeem the soul 
 from the power of the grave, and receive it into liis 
 house for ever. 
 
 Like sheep in the hell they lie : 
 
 Death shall feed upon them : 
 
 And the righteous shall have dominion over them in the 
 
 morning : 
 And their beauty shall consume : 
 Hell shall be a dwelling to them. 
 
 But God shall redeem my soul from the hand of hell : 
 For he shall receive me. 
 
 Selah. 
 
 The third division contains the application of this 
 deep Parable : being, in every particular, antiphonal 
 to the first. From the knowledge of the great truth 
 just divulged, we are to learn not to be troubled 
 at the prosperity of the wicked, which is shortdived. 
 If riches perish, yet there is no fear to those who 
 have treasure in heaven. The " inward thought" 
 of the rich is again alluded to in the words, " though 
 his soul, while he lived," &c., and also the foolish praise 
 of the worldly, " for men will praise thee," &c. ; and 
 the closing of this earthly state of things again 
 appears in the words'*, " she," that is, the soul, " shall 
 go to the generation of his fathers," &c. Greater 
 praise, a more lasting name, a more abiding inherit- 
 ance, await the good. And this consoling thought 
 modifies the sentiment which is repeated, though 
 less absolutely : " Man that is in honour, and under- 
 standeth not," &c. Not all men, but only those 
 " without understanding," who have rejected the 
 
 " Vide margin of English Bible. 
 p 4 
 
72 »)N TllK W(.)KD .SKLAII. [Dissert. I. 
 
 teaching of the Holy Spirit, shall be as the beasts that 
 perish, and see the grave of everlasting death. 
 
 This modification of a preceding sentiment exactly 
 corresponds to what has been already observed of the 
 burthen of the 39th Psabn : " Verily every man living 
 is altogether vanity." 
 
 Be not thou afraid, though a man be made rich ; 
 
 Though there be an Incx-ease to the glory of his house : 
 For he shall not, when he dieth, carry anything away ; 
 
 His glory shall not descend after him. 
 Though his soul, while he lived, be blessed, 
 [For men will praise thee when thou doest well to thyself] 
 Yet she shall go to the generation of his fathers. 
 They shall not for a long time see light. 
 
 Man that is in honour, and undcrstandeth not. 
 Is like unto the beasts that perish. 
 
 i>s. li. The first division of the 52nd Psalm contains a 
 
 remonstrance with a calumniating adversary. ]]ut 
 where remonstrance is used, and the conscience, and 
 God's forbearing goodness, are appealed to, there 
 must be yet some hope or chance of reformation. 
 And bad as the wicked man's state is, it is not yet 
 confirmed. He loves evil more than goodness, lies 
 more than righteousness : not absolutely hating the 
 better course. If it were not his interest to deceive, 
 he would probably speak the truth. " Si possis, recte, 
 si non, quocunque modo." Still, he has become at- 
 tached, from force of habit, to his wicked practices. 
 
 Why boastest thou thyself in evil, O thou niighty man? 
 
 The mercy of God ryiditretli all day long. 
 Mischiefs deviseth thy tongue, 
 Like a razor that is sharp, working deceitfully. 
 Thou hast loved evil more than goodness. 
 Lying, more than to speak righteousness. 
 Ski.aii. 
 
 In the central division, we see a confirmed habit of 
 wickedness unredeemed bv anv linuerinfr remorse, or 
 
§ 5.] PSALMS UF TllKEE DIVISIONS. 73 
 
 regard of better ways. From the close connection in 
 sentiment of the conchiding lines of the first part, 
 with the opening of the second, we may collect that 
 this Psalm is mainly intended to mark the awful 
 approximation of the confines of good and evil : 
 how wicked practices, begun from interested motives, 
 become, gradually, fondly cherished and irreclaimable 
 habits. And now there is no hope of avoiding the 
 just judgment of God, who shall at the last day root 
 the wicked out of the land of the living. The middle 
 part thus forms, as usual, the main action of the 
 poem. 
 
 Thou hast loved all words that devour, 
 
 tongue of dcceitfulness. 
 
 Therefore shall God destroy thee at the last, 
 lie shall take thee, and pluck thee out of thy dwelling. 
 And root thee out of the land of the living. 
 Selah. 
 
 The sequel contains the triumph of the righteous, 
 after having witnessed the Divine retribution : and 
 a contrast is made between the destruction of the 
 wicked branch, and the unfading prosperity of the 
 living tree planted in the house of God : the whole 
 concluding with an expression of praise. 
 
 And the righteous shall see and fear ; 
 And at him shall laugh. 
 
 Behold the mighty man, who made not God his strength. 
 But trusted in the multitude of his riches. 
 Strengthening himself in his mischief. 
 
 But as for me, I am like an olive that is green in the 
 house of God : 
 
 1 trust in the mercy of God for ever and ever. 
 
 I will praise thee for ever, because thou hast done it : 
 And I will hope in thy Name, because it is good before 
 thy saints. 
 
 The 55th Psalm is, in its construction, sufficiently Ps. iv. 
 easy, but, perhaps, the least distinct in its divisions 
 
7-1 f)N THE WORD SELAII. [Dissert. I. 
 
 of jiiiy ill wliich the Diapsniiiia uccur.s. The first 
 division eoiitains four regular ({uatrains, eoiisisting 
 of, first, a prayer. 
 
 Give car, O God, to my prayer. 
 
 And hide not thyself from my supplication. 
 
 Take heed unto mc, and hear me ; 
 
 I mourn in my complaint, and am vexed. 
 
 Then a general allusion to the aggressions of the 
 enemy. 
 
 For the voice of the enemy, 
 
 Because of the oppression of the ungodly ; 
 
 For they cast upon me mischief. 
 
 And in wrath they hate me. 
 
 Then an expression of overwhelming terror at 
 their meditated violence. 
 
 My heart is sore pained witliin mc, 
 And the terrors of death arc fallen upon mc. 
 Fearfulncss and trem])ling are come upon me, 
 And horrors have ovcrwhchncd me. 
 
 Lastly, a desire to escape. 
 
 And I said, Who will give me wings? 
 Like a dove I would fly away, and be at rest : 
 Lo, I would get me away far off; 
 I woidd remain in the wilderness, 
 Sei.ah. 
 
 The second part gives all these topics in detail ; 
 with a new feature, that of confident expectation of 
 Divine retribution. 
 
 The sufterer may now be considered as having 
 taken his flight ; and being somewhat recovered from 
 his terror, he recounts more in detail the evils Avhicli 
 had surrounded him ; shewing that these consisted 
 l)()th of open mischief and covert guile ; the work 
 nut only of avowed enemies, but of a bosom friend. 
 
§5.] rSALMS OF THREE DIVISIONS. 75 
 
 It is now evident that the oppression of moral evil 
 caused that horror wliich he calls the fear of death. 
 
 The comnienchif^ Avords" of this second division 
 bear, as is frequently the case, a close resemblance to 
 those which concluded the first.'' 
 
 I would hasten my escape from the Avind of the storm, 
 
 from the tempest. 
 Destroy, O Lord, divide their tongues. 
 For I have seen violence and strife in the city. 
 Day and night they go about it on tlie walls thereof: 
 And iniquity and sorrow are in the midst thereof: 
 Mischiefs are in the midst thereof: 
 
 And deceit and guile depart not from the streets thereof. 
 For it was not an enemy that reproached mc, 
 
 Then I could have borne it : 
 It was not an adversary that magnified himself. 
 
 Then I could have hid myself from him : 
 But thou, a man mine equal. 
 My guide, and mine acquaintance ; 
 We took together sweet counsel : 
 In the house of God we walked in company. 
 
 Now follows the prediction of the approaching 
 catastrophe ; the punishment of the wicked, and his 
 OAvn salvation : this portion being concluded by an 
 expression of trust in the unchangeable mercy of 
 God. 
 
 Let death seize upon them : 
 Let them go down into hell alive : 
 
 For wickedness is in their dwelling, in the midst of them. 
 As for me, upon God will I call. 
 And the Lord shall save mc. 
 
 Evening, and morning, and noon-day, will I complain 
 and cry aloud, 
 
 " See ante, note on 88th Psalm, sect. 4. p. 64. 
 
 '' Sec note (/) on this passage in Vol. I. I am disposed to think the 
 Scptuagint and Syriac here correct : " I waited fur him that saved me :" 
 ■which marks the division of the Psalm more accurately, and imparts a 
 new moral feature to it. 
 
76 ON THE WUKD SELAll. [Dissert. I. 
 
 And he tfluill hciu* iny voice. 
 
 He hath redeemed in peace my soul t'lttiu tlu' war that 
 
 was a<;'ainst me. 
 For many there were about me. 
 God shall hear and afflict them, 
 Even lie that abidcth of old. 
 
 Selah. 
 
 Thus the main action of the poem is contained in 
 the central division. 
 
 The concluding part gives the moral reason for the 
 discomfiture of his enemies, and for his own redemp- 
 tion. Tlie root of all their calamity was infidelity, a 
 vain presumption that " all things " will " continue 
 as they AV'ere from the beginning of the world,"* a 
 denial of a special Providence. Hence they were 
 emboldened in this faithlessness, deceit, and blood- 
 tliirstiness. The secret of his rescue was that spirit 
 of faith, which cast his burthen upon the Lord, and 
 had dependence on him for sustentation. AVith an 
 expression of this trust the Psalm concludes. 
 
 Because there are no dangers with them. 
 
 Therefore they fear not God. 
 
 He laid his hands upon such as be at peace with him ; 
 
 He hath broken his covenant. 
 
 Softer than butter were the words of his mouth ; 
 
 But war was in liis heart : 
 Smoother Avere his words than oil. 
 
 Yet were they drawn swords. 
 O cast upon the Lord thy burthen, and he hiuL-^clf shall 
 
 sustain thee : 
 He will never suffer the righteous to be moved. 
 ]5ut thou, O God, shah bring them down into the pit 
 
 of corru])tion. 
 The men of blood shall not have half tlieir days; 
 But as for me, I will trust in thee. 
 
 - •_' Si I'ct.T, iii ;(. 4. 
 
§5.] PSALMS OF THREE DIVISIONS. 77 
 
 The fifty-seventh Psahii is clearly discriminated. Ps. ivii. 
 In the first part, his sufferings are mentioned in a 
 general way, and the rescue from heaven predicted. 
 
 Have mercy upon mc, O God, have mercy upon me, 
 For in thee my soul hath refuge ; 
 Yea, in the shadow of thy wings shall I have refuge. 
 Until the passing away of 1111/ calamities. 
 I will cry unto God Most High, 
 To God, who performcth all things for me : 
 He shall send from heaven. 
 
 And shall save me from the reproach of him that would 
 swallow me up. 
 
 Selah. 
 
 In the second part, the nature of tlieir aggression is 
 given in detail, and their defeat is announced. This 
 part is an epanodos ; of which the beginning is a pre- 
 diction of God's approaching vengeance, the conclu- 
 sion is its accomplishment: interposed is a description 
 of tlieir wiles, and in the centre is the song of praise 
 which forms the burthen of the poem, " Be thou ex- 
 alted," &c. 
 
 God shall send forth his mercy and his truth, 
 
 My soul is in the midst of lions : 
 
 I lie among them that are set on fire, even the sons of men : 
 
 Their teeth are spears and arrows ; 
 
 And their tongue a sword that is sharp. 
 
 Be thou exalted above the heavens, O God, 
 
 Above all the earth thy glory. 
 A net they prepared for my feet : 
 My soul was bowed down : 
 They digged for me a pit ; 
 They have fallen into the midst of it. 
 
 The absence of connecting particles gives great life 
 to this part of the poem ; and graphically illustrates 
 the suddenness of their fate. 
 
 The action of the poem being now complete, tlie 
 
78 ON TlIK WORD SKLAII. [Dissert. I. 
 
 epodu is a song of praise : in wliicli the burthen, " Be 
 thou exalted," &c., recurs, and God's mercy and truth 
 are again commemorated. 
 
 Fixed is my heart, O God, fixed is my heart ; 
 
 I will sing, and make a psalm. 
 
 Awake, my glory : 
 
 Awake, lute and harp, 
 
 I will awake early. 
 
 I will give thanks to thee among the people, O Loud : 
 
 I will make a psalm to thee among the nations. 
 
 For great unto the heavens is thy mercy. 
 
 And unto the clouds thy truth. 
 
 Be thou exalted above the heavens, O God, 
 
 Above all the earth thy glory. 
 
 Ps. ixxvi. ^\^Q third division of this Psalm forms the first 
 part of the 108th, of which latter Psalm it is to be 
 further remarked, that its second division is iden- 
 tical with the latter part of the 60th, both being 
 separated by Selah. 
 
 The 76th Psalm has an exordium ; the middle 
 part, which contains the main action ; and a con- 
 clusion, consisting of a moral application. 
 
 The exordium celebrates, in general, the Al- 
 mighty's power and presence among his people. First, 
 his providential greatness. He is specially kno'svn in 
 Judah, Avhere his true worship is still preserved. 
 Then, throughout the wide extent of all Israel, how- 
 ever his worship may be neglected there, yet his 
 mi"-ht is acknowled<2:ed as well as in Judah. The 
 two next lines speak of his presence in Jerusalem, 
 and more particularly in Mount Sion. From this his 
 holy fortress proceeded the display of his might in 
 vanquishing the enemies of Judah, the hosts of ScJi- 
 nacherib, to which event this Psalm refers. 
 
 Known in Judah is God : 
 In Israel great is liis Name : 
 
§ 5.] PSALMS OF THltEE DIVISIONS. 79 
 
 And in Salem is his Tabernacle, 
 And his dwelling in Sion. 
 There brake he the arrows of the bow. 
 The shield, the sword, and the battle. 
 Selah. 
 
 The second part proceeds to recount this awful 
 event. The first two lines, forminfi: a connect iiiir 
 link with the former part, speaks of the glory of Je- 
 rusalem, as God's habitation. Then the sudden death 
 of the besiegers is represented under the sublime image 
 of a deep trance. The effect of this judgment is cele- 
 brated in words expressive of most appalling emotions 
 of awe : the earth itself trembles and is still ; while to 
 relieve this terrible picture, God's mercy is shown to 
 have been remembered in his wrath, since the object 
 of his visitation was to help all the meek of the earth. 
 
 More glorious art thou. 
 
 More excellent than the hills of prey. 
 
 They are spoiled, the stout of heart : tlicy have slept 
 
 their sleep : 
 And all the men of might have not foimd their hands. 
 At thy rebuke, O God of Jacob, 
 Are entranced both chariot and horse. 
 
 Thou art to be feared, even thou : 
 
 And who may stand in thy sight at tlie time of thy wrath ? 
 From heaven thou didst cause judgment to be heard ; 
 The earth feared, and was still. 
 In the arising to judgment of God, 
 To save all the meek of the earth. 
 Selah. 
 
 The conclusion applies this event to all places and 
 times. The very violence of man shall, as in this in- 
 stance, be so overruled as to redound to God's praise. 
 And these instances of his power ought to incite 
 that godly fear which shall make the rendering of wor- 
 ship to him more earnest. The last portion is anti- 
 phonal to the first : the greatness of God, his worship, 
 
80 ON THE WORD SHLAll. [Dissert. I. 
 
 and liis judcrments, In-iiig the thive topics in each. 
 The fear of God is the characteristic word of this 
 Psalm. 
 
 For the fierceness of man shall praise thee ; 
 
 Tlic remnant of his fierceness" shah thou restrain. 
 
 Vow, and pay to the Loud your God : 
 
 All ye that are round about him, bring presents to him 
 
 that is to be feared. 
 He shall refrain the spirit of" princes : 
 £ve7i he that is to be feared among the kings of the earth. 
 
 I's ixxxiv. Xhe 84th Psalm, one of exquisite and peculiar 
 beauty, is most accurately divided by the Diapsalma. 
 The first division expresses a strong desire to re- 
 turn to the house of God, from which the Psalmist is 
 now at a distance, and celebrates the happiness of 
 those who had been enabled to go thither. 
 
 How amiable are thy tabernacles, O Lord of Hosts ! 
 ]My soul longeth, yea, even faintcth, for the courts of 
 
 the Lord : 
 My heart and my flesh rejoice in the God of life. 
 Yea, the sparrow^ hath found an lu)use. 
 And the swallow a nest where she may lay her young, 
 Even thine altars, O Lord of hosts, my King and my God. 
 
 Happy are they that dwell in thy house : 
 
 For ever will they be praising thee. 
 Selah. 
 
 Tlie central division forms the noble Epanodos 
 discovered by Bishop Jebb"^, Avhose words the author 
 of these pages must indulge himself by transcribing, 
 without marring tliem by any observations of his own. 
 " The first line seems to contain the character of a 
 confirmed proficient in religion, — his strength is in 
 
 ' That is, tlic rcmnunt oi' the fierce an;grcssors who have escaped tliy 
 vengeance. 
 
 '' It is likely that this Psalm was composed while the Temple was in a 
 state of desolation, and while its worslii}ipers wore in exile. The ex- 
 pression of the text is inconsistent with tlie inviolal)le sanctity of God's 
 altar, while his service was actually perfornKd there. 
 
 ' Sacred Literature, p. HH. 
 
§5.] PS^VLMS OF THREE DIVISIONS. 81 
 
 God ; the sixth line, to describe his final beatification 
 — he shall appear before God in Zion. Tlie interme- 
 diate qnatrain may be regarded as descriptive of the 
 intermediate course pursued by those who desire to 
 be good and happy ; they are passengers ; but they 
 know their destination, and they long for it : at a 
 distance from the Temple, (the mystical ' sapientum 
 templa sercna,') they are anxious to arrive there ; 
 the very highways to Jerusalem are in their heart. 
 And what is the consequence ? Affection smooths 
 all difficulties : the parched and sandy desert becomes 
 a rich well- watered valley: and they cheerfully ad- 
 vance from stren";th to strength ; from one deuree of 
 virtuous proficiency to another." 
 
 Ha})py is the man whose strength is in thee : 
 Those ill whose hearts are the ways. 
 
 Passing through the vale of tears, a well they make it. 
 Yea, the pools are filled with water. 
 They shall go from strength to strength : 
 He shall appear before God in Sion. 
 O Lord God of Hosts, hear my prayer ; 
 Give ear, O God of Jacob. 
 
 Selau. 
 
 At length he arrives at those courts, the absence 
 from which he had hunented, and the approach to 
 which had been just described. The first two lines, 
 speaking of the Divine Presence, are responded to 
 with a heightening of the sentiment, in the sixth and 
 seventh. God is invoked as a " shield," he appears 
 as a " sun and shield ; " an illuminating and 2^uri- 
 fying, as well as a defensive power ; his grace being 
 the sun ; his glory, or a state of perpetual security 
 and exaltation, Ix'ing the shield. The Psalm con- 
 cludes with a prayer, which corresponds in sentiment 
 and expression, to the concluding distichs of each of 
 the former i)arts. 
 
 VOL. II. G 
 
82 ON THE WOKD SELAU. [Dissert. I. 
 
 Thou who :irt our ^hickl, behold, O (iotl, 
 
 And look upon the laee of thine Anointed. 
 
 For better is a day in thy courts than a thousand. 
 
 I had rather he a doorkeeper in the house of my God, 
 
 Than dwell in the tents of vuigodliness. 
 
 For a sun and a shield is the Lord God : 
 
 Grace and glory the Lord will give : 
 
 He will witlihold no good thing from tliem tliat walk per- 
 fectly. 
 
 Lord of Hosts, 
 
 Happy is the man that trusteth in thee. 
 
 Ts. ixxxvii. The last Psalm of the class now under considera- 
 tion is the 8 7 til. Its epode is extremely short, and 
 so obscure as to leave room for little more than con- 
 jecture as to its meaning. 
 
 The introduction speaks of the holiness of Sion, 
 and of the love which God had for it ; and allusion is 
 made to the glorious things spoken of it. 
 
 His foundation is in the liills of holiness : 
 The Lord lovcth the gates of Sion, 
 Above all the dwellings of Jacob. 
 Glorious things arc spoken of thee, O City of God. 
 Selaii. 
 
 These odorious thing's are recouiitetl in the second 
 part, which contains the central truth of the poem: 
 the high distinction, namely, which Sion or Jerusalem 
 had attained, and should still experience, of having 
 given birth to pro[)hets and wise men and kings, 
 more illustrious than Egypt (here called Rahab), 
 or llabylon, the cities of Philistia, of Syria, or of 
 Arabia could IxKJst. And lici'cin we may believe that 
 a prophetical allusion was nuide to those spiiitual 
 children which the daughter of Sion, the enlarged 
 Church of God, Avas, under the reign of Christ, to 
 recount, instead of her fathers. 
 
 1 will make mention of Rahal^ and Babylon to them that 
 kni)w me : 
 
§ 5.] PSALIMS OF THREE DIVISIONS. 83 
 
 This man was boi'n tliere. 
 But of Sion it shall bn said, 
 
 This man and that man Avas born in her. 
 And he himsolt" shall stablish her, even the Most High: 
 The Lord shall recount, when he writeth up (he people: 
 
 This man was born there. 
 Sp:lah. 
 
 The epode is so elliptical in its style, that some 
 critics have considered it either as a f'rngment, or as 
 a musical direction. 
 
 And the singers as well as the minstrels shall sai/, 
 All my springs are in thee. 
 Selaii. 
 
 However, interpreting this from analogous passages 
 of Scripture, the meaning seems to be this. Both 
 singers and minstrels, all the choir of Israel, shall in 
 their songs celebrate those glorious things of which 
 mention was made at the beginning of the Psalm, 
 but in so doing, they shall ascribe praise to God, as 
 the source and well-spring of all glory '^: that well 
 of everlasting life, which refreshes those who go 
 through the vale of misery. 
 
 This passage may be further illustrated l)y two, to 
 which the learned Parkhurst makes reference. One 
 is, Deut. xxxiii. 28., where God's providence is 
 called the fountain of Jacob ; a word which, though 
 not identical with that in the text, yet conveys an 
 image exactly similar. The other passage, Ps. Ixviii. 
 25., has a remarkable resemblance in the context to 
 that before us. 
 
 First go the singers, then follow the minstrels, 
 
 In the midst arc the psalteries with the players on the 
 
 timbrels ; 
 In the congregations bless ye God, 
 Even the Loud, from the fountain of Israel. 
 
 " Ps. Ixxxiv. 7. 
 o 2 
 
84 ON THE WORD SELAII. [Dissert. I. 
 
 That is, ye who derive your source from the foiuitiiiu 
 of Israel. In the same Psalm, it is remarkable, there 
 is a like juxtaposition of the glories of the Temple of 
 Jerusalem (v. 21).), the progeny of Israel (v. 27.); 
 and Kgypt also (here called Kahab) and Cush are 
 mentioned, as in tliis Psalm: so that a similar asso- 
 ciation of ideas prevails throughout. 
 
 §6. rSALMS OF IVIOUK THAN 'JMi:i:i': DIVISIONS. 
 
 Six Psalms remain to be examined, of more than 
 three divisions; the 32nd, the GGth, the 68th, the 
 77th, and the 140th, each of which has four divi- 
 sions ; and the 89th, which has five, 
 Ps. xxxii. The 32nd Psalm, which bears evidently the hand 
 of David, is divided by Selah into four stages of 
 moral progression : the last containing a change of 
 person. It opens with the general declaration of 
 the blessedness of those who are in a justified 
 state ; whose sins have been forgiven, and who are 
 in that guileless frame of mind, the result of true 
 repentance, which alone is consistent with the obe- 
 dience of faith. 
 
 The Psalmist then proceeds to describe the steps 
 by which he had arrived at this happy state. He 
 begins by describing the agony which he had suffered 
 when pimished by the Almighty for his sin, before he 
 had formed sufficient resolution to open his heart to 
 God." This forms the first division. 
 
 Happy is he, whose transgression is forgiven, 
 
 Whose sin is covered. 
 
 Happy the man, to whom the Lord will not im|»ute 
 
 iniquity, 
 And ill whose spirit there is no guile. 
 
 ' Sue anf<\ § fi. p. 43— 49., the analysis of ihc 30th Psihii. 
 
§ G.] PSALMS OF MORE THAN THREE DIVISIONS. 85 
 
 ^Vlicn I ke])t silence, my Ijoiics were eousumcd, 
 TLiroiigli my roaring all the day. 
 For day and night thy hand was heavy upon me : 
 My moisture was turned into the drought of summer. 
 Selaii. 
 
 The resolution is at length formed, l)y divine grace, 
 of confessing his sins, and these in all their several 
 stages and particulars, signified by the three terms, 
 sin, iniquity, and transgression. The happy issue 
 follows : he is forgiven. 
 
 My sin I will acknowledge to thee, 
 And mine iniquity I have not covered : 
 I said, I will confess my transgression to the Lokd : 
 And thou thyself didst forgive the iniquity of my sin. 
 SELAn. 
 
 But this, as will appcfir by the sequel, is but the 
 first stage of a blessed course. In the expansive 
 spirit of true religious charity he proceeds to promise, 
 from the experience of his o^vn relief, a like result to 
 all who use the same means of sincere confession. 
 As to himself he learns to enjoy the blessings of the 
 Divine Presence, as at once the source of deliverance 
 from evil, and ofdftitrinsic joy. 
 
 For this, shall prayer be made by every godly man in the 
 
 time of finding thee : 
 Surely in the overGowing of many waters to him they 
 
 shall not come nigh. 
 Thou art a hiding place to me : from trouble thou shalt 
 
 preserve me : 
 With songs of deliverance thou shalt compass me. 
 Selaii. 
 
 The concluding portion opens in a yet more exalted 
 strain. As in the epode of several Psalms, so here, 
 the Voice of God himself promises not only protection, 
 but guidance, and the teaclnng of his Providential 
 Wisdom, and the encompassing defence of his mercy. 
 In conclusion, there is an invitation to all the rigli- 
 
86 ON THE WORD SELAH. [Disskki I 
 
 teous and truc-licartecl to rejoice in the Lord : form- 
 ins: a strono- conti'ust to the bciiinniiii!; of the Psahn, 
 and an introduction to tluit Avhich follows. 
 
 I will iiilorm thee, uiul teueh thee in the way wherein 
 
 thou siiult go, 
 I will counsel thee: upon thee ''hall he mine e}-e. 
 Be ye not like to horse and mule, without underrftanJIng- ; 
 Witli bit and bridle their mouths nui.<t 1)C held, lest they 
 
 eome near to thee. 
 
 Many plagues shall be on the ungodly ; 
 
 But he that trusteth in the LoRD, mercy shall compass him. 
 
 Be glad in the Lord, ye righteous : 
 
 And sing for joy, all that are upright in heai't. 
 
 i*s. iivi. Of the G6tb Psahn, the strophes are alternate; the 
 
 third answerino- to the first, the fourth to the second. 
 
 The first announces the praise of God; and the 
 
 whole world, as the Avitness of his great works, is 
 
 suiTimoned, in general terais, to join in thanksgivings. 
 
 Make a joyful noise to God, all the earth: 
 
 Make a })salm to the glory of his Name : 
 
 Make glorious his praise. 
 
 Say unto God, To be feared in thy works art thou: 
 In the greatness of thy power shall thine enemies I c 
 found liars unto thee. 
 
 All the earth shall worship thee, and make a psalm to 
 thee : 
 
 They shall make a j)salm to thy Name. 
 Selau. 
 
 The corresponding, or thinl division, repeats the 
 praise of God ; and his people, as the witness of the 
 miracles of his special Providence, is summoned to 
 join in thr di\in(dy instituted services of the sanc- 
 tuary. 
 
 Bless, O ye people, our Ciod, 
 And maki; to he heard the voice of his pmise, 
 Wht) iiohU'th ovu' soul in life, 
 And sufl'ereth not our feet to lit- moved. 
 For thiiu hast j)roved us, O (lod; 
 
§ G.] PSALMS OF MORK THAN THREE DIVISIONS. 87 
 
 Thou hast tried us, as silver is tried : 
 
 Tliou bruughtest us into the snurc ; 
 
 Thou hiidcst trouble upon our loins : 
 
 Thou sufFeredst men to ride over our heads ; 
 
 We went through iire and water : 
 
 But thou brouglitest us into a plaee of wealth.* 
 
 I will go into thine house with burnt offerings ; 
 
 I will pay thee my vows, which my lips have uttered, 
 
 And my mouth hath spoken, when trouble was upon me : 
 
 The offerings of fatlings I will offer unto thee : 
 
 I will prepare bullocks with goats. 
 
 In the second division, all are desired to behold 
 the visible works and wonders of God, which are spe- 
 cially enumerated. These are of general experience 
 and observation. 
 
 O come, and see the works of God, 
 Fearful in his doing toward the sons of men. 
 He turned the sea into dry land ; 
 Through the flood they went through on foot. 
 There Avere we glad in him. 
 He ruleth by his might for ever : 
 His eyes the nations do behold : 
 The rebellious shall not exalt themselves. 
 Selah. 
 
 In the corresponding fourth division, which begins, 
 like the second, with the anaphora, " come," not 
 all mankind, but only]tliose who fear God, are desired 
 to behold still greater wonders, those things which 
 he hath done for the soul. And this division ends 
 with praise. Thus, throughout the Psalm, praise 
 alternates mth experience. And the praise of God 
 is shown to be a reasonable service ; and each of the 
 second corresponding divisions is more spiritual and 
 internal than the former. 
 
 O come, hearken, and I will declare, all ye that fear God, 
 What he hath done for my soul. 
 
 * Or rather, a place saturated with rain. 
 G 4 
 
88 ON Tills \V<>HI> SFI,AH. [Dissert. I. 
 
 Tu liiin with iny mouth 1 cullctl, 
 
 And he was exalted with my tongue. 
 
 If I ivpu'd ini(|uity ui my licart, 
 
 TIjc Jjord will not hear me. 
 
 Verily God hath heard me ; 
 
 He hath attended to the voice of my ])rayer. 
 
 Blessed he God, who hath not cast onl my i>niyer, 
 
 Nor tumid (uvdi/ his mercy fntm me. 
 
 Ps.ixviii. On the probaLle iuithorrtliip oi' tiic fIStli Psalm, oIj- 
 
 servations Avill be made in a futnre Dissertation. The 
 present enquiry will be coniined to the subject-matter. 
 The first division celebrates the glory and provi- 
 dential mercy of God. 
 
 1. 
 Let God arise ; let his enemies be scattered : 
 And let them that hate him flee before him 
 Like the driving away of smoke. 
 
 So drive them away ; 
 Like the melting of wax before the fire. 
 
 So let the wicked perish before God. 
 
 2. 
 But let the righteous be glad : let them rejoice before God : 
 Yea, let them he merry with gladness. 
 Sing unto God, make a psalm to his Name : 
 Magnify him that rideth upon the heavens, by his Naine 
 
 Jaii, 
 And rejoice bcfoi'c him. 
 
 3. 
 
 A Father of the fatherless, and a Judge of the widow?. 
 Is God, in the habitation of his holiness. 
 God setteth the solitary in a house : 
 He bringeth out those that are bound in chains : 
 But the rebellious dwell in a dry land. 
 O (rod, when thou wentcst fortli l)efore thy people, 
 AVhen thou didst march thi'ough the wilderness; 
 Selah. 
 
 The sense, contrni-)' to the usual uutliod in the 
 I'salms, is carried on to the next division. But the use 
 id" Sclnh is I'tilK- \iii(lic;itod. The cxoi-diuiii finished, 
 
§6.] PSALMS OF MORF, TFIAN TIIUEE DIVISIONS. 89 
 
 God's terrible Presence described, the action Ijcgiiis 
 in the second part. The scene of the desert is opened 
 upon our view, and all the thunders and lightnings, 
 and wonders of divine power and mercy ; the divine 
 manifestation at Sinai ; the rain of manna ; the mira- 
 culous flow of waters; the discomfiture of mighty hosts 
 by supernatural aid from above ; the march of the 
 hosts of heaven ; God's triumph over all enemies; his 
 bestowal of salvation : all this being typical of liis 
 future; triumph over his spiritual enemies; the gifts 
 purchased for his Church by Christ ; the manna of 
 his Holy Spirit, the living waters, and eternal salva- 
 tion. The whole forms an accumulation of glorious 
 images, such as have never been collected within the 
 same compass. Now in making the change between 
 the first and second part, where Selah marks not only 
 the disclosure of this magnificent scene, but the al)rupt 
 transition from an address to a narrative, a skilful 
 musician would obviously direct the raising of a 
 higher strain. The peculiarity of this arrangement 
 (/. e. the continuity of the sentence at each division) 
 adds much to the elastic vigour of this sublime ode. 
 
 The earth shook: the heavens also dropped at the presence 
 
 of God, 
 Sinai itself at the presence of God, the God of Israel. 
 A rain of plenty thou didst send, O God, upon thine inlie- 
 
 ritance, 
 And when she was weary, it was thou who didst refresh her. 
 Thy congregation shall dwell therein ; 
 
 Thou hast prejiarcd, in thy goodness, for the ])oor, O God. 
 The Lord shall give the word " : 
 
 Of the women who publish it the multitude shall be great: 
 Kings of armies shall flee, shall flee ; 
 And she that tarrleth at home shall divide the spoil. 
 Though ye have lien among the pots, ye sludl he (ts the 
 
 wings of a dove. 
 Covered with silver, :uid her fenthcrs like 3('llow gold. 
 
 " (-In. jirniiiisr (Dalhe). 
 
90 ON THE WORD SELAII. [Dissert. I. 
 
 When the Ahuighty scattered kings in it, 
 
 It was as wliitc as snow in Sahiion. " 
 
 A liill (.f Cuh\ is the liill (.f liashan^ 
 
 A hill of heights is the hill of Bashan. 
 
 Why leap ye, ye hills of height ? 
 
 Tliis hill God liath desired to dwell in ; 
 
 Yea, the Loud will ahide in it for ever. 
 
 The chariots of God are thousands of thousands, thousands 
 
 upon thousands : 
 The Lord is among them, in Sinai, in the holy place. 
 Thou art gone up on high : 
 Thou hast led captive caj)tivity : 
 Thou hast received gifts for men : 
 Yea, even for the rebellious, that the Lord God might 
 
 dwell among them. 
 Blessed be the Lord, day by day ; 
 lie shall load us with benefits, 
 Even the God of our salvation. 
 Selah. 
 
 The third division (the beginninfi; being linked to 
 the conclusion of the second) speaks of the future 
 conquests and deliverance of the Israelites ; the wars 
 in Canaan, foretold in the preceding part, to which 
 the progress through the wilderness was the prelude ; 
 and the consequent establishment of God's worship 
 in Jerusalem : typical of the subjugation of the 
 world to Christ, and of the worship of his Church. 
 
 He is a God to us, the God of whom cometh salvation. 
 And unto the Loud our Lord belong the issues of death. 
 But God shall wound the head of his enemies. 
 The hairy scalp of him that gocth on still in his trespasses. 
 
 " The mciiniiij;; I apprclicnd to be lliat very ironerally received ; i. e., 
 that thcj^round was l)k'adied by the bones of those who fell : of unburied 
 myriads. The association of colours in this passage is very beautiful. 
 The word Salmon has caused considerable difliculty. That it means a 
 mountain seems probable from the ju.\ta])Osition in the text of the hills 
 of Hashan and Sinai. Sec note c on this Psalm. 
 
 '' That is (as Bishop Patrick interprets it), high and glorious as was 
 the hill of liashan, which afterwards became part of the inheritance, 
 there was a hill more glorious, the special residence of God — Mount 
 Sion. This is one of the diflicnlt passages of this very obscure Psalm. 
 
§ t).] PSALMS OF MORE THAN THREE DIVISIONS. Dl 
 
 The liord hath said '', From Baslian I will make them re- 
 turn ; 
 I will make them return from the dejjths of" the sea. 
 That thy foot may be dipped in blood : 
 And the tongue of thy dogs, from thine enemies, in the same. 
 They have seen thy goings, O God, 
 The goings of my God, my King, in the sanctuary. 
 First go the singers ^ then follow the minstrels ; 
 In the midst arc })saltcrics, with the players on the timbrels. 
 In the congregation bless ye God, 
 Even the Lord, from the fountain of Israel. 
 There is little ]3enjamin their ruler, 
 The princes of Judah, their council. 
 The princes of Zabulon, the princes of Naphtali. 
 Thy God liath commanded thy strength : 
 Strengthen, O God, that which thou hast wrought for us. 
 Because of thy temple at Jerusalem, 
 To thee shall kings bring presents. 
 
 Rcl)uke the beasts of the reeds '^, 
 
 The multitude of bulls, among the calves of the people, 
 
 Till every one submit himself with pieces of silver : 
 
 Scatter thou the people that in war delight. 
 
 Princes shall come out of Egypt ; 
 
 Cush shall stretch out her hands unto God. 
 
 O ye kingdoms of the earth, sing unto God ; 
 
 Make a psalm unto the Lord. 
 
 Selah. 
 
 The coiK'liuliiig division is like the exordium; 
 ascribing glory to (lod in somewhat the same terms : 
 " To liim that rideth upon the heaven," ascending 
 again to God's heavenly habitation. 
 
 To him that rideth upon the heaven of heavens of old : 
 Lo, he doth send out his voice, a voice of strength. 
 Ascribe ye strength to God : 
 Over Israel is his excellency, 
 And his strength is in the clouds. 
 
 * Vide Amos, ix. 14, 15., and Obadiah, ver. 19. 
 
 '' See anVe^ § 5. p. 83, for remarks on this passage. 
 
 " This very obscure passage will admit of a (•onjcotural interpretation 
 only. See note d on this Psalm. The beast of tlie reeds is commonly 
 consiilcrcd to mean the Egyptian people. 
 
92 ON TilK W<)1{D SKLAH. [Dissert. I. 
 
 To he feared art tlioii, (J dud, in thy holy places: 
 
 The God of Israel is he that givcth strength and power to 
 
 the peojjle. 
 Ble.s.sed be God. 
 
 I's. ixxvii. The 77tli Psalm, introductory to the historical 
 Psnlms which follow, exhibits accurately the course 
 of the Psalmist's thoughts, agitated at first by strong 
 fears, and finally consoled by the recollection of his 
 Providence. 
 
 In the first division his deep distress is related. 
 
 With my voice unto God I cried : 
 My voice was unto God; 
 And he gave ear unto me. 
 In the day of my trouble the LoiiD I sought : 
 My hand in the night was stretched out, and ceased not. 
 My soul refused to be comforted. 
 I remembered God, and was disturl>ed : 
 I connnuned with myself, and my spirit was overwhehned. 
 Selati. 
 
 This is the preface to the complaint, so pathetically 
 expressed in the second division. His bodily weak- 
 ness has enfeebled his mind, and tempts him to fear 
 that he is forsaken of God. He remembei's indeed 
 past mercies, but fears that these will never return. 
 
 Thou boldest the watches of mine eyes: 
 I am troubled, and I cannot speak. 
 I have considered the days of old, 
 The years of ancient times. 
 I call to remembrance my sonjj; in the night : 
 With my heart I commune, and search out my s{)irit. 
 Will the liOiiD for ever cast me off? 
 And will he not be favourable any more? 
 Is his mercy gone for a long time ? 
 Is his ])romise come to an end for ever and ever? 
 Hath God forgotten to be gracious? 
 Until he shut up in anger his loving kindnesses? 
 Sei.au. 
 
 i»ut bis faith returns. He is cijnsciiui.^ liiat sucli 
 
§ fi.] rSALMS OF MOKE THAN TIlllEE DIVISIONS. 
 
 despondency is the effect of infirmity, wliieli the 
 Teni{)ter uses as his instrument, and to which it is 
 therefore sinful to yield. He hopefully recalls the 
 wonders of old time, and the deliverance afforded to 
 the chosen people. 
 
 Then I said, INliiic infirmity is this : 
 
 But I icill rcmernbcr the years of the right hand of the 
 
 Most High. 
 I will rcnicnibcr the doings of the Loud; 
 Yea, I will remember thy wonders of old. 
 And I will meditate on all thy works : 
 And on thy doings I will commune. 
 O God, in holiness is thy way; 
 What God is so great as God ? 
 Thou art the God tliat doest wonders : 
 Thou hast made known among the people thy strength. 
 Thou hast redeemed with tliinc arm thy people. 
 The sons of Jacob and Joseph. 
 Selaii. 
 
 These last words form the note of preparation to 
 the strophe which follows, wliere there is a more par- 
 ticular commemoration of G(^)d's special interposition, 
 and to those great wonders which are most frequently 
 dwelt upon in the prophetical and poetical parts of 
 Holy Scripture ; namely, the passage through the 
 Ked Sea, and the manifestation of the Divine glory 
 at Sinai and in the Avilderness. 
 
 The waters saw thee, O God: 
 
 The waters saw .thee : they were afraid : 
 
 The depths also trembled : 
 
 The clouds poured out water : 
 
 The skies gave forth a voice : 
 
 Thine arrows also went abroad. 
 
 The voice of thy thunder was round about : 
 
 The lightnings shone tln-ough the world : 
 
 The earth ti'cmbled and shook. 
 
 In the sea is thy way, 
 
 And thy paths in the great waters : 
 
94: ON TliE WOKI) SELAII. [Dissert. I. 
 
 And tliy footsteps arc not known. 
 Thou Icddost like sheep thy people. 
 By the hand of" IMoses and Aaron. 
 
 I's. csi. The 140th Psalm lias four accurately discvimiiiated 
 
 divisions, of Avhicli tlic iirst two are jiarallel ; the 
 third is a coiitinuution of the prayer ; tlie last is its 
 fultihnciit. 
 
 The first stanza is a prayer against the projected 
 schemes of his enemies ; which have as yet proceeded 
 no further than devices and evil words. 
 
 Deliver me, O Lord, from the man of evil, 
 From the man of violence preserve me : 
 Who purpose evil things in their heart : 
 All day they stir up wars. 
 
 They have sharpened their tongue like a serpent : 
 The poison of asjis is under their lips. 
 Selah. 
 
 A like prayer is made in the second division, in 
 nearly similar terms, imploring protection from the 
 schemes now brought into act. 
 
 Keep me, O Lord, from the hands of the ungodly : 
 From the man of violence preserve me : 
 Who purpose to overthrow my goings. 
 The proud have privily laid a snare for me, and cords : 
 They have spread a net by the wayside ; 
 Traps have they set for me. 
 Selaii. 
 
 Ill tli(^ third division the same supplication is re- 
 peated (though not in the same terms), with greater 
 confidence, from tlie recollection of past mercies. 
 
 I said unto ihc Loim, my God art thou : 
 
 Hear, () LuiM>, the vf)ice of my supplication. 
 
 O Lord, my Lord, the strength of my salvation. 
 
 Thou ha?t been a covering to my head in the dny ol' battle. 
 
§ 6.] PSALMS OF MORE THAN THREE DIVISIONS. 95 
 
 Grant not, O Loud, the desire of the ungodly : 
 Their wicked imaginations further not, lest tkeij exalt 
 themselves. 
 
 Selaii. 
 
 Each of these stanzas consists of six lines. The 
 epodc contains tlic catastroplie, forming a kind of 
 cpanodos to the third division ; and refers again to 
 "the man of words," or of evil designs ; and "the 
 man of violence," or of evil actions. 
 
 As for the head of those that compass me, 
 Let the mischief of their own lips cover them. 
 Let burning coals come down upon them : 
 Into the fire he shall make them fall, into deep pits : 
 They shall not rise. 
 
 The man of words shall not be established in the earth: 
 The man of violence : . . . evil shall hunt him, to over- 
 whelm him. 
 I know that the Lord will maintain the cause of the poor. 
 The judgment of the needy. 
 
 Siu'cly the righteous shall give thanks to thy Xame : 
 The upright shall continue in thy presence. 
 
 The last Psalm which remains to be examined is rs. ixxxix. 
 the 89th. The five divisions are clearly each dis- 
 tinctly marked, and the Pseudo-Chrysostom has 
 shown how the cliapsalma has discriminated each.* 
 
 The first is the i)rologue, the theme of which is 
 God's Mercy and Truth, manifested in his promise to 
 David, and in its fufilment. 
 
 The mercies of the Lord for ever wiU I sinjj : 
 
 From generation to generation I will make known thy 
 Truth with my mouth. 
 For I have said. For ever Mercy shall be built up : 
 
 The heavens . . . thou shalt establish thy Truth in them. 
 I have made a covenant with my chosen : 
 I have sworn luito David my servant. 
 For ever will I establish thy seed, 
 
 And build up from generation to generation thy throne. 
 Selah. 
 
96 ON THE WOKD S EL A II. [Dissert, I. 
 
 The second });irt is an ex});nisi(»ii oi" tlic first in all 
 its parts: God's Mercy ; his Ti-utli ; his Covenant to 
 Dax'id. The Iieavens are called upon to praise tlie 
 wonders of llini who is to be feared. His power is 
 declared in his doings in heaven and earth ; but 
 righteousness and judgment, mercy and trutli, are 
 above all his works : the hal/itation of his throne, the 
 heralds of his presence. 
 
 And the heavens shall praise thy wonders, Loud, 
 Even thy truth in the eongrei^ution of the saints : 
 For who among the clouds shall be compared to the Loun ? 
 Who shall be likened unto the Loud among the sons of 
 
 the gods? 
 God is greatly to be had in awe in the council of the 
 
 saints, 
 And to l)c feared by all that are round about him. 
 O Lord God of Hosts, who is like unto thee? 
 
 The mighty Lord: and tliy truth is round about tliee. 
 It is Thou who rulest tlie raging of the sea : 
 At the rising of the waves tliereoF it is Thou who stillest 
 
 them. 
 It is Thou who hast broken llahab, as one tiiat is slain": 
 With the strength of thine arm thou hast scattered thine 
 
 enemies. 
 Thine are the heavens: thine also is the earth: 
 The world and the fulness thereof: it is Thou who hast 
 
 founded them. 
 The North and the South, it is Thou who hast created them. 
 Tabor and Ilermon in thy Name shall sing for joy. 
 Thine is an arm of might : 
 Strong is tliy hand: high is tliy light hand. 
 Ivighteousness and judgment are the habitation of thy 
 
 throne : 
 Mercy and Truth shall go l»efore thy face. 
 
 Then his Grace is celebrated, and the happiness 
 of that people who walk in the light of his counte- 
 nance. 
 
 ■ 'I'liis i.« an expression of Ezekicls. 
 
§G.] rSALMS OF ]\I()KE THAN TniiKK DIVISIONS. 97 
 
 Happy is the pco[)lc tliat know tlic joyful .sound, O Loud : 
 
 In the li<^ht ot" thy countenance they shall walk. 
 
 In thy Name shall they dehglit all day long, 
 
 And in thy righteousness shall they be exalted. 
 
 For the beauty of their strength art thou : 
 
 And in thy loving kindness shalt thou exalt our horn : 
 
 For of the Lord is our sliield : 
 
 And of the Holy One of Israel is oiu" King. 
 
 The key-note of the promise is sounded in the last 
 line ; that royal seed, whose line began in David, and 
 which God had promised should last for ever. This 
 promise is then recounted: — the conditional pros- 
 perity of his children, but tlie unalterable establish- 
 ment of his throne, fulfilled in tlie person of the 
 Messiah ; and this division ends as it began, with the 
 mention of the heavens as the witnesses of his truth. 
 
 Thou si)akest sometime in vision to thy saints, and saidst : 
 I have laid help upon one that is mighty, 
 I have exalted one chosen from the people. 
 I have found David my servant ; 
 With the oil of my holiness have I anointed him. 
 "With Avhom mine hand shall be established ; 
 Mine arm also shall strengthen him. 
 The enemy shall not do him violence, 
 And the son of wickedness shall not afflict him. 
 And I will beat down before his face his adversaries, 
 And them that hate him I will plague. 
 And my Truth and my Mercy shall be with him, 
 And in my Name shall his horn be exalted. 
 And I will set in the sea his hand, 
 And in the floods his right hand. 
 He shall call me. My Father art thou, 
 My God, and the Rock of my Salvation. 
 I myself also my first-born shall make him, 
 Hio-hcr than the kings of the earth. 
 For ever will I keep for him my Mercy, 
 And my Covenant shall be true with him. 
 And I will make to endure for ever his seed, 
 And his throne as the days of heaven. 
 VOL. II. II 
 
98 ^>N TIIK WORD SELAir. [Dissert. T. 
 
 If hit? chiUlreu forsake my law, 
 And in my judgments if they walk not, 
 If my statutes tlicy break. 
 And my connnandments they do not keep, 
 Then will I visit with a rod their offence, 
 And with stripes their iniquity. 
 But my Mercy will I not utterly take from hltn, 
 Nor will I be wanting in my Truth. 
 I will not break my covenant. 
 
 And that which is gone out of my lips I will not alter: 
 Once have I sworn by my holiness, 
 That David I wall not fail. 
 His seed for ever shall endure. 
 And his throne as the Sun before me : 
 As the Moon it shall be established for ever, 
 And the Witness in the clouds is true. 
 Selaii. 
 
 The part hitherto commented upon forms of itself 
 a complete and perfect poem, uttered in the sublimest 
 strain of prophetical inspiration. 
 
 In the next division the strain altogether clianges 
 from a glorious prophecy to deep lamentation, for the 
 desolation and discomfiture of Israel. The style is 
 completely different, resembling, Loth in structure 
 and in expression, the plaintive elegies of Jeremiah. 
 But thou, even thou, hast cast off, and hast abhorred. 
 Thou hast been wroth with thine Anointed. 
 Thou hast made void the covenant of thy servant : 
 Thou hast cast to the ground his crown : 
 Thou hast broken down all his hedges : 
 Thou hast brought his stronsf holds to ruin. 
 They spoil him, all that pass by the way : 
 lie is become a I'eproach to his neighbours : 
 Thou hast exalted the right hand of his adversaries : 
 Tliou hast made glad all his enemies. 
 Thou hast also turned the edge of his sword. 
 And hast made him not to stand in the battle. 
 Thou hast caused a failing of his brightness. 
 And his thnjne to the ground thou hast cast down. 
 Thou hast shortened the days of his youth : 
 Thou hast covered him with shame. 
 
§ -.] TUF, IM^VYER OF IIABAKKLK. 99 
 
 In conclusion, there are two parallel epodes, each 
 consisting of supplication to God, contained in six 
 lines: the first two Iminfr interroc^atory, the third in 
 each connnenciii^- with the word " Remember." 
 
 How long, O Lo]iD, wilt tlioii hide tlivsclf, for ever ? 
 Shall thy wrath burn like fire ? 
 Remember liow short-lived I am : 
 
 AVhcrefore in vain hast thou created all the sons of men ? 
 What mighty man is he that liveth, and shall not see death ? 
 Shall he deliver his soul from the hand of hell ? 
 Selah. 
 
 Where arc thy jNlcrcies which were at the first, O Lord, 
 Which thou swearedst to David in thy Truth? 
 Reinember, O Lord, the reproach of thy servants, 
 Which I do bear in my bosom from all the mighty people, 
 Wherewith their enemies have reproached, O Lord, 
 Wherewith they have reproached the footsteps of thine 
 Anointed. 
 
 Blessed be the Lord for evennore. 
 Amen, and Amen. 
 
 § 7. TUE PRAYER OF IIABAKKUK. 
 
 The Prayer of Habakkuk.beino; the only portion of r/-7?°^, 
 Holy Scripture, besides the Psalms, which contanis 
 the Diapsalma, requires a special consideration. Li 
 many of its features it resembles the Psalms. Thus 
 the title bears the words " on Shigionoth," or " Shig- 
 gaionoth," the plural of the Avord " Shiggaion," which 
 is prefixed to the 7th Psalm ; neither the singular 
 nor the plural form occurring in any other place. At 
 the end there is a musical direction " to the Chief 
 Musician on Neginoth, or stringed instruments," of 
 frequent occurrence in the Psalms. As Habakkuk lived 
 in the time of King Josiah, who restored the Temple 
 
 ■' For a translation of this prayer, see Appendix to the First Yohiine. 
 
100 ()\ THE WORD SELAII. Dissert. I. 
 
 service", this ode was probably one of those composed 
 for the revived functions of the choirs. This magni- 
 ficent propliecy has an obscurity at once, and a sub- 
 limity truly archaic. In its general style it does 
 not resemble the other writings of the same pro- 
 phet. Whether it be a collection or adaptation of 
 ancient songs, or the original composition of Habak- 
 kuk, it is impossible to determine : but it is certain 
 that it strongly resembles the poetry of Moses, and 
 of Deborah, and that of the 68th Psalm, which, as will 
 be hereafter shown '', bears traces of the age of Moses, 
 and of times preceding that of David. 
 
 This is evident in the use of single words of rare 
 occurrence in Hebrew, and used by ]\Ioses in his songs 
 and blessing, in juxtaposition Avith the same turns of 
 thought and expression as are found in the song of 
 Habakkuk. Instances of this are reserved for the 
 notes. '^ 
 
 In the song of Moses and ]\Iiriam, Exodus xv., 
 occurs the following resemblance : 
 
 The Lord is my strength and my song. 
 And is become my salvation. ^ — -(v. 2.) 
 
 Compare this mth the passage in the Ode, v. 18.: 
 
 Yet as for me, in the Lord will I rejoice : 
 I will joy in the God of my salvation. 
 
 " 2 Chron. xxxiv. 1"2., and xxxv. 15. 
 
 '' See Dissertation 111. 
 
 "^ nV3 (v. 6.) is applied by Moses to the bursting open of the earth 
 to swallow tlie sons of Korah. Numb. xvi. 30., Deut. xi. 6. . . p"l3, the 
 glittering (of thy spear), (v. 11.), is used in Moses' song, Deut. x.xxii. 41., 
 and applied to the sword. And in connection with this, Moses (v. 39.) 
 uses the same word as employed in the present context (v. 13.), nVHD 
 thou woundedst. Again in v. 22. he uses the word HDIO, foundations, 
 as applied to mountains: the same as niD\ v. 13. of the Prayer. Again, 
 niDHii'i fields (Deut. xxxii. 13.) is found in near connection M'ith "high 
 places," as in the Prayer, v. 17. and 19. The same juxtaposition of both 
 •words occurs in v. 13. of Moses' song, Deut. xxxii. In the same song, 
 V. 23., C)ti'l burning coals, as in v. 5. of the song ; and v. 34. 3np, " the 
 drawing near or approach," used in v. 2. of the Prayer. 
 
§ 7.] THE PRAYER OF IIABAKKUK. 101 
 
 Again, 
 
 The people sh;ill hear and be afraid. — (v. 14.) 
 Here the same word-'' is used as in v. 7. of the 
 Prayer. 
 
 They did tremble, the curtains of the land of MIdian. 
 
 In Moses' song there are also ellipses, and a paucity 
 of connecting particles : which are characteristic of 
 the Prayer. 
 
 In the song of Moses, Deut. xxxii., " He made him 
 ride on the high places of the earth " (v. 13.), is like 
 " And on my high places he will make me to walk. 
 (Prayer, v. 18.) And this is connected with the bless- 
 ings of plenty, which immediately precede in the 
 Prayer, and follow in the Song. 
 
 In the Song, v. 22., " Fire shall consume the earth 
 Avith her increase, and set on fire the foundation of 
 the earth." Compare the Prayer (v. 5.), " Before him 
 went the pestilence, and burning coals went forth at 
 his feet." 
 
 In the Song, v. 40., " I lift up my hands to heaven :" 
 this magnificent personification is like the image in 
 the Prayer (v. 10.), " The deep uttered his voice : on 
 high his hands he lifted up." 
 
 In the last words, or Blessing, of Moses, Deut. 
 xxxiii., the second verse, 
 
 " The Lord fi-om Sinai came. 
 And rose up from Seir to them : 
 He shined forth from Mount Paran, 
 And he came with ten thousand of his saints :" 
 
 is like the third verse of Habakkuk, " God from Teman 
 shall come," &c. As also in the song of Deborah : 
 " Lord, in the going forth from Seir, In thy march- 
 ing from the field of Edom," &c. And of the 68th 
 Psalm, " God, when thou wentest forth before thy 
 people, when thou wentest through the wilderness." 
 
 " ptnv 
 
 H 3 
 
102 ON Till-: WORD SELAII. [Disskht. I. 
 
 In tlie same VLTsc, " From liis right liaiid went ti fiery 
 law for them," is parallel to the passage in the 
 Prayer, v. 4., " lie liad bright beams out of liis hand, 
 and there was the liiding of power." This whole 
 passage bringing to mind the recorded manifestation 
 of the Divine Glory to Moses, and the declaration 
 of the Almighty, that his glorious Presence could not 
 be beheld by man. " The address to the tribes in 
 the Blessing is cognate to tlie allusion in the 9th 
 verse of the Prayer : " Because of the oaths unto the 
 tribes:" as also to their individual mention in the 
 68th Psalm, and in the song of Deborah. 
 
 " The ancient mountains and the lasting hills," 
 (v. 13 — 16.), find a parallel in the 6th verse of the 
 Prayer.'' 
 
 The 26th verse, " Who rideth upon the heaven in 
 thy help, and his excellency on the sky," has the same 
 image as in the 8th and 15tli verses of the Prayer, 
 " That thou dost ride upon the horses, thy chariots 
 of salvation ;" and, " Thou didst walk through the sea 
 with thine horses." The expressions in the 68th 
 Psalm are similar: " Tliat rideth upon the heavens ;" 
 which twice occurs. 
 
 And in the 29th verse a similar plu'ase terminates 
 both the words of jVIoses and the Prayer : " Thou 
 shalt tread u})on their high places;" and, " On my 
 high places ilum shalt make me walk." To which 
 may be added, that the " blossoming of the fig-tree," 
 &c., in the 17th verse of tlie Prayer, is like the pic- 
 ture of temporal prosperity in the 28th verse of the 
 Blessing : " Israel then shall dwell in safety alone : 
 the fountain of Jacob shall be upon a land of corn 
 and wine; also his heavens shall drop down dew." 
 
 In the 11 til vci-sc of the Prayer, the allusion to the 
 
 ■■■ Exodus, xxxiii. 23. 
 
 '' Compare fJen. xlix. 26. : " The blessings of thy father have pre- 
 vailed above tiie blessings of thy progenitors, unto the utmost bound 
 of the everlasting hills :" where temporal blessings arc connected with 
 ihis expi'cssion in Jacob's as in l^Ioses' prophecy. 
 
§ 7.] THE PRAYER OF IIABAKKUK. 103 
 
 Standing still of the sun and moon, has a reference to 
 the event in the time of Joshua, the successor of 
 Moses: the mind of the prophet being evidently 
 impregnated with the revelation of the wonders 
 attendant upon tlie inxasion of Canaan. 
 
 The song of Deborah, besides the resemblances 
 already noticed, is similar to the Prayer in the follow- 
 ing instances. 
 
 In the use of the same word (v. 7.), translated "vil- 
 lages" (Prayer, v. 14.) : a word of rare occurrence/ 
 
 In a bold personification (v. 20.) : " From heaven 
 they fought ; the stars in their courses fought against 
 Sisera : " which is cognate to the personification, al- 
 ready noticed, of the mountains, the waters, the sun 
 and moon, in the Prayer. To the last division of the 
 77th Psalm, which has all the appearance of being a 
 very ancient ode, the same passage bears a resem- 
 blance. " The waters saw thee, God, the Avaters 
 saw thee, and were afraid." 
 
 I have given these strong features of resemblance 
 between the Prayer of Habakkuk and the more an- 
 cient prophetical poetry of Holy Writ, in order, if 
 possible, to afford materials for fonning some deci- 
 sion, which I confess myself unable to make with 
 any confidence. That a strong connection exists 
 between the poetry of Moses, of the 68th Psalm, of 
 Deborah, and that now before us, is evident. The 
 tracing out this resemblance may, it is to be hoped, 
 serve a better purpose than merely fixing the time 
 or authorship of each composition. That, though an 
 interesting, and flir from useless question, is yet of 
 subordinate moment : since by the mouths of each of 
 
 * See Bishop Ilorsley's note on this word ijia (Biblical Criticism, 
 vol. iv. p. 460.) If his sense of " rural judges" be correct, then the 
 n\eaning is, thou didst strike the magistrates with their own staves of 
 office. Our translators read VT1S (with several MSS.), instead of IT "I, 
 the received reading. 
 
 H 4 
 
10-1 ON Tin: WORD SELAn. [Dissert. I. 
 
 these proi)liets the Holy Spirit spoke in (.(pial fulness: 
 •who employed however the peculiar mental endow- 
 ments of each, as he did tlieir bodily orphans, to be the 
 instruments of his truth ; so that each prophecy, 
 though revealed by God, and by him made free from 
 error, bore the impress, to a certain degree, of the in- 
 tellectual character of the individual. The ultimate 
 use of such an enquiry ought to be, to trace through 
 the identity of style and phrase in each of these 
 divine poems, some common and cardinal trutli, 
 which the careful comparison of them, one with jin- 
 other, may more effectually bring home to the un- 
 derstanding of the faithful. 
 
 It remains to examine the texture of this Prayer, 
 with reference to the Diapsalma. 
 
 In this point of vieAv, it may be said, generally, that 
 it further resembles the 68th Psalm, in having a less 
 obviovis discrimination by the Diapsalma than the 
 other poems in which that word occurs. Indeed, it 
 must be acknowledged, that in the present instance 
 it is very difficult to assign any reason for the quad- 
 ruple division, which might not equally apply to a di- 
 vision into two, or three, or more periods. And this 
 difficulty is not a little increased by the very frequent 
 change of tense Avhich occurs, and which adds to the 
 obscurity of the prophecy, especially when read by 
 those less familiar with the peculiarities of oriental 
 idiom. 
 
 The general object of the ])rayer is to proclaim God's 
 future vengeance on his enemies, and the redemp- 
 tion of his people, like that which he had achieved in 
 ancient times. The prophet looks forward to this, 
 as a consolation under his knowledge of the coming 
 judgments on the chosen ])eople, which had formed 
 the subject of his preceding prophecy. The ap- 
 proaching captivity in Babylon is compared to their 
 former bondage in Egypt : but he foresees a redemp- 
 
§ 7.] THE rilAYER OF IIAIUKKUK. 105 
 
 tioii iiioi'c wonderful and glorious than that effected 
 when they were led by the hand of Moses and Aaron. 
 He speaks both of his fears and of his hopes. God's 
 coming to judgment will be terrible : but he will re- 
 member mercy : and he will come to redeem his peo- 
 ple, as he did of old when he came to tlic land of Ca- 
 naan from tlie soutli, from Teman, and ]\Iount Paran. 
 
 Lord, I liave heard thy ppcccli : 
 
 1 am afraid, O LoKD, of thy work : 
 
 At the drawing near of years •'', do thou revive it : 
 At the drawing near of the years thou wih make il known. 
 God from Teman shall come, 
 And the Holy One from ]\Iount Paran. 
 Selah. 
 
 He now proceeds to the description of the wonders 
 of old time, to which the concluding words of the 
 prologue had sounded the note of preparation. And 
 the next division may be considered as speaking of 
 signs in heaven and in earth, the prelude to the out- 
 pouring of his wrath upon the nations. In this de- 
 scription, the future consequences are spoken of as 
 already brought into act, in that style of anticipation 
 so characteristic of the whole poem. 
 
 His glory covered the heavens : 
 
 And of his praise the earth was full : 
 
 And the brightness was even as the lijjrht : 
 
 He had bright beams out of his hand, 
 
 And there was the hidings of power. 
 
 Before him went the Pestilence, 
 
 And burning coals went forth at his feet. 
 
 He stood, and measured the earth : 
 
 He beheld, and di'ove asunder the nations : 
 
 And they were burst open^ the everlasting mountains: 
 
 They did bow, the eternal hills : 
 
 His ways are everlasting. 
 
 " That is to say, when the appointed time draws near, thou wilt renew 
 thy ancient wonders, and shalt reveal it to thy prophets. 
 ^ That is, the secret place. 
 
106 ON THE AVOKU SELAII. [Dissert. I. 
 
 The nations of Arabia, and tlie inhabitants of the 
 desert, hear the rumour of these premonitory signs, 
 and of tlie doings in the hmd of ]\irypt, afflicted by 
 tenfold phigues, and tremble at the approacli of this 
 supernatural storm. Meantime God makes the ])re- 
 paration for the passage of the Ked Sea. The portion 
 about to be quoted opens in a style similar to that 
 of Balaam's prophecy : the prophet sees these wonders 
 in mental vision. 
 
 Under affliction I saw the tents of Cushan ; 
 They shall tremble, the curtains of the land of Midian. 
 Against the rivers is the LoKD displeased ? 
 Is thine anger against the rivers ? 
 Is thy wrath against the sea, 
 Tiiat thou dost ride upon thine horses, 
 Thy cliariots of salvation ? 
 Thy bow shall be made quite naked, 
 Because ^^f the oaths unto the tribes, even thij word. 
 Selah. 
 
 The third division contains, as it were, the main 
 action : the wonders at the Ked Sea, at Mount Sinai, 
 the march towards Canaan, and the standing still of 
 the sun and moon, and the conquest of the wicked 
 nations. The destruction of the first-born of Egypt 
 is recorded in the last line : this retrospective allusion 
 heightening the terror of the picture. AMiile the 
 Canaanites are suffering from his present vengeance, 
 the land of Egypt is still wailing the death of her 
 first-born, that last great plague, whicli marked the 
 departure of the God of Israel. Thus the whole 
 earthly creation joins in one universal cry of conster- 
 nation. ])Ut his mercy is remembered in wi-ath. 
 The salvation of his Anointed is the end of all these 
 judgments. 
 
 AVitli rivers thou shalt cleave the earth : 
 They saw thee, they trembled, the mountains: 
 
§7.] THE ri{AYi:ii OF IIABAKKL'K. 107 
 
 The overflowing of the waters passed by : 
 The deep uttered his voice ; 
 On high his hands he lifted up. 
 
 Tlic sun, the moon, stood still in its habitation : 
 In light thine arrows shall go forth : 
 In brightness the glittering of thy spear. 
 In indiu'nation thou shalt march through tlie land : 
 In anger thou shalt thresh the heathen : 
 Thou shalt go forth for the salvation of thy jieoplc. 
 For the salvation of thine Anointed. 
 
 Thou woundedst the head out of the house of the wicked. 
 Laying bare the foundation unto the neck. 
 Selah. 
 
 In the last division, the first line marks the con- 
 nection with the last, while the strain of the whole 
 changes. In the first lines the judgments upon the 
 Egyptians are again celebrated ; but the moral reason 
 of these judgments is recorded, their wickedness and 
 oppression. And then a new personification appears : 
 the Prophet speaking in the person of the faithful of 
 the chosen people. He trembles at God's judgments; 
 but still in the spirit of hope. He looks forward to 
 a future day of rest; and though, by his coming- 
 visitation, God may blight all the temporal prosperity 
 of the land, yet he knows that God's promise will 
 eventually have fulfilment : that he Avill still be the 
 salvation of those who trust and rejoice in him. 
 
 Thou didst strike through witlr^ his staves the head of 
 
 his villages: 
 They came as a whirlwind, to scatter me : 
 Their rejoicing Avas to devour the poor in secret. 
 Thou didst walk through tlie sea with thine horses : 
 Through the heap of mighty waters. 
 
 I heard, and my belly trembled ; 
 Rottenness entered into my bones . 
 And in myself I trembled. 
 
 " That is, "Thou didst inflict punishment on their magistrates." 
 
108 ON THE WORD SELAII. [Disskut I. 
 
 Oh that I may have rest in the day of trouble, 
 AVhen he coincth unto tlie people, (when) he shall invade 
 them. 
 
 Althou<rh the fie; tree shall not blossom. 
 
 And there be no fruit in the vines, 
 
 Though the labour of the olive fail, 
 
 And the fields yield no meat ; 
 
 Though the flock from the fold be cut off, 
 
 And there be no herd in the stalls ; 
 
 Yet, as for me, in the Loud will I rejoice, 
 
 I will joy in the God of my salvation. 
 
 The Lord God is my strength. 
 
 And he will make my feet like hinds' feet: 
 
 And on my high places he will make me to walk. 
 
 § 8. SELAII AT THE TERMINATION OF CERTAIN PSALMS. 
 
 Ill four instiinccs (the 3rd, 9th, 24th, and 46th 
 Psalms) Selah occurs at the end of the Psalm. Its 
 occurrence in this place can only be accounted for by 
 supposing a connection between the Psalm in which 
 it is found, and some other, Avhich was, or might be, 
 performed in sequence. 
 
 As to the 4tli and 9tli Psalms, it has been already 
 shown how the 4th forms a sequel to the 3rd, being 
 responsive to it in all its several parts. And the 
 10th Psalm is evidently a part of the 9th. With 
 respect to the 24th and 46th the case is not so 
 obvious. 
 
 The 24th Psalm has no such iiitiiiiatc connection 
 with that which follows. iiiit a (iiiestion fairly 
 arises, whether the whole, or a portion of this Psalm, 
 may not have been occasionally, on certain festivals, 
 so connected witli the Avhole, or a portion of an- 
 other, as to form a special hymn for that particu- 
 lar occasion ? That such has been the custom of 
 the Church in all times is evident. Thus, on the 
 great festivals, the Psalms are in every part of the 
 
§8.] SELAII AT TlIK END OF TSALMS. 109 
 
 universal Church performed out of their proper se- 
 qvience, a selection being made appropriate to tlie 
 season. The versicles and responses of the liturgies 
 both of East and West are eclectic extracts from the 
 Psalms. The anthems in use in the Church of Eng- 
 land are, in a very large proportion, parts of different 
 psahns, wrought together so as to form new hymns. 
 And as respects the musical service of the choirs, we 
 know how frequent it is to borrow from the verse or 
 chorus of one anthem and join it to another, as in the 
 occasional use of the Hallehij ah Chorus of Handel; or 
 to perform sometimes one division, sometimes another, 
 of a long composition, as in the instance of Orlando 
 Gibbons's unequalled anthem, " clap your hands." 
 
 r>ut of a similar practice in the Choirs of Israel 
 Ave liave the most distinct evidence in the Sacred 
 Volume itself. Thus the 108th Psalm, as before ob- 
 served, is altogether made up of extracts from two 
 others ; its first part being identical (with the excep- 
 tion of a few slight variations) with the third division 
 of the 57th ; its second, with the second division of the 
 60th. And both these borrowed parts are discri- 
 minated, both in the 57th and 60th Psalms, from the 
 rest of the context, by the word Selah. This is a 
 remarkable fact, and illustrates strongly one of the 
 functions of the Diapsalma. These parts were then 
 to a certain degree regarded as distinct compositions, 
 which occasionally were disjoined from their original 
 context : the very change of sentiment and strain 
 Avhich originated the word Diapsalma sanctioning 
 such an occasional practice. 
 
 In like manner, the 135th Psalm is a compilation 
 from parts of the 115th, 134th, and 136th. The 70th 
 Psalm is identical with the termination of the 40th, 
 which is the same as saying that the latter part of 
 the 40th was occasionally disjoined from its context, 
 and used as a separate Psalm. The Diapsalma in- 
 
110 ON THE WORD SELATI. [Dissert. I. 
 
 deed does not occur in these Psalms; but tlie prac- 
 tice which that word accurately discriminates in other 
 instances is here to be found. It will be reserved for a 
 future Dissertation to observe upon these peculiarities, 
 as bearing upon the authorship and sequence of the 
 Psalm ; as also upon the resemldance which several 
 of the Psalms bear to one another, bein^r evidently 
 different modifications of the same original theme.' 
 It is sufficient to observe, at present, one remarkable 
 instance of this eclectic method recorded in tlie first 
 liook of Chronicles (xvi. 8.), where David's Psalm, 
 sung at the bringing up of the ark of God to Jeru- 
 salem, is composed of a portion of the 105th Psalm, 
 of the whole of the 96th, of that verse of such frequent 
 recurrence, " give thanks unto the Lord, for he 
 is gracious," &c., and of the two concluding verses 
 of the lOGth. 
 
 Xow of the 24th Psalm it may first be remarked, that 
 the first portion, or Diapsalma, very much resembles 
 the beo:innino- of the 15th: beinc;, thouoih an abrido;- 
 ment in words, yet an advance in sentiment upon tlie 
 character of the righteous man, described in the 
 latter. In the 15tli, the details of the righteous 
 man's conduct are more full, while the Divine reward 
 is less explicitly announced, and is of a less exalted 
 nature : " He that doeth these things shall never 
 fall." In the 24th, the strong outlines only of the 
 righteous man's character are given ; purity of heart, 
 and the rectitude of conduct thence springing ; while 
 the blessing announced is not merely security, Init 
 the bestowal of spiritual good : 
 
 " He shall receive the blessing from the Lord, 
 
 And rijxhtcousness from the God of his sulvatlon." 
 
 • Compare thoGth and 38th; the 8th ami 144th; tlie 14tli and .IJ.'hil ; 
 the 1.5th and •24t]i ; the iHlili and !)Sth. 
 
§8.] SELATI AT THE END OF TSALMS. Ill 
 
 Nor is this the only adaptation observable in the 
 Psalm under consideration. The commencinir verse, 
 " The earth is the Lord's," is borrowed from the 
 words of Moses. The second Diapsalma is altogether 
 distinct in sentiment and in construction ; and sucli 
 as miglit well form the commencement of another 
 hymn on certain occasions, to be followed by a 
 Diapsalma taken from some other part of the Psalter. 
 Now if we take both, or either portion, (especially 
 the second) of the 47th Psalm in connection, one 
 consistent hymn closely corresponding in sentiment, 
 and obviously requiring a similar strain, may be 
 constructed. I do not mean to say that a more 
 callida junctura may not be discoverable ; but 1 think 
 enough has been said to show that this explanation 
 of the final occurrence of the word Selali is not only 
 probable, but altogether consistent with the analogy 
 of Sacred Poetry. 
 
 As to the 4:6th Psalm, a similar solution may be Ps. xUi. 
 oifered. Compare its last Diapsalma, at the end of 
 which Selah occurs, with the second and fourth of 
 the 66th, which, as we before remarked, are parallel. 
 Each of these begins with the same words, " come 
 hither ;" while the commencement of the third divi- 
 sion of the 46th Psalm corresponds to the second of 
 the 66tli, in almost identical terms : " and behold the 
 works of the Lord :" " and behold the works of God." 
 And the sentiment is cognate : God's wonders as dis- 
 played in his judgments upon men ; and his wonders 
 as displayed in his disturbing the course of nature. I 
 am much mistaken if there is not an obvious and 
 most intimate connection between these two Psalms : 
 the comparison of which one with the other will 
 heighten and illustrate the moral force and excellency 
 of each. 
 
112 ON THE WORD SKLAIT. [Dissert. I. 
 
 § 9. ON THE VAIUATIONS OF THE SEPTUAGINT AS TO 
 THE OCCUURENCE OF SELAH. 
 
 In seven instances, the Septuagint version varies 
 from the received Hebrew text, in the insertion or 
 omission of the Diapsalma, which it may be well to 
 notice briefly, in order to illustrate more fully the 
 use of the word. 
 
 In the second Psalm, the LXX inserts it, Avithout 
 the authority of any existing Hebrew manuscript ; 
 and, as it would seem, erroneously, at the end of 
 the second verse : " against the Lord, and against 
 his Anointed." The Diapsalma would naturally occur 
 either at the fourth verse, " He that sitteth in hea- 
 ven," or at the beginning of God's speech, " Yet 
 have I set my king," &c. It is true it ushers in the 
 speech of the confederate kings ; but if occurring 
 here, it ought to be repeated when a change of sub- 
 ject and person takes place. 
 
 The 34th Psalm, however, affords an interesting 
 example of its occurrence, which may serve to illus- 
 trate a feature of the Psalms already laid down. It 
 has been remarked by critics, that the three distichs 
 about the centre of this alphabetical Psalm, do not con- 
 tain the word Jehovah, or the Lord, which forms the 
 characteristic word of the poem, and occurs in all 
 the other verses, except two, in all of which it is 
 obviously implied. The concluding verse, whicli 
 forms a quatrain, (all the others being distichs,) con- 
 tains the word in its third line. Dr. Kennicott" jrives 
 a happy solution of this peculiarity, by observing 
 that these three verses contain the moral lesson ; and 
 his remark may be followed up by observing, that 
 here is an instance of the cardinal truth being coii- 
 
 • Keinarks on Select rassnges in the Old Testament, p. 187. 
 
§9.] VARIATIONS OF THE 8EPTUAGINT. 113 
 
 tallied ill the centre of the poem : these six lines 
 being ti practical exposition of the " Fear of the 
 Lord." Now in the Septuagint the Diapsalma pre- 
 cedes the distich which ushers in this Lesson. 
 
 Diapsalma, or Selah. 
 
 Come, ye cliildrcu, hearken to me. 
 The fear of the Lokd I will learn you. 
 Who is the man that dcslrcth long life. 
 Loving many days, that he may see good ? 
 Keep thy tongue from evil, 
 And tliy lips from speaking guile ; 
 Depart from evil, and do good ; 
 Search for peace, and ensue it. 
 
 But, according to analogy, another Diapsalma 
 ought to occur here, alter the end of the Lesson ; 
 since the following part begins a new strain, anti- 
 phonal to the first division, and speaking, as that 
 did, of the protecting Presence of God. I would 
 therefore offer a conjecture, that the Hebrew copy, 
 from which the Septuagint was translated, gave in 
 this instance the fragment of an ancient, and perhaps 
 the genuine, reading ; the second Diapsalma having 
 dropped out of the text. However, there is this ob- 
 jection to the genuineness of the above reading, that 
 in no other instance does Selah occur in an alpha- 
 betical Psalm. 
 
 In the 50th Psalm, a second Diapsalma is given by Ps. i. 
 the Septuagint, in the very passage where such a 
 division would naturally have place. It precedes the 
 second part of God's speech, " But unto the ungodly 
 said God." This reading, therefore, though hitherto 
 unsupported by any Hebrew copy, may not im2:)ro- 
 bably be the true one. 
 
 The Diapsalma occurring in the Hebrew after the Ps. IvH. 
 fourth verse of the 57th Psalm, is placed, in the Septu- 
 agint, at the end of the third. At a cursory view, this 
 
 VOL. II. I 
 
114 ON TllK WOiU) vSELAll. [DissiiRX I. 
 
 would seem to make u more accurate division ; but 
 a reference to tlie analysis of this Psalm, already 
 given, will show, it is to be hoped, that the received 
 reading is most in accordance with the usual con- 
 struction. 
 Ts. ixxx. J^nt in the 80tli Psalm, there appears good reason 
 
 to believe that the iSeptuagint is correct, in placing 
 the Diapsalma after the second occurrence of the bur- 
 then of the poem, " God of hosts, turn us again, 
 and shew the light of tliy countenance, and ^vc shall 
 be saved." For thus, the main subject of the poem, 
 consisting of that beautiful parable of the Vine, is 
 accurately separated from the prologue, wliich pro- 
 logue consists of two parallel stanzas, each terminated 
 by the same burthen. 
 
 1. 
 
 O Shepherd of Israel, give car : 
 
 Thou that leadest Joseph as a sheep : 
 
 Thou that sittest between the Cherubim, shine forth : 
 
 Before Ephraim, and Benjamin, and ISIanasseh, 
 
 Lift up thy strength, and come to save us. 
 
 O God, turn us again, 
 
 And shew the light of thy countenance, and we shall be 
 saved. 
 
 2. 
 O Lord God of hosts. 
 How long wilt thou be angry against the prayer of thy 
 
 people ? 
 Thou makcst them to eat the bread of tears. 
 And thou makcst them to drink of tears in great measure. 
 Thou makest us a strife to our neighbours. 
 And our enemies are scornful to us. 
 
 O God of hosts, turn us again, 
 
 And shew the light of thy countenance, and we shall be 
 saved. 
 
 The Psalm concludes with the same burthen : but 
 observe the greater intensity of expression in each 
 
§10.] SKLAII A KEY TO CONSTRUCTION. 115 
 
 instance. First, " God, turn us again;" then, "0 
 God of hosts; and histly, "0 Lord God of hosts." 
 
 The second Diapsahna is Avanting in the Septua- i's'xxxviii. 
 gint version of the 88th Psalm. But that this was 
 a defect of the text, may be concluded from what has 
 been already said in the analysis of that Psalm. 
 
 In the 94th Psalm the Septuagint has a Diapsalma ^'«- "civ. 
 at the end of the fifteenth verse : " And all the upriglit 
 of lieart sliall follow it :" introducing the third and 
 last division of the Psalm, "Who Avill rise up for mo 
 against the wicked ?" Its occurrence here is plausible, 
 {IS it certainly discriminates one of the three divisions 
 of the Psalm. Put the case is not a strong one ; and 
 there is no other instance of a Diapsalma in Psalms 
 of this class, namely, those which form the fourth part 
 of the Book, according to the division of the Jews. 
 
 § 10, SELAII A KEY TO THE CONSTRUCTION OF OTHER 
 
 PSALMS. 
 
 Since the Diapsalma appears to be an index of con- 
 struction, it might naturally be ex2)ected to find a 
 similar construction in other Psalms, from which it 
 is absent ; if it be admitted that plausible reasons 
 may be assigned for the partial occurrence of this 
 mark of discrimination. This expectation will be 
 amply realized by those who give but common atten- 
 tion to the structure of the Psalms. It has been 
 endeavoured, in the arrangement of the whole book 
 which forms the first volume of this work, to exhibit 
 these divisions in such a way as at once to guide the 
 eye, and therefore to assist the reason, in this inves- 
 tigation : an investigation which is a deeply moral 
 exercise, since it regards, not mere words or syllables, 
 or metre, but the due discrimination of sentiments 
 and truths of the deepest cogency. 
 
 I 2 
 
116 ON THE WOIM) SKLAII. [Dissert. I. 
 
 It will therefore be unnecessary to go into any 
 Icnothened detail of proof. But for the satisfaction 
 of the reader, some of the most remarkable instances 
 Avill be brought forward, of those several species of 
 Psalm, the key to which has been already given. 
 
 i''^- vi. First, then, of 1)i])artite Psalms. The Gth Psalm is 
 
 obviously bimembral : the hrst part is complaint, the 
 second thanksgiving ; the i-hange taking place at the 
 words, '• Away from me, all ye that work vanity." 
 
 Ps. xi, 'I'Ijq 11th contains, in the first part, the machina- 
 tions of men; in the second, beginning, "The Lord 
 is in the temple of his holiness, &c.," the judgments 
 
 Ps. ixiv. of God. In like manner the fi4th and 70th. 
 
 Ps. xix. The 19th changes from the visible to the invisible 
 works of God ; from the heavens, which declare his 
 
 Ps. xxii. glory, to his law, which converts the soul. The 22nd, 
 from that awful complaint, prophetical of our Lord's 
 sufferings, to the song of triumph, in which Christ 
 " telleth of his name unto his brethren, and in the 
 midst of the congregation praiseth him :" the most 
 glorious contrast which the whole Book of Psalms 
 
 Ps. xxviii. affords." Of a like twofold strain is the 28th. The 
 
 Ps. xiv. 45th, prophetical of Christ's alliance with his Church, 
 has two divisions : the first being an address to the 
 Messiah, the second to the Church, beginning, 
 " Hearken, Daughter, and consider ; incline thine 
 
 Ts. li. ear.'"' The 51st has two regular divisions. The first 
 
 contains the prayer of penitence, with a recurring 
 burthen at equal distances, the same in sentiment, 
 though varying in expression, each sju-aking of his sin 
 and his iniquity. The .second division, beginning, " I 
 will teach transgressors thy ways," speaks of par- 
 don, and the consequent sacrifice of praise. And, 
 
 Ps. cxiviii. to mention no other, the 148th affords a magnificent 
 
 " Ilcb. ii. 12. 
 
 '' See Hisliop Ilorsley's four ccli'hi'nlcd ;inil uuanswcralile Sermons, 
 vimliciitlnjT the jiroplietical applii ation to our Lord. 
 
§10.] SELAir A KEY TO CONSTKUCTION. 117 
 
 instance of two parallel strophes, each terminated by 
 a corresponding sentiment or epistrophe. The first 
 strophe is the praise of the heavenly creation : 
 
 Praise ye the Lord. 
 Praise the Lord from the heaveus : 
 Praise him in the heights : 
 Praise him, all his angels : 
 Praise him, all his host : 
 Praise him, sun and moon : 
 Praise him, all stars of light. 
 Praise him, heaven of heavens : 
 And waters above the heavens. 
 
 Let them praise the Name of the Lord . 
 
 For he commanded, and they were created. 
 
 And he hath made them to stand for ever and ever: 
 
 A statute he hath given : and it shall not pass away. 
 
 Tiie second part is the praise of the terrestrial 
 creation. 
 
 Praise the Lord from the earth. 
 Dragons, and all deeps : 
 Fire and hail, snow and vapour, 
 Wind of storm, fulfilling his word : 
 Mountains, and all hills. 
 Trees of fruit, and all cedars ; 
 Beasts, and all cattle. 
 Creeping things, and fowl of wing : 
 Kings of the earth, and all people : 
 Princes, and all judges of the earth : 
 Young men, and maidens also : 
 Old men, together with children : 
 
 Let them praise the Name of the Lord : 
 
 For high is his Name alone ; 
 
 His worship is above earth and heaven. 
 
 And he shall exalt the horn of his peo])le, 
 
 The praise of all his saints. 
 
 Of the children of Israel, 
 
 Of a people near unto him. 
 
 Praise ye the Lord. 
 
 In this Psalm the first part gradually descends from 
 
 I 3 
 
118 
 
 ON THE WORD SELAII. [Dissert. I. 
 
 the liigliest heavens to the verge of our earthly at- 
 mosphere : the waters that are above the heavens. The 
 second part ascends from the great deep, and its 
 inhabitants, to the elements of air and fire, thence 
 to the earth, and lastly to the inliabitants of earth, 
 man forming the climax. With this arrangement 
 the Song of the three Cliildren mainly corresponds : 
 First, heaven with its inhabitants. Secondly, the 
 heavenly bodies. Thirdly, the elements of air and 
 fire. Fourthly, the seasons and days, influenced by the 
 heavenly bodies and elements. Fifthly, the earth with 
 its inanimate productions. Sixthly, the waters with 
 theirs. Seventhly, the fowls of the air. Eighthly, the 
 beasts of the field. Ninthly and lastly, man : a gra- 
 dation being observable in this division : first, the 
 visible Church, his chosen people ; his most favoured 
 portion of that people, the priesthood ; then the 
 Church invisible, that royal priesthood, which con- 
 sists of his true servants ; then his eminent saints, 
 both departed and in the body ; and lastly, the ascrip- 
 tion of praise is brought home to the utterers of the 
 song themselves, under the personification of Ananias, 
 Azarias, and Misael: this personal interest in the 
 giving of thanks adding to the reality and vitality 
 of the Hymn, like the sublime termination to be found 
 in more than one Psalm, "Praise the Lord, my soul.''^ 
 In many tripartite Psalms, the middle portion con- 
 tains the action, catastrophe, or central truth of the 
 
 Ps. ii. poem, as already noticed. Thus, in the 2nd, while 
 the first part contains the attempts of the wicked, and 
 the third the moral of the poem, the second part 
 contains the cardinal prophecy, announcing Christ as 
 the Messiah, as the King of the earth, and as the 
 destroyer of the enemy. In the central part of 
 
 Ps. xxxi. the 31st the judgment of the ungodly is declared: 
 " They shall be ashamed and silent in liell," cSrc. ; 
 and also the heavenly rest of the good: " Tlioii slialt 
 
§10.] SELAII A KEY TO CONSTRUCTION. 110 
 
 hide them in the hidden place of thy presence from 
 the provoking of man ; thou shalt lay them up in 
 a pavilion from the strife of tongues : " and the Psalm 
 concludes with thanksgiving. The plan of the 58th I's. iviii. 
 is the same. In the 73rd, the future judgments on his Ps. ixxiii. 
 enemies is revealed to the king, perplexed at the 
 prosperity of the Avicked, when he goes into the sanc- 
 tuary of God, and understands from God's oracles 
 their end; this Psabn being commemorative of a 
 sifi^nal event in the life of Kin^; Hezekiah'', as will 
 be shoAvn in a subsequent Dissertation. 
 
 The Prologue is found in the 72nd Psalm, and Ps. Uxii. 
 is followed by two parallel divisions, which alike 
 describe the merciful and prosperous reign of the 
 Messiah. 
 
 In other tripartite Psalms there is a progression 
 in the action or sentiment. Thus, the 33rd has Ps. xxxiii. 
 in the first part, five stanzas ; the first an intro- 
 ductory couplet, the other four quatrains speaking 
 in general of God's power. The second part cele- 
 brates his judgment on the heathen. The third 
 speaks of his protection of his people; the Avhole 
 being descriptive of the Exodus, and the events pre- 
 ceding and following. The 69th has first two parallel Ps.ixix. 
 divisions, exactly antiphonal in all their parts: a 
 deep prayer of complaint, the similar imagery of the 
 mire, the deep waters and floods of misery : the like 
 mention of his faithless friends and persecutors : the 
 last division being a song of thanksgiving. This pro- 
 phetical Psalm the Church has ever interpreted as 
 speaking of the sufferings and the resurrection of 
 Christ, and is parallel to the 22nd, both of Avhich are 
 used in the course of the service for Good Friday. 
 
 The 102nd Psalm has three accurately marked ?=*. cii. 
 divisions: the first, the prayer of the atllicted; the 
 
 * 2 Kings, xix. 14. to the end. 
 I 4 
 
120 ON THE WORD SELAII. [Dissert. I. 
 
 second, the arising of the Lord, to have mercy upon 
 Sion, and the restoration of the people : the last, an 
 epode, containing a summary of tlie wliole ; begin- 
 ning at the words, " He afflicted in tlie Avay my 
 strength," &c. 
 Ps. cxxxii. In the 132nd, the prologue speaks of the preparation 
 of the temple : the second part is the prayer to God 
 on its opening : the third, God's answer ; which is ex- 
 pansive of the prayer, and gives more than was asked. 
 The righteousness and the joy implored for Sion is 
 granted ; and added to this, " her provision in blessing 
 he will bless ; her poor he Avill satisfy Avith bread." 
 This will be seen by placing both prayer and answer 
 in juxtaposition : the corresponding portions being 
 marked by similar numbers. 
 
 The Prayer. 
 1. Arise, O Lord, into tliy resting place: 
 Thou, and the ark of thy strength : 
 2. Let thy priests be clothed with righteousness ; 
 And let thy saints sing for joy. 
 
 3. For the sake of David thy servant. 
 
 Turn not away the face of thine Anointed. 
 
 The Answer. 
 3. The Lord hath sworn to David in truth : 
 He will not turn from it. 
 Of the fruit of thy body will I set upon tliy 
 
 throne. 
 If thy children keep my covenant. 
 And my testimonies which I shall learn them. 
 Then their children for ever shall sit upon thy 
 throne. 
 
 1. For the Lord hath chosen Sion, 
 
 He hath desired it as a dwelling for himself'. 
 This is my rest for ever : 
 Here will I dwell, for I have desired it. 
 2. Her provision in blessing I will bless; 
 Iler ])Oor I will satisfy with bread: 
 And her priests I will clothe with salvation : 
 And her saints in singing shall sing for jo}'. 
 
§10.] SELAII A KEY TO CONSTRUCTION. 121 
 
 3. There will I make to ])U(1 the horn of David : 
 I have ordained a lantern for mine Anointed : 
 His enemies I will clothe with shame : 
 But upon himself his crown shall flourish. 
 
 Each division of the 147tli rsalin begins with a i*<-. <>ivii. 
 similar expression of praise: "the Lord" and "thy 
 God" occurring in each. 
 
 1. Praise ye the Lord : 
 
 For it is good to make a psalm to our God. 
 
 2. O sing unto the Lord Avith thanksgiving 
 Make a psalm to our God on the harp : 
 
 3. Rejoice, O Jerusalem, in the Lord : 
 Praise thy God, O Sion. 
 
 In each division God's works of providence and 
 grace are spoken of: but in the second his power is 
 mercifully operative, and the moral reason of his 
 mercy is shown : while in the last his special bless- 
 ings to Israel are recorded, and his works are shown 
 to be types of his spiritual influence. 
 
 A recurring burthen frequently discriminates the Ps. xiii. 
 parts. Thus, the 42nd and 43rd, which obviously '^"' " '"* 
 form but one poem, are each discriminated by an 
 epistrophe, or concluding burthen, which also termi- 
 nates the whole : — 
 
 Why art thou cast down, O my soul, 
 And why art thou disquieted within me ? 
 Wait thou for God, for I will yet praise him. 
 The salvation of my countenance, and my God. 
 
 And observe the advance in sentiment of the last 
 portion ; which thus expands the expression, " the 
 Presence of God," occurring in the first ; and shows 
 the spiritual nature of the service which he desired 
 to render in his sanctuary. 
 
122 ON THE WORD SELAII. [Dissert. I. 
 
 O send fortli thy light and thy truth : tliey, even they 
 
 shall lead rae : 
 They shall bring me unto the hill of thy holiness, and 
 
 unto thy tabernacles. 
 And I will go unto the altar of God, 
 Unto God, the gladness of my joy ; 
 And I will give thanks to thee upon the harp, O God, 
 
 my God. 
 
 Ps. ivi. The 56tli Psalm has, in three divisions, a twice 
 
 recurring cpistrophe : 
 
 In God will I praise his word : 
 
 In God have I trusted : 
 
 I will not be afraid what man can do unto me. 
 
 But its second recurrence has an amplifying senti- 
 ment interposed; " In the Lord will I praise his word." 
 And this middle division may be considered as con- 
 taining the action. 
 
 An epistrophe, similar, though in each instance 
 Ps. xci. amplified, occurs twice in the body of the 99th, a tri- 
 partite Psalm, and at the end. 
 
 1. Let them give thanks unto thy Name, so great and to 
 
 be feared : 
 Holy is lie. 
 
 2. Exalt ye the Lord our God : 
 And worship him at his footstool : 
 Holy is He. 
 
 .3. Exalt ye the Lord our God : 
 
 And worship him at the hill of his holiness. 
 For holy is the Lord our God. 
 
 Ps. cvii. The 107th Psalm is apparently the most regular, 
 
 in its whole structure, of any in the Psalter. The 
 strophes and antistrophes are discriminated with 
 an accuracy that is not exceeded in any Greek choral 
 ode, by that remarkable epistrophe. 
 
 Then they cried unto the Lord in trouble ; 
 From their distresses he delivered them. 
 Let them give thanks to the Loud for his mercy, 
 And for his wonders to the children of men. 
 
§10.] RELATI A KEY TO CONSTRUCTION. 123 
 
 But on this it is needless to enlarge ; since the 
 illustration of this Psalm, has been given at length, 
 in the highest strain of moral criticism, by one to 
 whose elucidation the author feels it would be pre- 
 sumptuous in him to add a word." 
 
 The 90th Psalm contains five divisions : the first ^^- "«• 
 being a prologue : the second, beginning, " Thou 
 turnest man to destruction," is parallel in its topics 
 to the three following, all being reflections on the 
 shortness and misery of human life : but the last an- 
 nounces, in antiphonal strains, the only remedy — 
 the never-failing mercy of God : and concludes ^vith 
 an evident allusion to a more excellent creation than 
 that spoken of at the beginning of the Psalm. 
 
 But it is needless to enter upon more instances : 
 and indeed it is to be feared that the detail even al- 
 ready given may appear to intellectual minds re- 
 dundant. There are iew things more wearisome to a 
 quick apprehension than the minute enlargement on 
 particulars, Avhen once the key to their investigation 
 has been afforded. It is now therefore time to draw 
 the present Dissertation to a close. The examination 
 of the Psalms, as given in the first volume of the 
 present work, will, it is hoped, bear out, to a consi- 
 derable degree, the theory offered in the preceding 
 pages. 
 
 I would now offer a few practical remarks bearing 
 upon the subject of this treatise. There is a growing 
 disposition in the members of our communion (and may 
 God's Spirit prosper it !) to recur to the Psalter with 
 a more kindly affection, as the genuine voice of the 
 Church militant. It is to be confidently expected 
 that this spirit of true catholic piety may gradually 
 promote the better apprehension, both moral and 
 
 » Sec the translation and arrangement of this Psalm, with observa- 
 tions on it, in the Appendix to ISIr. Forster's Life of Bishop Jebb. 
 
12 4 ON THE WORD SELAII. [Dissert. I. 
 
 intellectual, of that inexhaustible storehouse of divine 
 ■wisdom. Still, it cannot but be evident, that in the 
 musical recitation of the Psalms in our choirs, Ave are 
 far from having attained to any regular and consistent 
 plan, by Avhicli a sober and decorous expression Tcmy be 
 given to songs so varied in their sentiment. The 
 ■writer of these pages, after a long and attentive con- 
 sideration of the subject in all its bearings, is con- 
 vinced, as surely as of any position he has ventured 
 to support in the course of his "work, that great atten- 
 tion to this expression "was paid in the divinely in- 
 stituted music of the Temple. The very structure of 
 the Psalms themselves seems to suggest, that, on 
 more solemn occasions at least, they "u^ere sung to 
 strains very much resembling our more elaborate verse 
 anthems, with alternations of single or fewer parts and 
 chorus'' : and that, even when sung in a simple method, 
 there was nothing of that monotonous mode of per- 
 formance which is recommended by some authorities, 
 of no ordinary learning and piety, in the present day. 
 The arguments against a varied expression in music 
 might just as well apply to expression in poetry itself. 
 If the one is to be discouraged, no reason appears that 
 the other should be retained. But if it be alleged, 
 
 " This is the opinion of a learned writer, who is acknowledged to be 
 an authority in these matters ; Mr. Bedford, in his Tem])le IMusick, 
 pp. 90, 91., who shows that in all the various parts of our choral ser- 
 vice we assimilate to the Temple precedent. 1. The antiphonal chant- 
 ing, as in the Psalms : 2. the simultaneous recitation : 3. the louder 
 recitation, in the Gloria Patria : 4. the lower, in the Confession : 5. the 
 uniform method of response, as in the Litany : G. the varied method, as 
 in the suffrages of INIorning and Evening Prayer. " And lest all this 
 should not be suflicient, we have an anthem to be sung, where the com- 
 poser is at liberty to use the utmost strains which either art or fancy 
 can invent, either in a single part, or in a concert. . . . And tlierefore our 
 Cathedrals are the only places in England" (he might add in the world) 
 " which have gathered up all the fragments of anti(piity, (in relation 
 to Church music,) that nothing might be lost, and at the same time hath 
 left a skilful artist wholly at lilierty to make the utmost improvements 
 which the age is capable of" 
 
§ 10.] SELAU A KEY TO CONSTRLC'l'ION. 125 
 
 that the poetry is a divine ordinance, no reason 
 wluitever can be shown to prove that the other was 
 not divinely ordained. No argument can be drawn 
 from the supposed precedent of the early Christian 
 Church. Tlie ancient music of the Jews had been 
 long judicially withdrawn from the memory of man: 
 and music in the early Christian ages, as the very 
 labours of Gregory the Great attest, was in a rude 
 and degenerate state. I must therefore beg here to 
 reassert an opinion (expressed more than once before) 
 that to limit the chanting of our choirs to the Grego- 
 rian tones, and especially to their unisonal method, and 
 their more artificial singing to our full antliems only, 
 is really to go back to a state of imperfection. That 
 God's Spirit has been with the Church of England, 
 to approximate our music to something nearer the 
 ancient melodies and harmonies of the Temple, I am 
 fully persuaded: though fully conceding that orna- 
 ment and studied effect have often been carried too 
 far, as they must always be, if a religious end be for a 
 moment forgotten. 
 
 But to apply these remarks. Is it too much to 
 hope, that the ecclesiastical rulers of our choirs may 
 yet, in their several sanctuaries, make the chanting of 
 the Psalms a matter of more strict regulation than 
 hitherto ; one upon which the learning even of theo- 
 logians may yet be brought to bear ? The diligent 
 pains of a Dean or Precentor, mindful of the labours 
 of Asaph, Heman, and Jeduthun, might well be be- 
 stowed on some fixed regulation, by which should be 
 defined the elevation or depression of the voices of the 
 choir, and the use of the varied stops of the organ, 
 which represent the instrumental concert of Israel; and 
 this, with a careful regard to the intrinsic character, 
 and peculiar construction, of each Psalm. By such a 
 method, the alternation of verses or of stanzas, the 
 strophes and antistrophes, the moral gradations, 
 
126 ON THE WORD SELAII. [Dissekt. I. 
 
 and all the other peculiarities of tlie Psalter, might 
 be faithfully exhibited. And if this one rule were 
 attended to, namely, that at every occurrence of the 
 Diapsalma (or Selah), some marked change should 
 take place, either from verse to chorus, from the choir 
 organ to the swell or great organ, or from the major 
 to the minor key, or the contrary, it is hard!}' to be 
 doubted but that the Psalms Avould be better under- 
 stood, not only by the ignorant, but by minds of the 
 highest intellectual and moral cultivation. These 
 considerations are earnestly submitted to the judg- 
 ment of the Church, from a conviction of the necessary 
 connection of two great objects, which ought never 
 to be separated, namely, the private edification of the 
 faithful, and the promotion of God's visible service in 
 the midst of the congregation. 
 
127 
 
 NOTE ON DISSERTATION I. 
 
 Tiiic folknving is a classification of the various interpretations 
 which have been given of the word Selah, referred to in ]»age 3. 
 
 1. For ever. This meaning derives its autliority from Jonathan 
 Ben Uzz'el, the author of tlie ChaUlcc Parapln-ase, who translates 
 it by pio^y?' He is followed by Aquila, who renders it ixti. 
 Symmachus follows him in Habakkuk only, rendering it elsewhere 
 by 2iai|/a/\ytta. The same meaning is given by the following Jewish 
 Avriters : Rabbi Joseph Paraphrastes, Jarchi, Mardochi Nathan, 
 Rabbi Sal Ben Melee, and others. For these and other Jewish 
 authorities, see a lengthy and pedantic dissertation, in Ugolini's 
 Thesaurus Antiq. Sacrar. vol. xxxii, p. 689., by Johannes 
 Paschius : " Dissertatio de Selah philologice enucleate ;" also in the 
 same work and volume, p. 680. " Excerpta ex Bibliotheca Rab- 
 binica Julii Bartoloccii de Voce Selah." Bartolocci asserts tliat 
 " Universa Synagoga Judaica pro semper accepit ;" to which mean- 
 ing he adheres. But this is incorrect, since many of the Jews 
 give other interpretations, as will be presently shown. 
 
 Among the Christians, St. Jerome avowedly follows Aquila, 
 deferring to his knowledge of Hebrew, (Epist. ad Marcellara. 
 Bencd. edit. vol. ii. 707.) though giving it merely as his opinion, 
 and enumerating other meanings. So St. Chrysostom : ^I'lnvre 
 v\pu)6w(Tii' uei, TO ycip Cia'ipaXf^a tovto tcrriv.... EppoVari (Te\ tiprfTcu 
 TO huiypaXidci. (Expos, in Psalm. 139. v. 8. et seqq.) But luminous 
 and comprehensive as are this eminent father's doctrinal and prac- 
 tical expositions of holy writ, he is often vague and contradictory 
 upon points of verbal criticism, which was not his province. It 
 appears, however, from Theodoret, that in the Eastern Church at 
 least this opinion was not general, as he says 07ie writer follows 
 Acjuila's interpretation: etc 2^5 t7] tov 'AkuXct -^p^ad^Ei'Dq epf^u^ni^, 
 70 del TtdeiKEv dvA tov ^ta;//a\juaroc. (Pref. in Psalmos.) That 
 learned writer of the middle ages, Augustin Justiniani, in his 
 Glossemata in Octaplum Psalterii, as also Santes Pagninus and 
 Steucus Eugubinus, have followed St. Jerome. 
 
 2. Amen ; or ita est. St. Augustine (Enarr. in Psalm, iv.), 
 mentions Jiat among the various meanings. Aben Ezra is the 
 principal maintaiuer of this opinion among the Jews, rendering it 
 by nin p and ilDS (in Psalm iii. 3.), and is followed among 
 Christians by Tremellius, Junius, Osiander, and Becmannus. 
 
128 ON Till-: WORD SELAII. [Dissert. I. 
 
 3. The initial letters of three words. Gottlieb Ueine (Ugol. 
 Thes. xxxii. p. 727.) and Michaclis so consider it. 
 
 4. The divine name or attributes. Paschius (already cited) 
 renders it, the most high God ; and Bytmeister (Ugol. Tiics. vol. 
 xxxii. p. 731.), " propitius (est Deus)." 
 
 5. Xota Bene. Bythner : Clarius, llavenellus, Zeiroldus, who 
 considers it to mean something like Sursum Corda. 
 
 6. But the notion of a musical note is supported by Kimchi (in 
 Psalm, iii. 3.) deriving it from ^^d, to elevate : by John Forster, 
 (in the 16th cent.) in his Hebrew Dictionary : by Calvin, Stepha- 
 nas, Bodinus, Mariana, Drusius, IVIollerus, Buxtorf, Grotius, Leigh, 
 Hammond, Geierus, Bishop Patrick, Vriemoet, Rabbi David, Heu- 
 mann, Selneccerus, and Dathe. Their different shades of opinion it 
 would be needless to notice. But Buxtorf, Grotius, and Hammond 
 compare it to the Evovce of the Latin Church ; i, e. a short formu- 
 lary which contains the notation of the conclusion of the chant. 
 
 7. A pause. So Justin Martyr and Optatus, as cited in 
 page 5., and rendered by them diopsabna. It is rendered Sta- 
 \pu\fia by Symmachus (in the Psalms) and by Theodotion. St. Gre- 
 gory Nyssen, after stating the opinions of otliers, considers it a 
 pause in the Psalmody, in order to receive some special inspiration: 
 fiera^v rijc xpaX/xw^iag yEvofiirri Kara to ddpoov ktrripi^r^cnc, irpoQ 
 hiroZoyriv tov Qeodf-v kiriKpwofxiyov ro'if^iaroc. (Tractat. in Psalmos 
 c. X.) Euthymius Zigabenus and St. Augustine mention this as 
 one of the conjectural meanings : the words of tlie latter are, 
 " intervallum psallcndi : ut Psalma sit quod psallitur : diapsalma 
 vero interpositum in psallendo silentium." (Enarr. in Psalm, iv.) 
 So Tai'novius, Caloviue, and Pfeiffer (tlie latter deriving it from 
 the Arabic )^o, to be tranquil,) Deutschmannus, Olearius, and 
 Meiremburgius. 
 
 8. Chamje of sentiment, metre, or tune (the o])inion adopted in 
 the text). Origen (in Psalm. Bened. ed. ii. 522 C) mentions this 
 among other opinions : 'ioiKs j^iovmKov -iroc f-uXovr, >) pvOjiov rpmrTiQ 
 yeyofiit'ijCi '/ tov Si(i\pa\fia-0(; TrapuKt'Krdai irupairEfieicjaig' ttoWukiq 
 Be KOI Biayoiag iraWay)) .... »/o;; ^e ttote k'ai Trpuawnov fjtrajJoXi]. 
 So Eusebius (in Ps. iv.) i'itol rtjc Biayolac evaXXay//)' ... »*/ rctxa 
 fitTu(io\i}i' TOV fiiXovQ ... »"/ tvv pvdfioy. He adopted this opinion in 
 exchange for one which he had held before, based on an absurd 
 tradition. (Pref. in Psalm.) 
 
 St. Gregory Nyssen, in the passage cited above, gives very va- 
 luable testimony. He expres.sly says that this interpretation Avas 
 held by those of former times : rote ^rpo >//uwr, i^£TaftoX})yTov yoijfxa- 
 roC) V nponwnov, j) irpayfiaroQ ar)fiaivEiv tyofxiaQr) to Zia.\\/aX^a. 
 
 So St. Jerome (though not his own opinion) : " Commutationem 
 metri, alterius sensus exordium, rhythmi distinctionem, cnjusdam 
 
NOTE ON DISSERTATION I. 129 
 
 musicai varietatis silentium." Theodoret, a reverent follower of 
 tlie opinions of antiquity, states as a generally received opinion, 
 that the diapsulnia meant a eliange of metre : tyw Cc. kiu tovc tftco- 
 ui)KorTa, Kul TOVC cikXovc uTrcurag r>7c Otiu£ ypa(^>'/C tpfit)>'iVTac ru 
 t)ta;//a\uart Key(jir]^iiyovq fvpimcwr, ov Cikcuov Siyoiifuii rocrovTioy niv 
 Kui TOiovTiM)v KaTa(^)pori'i(Tai, tvog Se fiorov hiavoicf. Triirrtvaui' ov ci) 
 j^ttjOtr fiiXovg tiaXXoy//!' vTroXafiftdi'o) mmaii'tiv tov Bui\}/a\fidroc T>)y 
 ypa0//»'. (Pra:f. in Psalmos.) Cosmas Indieo])leustes (as cited by 
 Calmet, and in the Collcctio Nova Patrum, vol. ii. j). 223.) considers 
 it to mark the strain that is begun by another choir: this latter 
 part being called Diapsalma ; the former, Canticum diapsalmatis. 
 
 Thus too the ancient Lexicographers. Hesycliius : fiovaiKov fii- 
 Xovg II pvdfiov TpOTrrjc yEVO}.iit'r]q, y ^lat'Ot'ac K:ai Bvycifiewg Xoyov ivaX- 
 Xayi). And Suidas : /siXovg tyuXXuy)). Euthymius Zigebenushas the 
 same words. And Cassiodorus gives as his own opinion ; " Sermo- 
 num rupta eontinuatio, docens ubicunque fuerit, aut personaruin, 
 aut rerum Ileri permutationem." (Prasf. in Psalm, c. xi.) 
 
 Among the moderns, De Dieu and Micra^lius support the inter- 
 pretation of a new strain : Geierus, (as one of his meanings,) the 
 concert of the whole choir or congregation, in which remark Ileu- 
 mannus joins. Meibomius considers it as the termination of vocal 
 and beginning of instrumental music. " Ob id Selah fere semper 
 in illis Psalmis poni credidi, qui "llOTD h. e. cantiones et voces et 
 organo per vices decantanda) inscribuntur." But the most decided 
 opinions are those of three writers, two of ancient and one of mo- 
 dern times. 
 
 The first authority is St. Hilary of Poitiers, Avho thus gives his 
 own opinion, applying his rule when commenting on several Psalms 
 in which it is found : (i. e. the 51. o3. 54. 58. 59. 60. 61. 65. 
 66. 67. 142.) " In diapsalma vero, quod interjectum in plurimis 
 psalmis est, cognoscendum est, demutationum, aut persona?, aut 
 sensus sub conversione modi musici inchoain ; ut sicubi diapsalma 
 intercesserit, aut aliquid aliud diei, aut etiam ab altero diei, aut in 
 altero artis musicte modulo cantari intelligendum est.'' (Prologus 
 in Lib. Psalmorum.) 
 
 The second is a critic of no mean powers, whose works are joined 
 with St. Chrysostom's, and have been falsely attributed to that 
 father. He considers Selah to indicate a change of person or sen- 
 timent, and sometimes an alternation of choirs : hia-^uXna u irpo- 
 <j)t'lTr}Q ETr/jyayer, tTTEi^i) tu ruy Oeov Trpoauiizoy iyaXXaL,ac^ avrug Tra'Xd' 
 TO oiKeloy tlai'iyaye, h)^ci(Tai tov Stwr tt olickiov ^apuK-ifpog j^ovXoue- 
 vog' (in Ps. Ixxxvi. 2. Bened. ed. vol. v. 757. : el Be irdXiy IcokI- 
 fxaat KUTa to fuiaoy tov \paXfjov Kai aWw \<>p^ ■Kitpahovyai to Xoinbv 
 TOV xpaXfxov, tote civti) // Ciaco^)) tov v|/a\^oi; EKaXf'tTO BtdxpaXua' 
 (Prooem. in Psal. v. 540.) He illustrates this function of the 
 
 VOL. II. K 
 
130 ON 'I'llK WOKD SEI.AII. [Disskrt. I. 
 
 tliapsalma in several places : Vol. v. Vo7. and ToO.a. •• TGI K. •• 767. 
 0.768. E. 769. B. &c. His illustration of the 89th Psalm is pecu- 
 liarly hapjiy. 
 
 The moilern authority is that of the eminent critic, mentioned 
 at large in tlie introduction to this work, namely, Burkius. In 
 his note on Ps. iii. 3. he says, "Vox lute (Selah)optime exprimitur 
 per tlnecorum ciu\pa\i^ut, interstitium in ipso j)salmo, forsan ctiam 
 paiisam in ipso cantu musico denotans. Finis hie est partis psalmi 
 prima?," &c. And he applies this principle to the word as often as 
 it occurs. 
 
 9. The cessation or suspension of inspiration. Eusebius. This 
 was his first opinion, as already stated, Avhich he afterwards 
 changed. 8t. Jerome gives as one of the meanings, " pausationem 
 spiritus ; and Thcodorct, r»7c tov Wvivf^uiToc lyip-yEuu: iruvXuy. 
 
THE 
 
 BOOK OF PSALMS. 
 
 DISSERTATION II. 
 
DISSERTATION 11. 
 
 ON THE TITLES OF THE I'SALMS. 
 
 § 1. GENERAL REMARKS. 
 
 The Titles prefixed to the Psalms do not admit of 
 the same definite elucidation which has been at- 
 tempted, in tlie preceding Dissertation, with respect 
 to the word Selah.'* Indeed, so great are the diffi- 
 culties attending this enquiry, that, in many instances, 
 little more than conjectures can be offered. Still 
 these conjectures have been carefully based upon the 
 examination of the scanty evidence, both external 
 and internal, which can be brought to bear upon the 
 subject. 
 
 Two definite assertions, however, may be confi- 
 dently made. The first is, that the Titles stand upon 
 the same ground as the word Selah, as to their 
 authenticity and antiquity, and therefore are to be 
 considered as a part of the sacred text. The second 
 assertion is, that they are intended as an index to 
 the primary and literal, not to the secondary and 
 mystical, intention of the Psalms, and to the circum- 
 stances of their liturgical performance. 
 
 ' The biblical scholar need hardly be reminded of Sonntag's elaborate 
 work "Tituli rsalmortim in nicthoduni ailniversariani redacti." This 
 deeply learned writer may be considered as having exhausted the subject, 
 as far as the statement of the various opinions of critics is concerned. 
 But to the present writer, the book appears, as a whole, to bo ill digested, 
 and far from satisfactory. There is too great a tendency to adopt fanciful 
 and allegorical meanings. 
 
 K 3 
 
134 UN THE TITLES OE THE PSALMS. [Dissert. II. 
 
 That the Titles were anciently considered as part 
 of the sacred text, appears from the fact of their 
 being retained by the authors of the Septuagint 
 version. That they are of great antiquity, may 
 be presumed, from the apparent ignorance of tlicir 
 real meaning, which those translators frequently 
 betray. Tliey evidently endeavoured to translate 
 the words before them with scrupulous fidelity ; but 
 many of the circumstances of the Temple worsliip 
 having been forgotten, they often mistook the mean- 
 ing of those words, giving a sense which etymology 
 would abstractedly permit, but which in no way 
 harmonized with the context. 
 
 If our second assertion be correct, namely, tliat the 
 Titles have a direct, not a secondary meaning, this 
 assumed fact will account for the obscurity of the 
 Septuagint translation, which is often perfectly unin- 
 telligible. For the perfection of the Temple service 
 and music having long declined, or at least the trans- 
 lators having been long estranged from the land of 
 their fathers, the details of that service would, in all 
 probability, have been forgotten. There is reason to 
 believe, that even to Levites themselves, who lived 
 contemporaneously with the Greek translators of the 
 Psalms, many of the technical terms, which form a 
 considerable portion of the Titles, had lost their 
 meaning. 
 
 That the Titles are not mystical, may be gathered 
 from the following considerations. 
 
 First, it is the very purpose of a title to be clear, 
 simple, and explanatory. It is contrary to the ordi- 
 nary course of literature, whether sacred or profane, 
 to make an enigma of that which the reader naturally 
 expects to find a guide ; or to give, as the title of a 
 composition, a term more obscure than any part of 
 the text, which it thus Avould not illustrate, but 
 
§].] GENERAL REMARKS. 135 
 
 perplex. But if we look to the titles of the books or 
 other portions of Holy Scripture, Ave shall find that 
 the course there obsi-rved is exactly that which 
 common sense would lead us to expect. They are 
 very matter-of-fact and simple; for example, "The 
 Proverbs of Solomon, the Son of David : " " This is 
 the book of the generations of Aduin," &c. The 
 Psalms recorded in the historical books are prefaced 
 by clear and unequivocal statements of the occasions 
 upon which tliey were composed. And even one of 
 the most mystical books, the Song of Solomon, has 
 no enigmatical title, but simply this, " The Song of 
 Songs, whicli is Solomon's." " The vision of Isaiah, 
 the Son of Amoz," is the title prefixed to those 
 prophecies which announce most emphatically the 
 mystery of godliness. And so of Daniel, and the 
 Prophets, and other books of the Old Testament. 
 Where these are mysterious or prophetical, we are 
 told so; but the titles themselves are not mysterious, 
 but intelligible announcements. 
 
 Now if the mystical tlieory be adopted, its effect 
 must be, to cause far greater perplexity to the under- 
 standing than the deepest or most diflB^cult parts of 
 the sacred context itself. For it must be remem- 
 bered, that those who uphold this theory, of A\diom 
 St. Augustine is well known to be the most consj)i- 
 cuous, rarely venture upon its application, except in 
 those cases, where the title, in whole or in part, is so 
 very obscure, as to admit of a wide, if not an illimit- 
 able range of conjecture ; but where, it must be fairly 
 conceded, a literal would be at least equally plausible 
 with a fio-urative sense. No analoo-ous method of 
 mystical designation is found in passages the sense of 
 which is clear beyond dispute ; and then it is to be 
 remarked, this supposed figurative title has rarely 
 any connection, or but a very slight and fanciful one, 
 with the context. For example, when St. Augustine 
 
 K 4 
 
136 ON THE TITLES OF THE I'SALMS. [Dissert. II. 
 
 understands that word, which we render " to the 
 Chief Musician," to mean, " to the end," as signifying 
 "the end" or object "of the Law of Christ;" Avlien 
 he interprets " Nehiloth," as " the Church, wliich 
 has received the inheritance," and Jeduthun, as " he 
 who passes over," who does not see that all this is 
 vague and conjectural ; that these meanings have no 
 peculiar adaptation to tlie text ; that they may equally 
 apply to any prophetical part of Holy AVrit (the 
 whole of which is more or less indicatory of Christ); 
 and that this method of interpretation is at variance 
 with the exactness and distinctness of the sacred 
 writers, so economically sparing, even in the darkest 
 parables, of that which is obscure? 
 
 But furtlier. The context of the Titles itself 
 refutes this theory. For Ave find this to a consider- 
 able degree perfectly, and beyond all cavil, intelli- 
 gible and matter-of-fact. AYe find mention of David, 
 Asaph, Heman, Jeduthun, and the sons of Korali ; in 
 other words, of the known directors of the Temple 
 service, and the participators in its perfonnance. 
 AVe find the Avords So7ig and Fsalm^ and a term 
 [ijli] confessedly appropriated in Holy Scrij)ture to 
 the performance on stringed instruments. We find, 
 besides, plain statements of the occasions upon 
 Avhich many of the Psalms Avere composed. These 
 clear facts ought surely to afford a strong presumj)- 
 tive argument against the notion, that the plainest 
 statements of tlie most literal circumstances ai-e 
 incongruously mixed up Avith a more tlian oracular 
 envelopment of t\\Q deepest mysteries, couched in 
 phrases for Avhich the rest of Holy Scripture affords 
 no analogy Avhatever. 
 
 Having made this general statement, it remains to 
 examine the Titles in detail. These may be divided 
 into ibur classes: eaeli oiAvliieli will be coiisidei'ed in 
 a separate section. Tlie first class contains the terms 
 
§2.] ON THE TEKxMS I'SALiI, MASCIIIL, ETC. 137 
 
 which designate the composition itself, whether 
 Psuhn, Song, Prayer, Michtam, or Maschil. The 
 second class contains those much-disputed terms, 
 which seem to indicate the manner of musical ac- 
 companiment. The third class relates to the au- 
 thors or performers. The fourth and last class con- 
 tains the historical notices of the occasions upon 
 which particular Psalms were composed or publicly 
 performed. 
 
 § 2. OF THE TERMS PSALM, MASCHIL, MICHTAM, SONG, 
 rilAYEK, AND SONG OF TllAISE. 
 
 Of these several designations it may be remarked 
 in general, that they each present the same object 
 under a different aspect. A careful analysis of the 
 Psalms will show that they cannot severally be 
 appropriated to any particular species of poem, such 
 as Ode, Elegy, Monody, or Hymn ; and that it is 
 vain to seek a characteristic peculiarity, whether in 
 sentiment, style, or construction, defined by any one 
 of these terms. 
 
 The f[ict appears to be, that these terms were 
 severally applied by the collectors or editors of the 
 Psalms, at those various periods when the different 
 recensions took place, upon which observations will 
 be made in the third Dissertation. And this opinion 
 will, it is hoped, be sufficiently borne out by con- 
 sidering the etymology of the words. It is first 
 to be observed, that three of these terms are nouns 
 of precisely similar construction. They are formed 
 from verbs, by prefixing the letter ^1. Thus, 
 Mi-z'mor, (translated by us Psalm) is formed from 
 Zamar ; Mi-clitam from cliatam, and Ma-sclul from 
 SachaJ. They therefore appear analogous at the first 
 view. 
 
138 
 
 ON TIIK TITLES OF THE PSALMS. [Dissert. II. 
 
 i\ii/,mor. The first word, Mizmor, or Psalm, is tlie desig- 
 
 nation of forty-four sacred poems, thirty-two of which 
 are ascribed to David.-'' The English reader must 
 observe, that this word is not the same in the original 
 Hebrew as that which forms the general title of the 
 book of Psalms; the latter expressing a Hymn of 
 Praise. The word Psalm, however, as used both in 
 the context and in the titles of the individual com- 
 positions, is uniformly Mizmor in the original ; a 
 term Avhich accurately defines their poetical character. 
 To explain its proper meaning, 1 must have recourse 
 to the beautiful and accurate definition of Bishop 
 Lowth.^ 
 
 " The word Mizmor signifies a composition, wliich 
 in a peculiar manner is cut up into sentences, short, 
 frequent, and measured by regular intervals.". . . . 
 He adds that Zamar means to cut or prune, as applied 
 to the removing superfluous branches from trees ; 
 and, after mentioning the secondary sense of the 
 word, " to sing with a voice or instrument," gives it 
 as his opinion, that Mizmor may be more properly 
 referred to the primary sense of the root, so as to 
 mean a poem cut up into short sentences, and pruned 
 from all superfluity of words, which is the peculiar 
 characteristic of Hebrew poetry. . . . Metrical speech 
 is called Zimrah, that is, cut and pruned in every 
 direction, having its sentences, like branches, distri- 
 buted into regular form and order ; like the vine. 
 
 " Those ascribed to David arc the iii. iv. v. vi. viii. ix. xli. xiii. xv. 
 xix. XX. xxi. xxii. xxiii. xxiv. xxix. xxxi. xxxviii. xxxix. xl. xli. li. 
 Ixii. Lxiii. Lxiv. ci. cix. ex, cxxxix. cxl. cxli. cxliii. The others are tlie 
 xlvii. xlix. L Ixvii. Ixix. Ixxiii. Ixxx. Ixxxii. Ixxxiv. Lxxxv. xeviii. 
 c. These do not include the Psalms called Mizmor Shir, which will 
 be noticed separately. 
 
 '' Adeoque apud eos ipsum carminis vocabuliim "IIOTD earn vim habot, 
 ut desij^net orationom, peculiari <piodam modo in breves, crebras, cer- 
 tis(|uc intervallis dcmcnsas scntcntias intercisam. (I'ra'lectio iii.) 
 
§2] ON THE TERMS PSALM, MASCIIIL, ETC. ISO 
 
 whose luxuriance the vine-dresser checks with his 
 knife, and wliich he puts into shape by amputation." 
 
 We are to observe, that in the many passages 
 where Mizmor or Psalm occurs, it is always connected 
 with the ascription of religious praise. It is also 
 found in frequent apposition with the word >S'o??/y''; 
 and in several places is joined with the luirp^ ^>,9a^fer?/, 
 and ten-stringed lute." So that the proper defini- 
 tion of the word appears to be a lyrical Poem ; its 
 poetical structure being the prominent fenture, but 
 the musical accompaniment of vocal and instrumental 
 modulation being always included as a secondary in- 
 gredient. 
 
 The Greek language has hnppily and accurately 
 rendered this word by \|/aX/xo^, Avhich we have 
 adopted in our word Psalm. But we have not 
 adopted the root of the noun, the verb •^aJ^.'kco^ which 
 means, to sing to a stringed instrument. Hence in 
 the translation attempted in the former volume, the 
 awkward periphrasis, to make, or sing, a Psalm, Avas 
 of necessity adopted. 
 
 The word Maschil, on the other hand, designates Masci.ii. 
 the sacred poems under the aspect, not of their poetical 
 construction, or lyrical adaptation, but of their moral 
 purport. The root of this word signifies to direct 
 
 '■^ "ICT, incidit sccuit, putavit, anipntavit ; superflua iiimirum ct 
 luxuviantia ex arboribus. . . . Potest eiiim (-)1?0t?0) ad priorem radicis 
 notioncin proprius referri, lit denotet carmen in breves sententias conci- 
 sum, et ab oinni vcrborum luxuric rcscctum, (pue Ilebra^orum praecipue 
 
 cavniinmn est ratio Metrica oratio est miOT, prajcisa undicpie ct 
 
 anipiitata, sententias, vehiti pabnitibus, in certiini ordinem et forniani 
 distributis; quasi vitis, (piain vinitor luxuriantem falce compcscit, tin- 
 gitque putando. 
 
 *" See in particidar 1 Chron. xvi. 9. ; Judges v. 3. ; 2 Sam. xxii. 50. ; 
 Ps. xxi. 14., xxvii. 11., xxxiii. 2., Ivii. 10., lix. 20., Ixviii. 4., ci. 2., civ. 
 34., cv. 2., &c. 
 
 " Ps. xxxiii. 2., lxxi.22., lxxxi.2., xcviii. 7., cxliv. 10., cxlvii. 7., cxlix. 
 3. ; Amos, v. 23., &c. 
 
140 ON THE TITLES OF THE PSALMS. [Dissert. II. 
 
 wisely''; its obvious meaning is, therefore, a wise 
 direction, a moral lesson, a didactic composition. 
 Now this sense is applicable to the Psalms of which it 
 forms the title, in the same degree only that it may 
 be applied to every portion of the Psalter, as doubt- 
 less it may. For though, as Rosenmuiler justly 
 observes, the 32nd Psalm, where it first occurs, may 
 with peculiar propriety be called a didactic poem'', yet 
 the other Psalms so designated are far from having 
 this distinctive character. The 78th is, indeed, 
 didactic, but only as an historical Psalm, the other 
 compositions of the same kind having no such title 
 prefixed. 
 
 That it means a sacred composition, is evident 
 from the sixth verse of the 47th Psalm, Avhere the 
 passage which we render, " Sing j^e praises with 
 understanding," is literally, " Sing ye a Maschil,'' or 
 sonir of instruction. This word occurs as a title in 
 thirteen places'"; and six times is prefixed to com- 
 positions of David's. In several instances it occurs 
 in consecutive psalms ; i. e. in the 42nd (of which the 
 43rd is the sequel), the 44th, and 45th : the 52nd, 
 53rd, 54th, and 55th: the 88th and 89th. A circum- 
 stance which favours the notion that the term was 
 one peculiarly used by some particular editor or 
 collector of a certain portion of the Psalter. 
 
 But this consecutive use of the same designation is 
 still more remarkable in the occurrence of Michtam. 
 This is prefixed to six "^ Psalms, and to five of these 
 (from the 56th to the 60th inclusive) in regular 
 sequence : all being compositions of David. The 
 
 » It is specially applied to the pnuleiue of David's conduct. 1 Sam. 
 xviii. 14. and 30. 
 
 »> See also Archbishop Leighton's Meditationcs inTsal. xxxii (Jui cum 
 adeo insif^nem relij^ionis sn/'/ar <V(i;«rcontineat, nieiito IMaschil inscrihitur. 
 (Pra>lectTones, edit. Seholefield, p. 209.) 
 
 ' Ps. xxxii. xlii. xliv. xlv. lii. liii. liv. Iv. Ixwi. Ixxviii. Ixxxviii. Ixxxix. 
 cxlii. Those ascribed to David arc the xxxii. lii. liii. liv. Iv. cxlii. 
 
 "^ Ps. xvi. Ivi. Ivii. Iviii. lix. Ix. 
 
 Miclitain. 
 
§2.] ON THE TERMS PSALM, MASCIIIL, ETC. 141 
 
 proper meaning of the root of Michtam is to engrave^ 
 or to stamp a metal. It therefore, in strictness, means 
 an engraving or sculpture. Hence in the Septuagint 
 it is translated o-rrjXoypac^j'a, an inscription on a 
 column. Rosenmiiller considers the root [DDD] to 
 be identical with a word which signifies ivriting^ 
 [HDD] " and which differs only in one letter ; namely, 
 B at the end, instead of the cognate liquid M, two 
 letters of frequent interchange in oriental languages.'* 
 
 If this conjecture be allowed, then, as Alizmor 
 defines the style and form of the poem, and Mascliil 
 its moral object, so Michtam defines its authorship : 
 a Miclitam of David., signifying a Psalm composed or 
 written by David. 
 
 But I would venture to offer a conjecture in perfect 
 harmony with this view. It appears by the titles of 
 four out of these six Psalms, that they were composed 
 by David while flying and hiding from the perse- 
 cutions of Saul. What then should hinder us from 
 imagining that they were inscribed on the rocks and 
 on the sides of the caves which so often formed his 
 place of refuge ? This view would accord with the 
 strict etymological meaning of the word, and explain 
 the rendering of the Septuagint. That this was the 
 ancient manner of recording not merely historical 
 facts, but poetical sentiments, we are shown by the 
 recent wonderful discoveries in Arabia*", the fore- 
 runners, it is to be hoped, of extensive researches into 
 tlie primitive history of mankind. The rocks were 
 the books of the ancient Oriental nations, as Petra, 
 Arabia, and Egypt abundantly testify. 
 
 It remains to notice one interpretation of the word, 
 which will not stand the test of internal evidence. 
 
 ■ Hezekiah's Song (Isaiah xxxviii. 9 — 20.) is called 3030. 
 '' Thus NegpwS occurs in the Septuagint instead of Nf^ipoS, &c. 
 "^ See Mr. Forster's Historical Geography of Arabia, vol. ii. sect. 7., 
 and tlie Appendix at large. 
 
142 ON THE TITLES OF THE TSALMS. [Dissert. TT. 
 
 This is, " a golden Psalm," the root of the Avord 
 bearing the meaning of gold among its other signifi- 
 cations. But there is nothing in the style or sen- 
 timent of the Psalms in question which can claim for 
 them a peculiar preeminence above the others in the 
 book. 
 
 Shir. TYiQ word Shir^ the meaning of which {Song) is 
 
 unquestioned", is prefixed to many of the Psalms'", three 
 times simply, and thirteen times in connection with 
 ^Hzmor." There is no mark of peculiarity in their 
 composition. The meaning of the Avord seems to 
 discriminated from Mizmoi\ as signifying a thing to 
 be sung, without reference to its poetical structure. 
 Possibly j\fizmo?' may have more f)eculiar reference to 
 the accompaniment of the harp ; though internal 
 evidence does not encourage this view. When the 
 two words occur together, the meaning seems to be, 
 a lyric j^oeni cqypointed to be sung. 
 
 The Songs of Degrees will be noticed in their place 
 in the third Dissertation, as they have a specially 
 historical interest. 
 
 Tcpiiiiiaii. The designation, Tephillah, or Prayer is of rare 
 occurrence, only in the 17th, 86th, 90th, and 102nd. 
 This speaks for itself, referring simply to the religious 
 object of the Psalms ; and in the instances where it 
 occurs, the sentiments are deeply supplicatory. 
 
 Tci.iiiaii. Tehillah, or Song of Praise^ (approjmated as the 
 
 general designation of the whole book) occurs as the 
 title of the 145th Psalm, ascribed to David ; and is 
 accurately significant. This Psalm is generally sup- 
 posed to form the first portion of that continuous 
 liymn of thanksgiving which forms the remainder 
 of the book. 
 
 " In 2 Chron. v. 13., the expression occurs i^t^'n '^3 inxtruinentti af 
 song ; that is, instruments which accompany song. 
 
 '' Psalms xviii. xlv. xlvi. 
 
 •^ Psahns xxx. xlviii. Ixv. Ixvi. Ixvii. Ixviii. Ixxv. Ixxvi. Ixxxiii. 
 Ixxxvii. Ixxxviii. xcii. cviii. 
 
§3.] MUSICAL Oil CIIOHAL TITLES. H'i 
 
 § 3. ON THE MUSICAL OR CIIOUAL TITLES: VIZ. THE 
 CHIEF MUSICIAN, NEGINOTII, SHEMINITII, SIIOSIIANNLM, 
 ALAMOTII, IMUTIILABBEN, GITTITII, AIJELETH IIE- 
 SIIAIIAR, AL-TASCIHTII, JONATII-ELEM-RECIIOKIiM, j\IA- 
 IIALATIT, NEIIILOTII, SIIIGGAION, AND IIIGGAION. 
 
 This division of tlie Titles is confessedly the most 
 obscure. Of many of these little more can be confi- 
 dently said, than that they have relation to the chorid 
 performance of the Psalms. That this, however, is 
 the case, may be reasonably argued from the con- 
 nection of some of these terms, as Alcunoth, Sheminith^ 
 and Neginoth, in the original text of Holy Scripture, 
 with the instrumental performance of the Temple 
 Songs, as will presently be shown. 
 
 The first of these terms % translated in the Eng-lish The ri,i.f 
 Bible, " to the Chief Musician," has given rise to many 
 conjectures. In the Septuagint, the Hebrew word is 
 translated, slg to tsAo^, to the end; a meaning so 
 utterly vague, as to defy all reasonable conjecture. 
 The fact seems to be, that the translators, having lost 
 all memory of some circumstances of the Temple 
 service, took at hazard one of the secondary meanings 
 of the Hebrew root, which signifies continuance or 
 termination. Another secondary meaning of the word, 
 preeminence., has encouraged the lovers of mystical 
 interpretation to translate it thus, to the Conqueror., or 
 to the Giver of victory^ applying the term to Christ. 
 It is strange that Bishop Horsley, so eminent for manly 
 and vigorous good sense, and critical acumen, should 
 in this respect have adhered to an interpretation so 
 much at variance with the real mysticism of Holy 
 Scripture. But he is not always consistent, since he 
 renders the title of the 49th Psalm, to the Precentor. 
 That the learned Mr. Parkhurst should have taken the 
 same mystical view, is no more than might have been 
 
 nvj 
 
 i:d>. 
 
144 ON THE TITLES OF THE PSALMS. [Dissert. IT. 
 
 expected from his peculiar notions, Avhicli, though in 
 no way interfering with liis orthodoxy, in some in- 
 stances perverted liis deep and Avell digested erudition."'' 
 
 I have the satisfaction of iippeahng to the high 
 authorities of Dr. Hammond and Bisliop Patrick, for 
 adhering to the sense given in our authorised trans- 
 lation : to the Chief Musician. As Dr. Ilannnond re- 
 marks, the word in question signifies in 2 Chron. ii. 1. 
 the overseers of the hewers of wood, which was des- 
 tined for the building of the Temple. The same sense 
 is given in tlie 18th verse of the same chapter, and in 
 the 12th of the 34th chapter. But in 1 Chron. xv. 21 . 
 the verb whence the noun is derived is distinctly ap- 
 plied to the superintendence of the Levitical choirs : 
 " And Mattithiah and Elipheleh (&c.) with harps on 
 the Sheminith, to oversee " (as the margin of our Bible 
 renders it) ; that is, the men here mentioned were the 
 directors of the several bands of the performers on 
 eight-stringed harps. 
 
 There can be no reasonable doubt, therefore, that we 
 are justified by the etymology of the word, and by its 
 scriptural application elsewhere, to give it this sense, 
 which is not only a priori probable, but confirmed by 
 internal evidence. For we find it joined, in its very first 
 occurrence (the Title to the 4th Psalm), withNcginoth, 
 a word which unquestionably means stringed instru- 
 ments ; and in many other instances \At\\ terms which 
 analogy encourages us to consider choral or musical 
 designations : whereas the mystical interpretation is 
 not only farfetched in its etymology, but strained and 
 vague in its application. All the Psalms are indeed 
 
 •* It surely is a reproach to our country that the valualilo Hebrew 
 Lexicon of this distin<fuishe(l sehohir should be so much neglected. A 
 strong conviction must here be avowed, however old-fashioned it may 
 appear, that it is at least equal in real learning to the popular work of 
 Gesenius, and far superior to it in j>hiIo]ogical science and j)hil()sophical 
 arranfrenient. 
 
§3.] MUSICAL OK CIlOllAL TITLES. 145 
 
 more or less prophetical of Him who givetli us the 
 victory, our blessed Lord. But some of those which 
 speak most uiarkcdly of this victory, want this title, 
 while in very many instances the spiritual conquests 
 of Christ do not form the prominent subject of the 
 Psalm. 
 
 Tlie meaning of the term, then, appears to be this. 
 The Psalms in which it occurs were ";iven in char^-e 
 by their inspired authors to the Chief Musician over- 
 seeing some specific band of music, whether harps, 
 psalteries, or wind instruments. In many instances, 
 however, I apprehend that this direction has peculiar 
 reference to the strain with which the Psalm begins ; 
 sometimes, that it should begin by an accompaniment 
 of one species of instrument only, the full band joining 
 in subsequently, as possibly after the first Diapsalma : 
 sometimes that the leader should begin with a solo on 
 a particular kind of harp (as on that called Gittith), 
 to accompany but a single voice, as in our verse 
 anthems. •■" This latter usage seems consistent with 
 the commencement of many of the Psalms. 
 
 As to the next term, Neginoth", (or in the singular Neginoth: 
 nnmber Negmah,) there is no difficulty. It is applied, ^^'"^ ' 
 in many passages of Scripture, to tlie playing on the 
 harp, being the technical word used in connection with 
 the species of harp called Kinnor''; not with that 
 called the Nabal, or Psaltery. In many places'' it is 
 
 " To those who are Competently skilled in the musical anti(|uitles of 
 the Cluiveh of England, it is well known that this species of anthem, so 
 often condemned as a modern innovation, was in frequent use during 
 the reigns of James I. and Charles I., as appears from many composi- 
 tions still extant. I must acknowledge a conviction, that similar compo- 
 sitions were in use in the Jewish choir, and think it very probable, 
 that in the Temple the use of the Psalms was twofold, as with us ; viz., 
 that they Avere both chanted, and sung as Anthems. 
 
 ^ Occurs in Ps. iv. vi. liv. Iv. Ixi. Ixvii. Ixxvi. 
 
 " 1 Sam. xvi. 16. 23.; Isaiah, xxiii. 16. In Isaiah, xxxviii. '20., it is 
 joined with neginoth. 
 
 ^ 1 Sam. xvi. 17, 18., xviii. 10., xix. 9. ; 2 Kings, iii. 15. ; Ps. xxxiii. 2 
 
 VOL. II. L 
 
146 ON THE TITLES OF THE I'SALMS. [Dissert. II. 
 
 used absolutely. In tlie G8tli Psalm, at the 27th 
 verse, there is a remarkable passage : " First go the 
 sharim (or singers), then follow the neginim (or the 
 harps called linnor)^ in the midst are the alamoth 
 (or tlie harps called nabal., or psalteries), the players 
 on timbrels." Owing to the obscurity which envelopes 
 the instrumental music of the Hebrews, we cannot 
 trust to Jewish tradition for any accurate definition 
 of their various species. Even Josephus is not alto- 
 gether accurate : since he speaks of the nabal or 
 psaltery as an instrument of twelve strings " ; whereas 
 we know from the second verse of the o3rd Psalm that 
 it had but ten. But there seems good reason to credit 
 his assertion, that the Jdimor, which we translate 
 harp, and to which he erroneously assigns ten strings, 
 was struck with a bow, or plectrum. It is natural 
 to suppose that a technical term was applied to the 
 more artificial way of playing ; and indeed we know 
 from the testimony of classical antiquity, that this 
 was the ancient method of strikino- strin2:ed instru- 
 ments amono; the Greeks. 
 
 The word AW/inofh, then, may be understood to be 
 synonymous with the kinnor or harp : that is to sa)', 
 the instrument of eight strings, probably played with 
 a bow or plectrum. 
 Shcminith, That tlic kiuuor had eight strings may be gathered 
 from a consideration of the next term to be considered, 
 She^hnith.*' Tliat this word has reference to some 
 quality or peculiarity of the Ihmor, or harp, is proved 
 from a passage already cited, 1 Chron. xv. 21., where 
 harps on the Sheminith are spoken of. This term is an 
 epithet peculiar to the liarp, as that o^ Alamoth is to 
 the psaltery. But as to its meaning, commentators are 
 
 * AntiiJ. vii. 1 2. .3. »'/ /"-v Kii'rp-r, i:Kn \('jiCalr i^iniiih');, TrTrriTai TrXi'ikrpw' 
 ij ('t fi/iXd, CiociKci (jiOi'yyovr t>(ov<-{', tiuij C<iKrv\oir Kfwvinti, 
 
 '' It occurs in Ps. vi. and xii. 
 
§3.] MUSICAL OK CHORAL TITLES. 147 
 
 not agreed. Setting aside the mystieal meanings*', 
 which as usual arc no more than conjectural, the ety- 
 mology of the word refers us to eujht. Some*' suppose 
 the eighth band or course of the Lcvitical choir to be 
 signified : but this woidd be inconsistent with the 
 passage in the J5ook of Chronicles just now cited, the 
 whole context of which evidently speaks of the per- 
 manent arrangement of the choral, service, and of the 
 various species of instruments, not of the twenty-four 
 courses. Vatablus interprets it, " a tune in Avliich 
 the octave note is prevalent." But this is equally in- 
 consistent with the above passage : for thus we should 
 understand the harpers of tlie temple to be restricted 
 to l)ut one key, and its relative major or minor. j\Ir. 
 Bedford, in his Temple Service'', has ingeniously en- 
 deavoured to show that this and the other titles 
 indicate the tones or keys in which the Psalms were 
 sung, and gives specimens illustrative of his theory ; 
 but the objection now stated stands in his way. The 
 Septuagint renders it uTrsp t% oyooyjj, on the eighth; 
 and Dr. Hammond and others consider it to mean 
 an instrument of eight strings ; an opinion which 
 seems plainly borne out by analogy, as may appear 
 from the following considerations. 
 
 We have no less than four numerical terms in the 
 Hebrew Text, connected with the titles of the Psalms. 
 Two of these are, unquestionably, designations of 
 musical instruments. The first is the ten-stringed 
 lute, (litcrall}^, the ten, ^l;^>*) which we know to be 
 identical with the nabal, or psaltery. The second is, 
 the tliree-stringed instruments'^, [cti^S^i^] wliich were 
 
 " St. Augustine (Enarr. in Ps. vi. et xi.) considers it to mean the day 
 of judgment, that day wliieh follows upon the completion of the seven 
 great mystical periods of time. 
 
 ^ See Calmet ; whose notes upon all the titles of the Psalms are very 
 copious. 
 
 '^ Chapter ix. 
 
 '^ 1 Sam. xviii. G. This is the marginal reading in the English Bible. 
 
 L 2 
 
148 ON Tin: titles of the TSALMS. [Disskrt. ii. 
 
 2)layed by the women who came out to welcome Saul 
 and David after their victory. There is no other in- 
 stance of tlie occurrence of this term ; wliich. however, 
 exactly corresponds with the three-stringed guitar 
 represented on the Egyptian monuments"'' ; a rude and 
 simple instrument, probably of merely secular employ- 
 ment, and unworthy of being used in the Tem[)le ; as 
 we find no trace of it in the sacred orchestra of the 
 Jews. Analogy would therefore plainly indicate that 
 the Shemmith, or eight, and the SImshan, and Shoshan- 
 nim, or six, would mean instruments of six or eight 
 strings. And thus we find each more perfect species 
 of harp used in the Temple distinguished from the 
 others by an accession of two strings ; six, eight, ten : 
 and if we suppose, as we may reasonably do, that 
 these instruments were either provided with frets, or 
 stopped with the fingers, like our viols, there appears 
 sufficient latitude provided for the most extended 
 nielod}^, and most perfect harmony. 
 
 By Sheminith, then, may be understood the harp 
 of eight strings : the terms Neginoth, Sheminith, and 
 Kinnor, having all reference to one and the same in- 
 strument : the first signifying the mode of playing it, 
 the second its compass, the third its specific desig- 
 nation, 
 siuishan Xhe next term to be considered is Siiusiian'', and 
 
 shanniin. its plural SiiosiiANNiM. As already observed, analogy 
 would lead us to consider it as meaning a harp of six 
 strings. If this view be correct, then it is derived 
 from the Hebrew term for six [c*Li^] with the letter 
 N added at the end. The word Shnshan lias, however, 
 other meanings. One of these is change, Avhicli is 
 
 ' See the plates representing musical instruimMils, in Sir.T. (I. Wilkin- 
 son's Manners and Customs of iho Ancient Egyptians, vol. ii. ])p. '2S(). 
 301,302. &c. 
 
 *■ Shoshanniin occurs in the title fif Ps. xlv. Ixix. anil Ixxx. ; in the 
 latter joined to Edutb. S/iuJihav, joined to Edutli, in Ps. Ix. 
 
§3.] MUSICAL OR CIIOKAL TITLES. 149 
 
 adopted by tlie Septuagint", and by St. Augustine, 
 wlio considei's it to mean the eonversioii of tlie heathen 
 to Christianity. Another is a lily, of whieh nothing- 
 satisfactory or consistent can be made ; unless we 
 imagine (a supposition which must be admitted to be 
 merely fanciful) that it designates a harp in shape 
 like a lily, thus resembling one of the most common 
 forms of the Grecian lyre. But the numerical sig- 
 nification of six strings, is the most obvious and 
 consistent. 
 
 In conjunction with this word, in two out of the simshan. 
 four places where it occurs, is found the term Eduth, 
 The meaning of this is testimoivj. Scldeusner trans- 
 lates the two words thus associated, tlie liexachord of 
 testimony. Now it is recorded in the First Book of 
 Chronicles, (xvi. 37 — 42.) that before the final re- 
 moval of the tabernacle service to Jerusalem, a part 
 of the choir was stationed at Gibeon, where the ta- 
 bernacle was pitched, and the sacrifices performed : 
 another part (the company of Asaph) was stationed 
 at Jerusalem, before the cwk of the testimony. I con- 
 ceive, therefore, that Shushan Eduth means a harp of 
 six strings, first or principally used in the psalmody 
 which was performed at Jerusalem before the ark, a 
 designation retained when all the choirs were united, 
 on the completion of the Temple of Solomon. 
 
 The term Alamotit, which occurs in the Title of Aiamoth. 
 the 46th Psalm only, and in the text of the 68th, 
 though doubtful as to its actual meaning, is clearly 
 an epithet applied to the Nabal, or psaltery, one of the 
 two principal species of stringed instruments. This 
 appears by a passage in the First Book of Chronicles, 
 (xv. 20.) connected with that in which the Sheminith 
 is mentioned, where a certain portion of the choir is 
 described as playing on the psalteries on Aiamoth. 
 But the meaning of tlie word is involved in the 
 
 " I'TTtf) Twv aWoiuiOrirrojXft'wi'. 
 I. 3 
 
150 ON THE TITLES OF THE I'SALMS. [Disseht. II. 
 
 greatest obscurity. It may signify cither hidden things^ 
 or things pe}'tai?mig to youtlis. The former signifi- 
 cation is adopted hy the Septungint, nnd by St. 
 Augustine, avIio ajiplies it to tlie mysteries of the 
 Gospel. Bythner, with others, conjectures it to mean 
 a song performed by youths or virgins, or else an 
 acute symphony, in high or treble notes. Now the 
 Psalm in which it occurs is certainly not charac- 
 terized by any deep mystery : it is animated, and 
 most clear and intelligible in its subject and expres- 
 sion. Besides, the signification of mystery is utterly 
 out of place in the G8th Psalm, where, as already 
 observed, it is connected with terms plainly musical 
 or choral, "the songs, the stringed instruments, the 
 timbrels." That it means the performance of young 
 men or women, is also repugnant to the intimations 
 of Scripture History, since the psalteries on Alamoth 
 Avere the stated instruments of one of the choirs, 
 composed as these Avere both of men and boys, and 
 not of Avomen. But it is not at all inconsistent Avith 
 etymology to suppose, that it signifies instruments of 
 a high pitch, unisonous Avith youthful voices, (as we 
 speak of tenor, treble, and bass viols,) perhaps tuned 
 an octave above the kinnor, or harp. By some the 
 Avord has been ingeniously translated virginals^ Avhich 
 is literal ; meaning, hoAve\'er, not as the term used to 
 be employed by us, an instrument commonly played 
 by young women, but one resembling, in its pitch and 
 compass, the female voice. 
 
 But there is another conjecture Avhich I Avould 
 ofi^er, Avhich it Avill be in place to mention Avhen ex- 
 amining the Avords Gittitli and Aijel<tt]i. 
 
 At present it Avill be suflicient to determine this 
 much, that Alamoth and Nidial are synonymous, 
 meaning the psaltery or lute, of ten strings. From 
 tAvo passages in the Psalms, xxxiii. 2. and cxliv. 9., it 
 appears that the Nabal liad ten strings ; so tliat tlie 
 
§;}.J MUSICAL Oil ClIOPiAL TITLES. 151 
 
 latter term [iTti^y], where it occurs absolutely, is to 
 be understood as designating the psaltery. 
 
 In connection with Alamoth, I am strongly of Mmh- 
 opinion we ouglit to take that very obscure title, 
 whicli occurs but once, in the 9th Psalm, ^Iutii- 
 LABBEN. If the present reading, or rather division of 
 the words be correct, the meaning is, the death of the 
 Champion, referring, as some have supposed, to 
 Goliatli.'"' This, however, is not supported by the 
 internal evidence of the Psahn ; and it is at variance 
 with the usual clearness of the historical notices 
 found in the Titles. Were reference to Goliath in- 
 tended, he would have been mentioned by name. 
 But there is good reason for believing that the pre- 
 sent Hebrew reading is corrupt ; and that with the 
 Septuagint", instead of [ti'^ HID bv'\ ^1^ muth lahOen, 
 On the death of the Chaminon, we ought to read 
 [pb* r\X:hv ^V'\ M Alamoth Lahhen, " On Alamoth of 
 Labben." This is Kimchi's reading. But the mean- 
 ing of Labben is altogether uncertain. Some con- 
 sider it to refer to the proper name of a singer, Ben, 
 mentioned in 1 Chron. xv. 18. But this reading has 
 been justly suspected as corrupt. All that the pre- 
 sent writer can bring forward on the subject, is a 
 conjecture made by some, that [pb] Lahhen is, by 
 a casual transposition of the letters, an anagram for 
 Nahal [^:i:i], the Psaltery. Of such transpositions 
 we have several instances in the text of the Old Tes- 
 tament. '^ 
 
 Next, as to the word Gittith, or rather Ha cittitii. 
 GiTTiTH ; the word Gath, of which Gittith is a 
 regular formative, means a wine-press, and so it is 
 translated by the Septuagint. But it is also the 
 
 " jBytliner. '' v-k\p twu Kpvcpiaiv toC viov. " Vide Bythner. 
 
 '' As, algum, 2 Chron. ii. 8., for almiig, I Kings, x. 11. And in pro- 
 per names, Betali, (2 Sam. viii. 8.), for Tibhath, I Chron. xvii. 8. Ard, 
 (Numb. xxri. 40.) for Addar, I Chron. viii. 3., &c. &c. 
 
 L 4 
 
152 ON THE TITLES OF THE TSALMS. [Dissert. II. 
 
 proper name of more than one city both in Philistia 
 and in the Holy Land. As many liave nnder.stood 
 it, it may mean a harj) or instrument of Gatli^ brouglit 
 by David from the Philistian city of that name. It 
 has not, however, been sufficiently considered, that 
 one of the Levitical cities was Gath-liinniKni. And 
 here a conjecture would be hazarded, which, in the 
 total absence of all direct evidence, I would be dis- 
 posed to consider the most probable. It is to be 
 observed, that there are three Levitical cities, whose 
 names resemble three designations in the titles", 
 Alerneth, Aijelon, and Gath Rimmon. What is there, 
 then, to hinder us from supposing that the designation 
 Alamotli may mean harps constructed or improved 
 by some Levite of Alemeth ; that Aijelath-he-shahar 
 means a harp of Aijelon, and Glttith one of Gath ; just 
 as we now speak of a German flute, or a Cremona 
 violin ? 
 Aijeicth- The second of these terms, Aijeleth-he-shahar, 
 
 iie-shahar. (which occurs iu tlic 22d Psalm,) is utterly obscure, 
 if the ordinary interpretation be adopted. It may 
 mean the hind of the morning^ or rather of the dusky 
 dawn, or the interposition of the morning twil/'ghi. The 
 interposition of the dar^hiess^ is the conjecture of 
 Bishop Ilorsley, referring to the miraculous dark- 
 ness that took place at the crucifixion of our Lord, 
 of which the 22d Psfdm is prophetic. r)Ut the ol)- 
 jection to this mode of interpretation has been already 
 anticipated, at the beginning of the present Disser- 
 tation. I therefore ratlicr incline to tlie meanin*]: 
 suggested in the preceding paragra])li, tliough utterly 
 unable to assign any probable meaning to the epi- 
 thet Shahar. 
 
 Tlie words, Al Taschitit, occur in the titles of 
 
 Al Tas 
 chith. 
 
 " 1 Cliron. vi. 60. G9. Aleinctli is called Almon in Jo:«liuii, xxi. 18. 
 Aijiilon may in like manner have been called Aijelalh : a.s Salmon, 
 (Kutli, iv. 20.) is called Salmali, 1 Cliron. ii. 11. 
 
§3.] MUSICAL OR CHORAL TITLES. ] 53 
 
 but four Psalms'', three of which are in sequence, are 
 entitled IMiehtam, and are assigned to David. The 
 Avords may mean, destroy not. The Targum refers 
 this to a saying of David's: and some to the 12th 
 verse of the 59th Psahn, " Destroy them not, lest my 
 people forget it." But how is this applicable to the 
 other Psalms in connection, or to the 75th ? Some 
 understand by it a tune beginning with these words, 
 to which the Psalms in tpiestion were set. It is pos- 
 sible that it may be a direction to the transcriber, 
 when a recension of the Psalms was made by Heze- 
 kiah, Josiali, or Ezra ; that these three Michtams, or 
 autographs, may not be destro3'ed. 
 
 Still, it appears to the writer of these pages far 
 more probable, that Taschith is the name of some 
 instrument. Its termination ith is the same as that 
 oi Sheminith and Gittith : and the word Al [7K] may 
 legitimately be interpreted on^ instead of not; the 
 words b^ and hv being in this sense synonymous.*' 
 It is likely that Taschith is synonymous with some 
 other instrumental designations. 
 
 The title Jonath elem rechokim is perhaps the Jonath 
 most difficult in the whole Book of Psalms. It occurs ^iT '"''''''" 
 but once, in the title to the 56th Psalm. The appa- 
 rent meaning of the words, according to the Targum 
 (adopted by Bythner), is, the dove silent (in) distant 
 places: the Targumists understanding this of the 
 captivity and dispersion of the Jewish church and 
 nation. The Septuagint had evidently another read- 
 ing in the text before them, since their rendering is, 
 
 UTTSp ToD XaOU TOU CtTTO TtOV CCyiCDV IX:lXrxXfiU[X(XSVOU' 
 
 which reading St. Augustine, as usual, follows : " pro 
 populo qui a Sanctis longe factus est." The second 
 
 " Psalms, Ivii. Iviii. lix. Ixxv. 
 
 ^ ^y occurs in most instances ; but we have niTHJ 7X (Ps. v.) 
 
 nny a'yci:' ha- (Ps. ixxx.) 
 
154 ON THE TITLES OF THE PSALMS. [Disskrt. II. 
 
 word, eJen>, CD^NN is very obscure : it may mean either 
 silent^ or a band or company. 
 
 Now it must be admitted, tliat the mystical or 
 figurative interpretation of these words is a good 
 deal favoured by a passage in the preceding Psalm, 
 the 55th (Avith which the 56th is evidently con- 
 nected), where tAvo of tlic very same terms are used ; 
 tlie dove, r\2V, and the escaping to distant peaces 
 'p''T\'^^- It might seem as if there were in this 
 Psalm an allusion to its author under the imao:e of a 
 dove, who had already made her escape to a distant 
 resting-place. 
 
 It may therefore be just possible, that these words 
 contain a direction to connect the 5Gth Psalm, on 
 some particular occasion of its performance, with the 
 first Diapsalma of the 55th, which terminates with 
 that beautiful simile. It has been already seen, that 
 such occasional selections of portions from different 
 compositions, forming one concrete psalm, were by 
 no means uncommon. Still this is but a conjecture, 
 offered with much misoivino-. 
 
 I am rather disposed to think, that tliese words 
 announce the name of some instrument, with epithets 
 of its specific nature, which it is now impossible to 
 determine. May we, however, Avithout the impu- 
 tation of profaneness, offer a conjecture, that the 
 title, afiixed in days posterior to the days of David, 
 may allude to some instrument of Grecian origin, 
 adopted into the Jewish cliurch ? Jonatli Avill bear 
 the meaning of Grecian ; and rechoMni may apply to 
 that distant nation. So it is applied by king Solo- 
 mon, in his prayer at the Dedication of the Temple.-'' 
 And it appears that in the time of King Hezekiah, 
 many strangers did come to Jerusalem, and joined in 
 tlie public services.'' 
 
 ■ 2 Cliron. vi. 32. ^ 2 Cliron. xxx. 2.5. 
 
§ .-3.] MUSICAL OK CHORAL TITLES. 155 
 
 It is perfectly certain, that at the time of the 
 captivity, instruments with Grecian names were 
 adopted by the Chaldeans. Thus, at the dedication 
 of Nebuchadnezzar's golden image, we find the Sym- 
 'plionia and Psanterin., or Psaltery, &c." This is enough 
 to show that some of the artistic designations of 
 Greece were adopted by one of the oriental nations : 
 and there is no direct evidence to contradict the sup- 
 position, that the Hebrews may possibly have received 
 some aid in the details of art from Greece, throuirh 
 Phoenicia, the channel through which they had them- 
 selves imparted letters, and the first notions of sacred 
 poetry, to that most highly gifted and intellectual 
 family of the Gentiles. 
 
 There can be no reasonable doubt, that the word iNiahaiatii. 
 next to be considered, Maiialath", is connected with 
 the Temple music. For this term, either in the 
 singular or plural number, is continually used in 
 connection with the Timbrel, [^n] and often ^^ith 
 the harp.*" In some passages of our translation, it is 
 rendered dances ; but this is obviously wrong. The 
 root of the word signifies to make a hole or perforation^ 
 hereby indicating a perforated instrument, a pipe or 
 flute. This is borne out by a passage in Isaiah'', 
 where Mahalath means the perforations in the rocks. 
 In most of the passages where the word occurs, it is 
 connected with rejoicing, and not always mth the 
 ritual service of the temple or tabernacle : the tab ret, 
 witli Avhich it is commonly associated, being the uni- 
 form accompaniment of songs of gladness. But the 
 two Psalms to which it is prefixed are of an elegiac, 
 not of a joyful character. From which it may be 
 collected, that although its general, and especially 
 
 " Danlol, iii. 5. 
 
 ^ Occurs in I'salms liii. and Ixxxviii. 
 
 '^ Exodus, XV. 20. ; Jer. xxxi. 4. 13. ; Ts. cxlix, 3., cl. 4. In all these 
 instances, occasions of rejoicing are mentioned. 
 '' Isaiali, ii. 19. 
 
156 ON TIIK TITLES OF THE I'SALMS. [Dissert. II. 
 
 its secular use, was at times of rejoicing, yet in the 
 Temple service it was not so restricted. 
 Mai.aiath- jj^ ^|^^ ^g^l^ Tsalm, thc word le-anxotii follows. 
 
 About this there can be no difficulty. The Hebrew 
 word n^y means to sing or to perform antiphonally, 
 or alternately, a sense in which it is employed in 
 the Psabns themselves. " Malialath-le-annoth therefore 
 means pipes or flutes played alternately by each divi- 
 sion of the choir. 
 
 Mahalath may be considered synonymous with the 
 Ilallil (a word formed from the same root), which 
 means a pipe ; and was employed both in secular and 
 sacred music. According to the traditions of the 
 Jews, as Dr. Lightfoot relates'', the Ilallil and the 
 Hautboy were used in the Temple service on certain 
 occasions only, at twelve stated times in the year. 
 This tradition may account for the rare occurrence of 
 the word in the titles of the Psalms. 
 
 Nehiioth. The word Nehiloth, which occurs but once, in the 
 title to the 5th Psalm, may be regarded as synony- 
 mous with or cognate to Mahalath : a regular for- 
 mation from the same root ^n. The Septuagint, 
 understanding it to be derived from ^112, to inherit^ 
 have translated it by «7^->5povo/j(./a, an inheritance. Dr. 
 Hammond, by a somewhat forced method of inter- 
 pretation, understands inheritance to imply succes- 
 sion; and that thc Avord signifies the succession 
 or alternate performance of the two sides of the 
 choir. I)Ut the meaning suggested above seems the 
 most probable and consistent. 
 
 Shiggaion. Thc tcmi SiiiGGAiON occurs twice : once in thc 
 singular number, as the title to the 7th Psalm ; and 
 
 " Ps. cxlvii. 7. . . . Adnotarl potest, verbum D^J?, quod propric signi- 
 ficat respondere, usurpari latins de quavis cantione ; vel a pra?cipua 
 specie ad relicpias trauslato vocabulo, vel quod apud IIebra?os onme fere 
 carmen Kesponsorii (]uodanunodo Ibrniani liaberet. — liislutp Lowth, 
 Prcel. xix. 
 
 '' Temple Service, chapter vii. \ '1. 
 
§3.] MUSICAL OR CHORAL TITLES. 157 
 
 once in the plural, in the title to the Prayer of lf;i- 
 bakkuk, Siiigionoth. 
 
 The root of this word means, to tcander ; and, in 
 consequence, by the greater nuniljer of interpreters, 
 it is understood to signify a icandering song.'' Bishop 
 Ilorsley, with great felicity, thus defines it : " a 
 wandering ode : in different parts, taking up different 
 subjects, in different styles of composition." This 
 definition will strictly apply to both the poems with 
 which the word is connected : their construction 
 being irregular, and their transitions singularly 
 abrupt. Tremellius and Junius, in accordance with 
 this view, understand Shiggaion to mean, an ode of 
 various metres. 
 
 There seems no difficulty in the way of adopting 
 this interpretation. By Shiggaion^ therefore, may 
 be understood an ode composed in various measures, 
 and consequently adapted to different modes of reci- 
 tation and accompaniment. By the words on Shigi- 
 onoth may be understood, on various instnunents^ 
 whetlier as regards their compass or their quality : 
 this variety harmonizing with the varied style and 
 sentiments of the poem. 
 
 It remains to notice one word more, strongly Higgaion. 
 resemblinii: the last in its construction, and occurrino- 
 but twice in the Psalms. *" Though not a title, still as 
 a musical designation, it may be in place to observe 
 upon it, before concluding the present section. This 
 is Higgaion. That it is a musical designation is 
 plain from the fourth verse of the 92nd Psalm. 
 
 Upon the ten (stringed instrument), even upon the 
 
 psalteiy. 
 Upon a higgaion, on the harp. 
 
 * The LXX simply renders it ^a.K\L6s^ in Ps;. vii. and [>.iTa. ^Sjjs in 
 Ilabakkuk. Bytbner, and Parkhurst, a wandering song. Rabbi David, 
 a musical instrument, or tune unknown. Kimehi, " cum cantico." Dr. 
 Adam Clarke absurdly supposes the Title of llabakkuk's Ode to be pos- 
 terior to the composition. 
 
 ^ Ps. ix. 17., and xcii. 4. 
 
158 ON THE TITLES OF THE PSALMS. [Dissert. II. 
 
 The lliggaion is therefore put in apposition with 
 the ten-stringed instrument, as the harp is Avith the 
 lute. And since it plainly appears from other pas- 
 sages that tlie word translated " ten stringed," is an 
 epitlict of the nabal or psaltery, it follows that 
 lliggaion is an epithet of the kinnor or harp. It is 
 translated a loud instrument in our Praj^er Book, but 
 more accurately in the English Bible by a solemn 
 sound. The root of the word signifies to meditate^ to 
 murmur^ to rnahe a low murmuring sound. It occurs 
 in a moral, not a musical sense, in Psalm xix. 5., " tlic 
 meditations of my heart," or, as it may more pro- 
 perly be rendered, in apposition to " the words of 
 my mouth," the mutterings of ni}^ lieart ; the less 
 audible language of my inmost soul. In the ]>ook of 
 Lamentations (iii. 62.) it is applied to tlie insidious 
 mutterin2:s of malio-nant enemies. 
 
 The second passage in which it occurs, Avith an 
 apparently choral meaning, is after the first Dia- 
 psalma of the 9th Psalm, Avhere it precedes the Avord 
 Selah. By which may be understood, that here a 
 loAV and subdued symphony, possibly on the harp, but 
 more probably with trumpets, is to be played. While 
 in the 92d Psalm, in the passage just noAv cited, the 
 deeper and more subdued tones of the harp may be 
 opposed to the more acute and liA^ely notes of the 
 psaltery. This greater depth and softness of tone is 
 evidently more consistent Avith an instrument like the 
 harp or kinnor, Avhich Ave knoAv Avas the more peculiar 
 accompaniment of the A^oice, especially in solos. It 
 Avas DaAdd's favourite instrument. 
 
 This appears the most probable interpretation of a 
 very obscure Avord. But I must remark, in con- 
 clusion, that some connection may possibly exist 
 (though of its nature I cannot i)retend to form a 
 conjecture) between tliis AVord and S/n'ggaion, Avliich 
 so strongly resembles it, occurring in the title of the 
 
§4.] rSALMS OF DAVID. 159 
 
 7th Psalin, a, composition nnalogous to tlic Utli, in 
 its sentiment, style, and subject matter," 
 
 § 4. OF THE TITLES WHICH INDICATE THE AUTHORSHIP : 
 AND nUST, OF THE PSALMS ATTRIBUTED TO DAVID. 
 
 We now leave the uncertain and bewildered mazes 
 of conjecture for a clear and well defined p.'ith, plainly 
 indicated by the internal evidence of the sacred poems 
 themselves. For though the musical or choral titles 
 are involved in great obscurity, it is not so with the 
 titles which indicate the several authors of the Psalms. 
 Incidental difficulties, indeed, may occur; but the 
 general theory is sufficiently plain and consistent. 
 
 This especially holds with respect to those Psalms 
 expressly attributed to David. It will be impossible, 
 it is believed, for any person of a fair understanding, 
 and sober judgment, to examine with attention the 
 characteristics of the several Psalms, Avithout per- 
 ceiving a great diversity of style between many, and 
 at the same time such a strong resemblance in senti- 
 ment, in style and expression, between a considerable 
 portion, as to suggest, a i^riori^ an identity of hand. 
 This presumption is fully borne out by the titles. 
 The instances in which these indications do not fully 
 correspond with the internal evidence, are 'so few, as 
 to be fairly taken as rare exceptions to a clearly 
 established rule : and even these exceptions are not of 
 such a nature as to exclude the notion of an identity 
 of authorship. These will be examined in their pro- 
 per place. Meantime we would invite any intelligent 
 reader, versed in the style of the Psalms, to make 
 the experiment for himself. Let him, putting out of 
 view for a time the titles, examine the Psalms by the 
 light of their internal evidence, and I doubt not but 
 
 " For some observations on the Jcwisli musical instruments sec note 
 («) at the end of this Dissertation. 
 
160 ON THE TITLES OF THE PSALMS. [Dissert. II. 
 
 tliat lie will be uble to determine with accvivacy Avhich 
 Psalms are Davidical and which are not, in those 
 books or divisions of the Psalter where the composi- 
 tions of the royal Psalmist are of rare occurrence, and 
 intermixed with those of other prophets. I allude 
 particularly to the 4tli and 5th books. 
 
 The character of the Davidical Psalms is eminently 
 that which modern critics, Mr. Coleridge especially, 
 has distinguished by the epithet, subjective. The 
 mind of the prophet is evidently conscious and obser- 
 vant of its own workings, of the alternations of hope 
 and fear, of joy and sorrow : it is acutely sensitive 
 of the suggestions of conscience ; it is full of medi- 
 tation, and loves to analyse the course of its own 
 thoughts, their sources and their results. You al- 
 ways feel the author to be present : his personality is 
 identified with all he describes or imagines. His 
 concerns, whether spiritual or temporal, are insepa- 
 rably associated with the images of external nature 
 which he delights to paint, or with the moral lessons 
 which he inculcates ; with the recollections of the 
 past, and the visions of the future. Though a pa- 
 triot in the truest and holiest sense, his patriotism is 
 most intimately connected with the concerns of his 
 individual condition : though a prophet and an in- 
 structor of the people, he does not merely speak ex 
 cathedra., like Asaph and Ethan, and as the awful 
 oracle of God who inspires him, but as one whom 
 the Holy Spirit has instructed to draw the deepest 
 lessons of moral wisdom and of religious faith, liope, 
 and charity, from the sources of individual experi- 
 ence : so that the very burthen of all his instructions 
 may be concentrated in these words : " come hither 
 and hearken, all ye that fear God, and 1 will tell }()U 
 what he hath done for my soul ! " 
 
 The leadin"' characteristics of David's mind arc 
 shown to be, as we learn from the historical account 
 
§4.] rSALMS OF DAVID. 161 
 
 of his life, a singular depth of affection, a sensitive- 
 ness of conscience, and a moral courage, the result of 
 an elastic and indomitable faith. Of all the charac- 
 ters in Holy Scripture, perhaps, his may be said to 
 afford the most interesting picture of human nature; 
 chastened indeed, but purified by the Spirit of God. 
 Apart from his moral endowments, we see proofs of 
 a mind cultivated and refined to the utmost. He is 
 an accurate observer of the external face of nature ; 
 one in whom was deeply seated the very spirit of 
 pastoral and descriptive poetry, as attested by the 
 8th, the 23rd, the 68th, and the 29th Psalms; but 
 yet one who could never contemplate these visible 
 indications of God's majesty and goodness, apart from 
 considerations of a more religious and abiding mo- 
 ment. Thus, in the 18th Psalm, he could describe Avitli 
 the utmost justness and accuracy, and in language 
 unequalled for its sublimity, because perfectly true to 
 nature, the course of a thunder-storm, and the terrors 
 of the firmament ; yet so as but to heighten his 
 consciousness of the Divine power, of the saving 
 health of him who sitteth above the water-flood, 
 and remaineth a King for ever. He is a master of 
 human language, of poetry, and of music, yet so as 
 to make them minister to the inward melody of the 
 lieart ; using these divine endoAvments not as ends, 
 but as instruments to ends indestructible and eternal. 
 Though as a father, as a friend, as a subject, and as 
 a king, he overflows with the kindliest aftections of 
 humanity, and of that true philanthrop}' which in- 
 vests every even the most exalted social relation with a 
 character that may be fitly esteemed domestic, yet all 
 these are but subordinate indications of that love, 
 which finds its highest and most congenial employ- 
 ment in things divine, and in aspirations such as 
 these : " I will love thee, Lord, my strength ; the 
 Lord is my stony rock, and my defence ; my Saviour, 
 
 VOL. II. M 
 
162 ON THE TITLES OF THE PSALMS. [Djss^krt. II. 
 
 my God and my might, in whom 1 avIU trust; my 
 buckler, the liorn also of my salvation, and my re- 
 fuge." And again : " Whom have I in heaven but 
 thee ? and there is none upon earth that I desire in 
 comparison of thee." 
 
 And yet with this exquisite gentleness and ten- 
 derness of feeling are united, as we continually find 
 among the noblest natures, the highest attributes of 
 personal courage and moral fortitude. That heart 
 which would quail beneath the stings of conscience, 
 and feel affrighted at the power, still more than at 
 the consequences, of sin, which would dread like a 
 child the displeasure of God, was yet the heart of 
 one who was emphatically the man of war, the single 
 champion who rescued his country, when king and 
 people alike trembled before their adversary, and who, 
 till the evening of his days, led the armies of Israel, 
 and taught them to conquer, and to claim preeminence 
 over the surrounding nations. But his was no animal 
 courage ; it was unmixed with any spirit of pride or 
 presumption. He ever acknowledges God to be the 
 source of his prowess : as Him who taught his hands 
 to war, and his fingers to fight. He considers him- 
 self to be but as an instrument in the hands of the 
 Lord God of armies : and the source of his courage is 
 shown to be moral, not physical : it depends upon the 
 consciousness of Him who o-iveth him strenirth to 
 war, and teacheth his hands to fight, so that his 
 arm can break even a bow of steel. And there is the 
 fullest indication in th(^ Psalms, that the mind of 
 David was brought, through the discipline of the 
 Holy Spirit, to that happy condition which our Lord 
 compares to the spirit of a little child : that thorough 
 dependence on his special Providence, which is con- 
 sistent with, nay, is productive of the truest diligence, 
 and tlie vigorous performance of the duties of our 
 allotted callings. 
 
§4.] rSALMS OF DAVID. " 1G3 
 
 To enlarge upon qualities so varied, so profound, 
 and so interesting to every humanized mind, would 
 require, not an essay, but a volume. But it remains to 
 notice one eminent characteristic, whicli has been 
 shown by the most accomplished and profound critic 
 of our day-' to be the essential ingredient of a poetical 
 sj^irit. This is that emotion of the mind which the 
 ancients, by an epithet incapable of translation, have 
 called '■'' desideriiim '.''^ that tender and enthusiastic re- 
 collection of things past, that recurrence, not unmixed 
 with sadness and regret, to circumstances of life, 
 whether personal, social, or political, to habits or lo- 
 calities, which are either beyond our present reach, or 
 have irrecoverably gone by. To this feeling we owe the 
 most lasting monuments of genius in all languages, and 
 without this there can be no true and lasting poetry.*" 
 But wliile the poetry of David strongly exhibits this 
 feeling as regards the past, there is a kindred exercise 
 of the same feeling as regards the future. This is a 
 characteristic peculiar to the inspired instruments of 
 divine revelation. He looks forward to the city of 
 God, and the companionship of the Holy Spirit, with 
 that same desiderium which human affection limits to 
 earthly objects. For his heart is in heaven : his citizen- 
 ship is there : he is a stranger and pilgrim upon earth, 
 and he looks upon his future approach to that Pre- 
 sence where there is the fulness of joy and pleasure 
 for evermore, rather as a return to a long-lost home, 
 than as the entrance into a new state of being ; for it 
 is no longer mere human affection that speaks, but that 
 
 " Mr. Keble, in Lis Pr.electiones. 
 
 *• Perhaps in no secular poet is this feeling shown with more genuine 
 force, than in Camoens, one of the noblest, and most truly patriotic 
 spirits that ever breathed. His long estrangement from his beloved 
 country, and his sensitive recollection of her passing glories, gave rise 
 to strains as real, generous, and unselfish as any which human art can 
 show. 
 
 M 2 
 
161 0\ THE TITLES OF THE PSALMS. [Dissert. II. 
 
 Heavenly Spirit, which has entered into liim, and 
 taken up his abode with liim. 
 
 It is a matter of i)C'cuhai- and intense interest to 
 find, that the circumstances of David's life are so 
 minutely recorded in the historical books, as to illus- 
 trate in the fullest manner these most characteristic 
 effusions. His various vicissitudes, his alternations 
 of peril and security, of hope and fear, of prosperity 
 and adversity, the extraordinary but providential 
 chauirc in his circumstances : that reniarkal)le course of 
 life, so chequered in its details both moral and ex- 
 ternal, find their reflection in that portion of the 
 Psalms, expressly ascribed to him. Hence their varied 
 expression, and the apparent abruptness and irregu- 
 larity, at times, of their sequence. The analysis of 
 these Psalms Avill form one prominent object in the 
 3rd Dissertation of this work, in which both the per- 
 sonal and prophetical application of the Davidical 
 Psalms will be fully examined. But meantime we 
 may observe in general, that while a perfect consis- 
 tency and identity of character is observable through- 
 out, we have no obscure indications of the different 
 periods at which several were composed. Thus the 
 8th displays all the freshness, the innocence, and the 
 spirit of calm enjoyment, characteristic of the youthful 
 shepherd, keeping watch over his flock by night, and, 
 according to his w^ont, making his intense perception 
 of the magnificence of external nature subservient to 
 meditations most deeply religious, the germ of that in- 
 spired prophecy into which this exquisite Ode expands. 
 Now compare this with the 144th, nlso a Psalm of 
 David's. The identity of hand it is inijiossil^le not to 
 recognize. AVe have, in the first part, the recurrence 
 of the same reflection : 
 
 () LoiiD, wh:it is man, tliat thou takcst knowledge of him, 
 Tiic sou of man, that thou makcst account of him. 
 
§4.] rSALMS OF DAVID. 165 
 
 And in tlie latter part we have a like mention of 
 those creatures whicli God has subjected to man's 
 dominion. 
 
 Th;it our sheep may be thousands ten thousands in our 
 
 folds : 
 That our oxen may be strong to labour, that tliere be 
 
 no decay. 
 
 But these reflections and topics have now received 
 a diiferent application. The Psalmist no lono-er speaks 
 as a simple individual, apparently alone, amidst the 
 immensity of the creation, and conscious of his oA\m 
 insignificance. He is the king of a prosperous nation : 
 sensible of his responsibilities, solicitous for the welfare 
 of his people, awfully impressed with the sovereignty 
 of God, and at the same time deeply thankful for his 
 providential goodness. The 144tli Psalm is the 
 prayer of long experience, of matured wisdom both 
 political and religious: but both in this and in the 8th 
 is recognized alike the same childlike spirit of de- 
 pendence upon the Father of the Creation, the 
 peculiar God of Israel ; the same spirit of faith that 
 worketh by love. 
 
 If there be some Psalms of David less remarkable 
 for the personal characteristics already noticed, this 
 may be accounted for by his peculiar i:)osition in the 
 advanced years of his life, when he was the instructor 
 and prophet of his people. For example, the 2nd 
 and the llOtli are both prophetic, and there is an 
 absence of many of the usual expressions of deep 
 feeling and tenderness. But it is plain that this 
 arises from the nature of the subject. The same may 
 be said of the 105th, which is, from its very natvire, 
 strictly didactic. Still, if taken in connection with 
 the two preceding and the two following, so as to 
 form but a portion of one magnificent poem, the 
 usual cliaracteristics will be found. 
 
 M 3 
 
1C6 ON THE TITLES OF THE I'SALMS. [Dissert. 11. 
 
 There are two Psalms, the 71st and 72iid, which, it' 
 taken in connection, give a striking and affecting 
 jjicture of the last thoughts of the Royal Prophet. 
 Tile 71st Psalm is the sono; of an affed man. It 
 speaks of a long life, signally favoured by Divine Pro- 
 vidence, and now near its termination. 
 
 For thou art my hope, O Lord, the Lord : 
 
 My trust, even from my youth. 
 
 Through thee have I been holdcn up, even from the woiub : 
 
 From the bowels of my mother thou hast taken me. 
 
 Cast me not off in the time of old age : 
 
 In the failing of my strength forsake me not. 
 
 And now Avhen I am okl and greyheaded, O God, forsake 
 
 me not. 
 Until I have declared thy power to tliis generation. 
 To all those that are to come thy might. 
 
 The desire expressed in these words is amply 
 fulfilled in the succeeding Psalm, that glorious pro- 
 phecy which shall be presently examined. In the Psalm 
 before us, we have exhibited all the hopes, tlie fears, 
 the faith, and hope, and at length the joy and thank- 
 fulness, which characterize the Songs of David. It 
 has indeed been objected, that in David's old age his 
 enemies were vanquished, and all cause for appre- 
 hension was removed. Put surely the whole tenor of 
 Scripture history shows, that there were the seeds 
 of faction and rebellion still latent among the people, 
 though, by God's mercy, for a time restrained : nor 
 were his surrounding enemies finally subdued. His 
 parting words (as recorded in 2 Sam. xxiii. G, 7.) 
 speak of the wickedness of the men of Belial. And 
 he knew, from past experience, and from matured 
 conviction, tliat God's power alone can preserve from 
 evil, whether temporal or spiritual : tliat under cii'- 
 cumstances the most prosperous, we nuist walk witli 
 fear and trembling, and seek tlie continuance of the 
 Divine })rot('Ction l)y constant prayer; and tliat a 
 
§4.] rSALMS OF DAVID. 107 
 
 leading maxim of life slioiild be this : " Let him that 
 thiiiketh he standeth, take heed lest he fall." 
 
 But at the last we find that all care and mis- 
 giving Avas dispelled. For in the Psalm that follows, 
 all is hope and joy. 
 
 That the 72nd was the last which he was inspired 
 to compose, appears not oidy from the notice subjoined, 
 (" The prayers of David the Son of Jesse are ended") 
 but from the internal evidence. It exhibits the ex- 
 piring briglitness of the pr()j)hetic flame, foretelling, 
 under the innnediate notion of the reign of his beloved 
 son Solomon, the glories of Christ's dominion. It is 
 full of paternal affection, of piety, of faith and hope ; 
 of the most exquisite imagery, at once sublime and 
 beautiful. 
 
 The mountains shall bring peace to the jieople : 
 
 And the little hills, in righteousness. 
 
 They shall fear thee, as long as the sun enduretJi, and 
 
 before the moon : 
 For u'cnerations of o'enerations. 
 He shall come down like rain into the grass. 
 As showers that water the earth. 
 
 And he shall reach from sea to sea. 
 
 And from the river to the ends of the earth. 
 
 There shall be an handful of corn on the earth, on the top 
 
 of the hills. 
 His fruit shall shake like Lebanon, 
 And they shall flourish out of the city like the gi-ass of the 
 
 earth. 
 
 Where it is to be observed, that this imagery has a 
 strong resemblance to the " last words of David," as 
 recorded in the Second Book of Samuel (xxiii. 4.) 
 
 And he shall be as the light of the morning tvlien the 
 
 sun riseth. 
 Of a morning without clouds ; 
 As the tender grass spriiufing out of the earth 
 By clear shining after rain. 
 
 ji 4 
 
168 ON TIIIC TITLES OF THE TSALMS. [Dissert. II. 
 
 But this is not the chief beiiuty and excellence of 
 the Psalm, when regarded apart from its high pro- 
 phetical functions. There is a pervading tenderness 
 of the moral sense, rejoicing in the merciful nature of 
 the coming dispensation, as the chief ground for his 
 thankfulness. The mention of mercy to the poor 
 continually recurs, and is interspersed amidst the 
 most magnificent imager}'. 
 
 He shall rule thy people in righteousness : 
 And thy poor in judgment. 
 
 He shall judge the poor of the people ; 
 He shall save the children of the needy, 
 And shall break in pieces the opi^ressor. 
 
 For he shall deliver the needy when lie crieth. 
 
 And the poor, and him who hath no helper : 
 
 He shall spare the simple and needy, 
 
 Yea, the souls of the needy lie sliall save : 
 
 From falsehood and wrong he shall redeem their soul. 
 
 And precious shall their blood be in his eyes. 
 
 Thus every feature is eminently Davidical. The 
 only characteristic that is absent, is the prayer of de- 
 liverance from personal evil : but this was now need- 
 less. The peace of God was with him ; and his eyes, 
 before they were closed to the view of earthly things, 
 could look forward with an unclouded gaze, to the 
 blessings of that dominion which his God had promised 
 to establish for ever. 
 
 I doubt not, but that those who have studied the 
 spirit of the patriarchal prophecies, especially in the 
 parting words of Moses, and of Jacob, and who believe 
 that at the approach of death, the inspiring Presence 
 of God is specially with his servants, will feel a con- 
 viction, that this Psalm docs indeed contain the last 
 prophecy of the King of Israel, and that in it the 
 words of l^avid the son of Jesse are ended. 
 
§5.] rSALMS OF ASAl'ir. 109 
 
 § 5. OF THE PSALMS OF ASAPH. 
 
 The meaning of this title is not so clear as that 
 which defines the Daviclical Psalms. There are many 
 dithculties in the way of attributing all the " Psalms 
 of Asaph" to one individual. It is certain, however, 
 that there was an individual composer of that name. 
 For we are told by the express words of Holy Scrip- 
 ture, that Hezekiah commanded the Levites " to sinir 
 praises unto the Lord in the words of David, and of 
 " Asaph the Seer,'"* a notice which plainly designates 
 Asaph as the author of the words, not of the music 
 only, of one or more Psalms. In the Book of Nehe- 
 miah", Asaph is mentioned in the same sentence with 
 David, as one of the chief promoters of the Temple 
 Psalmody : '.' For in the days of David and Asaph of 
 old, there were chief of the singers, and songs of praise 
 and thanksgivhig unto God." The obvious inference 
 would be, that the Asaph mentioned in these passages 
 was the contemporary of David, one of the directors 
 of the three Temple choirs. But Bishop Patrick 
 justly observes, that several of the Psalms of Asaph, 
 so far from having reference to the times of David, 
 contain strong indications of being composed in a 
 later age, during the reigns of Jehoshaphat and He- 
 zekiah. He therefore refers them to another author 
 of the name of Asaph, whose name is mentioned 
 casually in the Scriptures.'' And he observes, that the 
 elder Asaph is nowhere called a Seer. 
 
 The last objection seems to admit of an easy reply. 
 That Asaph, and all the directors of the Temple 
 service, had a portion of special ins[)iration, may be 
 clearly gathered from the whole tenor of the historical 
 account of the Temple service ; a service which was 
 instituted by the express command of God, and in 
 
 » 2 Chron. xxix. 30. "^ xii. 4G. ' 2 Kings, xix. 18. 
 
170 ON THE TITLES OF THE TSALMS. [Disskkt. IL 
 
 the direction of Avhich the pi'opliets Nathan and Gad 
 bore a part. It appears also difficult to believe that 
 Asaph, the director of one of the two principal choirs, 
 should have no part in the composition of those lioly 
 Songs, when his coordinate brethren, Henian and 
 Ethan, had, if the titles of the Psalms are to be re- 
 garded as historical. 
 
 Still the first difficulty stated by Bishop Patrick 
 is obvious. It might indeed be solved by the sup- 
 position that Asaph, the contemporary of David, was 
 inspired to prophesy the events of Jehoshaphat's and 
 Hezekiah's reign, in the same manner as Isaiah foretold 
 the destinies of the Jewish people, and even mentioned 
 Cyrus by name. 13ut this supposition is not consis- 
 tent with the economy of miracle, so visible in the 
 Divine dispensations. Isaiah foretold some of the 
 cardinal events of prophetical history, intimately con- 
 nected with that great scheme of redemption, of which 
 he was the emphatic herald. Not so with the events 
 of Hezekiah's reign. Again, in the Psalms of Asaph, 
 the prophet evidently performs " actoris partes:" he 
 is individually concerned and interested in the events 
 which he relates. And lastly, we have in the style 
 of many of these Psalms, strong indications of the 
 style and circumstances of King Hezekiah, and of the 
 prophet Isaiah, his contemporary. 
 
 The conclusion to Avhich the present writer has 
 arrived, and which he will endeavour to substantiate by 
 a brief analysis of the Psalms themselves, is this, that 
 the title "Psalm of Asaph," bears a considerable 
 latitude of meaning. It is quite evident, that the 
 Avord of (as well as the Hebrew particle 't, of wliich 
 it is the translation) may indicate either the author, 
 or the arranger, or the director of the Psalm. Tluis 
 the Psalms of David are clearly to be assigned to 
 David, for the most part, as their author, sometimes 
 as their arranger. Tlie So?igs of the Sons of Korah, 
 
§5.] PSALMS OF ASAPH. 171 
 
 seem as evidently to mean the Psalms appropriated 
 to that division of the Temple choir. So that the 
 i*salms of Asaph may mean, sometimes the composi- 
 tions of Asaph, sometimes the Psalms which were deli- 
 vered into the hands of Asaph and his brethren. 
 
 Now from an examination of the l^salms themselves, 
 as well as of that sentence of Holy Scripture which 
 expressly mentions Asaph as a composer, I would 
 infer, that at least one of the Psalms was written by 
 Asaph, the contemporary of David, and performed by 
 that choir of which he was the director : while the 
 greater part were composed in later times, and per- 
 formed by the sons of Asaph ; the title Psabns of Asaph 
 being retained, but being elliptical in its meaning. 
 As Jacob, and Joseph, and Ephraim, are continually 
 used to signify the descendants of those patriarchs, so 
 Asaph may be understood to mean that portion of 
 the choir which was composed of his descendants. 
 
 This appears the more probable, from the fact that 
 there are exactly twelve Psalms bearing the name of 
 Asaph, and also twelve appropriated to the sons of 
 Korah.'' There were three choirs: 1. That of Asaph, 
 composed of the descendants of Gershom. 2. That 
 of Heman, composed of the descendants of Korah, 
 and ultimately of Kohath ; and called indiiferently in 
 Holy Scripture, Korhites (or sons of Korah), and 
 KoHATHiTES. 3. That of Ethan, or Jeduthun, the 
 descendants of Merari. The last-mentioned choir 
 seems to have dwindled away, or to have been merged 
 in the two former choirs, after the time of David, 
 since no subsequent mention is made of it. The 
 choir of Asaph would seem to have been the smallest 
 in David's time, since out of the twenty-four courses 
 but four were appropriated to it, while six were given 
 to Ethan, and fourteen to Heman, or the Korhites''; 
 
 " Vide note (i) on this passage, at the end of this Dissertation. 
 '' Vide note (c) at the end of this Dissertation. 
 
172 ON TllK TITLKS OF THE PSALMS. [Disskut. H. 
 
 but in after times it increased, so as to share the 
 service witli the Korhites. After the captivity, as 
 appears from Nchemiah', the chiklren of Asaph only 
 constituted the choir. 
 
 From this equal appropriation of Psalms between 
 Asaph and the sons- of Korah, I would therefore infer, 
 that whoever were the authors of the Asaphic Psalms, 
 they were appropriated to the use of the choir at a 
 time when the sons of Ethan had either become ex- 
 tinct, or ceased to form a separate body. 
 
 It remains to illustrate this theory by an examina- 
 tion of the Asaphic Psalms themselves. 
 
 In general it may be remarked, that the Psalms of 
 Asaph do not show an identity of hand. AYith one 
 exception (the 67th), and that probably apparent 
 only, they are not Davidical. Sometimes they have, 
 like the 50th, a stern, sententious character, unmixed 
 with personal feeling, more like the oracle of a seer 
 than the voluntary effusions of a psalmist. At other 
 times they show indeed deep feeling, but more that 
 of Isaiah than of David. The fears and solicitude 
 they express are rather national than personal ; the 
 effect of certain specific and external aggressions and 
 calamities, not of the trials and temptations which 
 ordinarily beset the human soul. They are hortative, 
 didactic, and respective of public, not of individual 
 concerns.'' 
 
 The 50th Psalm, already analyzed in the first Dis- 
 sertation (§ 2. p. 13.), has all the stern and majestic 
 features of a message from the Almight}', in which the 
 Prophet is completely abstracted from all personal 
 thoughts. It is a warning to the people, not to neglect 
 the spiritual homage of their hearts, wliile offering to 
 
 " vii. 44. 
 
 '' Spiritiis Asajihi lioc lialict peouliare, ut de rebus EcdesiiP tristibus 
 iiicMlitatiir, undo Iiic tertlus liber continct fere perpetuas (juivriinonias. — 
 (ac.nchrtn'd in Ps. /.r.riii. 
 
§.'>.] rSALMS OF ASAPH. 173 
 
 (f()(l tlic external sacrifices of tlie Law: to observe 
 purity of conduct and of thought, as more essential 
 than even the outward conformity to the prescribed 
 rituaL Now it appears to me more than probable 
 that this Psalm had for its author Asaph, the con- 
 temporary of David, and also that it was the very 
 composition wliich Ilezekiah made use of when re- 
 storing the Temple service. 
 
 Tliat it was composed in David's time would appear 
 from the place it occupies in the Psalter, as connected 
 with the 51st Psalm, which unquestional)ly is the 
 composition of David. The topics of the two Psalms 
 are similar. The 50th speaks of the essential ac- 
 companiments of the material sacrihccs, of the spirit 
 in which they should be offered: the 51st enlarges 
 upon those secret sins, Avhich the 50th had repre- 
 hended, and recurs to the true nature of sacrifice, in 
 terms of deep personal feeling. 
 
 For thou luist uo pleasure in sacrifice, that I should give it: 
 In burnt offering thou delightest not. 
 The sacrifice of God is a spirit that is broken : 
 A heart that is broken and bruised, O God, thou wilt not 
 despise. 
 
 And having thus mentioned his own peculiar sacri- 
 fice, his thoughts recur to his beloved Jerusalem, and 
 to his people. He ends the Psalm Avitli a prayer, that 
 when the walls of Jerusalem shall have been built, 
 when the Temple (that great object of his heart) 
 shall have been finished, the sacrifices there offe]*ed 
 may be such as God requires, accompanied with that 
 contrition and purity so largely insisted on by the 
 messenger of the Almighty. 
 
 Do good in thy pleasure to Sion : 
 Thou slialt build the walls of Jerusalem : 
 Then slialt thou have pleasure in the sacrifices of righteous- 
 ness. 
 
174 ON THE TITLES OF THE PSALMS. [Dissert. IL 
 
 In burnt offerings and oblations : 
 
 Then !?luill tliey uiler upon thine altar young bullocks- 
 
 This view of the concluding lines "will obviate a 
 prevalent notion, that the 51st Psalin was written 
 during the Captivity. It is not sufficiently remem- 
 bered, that in David's time, the most characteristic and 
 holy features of Jerusalem, those temple walls, which 
 were the admiration of future generations, were not 
 begun. And thus the ancient tradition, and the title 
 of the Psalm, ascribing this to David, after the most 
 uidiappy event of his life, are vindicated. 
 
 It might be a j^nori expected, that in a collection 
 which speaks so largely of repentance and sin, and 
 which alludes so markedly to the circumstances of 
 his own life, his great offence should have been pro- 
 minently mentioned. There is not a word in the 51st 
 Psalm but harmonizes with the generally received 
 notion that it was the outpouring of an awakened 
 conscience, after Nathan the prophet had spoken to 
 him. But one apparent difficulty stands in the way ; 
 namely, this assertion, — 
 
 Against thee, against thee only have I sinned, 
 And this Avickedness in thy sight have I done. 
 
 It is true that David's offence was not only against 
 God but against man.'' But the meaning of the ex- 
 pression is this, that God alone was cognizant of the 
 offisnce in its full extent. It was done secretly, as the 
 prophet Nathan declares. Even the accomplice in 
 the adultery was ignorant of one great feature of it, 
 his design to ])\xi her husband Uriah to death. No 
 human creature was privy to his sin in its beginning, 
 and in all its complicated progress. The expression is 
 of one who is making full confession to Almighty God, 
 
 ■ See 1)k. Towxson's 7tli Discourse. 
 
§5.] PSALMS OF ASAPH. 175 
 
 laying open to liini his wickedness in every particular 
 of thonght, Avord, and deed. 
 
 But how awfully is the moral efFect of Ijotli these 
 Psalms heightened, if we conceive (as we surely may 
 do, by taking them both in their obvious meaning 
 and their present sequence) that at the very time 
 when David was plotting or effecting his great sin, 
 the prophet Asaph, stationed as he was with his 
 brethren at Jerusalem'' before the ark, was inspired 
 to pronounce this fearful warning, which reprobated 
 all secret sins, not more heinous than that in which 
 the ruler of the people was now engaged. We 
 may well conceive how vividly he must have felt its 
 application, when recalled by another prophet to a 
 sense of his wickedness : and with what earnestness 
 and sincerity he poured forth that prayer of contrition 
 which forms a sequel to this oracular Psalm. The 
 subject of both is evidently connected, Avhile the indi- 
 vidual character of their several composers is most 
 distinctly marked. 
 
 That the 50th Psalm Avas adapted by Hezekiah to 
 the Temple service, I would infer chiefly from the 
 general tenor of the Scriptural narrative in the 29th 
 Chapter of the Second Book of Chronicles, where it 
 is recorded, that he made a solemn assembly of the 
 people, proclaimed a great passover, and invited all 
 the tribes of Israel to join in the renovated services 
 of the Temple, desecrated during the reign of Ahaz. 
 The speeches of the king, recorded in that and the 
 folloAving chapter, contain a confession of guilt, and 
 an earnest exhortation to repentance. And as we 
 are expressly told, that upon these occasions the 
 words of Asaph were used, we can hardly imagine 
 a more appropriate opening of that solemn festival, 
 when the sacrifices of the law were restored, than this 
 
 » 1 Chron. xvi. 37. 
 
176 ON THE TITLES OF THE TSALMS. [Dissert. II. 
 
 oracular exhortation to purity of worship and con- 
 trition of heart. The exordium in particular would 
 form an appropriate type of the final assembly of all 
 nations at tlie final judgment, in this solemn convoca- 
 tion of the tribes of Israel, one of the greatest assem- 
 blies that ever was held, as we are assured by the 
 words of the inspired narrative : " For since the time 
 of Solomon, the son of David, king of Israel, there 
 Avas not the like in Jerusalem.'"' 
 
 The other eleven Psalms of Asaph are found in 
 immediate sequence ; and none of these, if the theory 
 now proposed be tenable, are the work of the earlier 
 prophets. They have, for the most part, reference to 
 circumstances connected with the reign of llezekiah, 
 or shortly preceding it. 
 
 For example. It has been allowed by many critics, 
 that the 73rd Psalm refers to the fears and misgiv- 
 ings of Hezekiah, and the subsequent events, as re- 
 lated in the 18th and 19th chapters of the Second 
 Book of Kings, when Sennacherib invaded Jerusalem. 
 The passage, especially at the 16th verse, is strikingly 
 indicatory of the occasion. 
 
 And I thought to know tins, 
 A trouble it was in mine eyes, 
 Until I went into the sanctuary of God; 
 Tiicn understood I their end : 
 Truly in slippery places didst thou set tlicm : 
 Thou nuikest them fall into destruction. 
 O how are they brought to desolation, as in a moment ! 
 They peri.sh, they arc consumed with terrors ! 
 As a dream when one awaketh, 
 
 So, O LoitD, from the city their imnge thou shalt make to 
 vanish. 
 
 Here it is surely unnecessary to remind the reader 
 of the Scriptural narrative, which tells us that lleze- 
 kiali, after having heard those blasphemous speeches 
 
 ■ 2 Chron. xxx. '26. 
 
o.} PSALMS OF ASAPII. 177 
 
 of Rabsliakeli, alluded to at the befjinnino; of tliis 
 Psalm, went into the house of the Lord, and imme- 
 diately was comforted by the Divine message, through 
 the mouth of Isaiah, assuring him of that l)iviiie 
 judgment which he shortly afterwards beheld/ 
 
 There are some passages in this Psalm resembling 
 the style of Isaiah ; especially that verse : 
 
 With thy counsel thou shult load inc, 
 
 And afterwards with glory shalt receive me : 
 
 which finds its parallel in Isaiah, Iviii. 8.: 
 
 The gloiy of the Lord shall be thy rcrcward. 
 
 And the concluding line, preserved in our Psalter, 
 though not found in the Hebrew, 
 
 In the gates of the daughter of Slon, 
 
 has an expression common to Isaiah ; especially in 
 that very passage which speaks of the destruction of 
 Sennacherib : 
 
 The virgin, the daughter of Zion, hath despised thee, and 
 laughed thee to scorn. 
 
 The 74th Psalm speaks of the desolation of IMount 
 Sion, and the desecration of the Temple. Hence it 
 has been commonly assigned to the times of the Cap- 
 tivity. But it is too commonly forgotten, that a 
 great desolation took place during the wicked reign of 
 the predecessor of Ilezekiah, Ahaz, who plundered 
 the Temple, and shut it up, and who for his sins was 
 punished by the invasion of his enemies.'' To his 
 reign this Psalm would strictly apply. And its whole 
 style and strain is in the manner of Isaiah, Avho seems 
 to have been its author. Especially in the following 
 passage : 
 
 " The case of Jehoshaphnt, as rolafod in 2 Chron. xx. 5 — 18., is 
 sti'ikingly parallel to that of Ilezekiali. 
 '■ 2 t'hron. xxviii. 16—2.5. 
 VOL. IF. N 
 
178 ON THE TITLES OF THE PSALMS. [Disskrt. 11. 
 
 But GckI is my King of old, 
 
 Working salvation in the midst of the earth. 
 
 It was thou who didst break asunder l)y thy strength the 
 
 sea. 
 Thou didst shatter the heads of the dragons in the waters : 
 It was thou who didst crush the heads of Leviathan : 
 Thou gavest him for meat to the people of the wilderness. 
 It was thou who didst cleave the fountain and the flood : 
 It was thou who didst dig up rivers of might. 
 Thine is the day ; thine also is the night : 
 It was thou who hast prepared the light and the sim : 
 It is thou who hast set all the borders of earth : 
 Summer and winter, it is thou who hast made them. 
 
 Compare this with the following passages of Isaiah. 
 In the first is to be observed the remarkable simile of 
 the dragon, so characteristic of Isaiah. 
 
 Art not thou it that hath cut Kahab, 
 
 That hast wounded the dragon ? 
 
 Art not thou it which hath dried the sea. 
 
 The waters of the great deep ; 
 
 That hath made the depths of the sea a way 
 
 For the ransomed to pass over. 
 
 The Lord thy INIaker, 
 
 That hath stretched forth the heavens. 
 And laid the foundations of the earth.* 
 
 Now the connection between this Psalm and the 
 79th is evident. The topics are the same, so is the 
 general flow of the sentiment, and some of the expres- 
 sions ; especially that of the " sheep of thy pasture." 
 "Which last expression is repeated in the 80th T^salm, 
 evidently its sequel ; and this Psalm, as will be pre- 
 sently sho^vn, is much in the style of Isaiah. So that 
 from this chain of evidence, there is strong reason for 
 attributing the whole to him as the author. 
 
 The 7.')th, however, bears marks of an earlier date. 
 It is stern and sententious in its style: nor can it be 
 
 " Isaiah li. 9, 10. l.S. 
 
§5.] PSALMS OF ASAPH. 179 
 
 said to be characteristic of any one known composer. 
 Tliis, and the 82nd, wliich closely resemble one 
 anotlier, both in style and subject matter, I would 
 refer to the earlier reign of Jehoshapliat, the great 
 restorer of justice and law in Judah. Both these 
 Psalms cori-espond to the charge which Jehoshapliat 
 gave to the judges appointed by him in every city. 
 " Take heed Avhat ye do: for ye judge not for man, 
 but for the Lord, who is with you in the judgment. 
 Wherefore now let tlie fear of the Lord Ije n])on }'ou : 
 take heed and do it ; for there is no iniquity witli the 
 Lord our God, nor respect of persons, nor taking of 
 gifts." ^' 
 
 The occurrence of this Psalm and its companion, 
 the 82nd, among the other Psalms of a Liter date, 
 may be accounted for by the remarkable coincidence 
 between the events of Ilezekiah's reign, and that of 
 Jehoshapliat. Both experienced the same miraculous 
 interference from heaven against their enemies, and 
 both were the providential restorers of the worship 
 and civil polity of Judah. It is therefore perfectly 
 consistent with the tenor of his history to suppose that 
 Hezekiah adopted those Psalms composed in the reign 
 of Jehoshapliat, and delivered them to the choir of 
 Asaph during its course of attendance. 
 
 There can be no difficulty with respect to the suc- 
 ceeding Psalm, the 76tli. This manifestly speaks of 
 the miraculous discomfiture of Sennacherib's army. 
 The style is awful and sublime to the highest degree, 
 and apparently distinct both from that of David and 
 Isaiah. 
 
 But the 77th Psalm seems to be strongly Davidical. 
 The whole course of reflection, and the use made at 
 the concluding part of the sublime imagery, are ex- 
 actly in his manner. The title, however, has its dif- 
 
 • 2 Chron. xix. G, 7. 
 N 2 
 
180 ON TIIK TITLES OF THE TSALMS. Disseht. 11. 
 
 ficulties. The Psalm is ascribed to both Jeduthun and 
 Asai)h. I would account for this l)y supposing, that 
 it was delivered by Da\'Id to the hand of Jeduthun, 
 for the use of his choir ; and that subsequently, wdien 
 that choir was extinct, Ilezekiah assigned it to the 
 Asaphites. The circumstances were very similar to 
 his own, both when assailed by the Assyrians, and 
 when threatened wdth ap})roaching death ; and the 
 course of reflection, though not the style, resembles 
 that of the 74th. 
 
 At the same time it is to be observed, that a dis- 
 tinction may be drawn between the Elegies of David 
 and the present Psalm. The prophet is overwhelmed, 
 indeed, with sorrow; and lie is employed in searching 
 out his spirit, and in midnight meditations. Still the 
 subject of his care is not personal affliction, but na- 
 tional disasters. He is deploring tliose calamities of 
 God's people, whether threatened or experienced, 
 which mainly form the theme of the adjoining Psalms. 
 It is therefore far from improbable, that Asapli the 
 seer may have been its author. 
 
 At all events, its location is a beautiful instance of 
 design. The last stanza and the concluding words 
 especially, " Thou leddest like sheep thy people, by 
 the hand of closes and Aaron," form the note of pre- 
 paration for the magnificent historical poem next in 
 scfiuence ; that great Parable, wdiich so fully shows 
 how God had redeemed his people, the sons of Jacob 
 and Joseph, and divulges the moral cause of the fre- 
 quent punishments of the chosen people, and answers 
 the fjucstion, "Hath God forgotten to be gracious? 
 Hath he shut up in anger his loving-kindnesses ?" 
 
 The whole of the following Psalms, to the 81st in- 
 cluded, are in sequence ; and form but parts of one 
 suljlime poem. For, the historical parable finished, 
 the prophet recurs, in the 79th and 80th Psalms, to 
 the desolation of Jerusalem, still recognizing God's 
 
§5.] PSALMS OF ASAPH. l81 
 
 care for the sheep of his pasture, still trusting in that 
 Providence, the scheme of which he had unfolded ; 
 while the 81st is the Peripeteia, as it were, of the 
 drama; a joyful change in the fortunes of the people; 
 the providential history of Israel being still borne in 
 mind. But Ave nuist now proceed to a more parti- 
 cular analysis. 
 
 The 78th Psalm is purely didactic. \\y wliom it 
 was composed does not appear. Not, hoAvever, by 
 David ; since its style is severe and monitory : the 
 theme being tlie offences of the people, to which the 
 prophet continually recurs : and tlie mercies of God 
 arc shown to be altogether undeserved by them. 
 
 The oracular announcement of the beginning is in 
 the manner of Asapli the seer, the author of the 50th 
 Psalm. 
 
 Give ear, O my people, to my law: 
 Incline your cars to the words of my mouth 
 I will open my mouth in a parable, 
 I will utter dark sayings of old. 
 
 This parable and these dark sayings are evidently 
 the secrets of God's special Providence ; his settled 
 plan of redeeming and establishing his people, knoAvn 
 indeed to the fathers of Israel, but unknown to the 
 other nations of the world. And hence this passage 
 is applied to our blessed Lord'' ; who spake of yet 
 higher instances of God's Providence in the establish- 
 ment and revelation of the kingdom of heaven. 
 
 Compare this exordium with that of the historical 
 Psalms of David, (the 105th, and that which folloAVS,) 
 and the difference of character Avill at once be evi- 
 dent. David's are full of heartfelt thanksgiving : the 
 doctrine of Asaph is divested of every thing per- 
 sonal. 
 
 •" St. Matth. xiii. ;V"). 
 
 N 3 
 
182 ON THE TITLES OF THE PSALMS. [Dissert. II. 
 
 The composition of this Psahn is in the highest 
 degree regular. After the exordium, which sets forth, 
 in general terms, the estahHsliment of God's cove- 
 nant, and the rebellious spirit of those with whom 
 the covenant was made, the prophet proceeds to 
 mention in detail the various deliverances and the 
 monitory chastisements of God, regularly alternated 
 with a mention of their reiterated rebellions. This 
 altex'nation is exhibited in the arrangement made of 
 this Psalm in the former volume of the present work. 
 The poem may, perhaps, be not unfitly termed an his- 
 torical epic, since by the same artifice employed by 
 Homer, and imitated by subsequent poets, the history 
 of the wonders in Egypt is introduced as an episode, 
 and most gracefully connected with the main subject, 
 both preceding and following. 
 
 Before proceeding to the next Psalm, it may be 
 well to observe upon the extremely beautiful arrange- 
 ment of one of the portions of this Psalm, which 
 coidd not be conveniently exhibited in the translation 
 of the Avhole. The reader will perceive, in the fol- 
 lomng lines, an exact epanodos : the wrath of God 
 being the commencing and terminating topic ; and 
 the intermediate inversion of the stanzas is also very 
 remarkable. 
 
 Tlicn the Lord heard, und was wroth. 
 
 And a fire was kindled in Jacob, 
 
 And anger also came up in Israel. 
 
 For they believed not in God, 
 
 And trusted not in his salvation. 
 
 So he commanded the clouds from above. 
 
 And the doors of heaven he opened : 
 
 And he rained down upon them manna to eat, 
 
 And the corn of heaven he gave them. 
 
 The food of tlic mighty ones man did cat : 
 
 Bread he sent them to the full. 
 
 He made tlie east wind to blow in heaven ; 
 
 And he ln'ou^lit in by his jwwer the south wind: 
 
§ 5.] PSALMS OF ASAPH. 
 
 And he rained upon them flesh as the dust. 
 And as the sand of tlie sea the fowl of wing ; 
 And he let it fall in the midst of their camp, 
 Round about their habitations. 
 
 And they did eat, and were filled exceedingly ; 
 And their own desire he gave them : 
 They were not disappointed of their desire. 
 
 While their meat was in their mouths. 
 
 But the wrath of God came upon them: 
 
 And slew the fattest of them. 
 
 And the chosen men of Israel smote down. 
 
 The 79th Psalm is to be referred to the desolations 
 under Ahaz, for the same reasons that have been 
 assiii'ned in our observations on the 74th. For thousfh 
 the history of the oppressions of Judali at that time 
 are but briefly given, we know from the spirit of the 
 narrative in the Second Book of Chronicles'* that 
 these were most severe. One hundred and twenty 
 thousand of the most valiant among the Jews were 
 slain in one day : two hundred thousand were carried 
 away captive : and the Lord made " Jndah naked : " 
 Tiglath Pilneser, king of Assyria, distressed their 
 king ; and the Temple was pillaged and profaned. 
 
 The style of the Psalm, and its general topics, 
 closely resemble the 64th chapter of Isaiah, especially 
 in its concluding verses. 
 
 Be not wroth very sore, O Lokd, 
 Neither remember iniquity for ever : 
 Behold, see, we beseech thee. 
 We are all thy people. 
 Thy holy cities are a wilderness, 
 Zion is a wildex'ness, 
 Jerusalem a desolation. 
 
 Our holy and our beautiful house, where our fathers praised 
 thee, 
 
 " Chaptor xxviii. 
 
 N 4 
 
 183 
 
1S4: 
 
 ON Till': TITLES OF THE PSALMS. [Dissert. II. 
 
 Is burnt uj) with fire ; 
 
 And all our j)leasant thiufj.-* arc laid waste. 
 
 "Wilt thou refrain thyself for these things, O Lord? 
 
 AVilt tluju hold thy peace, and afttict us very sore?" 
 
 It is to be remarked, that there is a strong resem- 
 blance between the seventh verse of this chapter and 
 the ninth verse of the 74th Psalm. Isaiah bewails 
 the dearth of true servants of God, of prophets : 
 
 And there is none that calleth on thy name. 
 That stirreth up himself to take hold of thee. 
 
 The Psalm laments that " we see not thy tokens, there 
 is not one prophet more : no, not one is there among 
 us that understandeth any more." 
 
 The expression, " sheep of thy pasture," forms the 
 note of preparation for the following Psalm, which 
 was written either at the same time, or during the 
 reign of Plezekiah : Avhen the desolations of Israel 
 had been witnessed, and those of Judali were appre- 
 hended. 
 
 Of this most beautiful Psalm (the 80tli) the style 
 strongly resembles that of Isaiah, especially in the 
 similitude of the vine. Compare with this the simile 
 in his 5th chapter. 
 
 ISIy well-beloved hath a vineyard in a very fruitful hill, &c. 
 And now go to, I will tell you what I will do to my vine- 
 yard : 
 I will take away the hedge thereof, and it shall be eaten up. 
 And break down the wall thereof, and it shall be trodden 
 down. 
 
 For the vineyard of the LoRi) of hosts is the house of 
 
 Israel, 
 And the men of Judah his pleasant plant. ^ 
 
 The beginning of the Psalm also reminds us of tlie 
 prayer of Hezekiah : " Lord God of Israel, wliich 
 
 " V. 9— li. '' V. 1—7. 
 
§5.] PSALMS OF ASM'ir. iHo 
 
 dwellest between the clierubims." So tliut T am dis- 
 posed to tittribute tliis Psalm to the time of Jlezekiah, 
 and its avitliorsbip to Isaiah. 
 
 The 81st Psalm has already been fully examined 
 in the second section of the first Dissertation in tliis 
 Avork. It need only be observed that its style is not 
 Uavidical : that its subject, like that of the otlier 
 Psalms of Asaph, is national, and that there is notliirig 
 to prevent us from assigning its present j)osition at 
 least, if not its composition, to tlie time of Ilezekiali. 
 
 The 82nd Psalm has already been examined in 
 the same section ; and the observations made on 
 the 75th apply also to it. The last in the collec- 
 tion, liowever, the 83rd, seems to allude most pointedly 
 to events in the reign of Jehoshaphat, when the chil- 
 dren of Amnion and of Moab, and the Ishmaelitcs, 
 combined against Judah. And this would seem to 
 be the very counterpart of Jehoshaphat's prayer, 
 recorded in that chapter, which Avas answered by the 
 miraculous discomfiture of his enemies. 
 
 It is here observed, however, by critics, that the 
 mention of Assur, or the Assyrians, would bring it 
 down to a later date than the reign of Jehoshaphat : 
 since there is no record of so early an invasion by 
 that nation. Besides which, the similitudes of tlie 
 "wheel, and the stubble before the wind," find a 
 strong parallel in Isaiah, a prophet of a later age. 
 
 The nations shall rush like the rushing of many waters : 
 
 But God shall rebuke them. 
 
 And they shall flee far off. 
 
 And shall be chased as the chaff of the mountain bcft)rc the 
 
 wind. 
 And like a rolling thing before the whirlwind.* 
 
 But we may either suppose Isaiah to have amplified 
 the more ancient Psalm, or to have applied the 
 
 •" xvii. 13. 
 
186 ON TIIK TITLES OF THE TSALMS. [Dissert. II. 
 
 circumstances of Jehoshaphat to tliose of bis own 
 time, when, under both Ahaz and Ilezekiah, such 
 powerful combinations were made against the king- 
 dom of Judali. 
 
 § 6. OF TUE rSALMS OF THE SONS OF KORAH. 
 
 The meaning of this Title lias been sufficiently 
 shown in the preceding section to refer to one of the 
 three choirs of the Temple. That the Psalms to which 
 it is prefixed were composed before the Babylonish 
 Captivity, is e^'ident from the fact, that on the return 
 from Babylon, the choir of Korah no longer existed ; 
 the performance of the Temple Music being confined 
 to the sons of Asaph. The apparent allusions in 
 many of these Psalms to the circumstances of the 
 Captivity, can be referred to the desolation of the 
 Temple and of Jerusalem, and the sufi'erings of the 
 Jewish people, during the reign of Ahaz. 
 
 To the Psalms of the sons of Korah may be applied 
 in jreneral the same remarks as have been made on 
 those of Asaph. Like the latter, they are twelve in 
 number : they are, for the most part, consecutive ; 
 and they appear to have been composed partly by 
 David, and partly in the time of Jehoshaphat and of 
 Ilezekiah. By Hezekiah they seem to have been 
 appropriated to the Choir of the Korhites, during their 
 seasons of attendance at the Temple. 
 
 A remarkable circumstance is to be observed of 
 these two classes of Psalms. The second Book of 
 Psalms begins with those of Korah, -which succeed, 
 ei"-ht in number, in re";uhir order : then succeeds one 
 Psalm of Asaph : the rest of the book being in the 
 titles entirely Davidical ; with one exception, the 66th 
 Psalm, Avhich however is evidently David's. TIic third 
 book begins witli Psalms of Asaph, wliich proceed in 
 
§ (■).] PSALMS OF THE SONS OF KORAII. 18? 
 
 regular succession, till their number (twelve) is com- 
 pleted. Then follow the four remai)rnig Psalms of 
 Ivorah ; their succession being broken by one of David's 
 (the 8()th). And it is further to be observed, that in 
 tliis book, there are but two Psalms which are neither 
 Asaphic nor Korhite, namely, the SOth and the 89th. 
 
 This arrangement evidently shows design. The 
 following explanation of it is offered, as one which to 
 the present writer appears strongly supported by 
 evidence both historictil and internal. 
 
 It is well known that Ilezekiah took pains with the 
 revision of Holy Scripture. He rescued from oblivion 
 one portion of it, as appears from tlie 1st verse of the 
 25tli chapter of the Book of Proverbs : " These are 
 also Proverbs of Solomon, which the men of Hezekiah 
 King of Judali copied out." That he should have 
 performed the same pious service for the Psalms, may 
 be reasonably supposed, especially since he was a 
 restorer of their ritual performance. Now the first 
 Book of Psalms is Davidical throughout. This we 
 may assume to have been already published for the 
 use of the Jewish Church, like the former portion of 
 the Proverbs. The second book appears to have been 
 copied out, or restored to liturgical use, by Hezekiah ; 
 he having prefixed to them the Psalms composed or 
 adapted during the reigns of himself and his prede- 
 cessor, Jehoshaphat. At a subsequent period of his 
 reign, the third book, consisting almost exclusively of 
 Psalms of this later adaptation, was probably put to- 
 gether : the 86th and 89t]i being inserted, either be- 
 cause they were then first recovered, or amplified ; or 
 because they seemed fitly to harmonise with the ad- 
 joining Psalms. 
 
 Possibly this third book was adopted into the canon 
 durins: the reii^n of Josiah, who was also instrumental 
 in recovering from obscurity portions of Holy Writ." 
 
 ' 2 Chron. .xxxiv. 15 — :U, 
 
188 ON THE TITLES OF THE TSALMS. [Dissert. II. 
 
 IIoAvovcr this may be, it is certain tliat these three 
 Books of the Psahns are distinctl)* discriminated from 
 one another. This observation Avill be more fnlly 
 treated in the third Dissertation. IMeantime it is sniH- 
 cient to observe, that the Psalms of Asaph and Korah 
 are found in close connection, as might l)e expected 
 in a collection which was specially made for the use 
 of the two Temple choirs. 
 
 The first two in this collection, the 42nd and 43rd, 
 wdiich in fact form but one Psalm, are so eminently 
 characteristic of David, that it seems impossible to 
 resist the conviction that they are his. The imager}^, 
 so deeply poetical in itself, and derived from a kindly 
 perception of natural objects, is intimately associated, 
 according to David's habit, with personal feelings 
 and religious affections, and a most pathetic desiderium. 
 The localities, the land of Jordan, Hermon, and the 
 hill of ]\Iizar, characterize his various wanderings. 
 The Altar and Tabernacle, but above all, the illumi- 
 nating Presence of God, mark out the favourite aspira- 
 tions of the royal prophet : and the whole circum- 
 stances of the composition fully justify the notion, 
 very commonly adopted, that this Psalm was composed 
 during his temporary banishment from his kingdom, 
 by those enemies to whom evident allusion is made in 
 the latter portion, which, according to our division, 
 constitutes the 43rd Psalm. 
 
 Why then do we find these among the songs of the 
 sons of Korah ? The reason appears to be this : that 
 when the Temple service Avas restored by Ilozekiah, 
 there was a peculiar fitness in appropriating the 
 earnest desires of David to those pious Jews who had 
 so long been banished from the Altar of God, during 
 the reign of Ahaz. The two passages, therefore, which 
 form the key note of the Psahn, and Avliich point out 
 the fitness of this appropriation, are these : 
 
§ G.] rSALMS OF THE SONS OF KORAIf. 189 
 
 For I would go with tljc imiltltiidc : 
 I would go forth into the hou.sc of God : 
 In the voice of joy and praise of the multitude keeping 
 holiday. 
 
 And toward the end : 
 
 They shall bring me to the hill of thy holiness, and to thy 
 
 tabernacles. 
 And I will go unto the altar of God, 
 Unto God, the gladness of my joy; 
 And I will give thanks unto thee ui)on the harp, 
 O God, my God. 
 
 The 44tli Psalm, already analysed in the iirst Dis- 
 sertation, is discriminated from those of David, by- 
 being, like so many of the songs of this class, national, 
 and not personal. Its sentiments and style remind 
 us of tlie times of Uezekiah and of Isaiah. They 
 correspond with the lamentation of tliat king when 
 threatened by Sennacherib. The phrase, " a shaking 
 of the head among the nations," occurs in the oracular 
 speech of Isaiah on that occasion : " 'J'he daughter of 
 Jerusalem hath shaken her head at thee." And 
 these passages, " Thou sellest thy people for nought, 
 and " thou hast shattered us in the place of the 
 dragons," and the concluding prayer, " Arise for a 
 help unto us, and redeem us, for the sake of thy 
 mercy," are all in the style of that prophet. 
 
 The latter part of the Psalm, at least, would there- 
 fore seem referal^le to those times. Whether the 
 former part, divided by Selah, differing in style or 
 arrangement, was a more ancient Psalm of triumph, 
 may admit of a question. But the whole tenor of 
 tlie latter part harmonizes with the reverses expe- 
 rienced under Ahaz, the captivity of Israel, and the 
 threatened overthrow of Judali. 
 
 The 45th Psalm has all the dignity and solemnity 
 characteristic of those I'salms, like the 110th, which 
 
190 ON THE TITLES OF THE PSALMS. [Dissert. II. 
 
 are piirely propheticnl. Tliere is iiotliinu" in tliis one 
 to forbid us attributing its orii,^inal composition to 
 David. l)Ut its place among the Songs of Korah is 
 vindicated by its national character. The Daughter 
 here spoken of is evidently the Church of Israel : and 
 her glories, both present and future, harmonize with 
 the celebration of the city and people of God, which 
 forms the subject of the Psalms which follow. 
 
 It would be presumptuous to add here anything 
 to what Bishop Jiorsley has said in his four sermons 
 on this Psalm. His just and vigorous criticism has 
 proved in controvert ibly that the subject of this Psalm 
 is prophetic, signifj'ing the union between Christ and 
 his Church ; and that to npply it to the marriage of 
 Solomon would be unjustifiable, since his reign was 
 eminently one of peace, not of conquest, like that 
 announced in the first division of the Psalm. The 
 passage, " Thy throne, God,'' could never be applied 
 to any human creature. 
 
 Still it is not out of place to conjecture that David 
 had the marriage of his son in his mind when he 
 began the Psalm ; but that, filled with the Spirit of 
 Propliecv, he was impelled to speak of a far higher 
 union, and of Him of whom Solomon was in some re- 
 spects a type ; the Prince of Peace. By " the daughters 
 of kings," and " the virgins that be her fellows," are 
 to be understood the other Christian Churches, which 
 in the fulness of time are to be associated with the 
 Jewish under their one Divine Head ; and in this 
 respect the connection between the present Psalm 
 and the 47th is very apparent. 
 
 The imagery of the second part, "all glorious is 
 the daughter of the king within, her clothing is of 
 wroujrht irold : in raiment of needlework she shall l)e 
 brought to tlie king," seems suggested by the rich 
 furniture of the Tabernacle and Temple, which oc- 
 cupied so much of the cares both of David and 
 Solomon. 
 
§6.] PSALMS OF THE SONS OF KOKAII. 191 
 
 The Psalm is most regularly constructed; ;ind 
 divides itself obviously into two parts ; the first cele- 
 brating the king, the second the In-ide. 
 
 The connection of this Psalm M'ith the followiiio- 
 is obvious. Ihe subject of the 4Gth is still national, 
 not personal ; beino- God's sn])ernatural protection of 
 the JlolyCity; while the 47th refers to the chosen 
 people. In the first Dissertation, § 8., this has beeii 
 already analyzed. Its character is the same as that 
 of the 48th and 7Gth, both in subject and style, and 
 refers to the discomfiture of the armies of the hea- 
 then, in the reign either of Jehoshaphat or Hezekiah. 
 
 The 47tli is in evident coiniection, and is an ad- 
 vance upon the former, both in the comprehensiveness 
 of its subject, including not only the city, but the 
 nation of the Jews, and all the kingdoms of the eartli, 
 converted to the faith, and also in the more jubilant 
 expression of praise. This Psalm is eminently pro- 
 phetical of the Ascension of Christ, and of the calling 
 of t\\G Gentiles, as the church has signified, by 
 making it part of the service for Ascension Day. 
 
 But of all the Psalms of Korah, the 48th is per- 
 haps the most strikingly characteristic. The occasion 
 of this Psalm, as more than one critic has remarked, 
 seems graphically indicated in the twentieth chapter 
 of the Second Book of Chronicles. 
 
 In that chapter it is recorded, that ]\Ioab, the Am- 
 monites, and others came against Jehoshaphat to battle. 
 The king, in fear of this great array, proclaims a 
 fast ; the people meet ; and he makes a prayer, re- 
 corded at full length, in the house of the Lord, in 
 the midst of the company. Then Jahaziel, 07ie of the 
 sons of Asaph, was inspired to prophesy the destruc- 
 tion of the enemies on the following day ; and Jeho- 
 shaphat and the people fell down and worshipped the 
 Lord. Then " the Levites, of the children of the 
 Kohathites, and of the children of the Korhites, stood 
 
192 ox THE TITLES OF THE PSALMS. [Dissert. IL 
 
 up to praise tlie Lord God of Israel, with ii loud, voice 
 on hi<2;h." The next morning they rose, and went 
 towards the wilderness of Tekoah : an<l -lehoshaphat 
 having encouraged the people to trust in God, ap- 
 pointed the singers to accompany the army, and to 
 sa}', " Praise the Lord, for his mercy endureth for 
 ever." "" And when they began to sing, the Lord 
 set ambushments against the children of Ammon, 
 ]\[oab, and Mount Seir, which were come against 
 Judah, and they were smitten. And when Judah 
 came toward the "watcli-tower in the wilderness, they 
 looked unto the multitude, and behold, they were dead 
 bodies fallen to the earth, and none escaped." — " And 
 on the fourth day, they assembled themselves in the 
 valley of Berachah : for there they blessed the Lord : 
 and they came to Jerusalem with psalteries, and harps, 
 and trumpets, unto the house of the Lord." 
 
 In this narrative, every circumstance is in accord- 
 ance with the Psalm. The gathering of the kings : 
 their sudden discomfiture : the assembling in the 
 Temple, and the hope and comfort derived from the 
 assurance of the Divine protection there promised : 
 and the mention of the two choirs of the Asaphites 
 and Korhites. I have no doubt whatever that some 
 of the Psalms ascribed to either choir are connected 
 with this event : and it is likely that one of the many 
 Psalms of thanksgiving, with the burthen, " For his 
 mercy endureth for ever," was used upon this occa- 
 sion. 
 
 Three objections, however, have been made to this 
 appropriation of the Psalm. The first two are started 
 by Bishop llorsley, who remarks, that this army never 
 came in sight of Jerusalem, and that it was discom- 
 fited, not in consequence of any supernatural panic, 
 but of a quarrel between the troops of the three dif- 
 ferent nations of which the army was composed. To 
 the first of these objections I would answer, that it is 
 
§ G.] PSALMS OF THE SONS OF KOKAII. 
 
 not necessary to suppose that tlicy were in siglit of 
 Jerusalem. Tlie city is uientioued in order to sliow 
 that this, the object of their attack, was defended by 
 Almighty God. By a just and striking poetical figure, 
 indeed, the city and invaders are brought close to- 
 gether. That which is the object of their hearts, is 
 represented as seen by their eyes. It is not stated 
 directly, but the collocation of the topics leaves this 
 impression on the mind of the reader. As to the 
 second objection, it is true that God made use of the 
 ambushments as his instruments ; but there is nothing 
 to contradict the very obvious supposition, that when 
 they met with the unexpected check, they were terror- 
 struck, and recognized the hand of (Jod. 
 
 The third objection, made by Dathe, is, that the 
 breaking of the shi})s of Tarshish took place some 
 years subsequent to this event. But it is not by any 
 means necessary to suppose that the Psalm Avas com- 
 posed, either in whole or in part, at the very time of 
 the event now mentioned. For my own part, I must 
 confess, that it is chiefly from the occurrence of this 
 line, that I am disposed to assign this Psabn to the 
 time of Jehoshaphat, and not of Hezekiah. The 
 breaking of Jehoshaphat's ships is so conspicuous an 
 event in sacred history, as almost to forbid the appli- 
 cation of the line in question to any other circum- 
 stances. The inspired poet, too, seems to have gone 
 out of his Avay to introduce it. The structure of the 
 stanza, and the sentiment of the Psalm, are each com- 
 plete, without this allusion. It is introduced metapho- 
 rically. The overthrow of a mighty army by the blast 
 of God's displeasure is compared to the Avreck of mighty 
 ships by the east wind. The prophet, impressed with 
 the recent recollection of that signal visitation of God, 
 intended to check the presumption of the king, intro- 
 duces it not onl}^ as a magnificent and appropriate 
 
 VOL. n. o 
 
19 J: ON THE TITLES OF THE TSALMS. [Dissekt. 11. 
 
 simile, but as a tacit warning to those whom pros- 
 perity iiiiglit make too contident. 
 
 Still, were it not for this line, I acknowledge there 
 are considerations which would seem to point the appli- 
 cation of this Psalm more exactly to the overthrow of 
 Sennacherib's army. That army Avas literally in 
 sight of Jerusalem, and was destroyed by tlie imme- 
 diate judgment of God. Their destruction Avas seen 
 from the city : while tlie other circumstances corre- 
 spond to those of Jehoshaphat's time. As then, the 
 king went into the Temple, made his prayer, and was 
 assured by the prophet of the approaching destruction 
 of his enemies. And it is to be further remarked, 
 that the expression, " daughters of Judali," reminds 
 us of the prophecy of Isaiah then delivered. 
 
 The extraordinar}'- coincidence of many events in 
 the history of the two kings, renders the appropriation 
 of certain Psalms to the reign of either, a question of 
 no small difiicult}^ Ilowever, this much may be 
 plainly inferred ; that at whatever time composed, this 
 Psalm was included by Hezekiah among his collection, 
 and Avas sung by the Korhites to commemorate some 
 of the special events of his reign. 
 
 The character of the 49th Psalm differs completely 
 from those Avhich Avent before, and is, indeed, a com- 
 position sui generis. It is sententious, oracular, and 
 stern : evidently archaic in its style, and full of 
 ellipses. It may have been far anterior to the reign 
 of David : but as to its authorship there are no data 
 for making a conjecture. Its place, hoAvever, in the 
 collection of the Ivorhite songs may be accounted for 
 by that remarkable circumstance in the life of Heze- 
 kiah, his miraculous recovery from mortal sickness. 
 The redemption from cA'erlasting death is the topic 
 Avhich Ave know that his respite from temporal death 
 suggested", as appears from his song of thanksgiving 
 
 " Isaiab, xxxviii. 18, 19. 
 
§G.] rSALMS OF THE SONS OF KO]JAII. 19; 
 
 recorded by Isaiah, though the style of that compo- 
 sition is very dift'erent. The hist verse of llezekiah's 
 song phiinly sliows that he intended to make his 
 recovery a subject of public thanksgiving in the 
 Temple. 
 
 Therefore we will sing my songs to the stringed instru- 
 ments, 
 All the days of our life in the house of the Lord. 
 
 And it appears probable that to this occasion were 
 appropriated both the 49th and 88th Psalms. 
 
 The 84tli Psalm is like the 47th and 48th in its 
 general subject ; but there is a distinction in its gtyle. 
 There is not that same degree of deep personal feel- 
 in s" which marks the others to be Davidical. The 
 Temple of God is the more prominent feature in this 
 Psalm; the sadness is caused by absence from the 
 sanctuary ; while in the 47th, the public worship of 
 God is considered as the alleviation of sorrows that 
 spring froni other and deeper sources. 
 
 I would attribute the composition of this Psalm to 
 the time of Aliaz, not to the Babylonish captivity, 
 since it is a song of the sons of Korah, who were then 
 extinct, at least as a choir. It was written during 
 the temporary desolation of the Temple, by one of 
 the faithful who was in captivity. Hence the verse, 
 
 The sparrow hath found an house, 
 
 And the swallow a nest where she may lay her young ; 
 
 Even thy altars, O Lord of hosts, my King and my God. 
 
 A passage which seems perfectly inexplicable, if 
 we suppose it to refer to a time when the Temple 
 service was kept up, and when the sanctuary was so 
 carefully preserved from all profanation or defilement. 
 In the 85 th Psalm this desolation and captivity are 
 reversed. For the reason already assigned, namely, 
 that this is a Song of the Sons of Korah, the Baby- 
 
 o 2 
 
ON THE TITLES OF THE PSALMS. [Dissert. IT. 
 
 lonish captivity is not here alluded to. Besides, the 
 wliole character of the Psalm is that of the evan- 
 gelical prophet, Isaiah. Compare with the magnificent 
 personification of Mercy, Truth, Righteousness, and 
 Peace, and indeed with the whole tenor of the Psalm, 
 the following passages of the prophet. 
 
 Comfort yc, comfort yc my peoj^lc, siiith your God. 
 
 Speak comfortably to Jerusalem : 
 
 And cry unto her, 
 
 That her warfare is accomplislied : 
 
 That her iniquity is pardoned. " 
 
 Then Judgment shall dwell in the wilderness. 
 
 And Righteousness remain in the fruitful field : 
 
 And tlie work of righteousness shall be peace : 
 
 And the effect of righteousness, quietness and assurance for 
 
 ever. 
 And my people shall dwell in a peaceable habitation : 
 And in sure dwellings, and in quiet resting places. ^ 
 
 Dropdown, ye heavens, from above. 
 
 And let the skies pour down righteousness. 
 
 Let the earth open : 
 
 And let them bring forth salvation, 
 
 And let righteousness spring up together.*' 
 
 Again, the 87th, obscure and elliptical as it is, 
 contains that very theme of which Isaiah is so full ; 
 the glory of Jerusalem, as the birth-place of Christ. 
 Like most of the Songs of Korah and Asaph, the 
 Psalm is national in the hio-hest deo-ree. 
 
 But that deeply mystical j^arable, the 88th, perhaps 
 the most awful in the whole book of Psalms, which 
 closes the Korhite songs, is very different from all 
 that precede and follow. It has already been ob- 
 served, that its present position may be accounted 
 for, from the circumstances of Hezekiah's sickness. 
 As has been shown in tlie 1st Dissertation, § 3., the 
 
 " xl. 1,2. '' xxxii, 15—18. '^^ xlv. 18. 
 
§ 7.J PSALMS OF ETHAN AND IIEMAN. 197 
 
 central part of the poem intimates, though with an 
 oracular obscurity, that cardinal truth upon which the 
 whole turns, namely, the Jlesurrection frt)m the dead. 
 
 As for its author, the title instructs us that it was 
 appropriated to Heman the Ezrahite"*, either as its 
 composer, or as the director of the choir by whom it 
 was performed. The style appears too oracular for 
 that of David : and the construction of the Psalm is 
 so peculiar, so uniformly terrible and obscure, that it 
 appears the work of an ancient seer, and so far vindi- 
 cates the authenticity of the title. 
 
 The correspondence of the lines, " Wilt thou to 
 the dead show wonders," &c., Avith those four in 
 liezekiah's prayer, is very remarkable : 
 
 For the grave cannot praise thee : 
 The dead cannot celebrate thee : 
 
 They that go down to the pit cannot hope for thy truth. 
 The living, the living, he shall praise thee, as I do this 
 day. 
 
 But this can be accounted for by supposing that 
 Hezekiah had this ancient parable in his mind; that 
 he in part adopted its expressions, but gave a happy 
 solution to its awful in terro "cations. 
 
 § 7. or THE rsALMS inscribed with the names ethan 
 
 AND HEMAN. 
 
 Ethan, or Jeduthun'', (for he is called by both 
 names,) was the leader of the third choir, which be- 
 came extinct long before the captivity. Heman, 
 as has been already observed, was the leader of the 
 Kohathites or Korhites. 
 
 There is, however, considerable obscurity respecting 
 the application of these names in the titles to the 
 
 ' See the next Section. 
 
 *" Compare 1 Chron. vi. 44., with ix. IG. and xxv. 1. 3. 6. 
 
 o 3 
 
ON THE TITLES OF THE I'SALJIS. [Dissert. JI. 
 
 Psalms. Ill the titles to the 88th and 8Dth, Ethan 
 and Ilcinan are called respectively " the Kzrahite ; " 
 the meaning of which designation it is difficult, per- 
 haps impossible, to define. 
 
 That it is not a patronymic appears evident. For 
 if these two persons were the leaders of the Temple 
 choirs, as there is every reason from analogy for sup- 
 posing, there are none of their progenitors in the 
 Levitical genealogy of these two men of the name 
 Ezrah, or Zerah. 
 
 But it is remarkable, that in a passage in the First 
 Book of Chronicles '' Solomon is said to have been 
 " wiser than Ethan the Ezrahite, and Neman, and 
 Calcol, and Darda, the sons of Mahol (that is, of 
 music, or of song). These four names we find among 
 the great grandsons of Judali ; and it might therefore 
 naturally seem that the Ethan andHeman here referred 
 to were of this family : especially since their father 
 had a name very much resembling Ezrah, namely, 
 Zerah: wanting merely the initial A. But this is not 
 conclusive. The recurrence of the same sequences 
 and associations of family names is by no means un- 
 common in Holy Scripture. However this may be 
 with respect to Solomon, it is certain that the recur- 
 rence of two similar names is found in the tribe of 
 Le^d : Ethan and Heinan being the associates of Asaph 
 in the Temple service. I make no question, therefore, 
 that they are meant in the designation of the l*salms. 
 The epithet Ezrahite, however, is eitlier an interpo- 
 lation, or corruption, or signifies an epithet now in- 
 volved in obscurity. The word Ezrahite, as frequently 
 employed in the Law of Moses, means a stranger and 
 a sojourner; and may possibly be a title assumed by 
 these Levites, as signifying the sojourning of their 
 tribe among their brethren : "the stranijcr within tliy 
 gates" being often found in connection with the same 
 
 ii. 6. 
 
§7.] PSALMS OF ETHAN AND IIEMAN. 199 
 
 words which elsewhere accompany tlie Levife." Tliis 
 epithet, however, is a question involved in great obscu- 
 rity, of which the present writer cainiot attempt to 
 give more than a conjectural and far from satisfastory 
 solution. 
 
 The only Psalm ascril)ed to TIeman is that already 
 commented upon in the preceding Section, the 88th, 
 which is one of the Psalms appropriated to that com- 
 pany of which he was the leader, the Korhites, 
 
 This Psalm, however, is immediately followed by 
 the 89th, a Maschil (like the 88th) of Ethan (or 
 Jeduthun) the Ezrahite, and these complete the third 
 Book of Psalms ; so that tliere is evident design jind 
 order in the location. Of the 89th, a portion only 
 would seem to be the work of Jeduthun. How much, 
 it is hard to determine : but certainly not any part of 
 the latter divisions, beginning at the Peripeteia, " But 
 thou hast cast off and abhorcd thine anointed." That 
 portion was obviously written during the desolation 
 of Jerusalem, and both from its position, and its gene- 
 ral style, 1 would refer it to Isaiah, or to his times. 
 The latter part of the 63rd, and the whole of the 
 64th chapters of that prophet, strongly resemble the 
 two concluding epodes : and the passage, " Thou hast 
 broken down all his liedges : thou hast brouglit his 
 strong holds to ruin : all that pass by the way spoil 
 him:" reminds us of the parable of the vine in the 
 80th Psalm, which has been already pointed out as 
 characteristic of Isaiah. 
 
 The resemblance, however, as to style, extends to 
 the second division or Diapsalma of the Psalm, be- 
 ginning, " And the heavens shall praise thy wonders, 
 b Lord." Here, that whole period, beginning, " Thou 
 rulest the raging of the sea," resembles that passage, 
 noticed in the preceding section, occurring in tlie 74th 
 Psalm, which I have attributed to Isaiah: while for 
 
 " Dout. xii. 12. 18., xvi. 11. 14., xxvi. 11 13. 
 o 4 
 
200 ON TDE TITLES OF TUE TSALMS. [Dissert. II. 
 
 " the Dragon" is here substituted " Iviihiilj," (a name 
 fur Egypt,) both Avhich terms are used in conjunc- 
 tion by Isaiah: " Art not thou it that hath cut Kahab, 
 and wounded the dragon ? Art not thou it which 
 hath dried the sea, the waters of the great deep ? " 
 There is also the personification of Mercy and Truth, 
 as found in the 85th Psahn, and as employed by him. 
 
 From these circumstances I would collect that the 
 Maschil of Ethan extends only to the first Diapsalma, 
 i. e. the first five verses. Or that, if any portion of the 
 second belongs to him, it is the portion beginning, 
 *' Then thou spakest in vision unto thy saints, and 
 saidst." These two portions would form of them- 
 selves a complete poem, and would contain the sub- 
 stance of that promise made by the Almighty to 
 David, as recorded in the history of his life.'' 
 
 But this Psalm has been taken out of its regular 
 sequence, in order to sliow its connection with the pre- 
 ceding Psalm of Heman. There are three other 
 Psalms inscribed Avith the name of Jeduthun, not as 
 their author, but as leader of the band by whom they 
 were performed. The first is the 39th, a Psalm of 
 David : about which there is no dififtculty. 'I'lie 62nd 
 and 77tli,liowever, are inscribed wot of ov to Jeduthun, 
 but on^' Jeduthun ; as if the term was a musical in- 
 strument. It is difficult to understand this : unless 
 we suppose (whicli appears to me highly probable) 
 that the text is corrupt. We ought eitlier to read 
 " to" instead of on (by the omission of one letter), or, 
 instead of " on Jeduthun," " by the hand of Ethan,""" 
 making a very sliglit alteration in tlie text, a reading 
 wliicli is justified by a passage in 1 Chron. xxv. 2.*' 
 
 Of the 77th, it has been already observed, tliatit is 
 also a Psalm of Asaph. It appears to have been 
 appropriated to the choir of Asaph after that of Jedu- 
 thun had become extinct, in the reign of liezekiah. 
 
 ■' '2 S;mi. vii. H — IfJ. '- ^ instoinl of ^y. 
 
§8.] THE rSALM OF MOSES. 201 
 
 § 8. OF THE PSALM ATTKIBUTED TO MOSES. 
 
 This Psalm is the 90th ; which, it is observable, 
 begins a new book, of a very distinct character, for 
 the most part, from those which preceded. Its whole 
 internal structure is in harmony with the title. 
 
 The only objection which has been made to the 
 genuineness of this ascription is founded on the pas- 
 sage : — 
 
 As for the days of our years, in them arc seventy years ; 
 And if by reason of strength they be fourscore years, 
 Yet is their vigour but labour and sorrow, 
 For it is cut off soon, and we fleet away. 
 
 It has been argued, that the average life of man 
 exceeded seventy years in the time of Moses. But it 
 is by no means apparent that this was the case, except 
 in the instance of a few favoured individuals, as Moses, 
 Joshua, &c. On the contrary, it is evident, that a 
 judicial limitation of the lives of the Israelites had 
 been assigned by God during the ministry of Moses : 
 a limitation which would necessarily include the 
 greater portion of that nation within this average. 
 For, in consequence of their rebellions, it was decreed 
 that none of those who were twenty years and 
 upwards, should survive the forty years which should 
 terminate the wanderings in Egypt. -'' Bishop Patrick 
 is of opinion that to this divine decree the 90th Psalm 
 specially alludes. And he well argues, that the 
 605,650 males who were twenty years old and 
 upwards at that time, must have formed a con- 
 siderable portion of the nation ; and that out of these, 
 those wdio Avere but twenty and thirty years of age, 
 whose life consequently could not exceed seventy 
 years, must have probably formed the larger propor- 
 tion : so that eighty years should be tlie exception, 
 not the rule, of human life among the Israelites. 
 
 ^' Dcut. i. ■^:). ; Numb. i. 32., xiv. 2«), 30. 
 
202 ON THE TITLES OF THE I'SAMIS. [Dissert. II. 
 
 But by a construction wliicli the words will easily 
 admit, indeed more easily than our authorized version, 
 and which seems sanctioned by the ancient versions, 
 the Bishop would obviate all difficulties. 
 
 The days of our years, — in them are seventy years : 
 
 And if in strength, (they are) eighty years : 
 
 And the vigour'' (or overplus) of them is labour and 
 sorrow. 
 
 By the term in the last line, vigour, or overplus, 
 he would understand all those under twenty years, 
 for whom a longer term of life was destined : but a 
 life of labour and toil ; for such was the condition 
 of those who were reserved for the heavy wars in the 
 land of Canaan. 
 
 But even according to the ordinary acceptation, as 
 applied to human nature in general, the j^assage is 
 perfectly consistent with the authorship of ]\Ioses. 
 And so it is considered by Bishops l^atrick and 
 Horsley, and, as Rosenmliller remarks, by the title 
 of the Chaldee Paraphrase. 
 
 This objection being disposed of, the whole tenor 
 of the Psalm reflects the sentiments of tlie divinely 
 appointed Legislator. Or rather, this passage, so far 
 from being a hinderance, but corroborates the other 
 inferences to be drawn from the internal structure of 
 the Psalm, and draws them, as it were, to a focus. 
 
 No incident in the wilderness can be conceived 
 more likely to have suggested a sacred elegy, which 
 should be at once a contrite prayer and indirect 
 warning to the people, than this judgment of the 
 Almighty ; forming as that did, one of tlie cardinal 
 points of sacred history. 
 
 This being assumed, the very opening of the Psalm 
 seems to indicate the Avriter of" the Book of Genesis. 
 
 " CD^m Aben Ezra and R. Solomon, as tho Bishop remarks, inter- 
 pret lliis as " the stren^rth of youth." The LXX translate it to irXuou 
 avTw'.', and the Vidgate, (luotl amjilius corum. 
 
§8.] THE rSALiM UF MOSES. 
 
 " Before the mountains were brought for, or the earth 
 and the world were formed." An idea which is also 
 found in one of the sublimest passages of his Blessing : 
 
 For the chief things of the ancient mountains, 
 And for the precious things of the lasting hills.'^ 
 
 And in the very next passage, we are reminded of 
 the primeval curse, pronounced by the Almighty, and 
 recorded by Moses : " Till thou return unto the 
 ground ; for out of it wast thou taken." But the deeply 
 subdued spirit of the whole Psalm, its intercessional 
 character, its humility, and its affectionate solicitude 
 for the people, and the total absence of anything per- 
 sonal, are {dtogether in accordance with the recorded 
 supplications and the whole conduct of Moses, the 
 man of God. 
 
 This view, however, is more strongly borne out 
 when we take in connection with this Psalm, that 
 which follows, the 91st. It is an ancient maxim 
 of Biblical interpretation, that an uninscribed Psalm 
 is generally to be attributed to the author of the 
 last preceding which had a title. This rule is fre- 
 quently found to hold good : eminently so, it would 
 appear, in tlic case before us. For what is the Avliole 
 tendency of the 91st Psalm ? It is to give a soothing 
 antidote to the melancholy sentiments of that which 
 preceded ; to elevate and expand that expression of 
 hope which formed the conclusion of the elegy: to 
 show the means by wliich even these short-lived 
 children of men mio;ht attain to more lastino; habita- 
 tions than can be afforded by the longest duration of 
 temporal life. But not only is there this connection. 
 The sentiments evidently come from the same hand. 
 They are marked Avith the same spirit of reflection, of 
 patience, of religious awe ; l)ut elevated by an access 
 of higher inspiration, so as to be prophetical of some 
 of the highest mysteries of Christianity. And it can 
 
 " Deut. xxxiii. 15. 
 
201 ON THE TITLES OF TJIE PSALMS. [Dissert. II. 
 
 hardly be questioned, that the hand of Moses is here 
 peculiarly visible. He begins with speaking of the 
 dwelling place of the Most High, the shadow of the 
 Almighty : an image deeply stamped in the mind of 
 him who had entered into the cloud on IMount Sinai, 
 and had seen, as no man had ever seen heretofore, the 
 glory of the God of Israel. When he speaks of God 
 as his stronghold, he but uses that image so charac- 
 teristic of the Mosaical songs, " the Rock" of his 
 salvation. And in this beautiful simile. 
 
 With his feathers he shall be a covering to thee, 
 And under his wings thou shalt have refuge, 
 
 who is not reminded of that more expanded picture, 
 perhaps the most finished in all the range of Sacred 
 Poetry, which at once marks the tenderness of the 
 prophet, and the love of that heavenly Father Avho 
 inspired him ? 
 
 As an eagle stirreth up her nest, 
 
 Fluttereth over her young, 
 
 Spreadeth abroad her wings, 
 
 Taketh them, beareth them on her wings. 
 
 So the Lord alone did lead him." * 
 
 The line which follows, 
 
 A shield and buckler shall be his truth, 
 
 is a reflection of the image towards the conclusion of 
 the Blessing, 
 
 Who is like unto thee, O people saved by the Loud, 
 The shield of thy help, and who is the sword of thy 
 excellency.^ 
 
 And again, in that prophetic passage, 
 
 His angels he shall give charge concerning thee, 
 
 To keep thee in all thy ways ; 
 
 In their hands they sliall bear thee up : 
 
 Lest thou dash against a stone thy foot. 
 
 • Deut. xxxii. 11. 12. '■ Dent, xxxiii. 29. 
 
§9.] TITLES CONSISTING OF HISTORICAL NOTICES. 205 
 
 We find a counterpart of the assurance in his Bless- 
 ing: 
 
 The eternal God is thy refuge, 
 
 And underneath are the everlastincf arms.'' 
 
 In this Psalm also we have the imagery of the desert, 
 "the lion and adder, the young lion and the dragon." 
 And there is no indistinct allusion to the judgments 
 of the Almighty, to the plagues and pestilence which 
 had afiiicted the rebellious people ; 
 
 Thou shalt not be afraid for the terror by night. 
 For the arrow that flieth by day. 
 For the pestilence that in darkness walketli, 
 For the destruction that wasteth by noon day. 
 
 In which four lines are enumerated, first, the threat- 
 ened plagues by night and by day; secondly, the 
 plagues in actual operation : the types of all the moral 
 evil and spiritual pestilence which either secretly or 
 openly have afflicted mankind since sin entered into 
 the world. 
 
 It does not appear that any other Psalms are attri- 
 butable to Moses. Those which follow evidently 
 begin a new series : and on them observations will be 
 made in the 3rd Dissertation. 
 
 § 9. TITLES CONSISTING OF HISTORICAL NOTICES. 
 
 These are thirteen in number. And it is to be re- 
 marked, that they all refer to incidents of David's 
 life, and eight of them are found in rather close con- 
 nection. I cannot but regard these circumstances as 
 presumptions of authenticity. For, were the titles 
 inserted from conjecture, by a later hand, it is not to 
 be doubted but that they would have been prefixed 
 
 * Deut. xxxiii. 15. 
 
206 ON THE TITLES OF THE TSALMS. [Dissert. IL 
 
 to many Psalms which appear to speak more dis- 
 tinctly of prominent historical events, as those of 
 Hezekiali's and Jchoshaphat's reign, or incidents of 
 David's life himself, liesides, a conjectural annotator 
 would not have hazarded a title, announcing events, 
 of which the Psalm makes no distinct mention. 
 
 l>iit having already assumed the titles to be a 
 genuine part of Holy Scripture, no sound reason can 
 be found for rejecting them, unless one which the 
 internal evidence of the Psalms may supply. Now 
 this cannot be fairly said of any one of the titles. In 
 no instance are they at variance with the subject 
 matter, although, (as might be expected in devotional 
 exercises such as these,) in many places there are no 
 allusions to particular circumstances. 
 
 Neither is the obvious want of strict chronological 
 arrangement any objection. When the Psalms were 
 collected for the use of the sanctuary, either by 
 David himself, or by prophets of later times, it is 
 plain that a sequence other than chronological might 
 often be thought proper ; such as bringing together 
 into groups Psalms which had a moral connection, or 
 selecting certain songs for certain occasions. In tlie 
 first Dissertation, it has been already shown that 
 portions of various Psalms were often disjoined from 
 their accustomed context, and incorporated witli 
 others : and to any careful reader of this book of 
 Holy Scripture, many reasons for like transpositions 
 will obviously occur. 
 
 Let us now briefly examine in order this class of 
 titles. The first which occurs is prefixed to the 7th 
 Psalm, " which he sang unto the Lord, concerning 
 the words of Cush, the Benjamite." This is an inci- 
 dent of which Holy Scripture furnishes no record ; 
 unless, as the marginal note of the Englisli Bible 
 intimates, we are to take Cush as another designa- 
 tion of Shimei, the Benjamite, whose blasphemies are 
 
§. 9.] TITLES CONSISTING OF HISTORICAL NOTICES. 207 
 
 recorded in the sixteenth chapter of the Second Book 
 of Samuel. This interpretation is sufficiently con- 
 sistent with the general tenor of the l\sahn, and no 
 commentary is in general more worthy of all defer- 
 ence than the admirable references afforded by the 
 margin of our authorized translation. 
 
 On the title of the 18th Psahn it is unnecessary 
 to enlarge, since this is a transcript of undoubted 
 Scripture ; the first verse of the twenty-second 
 chapter of the Second Book of Sanuiel. 
 
 The title of the 30th Psalm, " at the dedication of 
 the house of David," has no apparent connection with 
 the subject matter, but at the same time it does not 
 contradict it. The same may be said of the 34th, 
 which is entitled " A Psahn of David, when he changed 
 his behaviour before Abimelech, who drove him 
 away, and he departed." 
 
 In the observations on the Psalms of Asaph, the 
 consistency of the title of the 51st Psalm has already 
 been shown. Those of the 52d, 54th, 56th, 57th, 
 and 59th ai'e all consistent mth the subject matter, 
 which speaks of the aggressions of personal enemies. 
 The 60th is also in accordance with its title, which 
 records David's conquest over the Syrians, as recorded 
 in 2 Sam. viii. 
 
 But to every one who has the slightest imagi- 
 nation, or the faintest sense of sacred imagery, the 
 peculiar truth of the title prefixed to the G3d Psalm 
 must appear. " The wilderness of Judea" is pictured 
 in the exquisite allusion in the second verse : 
 
 My soul thirsteth for thee. 
 
 My flesh longeth after thee. 
 
 In a land of drought and barrenness, 
 
 Where no water is. 
 
 No Psalm is more eminently Davidical than this. 
 The only title of this class which remains to be 
 
208 ON THE TITLES OF THE PSALMS. [Dissert. II. 
 
 noticed is that of the 142nd Psahn : Avhich is said to 
 be a prayer of David, " when he was in the cave." 
 This alludes to that portion of his history when he 
 hid in the caves of AduUam and Engedi, in order to 
 escape from Saul.'' Now this Psalm occurs imme- 
 diately after one whicli refers, not o])Scurely, to circum- 
 stances connected with that hiding place. His con- 
 duct to Saul's insidious messengers is alluded to in 
 the words, " Their judges were dismissed by the 
 sides of the rock." And the tenor of the Psalm in- 
 dicates an absence from the sanctuary, when he makes 
 this entreaty, that his " prayer may be set forth as the 
 incense, and that the lifting up of his hands may be as 
 the evening sacrifice." And the image of the follow- 
 ing verse seems taken from the place of his conceal- 
 ment : when his followers were keeping watch at the 
 openhig of the cave : " Set a watch, Lord, before my 
 mouth; and keep the door of my lips." And again in 
 this passage : " Our bones are scattered before the 
 pit." 
 
 AVith the strain of this Psalm, that of the 140th, 
 and 142nd, and 143rd is altogether in accordance ; 
 and special reference seems to be made to his perilous 
 condition in this passage of the 142nd : " I had no place 
 to flee unto: and no man cared for my soul." 
 
 § 10. TITLES INDICATING THE SENTIMENT. 
 
 These are few in number : but so plain, and self- 
 evident, as to require hardly any remark but this, 
 that their occurrence is an d priori presumption 
 against the mystical interpretation of the titles. For 
 of these, two, prefixed to the 38th and 70th Psalms, 
 are as follows : " To bring to remembrance," in evi- 
 dent allusion to those divine mercies which he entreats 
 
 " 1 Sam. ,\.\ii. xxiv. 
 
§9.] TITLES INDICATING THE SENTIMENT. 
 
 his God to remember. The 45th Psalm is entitled 
 " A Song of Loves;" in a very inadequate sense, the 
 marriage song of Solomon ; but in its full and pci'fect 
 meaning, the celebration of the love which Christ has 
 for the Church. The title of the 92nd, " For the 
 Sabbath Day," is by no means inconsistent with its 
 tenor, and from its internal structure appears to be 
 from the hand of David. The 145th is the opening 
 of that noble hymn of praise, of which the remaining 
 Psalms are also the component parts, disposed in an 
 orderly sequence: and therefore are emphatically styled 
 David's Psalm of Praise : the title extending either to 
 the whole or to a part of this collection, of which it 
 is possible that the latter portion was added in later 
 times. This notion is favoured by the Septuagint, 
 which attributes the three Psalms following the 145th 
 to Plaggai and Zechariah. But no great dependence 
 is to be placed on these variations of the Septuagint, 
 which did not accord with the ancient copies of the 
 Hebrew Bible extant in the time of Origen. 
 
 It remains to examine but one title more ; that of 
 the 102nd Psalm, which runs thus: — 
 
 " A Prayer of the afflicted, when he was over- 
 whelmed, and before the Lord poured out his sup- 
 plication." 
 
 It is the opinion of an eminent poet of our day'', 
 who upon points like these deserves to be listened to 
 with the greatest deference, that these words do not 
 form the title, but the text of the Psalm : and so ac- 
 cordingly he has arranged them, in his metrical version. 
 It is evident, that it will form two regular lines, ac- 
 cording to the rules of Hebrew poetry ; and will thus 
 form a beautiful though singular feature in the Psalm. 
 Its singularity, however, must make me hesitate in 
 acceding to this opinion ; as no other introduction of 
 
 » Mr. Keble. 
 VOL. II. P 
 
 209 
 
210 ON THE TITLES OF THE PSALMS. [Dissert. 11. 
 
 the same kind is foiiiul throughout the entire Psalter. 
 On the other hand, as a title, it is equally singular ; 
 all tlie others of any length being historical, not sen- 
 timental. There is thus a choice of difficulties, to be 
 solved, not by any researches of scholarsliip, but 
 rather by the exertion of discriminative taste and 
 feeling. Upon tliis point the present Avriter is equally 
 unwilling and unable to give any decided opinion. 
 
211 
 
 NOTES ON DISSERTATION II. 
 
 Note a. rage 158. 
 
 THE MUSICAL INSTRUMENTS OF THE JEAVS. 
 
 The ISOth Psalm is known to contain an enumeration of the in- 
 struments used in the choral service of the Israelites. These are, 
 the trumpet, the psaltery, the harp, the tabret, the pipe, the minnim, 
 (or stringed instruments :) the huggah, or organ : and lastly, 
 cymbals of two kinds, or of different degrees of loudness. 
 
 The trumpet is mentioned first, as the sacerdotal instrument. 
 There are two designations of the trumpet in Holy Scripture ; 
 namely, the shophar, and the hatsotscrah ; both of which wc learn 
 from the 98th Psalm, v. 6. (the only passage in the Psalms in 
 which the latter word occurs), were used in the service of the 
 Temple. 
 
 The shophar for the most part signifies the war-trumpet, or 
 one used for proclamations, and for signals ; sometimes bluwn by 
 the military % sometimes by the priests. Its use, however, is 
 often liturgical, as appears from the 81st, 98th, and 150th Psalms, 
 and 1 Chron. xv. 28. 
 
 Connected with the shophar, we find the jubilee mentioned, 
 often incorrectly translated " ram's horns." The jubilee trumpet 
 was blown before the walls of Jericho by the priests. (Josh. vi. 4.) 
 and mention is made of it in Leviticus, xxv. 9, 10. : its use being 
 there connected with proclamation. Tlie LXX. in Josh. vi. render 
 it by Tov tu)€ii\. May not this designation be derived from Jtibul, 
 the inventor of musical instruments ? It would seem to signify a 
 louder kind of trumpet than the hatsotscrah. 
 
 That the use of the hatsotse?-ah, or cornet, was occasionally not very 
 different from that of the trumpet, wc learn from Numb, x., where 
 it is directed to be employed on the same occasion as the shophar 
 in Psalm Ixxxi : the feast of trumpets. It is used for calling of 
 
 " By Ehud, Judges iii. 27. ; by Gideon, vi. 34. ; hy Joab, 2 Sam. ii. 28. ; 2 
 Sam. xviii. 16. ; 2 Sam. xx. 22. ; by Saul, 1 Sam. xiii. :5. As a war trumpet, Jer. 
 iv. 19. 21. ; vi. 17. ; xlii. 14. ; li. 27. ; Ezekiel xxxiii. 3,4, 5,6. ; Zepli. i. 16. ; 
 Joel ii. 1.; Amos ii. 2.; iii. 6.; Job xxxix. 24. 25. For proclamations or 
 signals, Isaiah Iviii. 1.; llosca viii. 1.; 2 Kings ix. 13.; 2 Chron. xv. 14. ; 
 Neh. iv. 18. The trumpet at Mount Sinai, Exod. xix. IG. &e. is so called. And 
 the mystical trumpet of God, in Isaiah xviii. 3. ; xxvii. 13.; Ps. xlvii, 5. 
 
 r 2 
 
212 ON THE TITLES OF THE I'SALMS. [Disseht. n. 
 
 assemblies (Nuinl). x. 2.), for proclamations, and going to war % 
 but in most instances is connected Avith the temple service'', 
 and is always sacerdotal. It was probably a smaller trumpet than 
 the shophar : which I collect from Hosea, v. 8 : " Blow the 
 trumpet in Gilead(i, e. beyond Jordan), and the ccrnet \n l!amah 
 (/. e. in Judah). From 2 Chron. xxix. 26 — 28. it is evident that 
 the cornet was employed during the Psalmody, either as an accom- 
 paniment, or a sympliony. 
 
 After the trumpet follow the two principal species of harp, 
 already observed upon, the uabal and kinnor. Then the 
 special instruments of rejoicing, the tabret and pipe. Then 
 stringed and wind instruments in general, under the generic 
 names of minnim, (or many strings, from njD to distribute) and 
 huggab, or organ ; this being one of Jubal's inventions. But this 
 is the only passage in the Psalms in which the words occur. 
 
 The tsiltseUm, (or metsilthaim) or cymbals, were of brass ; and, 
 as we learn from 1 Chron. xv. 19., were specially appropriated 
 to the leaders of the three choirs. Perhaps this was in order that 
 they might give the time to the numerous bands under their di- 
 rection. They appear to have been of two kinds, one more 
 sonorous than the other. 
 
 It remains to notice but one more instrument, mentioned but 
 once, in 2 Sam. vi. 5., among David's instruments, the mcnahaiildin, 
 [D''yjyJo], translated cymbals in the LXX, and cornets in our Bible. 
 Tiic etymology of the word, meaning to vibrate, indicates tliat 
 these were *«*^?v«H5, or instruments of metal which gave a jingling 
 sound when shaken, like the bells formerly used in our military 
 bands. 
 
 Note h. Page 171. 
 
 THE GENEALOGIES OF THE LEVITICAL CHOmS. 
 
 These are given in 1 Chron. vi. Each of tlie tliree lines, viz. of 
 Gershomites, Kohathites, and Merarites, is recorded twice ; first in 
 a d( spending, and secondly in an ascending order. Considerable 
 discrepancies arc found between the parallel lists ; but these may 
 be to a great degree reconciled by a careful comparison ; as it 
 will be the object of this note to show. 
 
 First, as to the Gersliomite genealog3\ Tlie first and direct list 
 occurs in v. 20. 
 
 " Numb. xxxi. fi. ; 2 Kings xi. 14.; 2 Cliron. xiii. 12 — H. 
 ^2 Kings xii. IfJ. ; 1 Chron. xiii. 8.; xv. 24.28. ; xvi. 6., 2 Cliron. v. 12.; 
 XV. 14. ; XX. 28. ; xxiii. \^. ; Ezra iii. 10.; Nth. xii. 35. 
 
NOTES ON DISSERTATION II. 
 
 " Of Gcrshom : Libni his son, Jahatli liis son, Zimniali his, son, 
 Joah his son, Iddo his son, Jcatcrai his son." 
 
 The reversed and more complete list occurs in v. 39. 
 
 " Asaph, the son of Berachiah, the son of Slumea, the son of 
 Michael, the son of Baaseiah, the son of Malchia, the son of 
 Ethni, the son of Zerah, the son of Adaiah, the son of Ethan, the 
 son of Zinimah, the son of Shimei, tlie son of Jahath, the son of 
 Gershom, the son of Levi," 
 
 Now in the first list, Shimei would seem to be omitted, since he 
 occurs in the second, as the son of Jahath, and father of Zimmah. 
 And in the second, Libni, the son of Gershom, is omitted : whereas 
 we are expressly told, in v. 17., that the sons of Gershom were 
 Libni and Shimei : and in 1 Chron. xxiii. 7., where Shimei and 
 Lftddan (evidently the same as Libni) are mentioned as sons of 
 Gcrshom. The margin of our Bible, and many commentators, 
 consider Ethan to be another name for Joah ; Adaiah for Iddo, 
 and Jeaterai for Ethni. These words resemble one another more 
 closely in Hebrew than in English, and might easily be mistaken 
 by transcribers : e. g. ny is like n^ny, and nnX"* like '•jnx ; Avhile 
 m>X might be corrupted into nxv, by a transposition of letters, 
 and the mistake of 1 for a similar letter, the final J. 
 
 The following is an attempt at rectifying the genealogy of the 
 line of Gershom, or Asaph. 
 
 1. Gershom. I 6. Ethan, or Joah. | 11. Baaseiah. 
 
 2. Libni. 7. Iddo, or Adaiah. i 12. Michael. 
 
 3. Jahath. 8. Zerah. 13. Shimea. 
 
 4. Shimei. 9. Jeaterai. 14. Berachiah. 
 
 5. Zimmah. | 10. Malchia. 15. Asaph. 
 
 The direct genealogy of the Kohathites, or Korhites, (the choir 
 of Ileman,) occurs at v. 22. 
 
 " The sons of Kohath : Amminadab his son, Korah his son, 
 Assir bis son, Elkanah bis son, and Abiasai)h his son, and Assir 
 his son, Tahatli his son, Uriel his son, LTzziah his son, and Shaul 
 bis son : and the sons of Elkanah, Amasai and Ahimoth ; Elkanah 
 his son, Elkanah ; Zopluii his son, and Naluith his son, Eliab his 
 son, Jeroham liis son, Elkanah his son. And the sons of Samuel, 
 
 the first born Vashni, (or rather, and the second) and 
 
 Abiah." 
 
 The reversed genealogy begins at v. 33. 
 
 " Heman a singer, the son of eJoel, the son of Samuel, the sou of 
 Elkanah, the son of Jeroham, the son of Eliel, tlie son of Toah, the 
 son of Zuph, the son of Elkanah, the son of Mahath, the son of 
 Amasai, the son of Elkanah, the son of Joel, the son of Azariah, 
 the son of Zephaniah, the son of Tahath, the son of Assir, the son 
 
 p 3 
 
214 ON THE TITLES OF THE TSALMS. [Diss^ET. n. 
 
 of Ebiasaph, the son of Korali, the son of Izhar, the son of Kohath, 
 the son of Levi, the son of Israel." 
 
 The conniptions appear to be these : in the direct list, wc have 
 Korah his son, Assir his son, Elkanah his sou, and Abiasaph his 
 son ; which would imply, accordinf^ to the ordinary construction, 
 that Assir was the son of Korah, Elkanah tlie son of Assir, and 
 Abiasaph the son of Elkanah. "Wliereas it appears from Exodus 
 vi. 24. that Assir, Elkanah, and Abiasaph wei'e tlie three sons of 
 Ivorah. In the reversed list, accordingly, the first Assir and 
 Elkanah are not mentioned ; only Abiasaph, the father of the 
 second Assir, 
 
 In the first list Elkanah is not recorded as the son of Shaul : 
 . but there is an evident hiatus, since Amasai and Ahimoth are 
 called the sons of Elkanali. This hiatus is filled up in the second 
 list, where Joel is his father (Joel and Shaul being evidently the 
 same person). Again, in the first list, Amasai and Ahimoth are 
 represented as brothers ; whereas in the second, Mahuth (tlie same 
 person as Ahimoth), the son of Amasai, is father to Elkanah. The 
 third Elkanah is not recorded in the first list as the son of Ahi- 
 moth, but he is in the LXX, and this passage is not obelized ; and 
 in the second list, he is the son of Mahath. Our translation reads 
 incorrectly, with some MSS., " (as for) Elkanah, the sons of El- 
 kanah" i. e. '•33 sons, instead of 1J3 his son, the received text, and 
 the reading of the LXX. The fourth occurrence of Elkanah (pre- 
 ceding Zophai) evidently redundant, is wanting in three of Ken- 
 nicott's MSS. and in the LXX. 
 
 In the first list is read Vashni, Abiah. Some have considered 
 Vashni to be synonymous with Joel. The LXX reads, 6 TrpwroroKoe 
 2a»/), KoX 'A^ta. Now -sve know fi'om the parallel genealogy, and 
 from 1 Sam. viii. 2., that Joel w^as the name of Samuel's eldest son. 
 A Avord has clearly dropped out of the text, which should be read, 
 n'3X 'Jk^'1 [^i<v] "iSHn, the first born Joel, and the secoiid Abiah : 
 (the Hebrew word translated Vashni meaning "and the second.") 
 The 1, according to this reading, must be omitted before Abiah. 
 This error, as Dr. Kcnnicott remarks, with its solution, has been 
 pointed out by Joseph Mede, as also by Calmet. Dr. Hales 
 (Anal, of Chron. iii. p. 46. 8vo. edit.) rejects from the list of Ko- 
 liath several names marked * in the subjoined list, alleging the 
 repetition of names, and the jn-obability of interpolation, from tlic 
 disproportionate length of K(jhath's line, when compared with 
 those of his two brethren. But his objection seems to be made 
 without sufficient reason. The two parallel genealogies give a 
 nearly equal length of generations. The recurrence of similar 
 names is a frequent characteristic of Hebrew pedigrees : and as to 
 the greater length of Kohath's line, similar instances arc frequently 
 
NOTES ON DISSERTATION II. 
 
 21, 
 
 to be found in family records. They miglit liave married earlier 
 in several successive generations in this line than in the otliers. 
 At all events it is impossible to get over the strong coincidence 
 afforded by the two parallel genealogies, without taking unwar- 
 rantable liberties with the text of Holy Scripture. The names, 
 even when differing, have a strong resemblance. For instance, 
 Uzziah is known to be synonymous with Azariah, and Ahimoth 
 differs but little from Mahath, Zophai from Zuph, Eliab from 
 Eliel. 
 
 The following is an attempted rectification of Kohath's line. 
 
 1. Kohath. 
 
 2. Izliar, or Amminadab. 
 
 3. Korali. 
 
 4. Abiasaph, Assir, and 
 
 Elkanah. 
 
 5. Assir. 
 
 6. Tahath.* 
 
 7. Zephaniah or Uriel.* 
 
 8. Uzziah, or Azariah. 
 
 9. Shaul, or Joel.* 
 
 10. Elkanah.* 
 
 11. Amasai.* 
 
 12. Ahimoth, or Mahath.* 
 
 13. Elkanah. 
 
 14. Zophai or Zuph. 
 
 15. Naliath or Toah. 
 
 16. Eliab or Elicl. 
 
 17. Jeroham. 
 
 18. Elkanah. 
 
 19. Samuel. 
 
 20. Joel and Abiah. 
 
 21. Heinan. 
 
 As for the third genealogy, that of Merari (the choir of Ethan), 
 it would appear that the first list given in v. 29. is the line of 
 the eldest brother Mahli, that in v. 44. that of the second brother 
 Mushi; which view is confirmed by 1 Chron. xxiii. 21. 
 
 I make no apology for the insertion of this note. Though the 
 occasion of it is only incidental to the main subject of the disserta- 
 tion, this investigation may not be without its use ; as it is im- 
 possible to say how far the attempt to explain an apparently 
 imimportant difficulty of Scripture, may contribute towards solving 
 difficulties confessedly important. This genealogy (except in the 
 instance of one name) has been unaccountably passed over by 
 Dr. Kennicott, who has so ably disentangled the difficulties to be 
 found in similar passages of the Old Testament. 
 
 Note c. Page 171. 
 
 ON THE TWENTY-FOUR COURSES OF THE LEVITES. 
 
 The order of these courses is given in 1 Chron. xxv., from 
 which the following table is compiled. The number refers to the 
 courses, which were appointed by lot. 
 
 1. Joseph, of the choir of Asaph. 
 
 2. Gedaliah „ „ Ethan. 
 
 3. Zaccur „ „ Asaph. 
 
 4. Zevi, or Izri „ ,, Ethan. 
 
 5. Ncthaniah „ „ Asaph. 
 
 6. Bukkiah „ „ Mcnian. 
 7. 
 
 Gedaliah 
 
 Zaccur 
 
 Zevi, or Izri 
 
 Ncthaniah 
 
 Bukkiah 
 
 Asarclali, or 
 
 Jcsharclah 
 
 Asaph 
 
 8. 
 
 Jeshaiah of the 
 
 choir 
 
 of Ethan. 
 
 !). 
 
 Mattaniah „ 
 
 ,, 
 
 Hcnian. 
 
 10. 
 
 Shimci „ 
 
 , 
 
 Etiian. 
 
 11. 
 
 Uzzicl, or Azarecl 
 
 , 
 
 Ilenian. 
 
 12. 
 
 Ilashabiah „ 
 
 ,j 
 
 Etlian. 
 
 13. 
 
 Shebiicl or 
 
 
 
 
 Shuhad 
 
 J 
 
 Ilcman. 
 
 I-l. 
 
 Maltithlah 
 
 , 
 
 Ethan. 
 
 r 4 
 
216 ON THE TITLES OF THE PSALMS. [Dissert. II. 
 
 The remaiiuler avcic all of the clioir of Ilomun, or Korhitcs. 
 
 )5. Jeriinotli. 
 
 16. Ilananiah. 
 
 17. Joshbekashali. 
 
 18. Ilanaui. 
 
 19. Mallothi. 
 
 20. Eliatliali. 
 
 21. Holhir. 
 'J'J. Gidilalti. 
 
 23. MaliaziDth. 
 
 24. Ilomamti Ezcr. 
 
 Each of these courses waited in turn, somewhat like the chap- 
 lains and choir of our Sovereign'.s chapel. Each choir was formed 
 of twelve. But thi.s docs not seem to have included botli instru- 
 mental and vocal music. According to some Jewish authorities, 
 the Levitical performers were all vocal, excepting the sacerdotal 
 trumpeters, and players on the cymbals. And the expression in 
 1 Chron. xxv., of prophesying to a harp, may mean that these men 
 sang to the musical accompaniment of others. See Lightfoot's 
 Temple Service, ch. vii. sect. 2. This is a question of considerable 
 difficulty. I am inclined, however, to the opinion expressed in 
 this Jewish tradition ; and think that neither instrumental per- 
 formers nor boys are included in the stated courses ; a supposition 
 which seems borne out by a passage in 1 Chron. xv. 20. 21., where 
 the harpers appear to have been a stationary body, not serving by 
 courses. Each band during its waiting thus formed a double choir, 
 /. e. two of each adult quality of voice on each side, the force of 
 which our cathedral choirs used generally to consist in ancient 
 times. And thus the Temple music may be vindicated from the 
 imputation of that extreme harshness and noisiness which Dr. 
 Burney and other musical writers have so careles-sly imputed to 
 it. On certain great occasions (as observed in the text of the Dis- 
 sertation) the different bauds joined, as at great festivals in many 
 Christian churches. 
 
THE 
 
 BOOK OF PSALMS. 
 
 DISSERTATION III. 
 
DISSERTATION III. 
 
 ON TUE ORDER AND CONNECTION OF THE I'SALMS. 
 
 § 1. GENERAL REMARKS. 
 
 Since all God's works, whether visible or providential, 
 manifest, in their original production, an exquisite 
 design, and, in their progression and sequence, ex- 
 clude all notion of chance, and bear evidence of a 
 consistent arrangement, every devout mind must be 
 willing to believe, antecedent to any investigation, 
 that a like arrangement exists in each portion of that 
 written revelation which the Holy Spirit has commu- 
 nicated to the Church. 
 
 The Book of Psalms, especially, demands this be- 
 lief from us, since it has been to the faithful in all 
 ages, their principal guide to devotion, to providen- 
 tial history, to prophecy, and to the highest mysteries 
 of religion. If apparent irregularities are occasionally 
 observable in the sequence of those divine songs, the 
 same reflections may be applied to the consideration 
 of such difficulties as have place in the study of his- 
 tory. For in the ordinary course of worldly events, 
 a careless or irreligious observer will look upon many 
 of these as irregular or fortuitous in their sequence, or 
 at least as unconnected with any orderly system of 
 Providence ; while the instructed Christian will be- 
 lieve (what real philosophy can prove) that each 
 event is a link in one great chain, holding its ap- 
 
220 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 pointed place, and contributing to the completeness 
 of God's universal scheme. 
 
 That the collectors and arrangers of the Psalms 
 were directed in their labours by tlie Holy Spirit, no 
 true maintainer of the inspiration of the Scriptures 
 can question. And therefore it is but a pious duty to 
 acquiesce in the notion, that the violations of chrono- 
 logical order, or other seeming anomalies, may have 
 their solution in causes which were of divine appoint- 
 ment. And a closer examination will, it is hoped, 
 vindicate their real regularity in this respect. In 
 some instances, indeed, as must happen in the inves- 
 tigation of any part of the divine dispensations, the 
 causes may be obscure, and possibly unfathomable. 
 Still the general structure of the book, like the ge- 
 neral system, both moral and physical, of the universe, 
 affords sufficient evidence of providential design. 
 
 Thus, to take a very cursory view of its con- 
 tents, it appears sufficiently obvious, that the first 
 Psalm is introductory to the whole collection. It 
 is equally evident, that the second is also intro- 
 ductory to the Psalms in immediate sequence, 
 and to a considerable part of the whole, which 
 speak of conflicts with the enemies of God, the al- 
 ternate repulses and victories, the complaints and 
 thanksgivings, the hopes and fears, of his servants. 
 These struggles and vicissitudes form the main sub- 
 ject matter of the two earlier divisions, or books of 
 the Psalms, relieved occasionally by intervals of re- 
 pose, as in the 8th and 19th, and by gleams of bright 
 and inspiriting prophecy. As we proceed, we find 
 the fortunes of the Church more distinctly spoken of, 
 in the Psalms of Asaph and Korah especially; her con- 
 quests and final triumpli more confidently predicted, 
 the reign of her Kedeemcr brought more distinctly 
 into view, the history of God's past and future Provi- 
 
§ 1.] GENERAL REMArvKS. 22 1 
 
 clencc more systematically taur!;lit ; the deliverance 
 from captivity, and the bestowal of his grace through 
 divinely instituted channels, in his sacraments, more 
 specially celebrated. Towards the end, in the 119th 
 Psalm, we have the calm meditations of experienced, 
 but watchful piety, matured into settled habits : and 
 from this Psalm onward, meditation ripens into 
 thanksgiving, now uttered in a more confirmed and 
 confident strain, till those which form the conclusion 
 of the entire book are expressive of unmixed happi- 
 ness and joy, the anticipation of the songs of heaven. 
 All conflicts are now over : the salvation of the righ- 
 teous, and destruction of the ungodly, announced in 
 the first Psalm, are brought to pass : the triumph of 
 Christ and of his servants, foretold in the second, is 
 complete : the kings of the earth, who had stood up 
 against the Lord and against his Anointed, are now 
 bound in chains, and with links of iron : and the 
 final and crowning sentiment of the whole is this : 
 "0 praise God in his holiness; praise him in the fir- 
 mament of his power. Let everything that hath 
 breath praise the Lord."* 
 
 In this general aspect of the Psalms, we may read 
 a threefold history : first, the fortunes of the Church ; 
 secondly, those of its antitype, the Church of Christ, 
 and thirdly, the progress of each individual soul from 
 the conflicts with sin, to her final triumph and resto- 
 ration to the Presence of God her Creator. But just 
 as it is ordained in the fortunes of the Church Mili- 
 tant and of her individual members, this general 
 
 " St. Gregory Nyssen, in his first treatise on the Inscriptions of the 
 Psalms (c. 5,6, 7.) enters largely into this regular progression, and shows 
 that praise forms the termination, as the painful pursuit of virtue forms 
 tlie beginning. His treatise is well worth attentive reading, though dealing 
 too much in that forced and mystical interpretation, so prevalent in the 
 writings of the Fathers. Gcnebrard (in Psalm xl. 15.) shows also the 
 specific character of each division : but his criticisms are not exact. 
 
222 ORDEU ANT) CONNECTION OF THE PSALMS. [Dissert. III. 
 
 progress towards perfection is chequered by many 
 incidents, in all appearance anomalous and discou- 
 raging. Thus the interposition of tlic 140th and three 
 following Psalms, appears to retard the advance to- 
 wards final victory, recurring to persecutions and 
 perplexities which had seemingly passed aAvay. In 
 like manner checks will occur in the midst of the most 
 prosperous current of a spiritual condition, permitted 
 or ordained in order that vigilance may be kept alive, 
 and a perpetual dependence upon God alone for 
 strength and protection. 
 
 How far the devotions of the more faithful in com- 
 munion with the Church of England may have been 
 influenced by this moral sequence of the Psalms it 
 would be impossible to say. Those very persons 
 most likely to be benefited by this circumstance, 
 would probably be unconscious of its operation ; 
 since the most fixed and healthy habits of thought 
 and of devotion are commonly promoted by unmarked 
 associations. r)Ut that its effect has been salutary 
 and providential I should be sorry to doubt. For 
 this at least we have reason to be thankful, that our 
 Church, in her daily recitation of the Psalter, has 
 used no arbitrary or partial method of selection, but 
 has strictly followed the order laid do^vn in Holy 
 Writ, so as to allow to her children the full benefit 
 that may arise from their varied sequence and exqui- 
 site connection. We ought also to be thankful, that 
 she has not taxed our powers of comprehension or me- 
 mory, by enjoining too large a portion for each day's 
 use, but in her ofiice of the steward of God's mys- 
 teries, has been mindful of the spirit of that petition 
 taught us by himself, " the bread that is sufiicient 
 for us, give us day by day. " 
 
 Such, it is conceived, is the providential design, 
 completed when the Book of Psalms was digested 
 
§ 1.] GENERAL REMARKS. 
 
 into its present form. But, in examining with more 
 accuracy its several parts, we shall, if I mistake not, 
 find many particulars which will throw lig^ht upon 
 their original design and appropriation, illustrate 
 their connection, and explain some of their apparent 
 anomalies. This examination, adhering to the proofs 
 afforded by internal evidence, and to the facts of 
 Scripture history, is in harmony with the general de- 
 sign of these pages, which is, to call attention to the 
 literal meaning of Holy Scripture, as the only sure 
 basis for the more spiritual application of its saving 
 truths. 
 
 The main point to be observed at present, which 
 will be expounded in the following sections, is this : 
 that, besides the general plan of the Psalter, the book 
 is found to divide itself into five great portions or 
 masses, which has each to a considerable degree a 
 distinctive character." Thus, the first portion consists 
 altogether of Psalms expressly ascribed to David, or 
 such as can be clearly proved to be his. The second 
 portion is for the most part Davidical ; but at its 
 commencement are found seven Psalms of the sons of 
 Korah, and one of Asaph; while of the Davidical 
 Psalms, several, in regular sequence, are entitled Ma- 
 schil and Michtam. The third portion consists almost 
 entirely of the Psalms of Korah and Asaph. Then 
 succeeds a division consisting, with but three excep- 
 tions, of Psalms styled by the ancients dvs7rlypa(poi, or 
 untitled, and, as will be shown in the fifth section of 
 this Dissertation, of a peculiar character, and, for the 
 most part, in close connection. The last, or fifth di- 
 
 ' Notwitlistancling these obvious characteristics, we find among the 
 figments of the Talmud one, which asserts that David wrote the book of 
 Psalms by the hand of ten persons : Adam, Melchizcdek, Abraham, 
 Moses, Ileman, Jednthun, Asaph, and throe sons of Korah ; utterly 
 excluding the church of after times from any participation in the work. 
 
224 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 vision, is obviously miscellaneous, made up of several 
 classes of Psalms, some of David, many referring to the 
 captivity and the events which followed ; some are 
 altogether sui generis, as the 11 0th Psalm, that peculiar 
 class called Songs of Degrees, and in conclusion, that 
 continuous strain of thanksgiving, beginning with 
 "David's Psalm of Praise" (the 145th), and com- 
 pleting the entire collection. 
 
 It is unnecessary at present to enter upon the con- 
 sideration of the exceptions to the specific character 
 of each of these divisions Avhich obviously occur. 
 Suffice it to observe, that there are strong indications 
 of five general groups, each having a peculiar cha- 
 racter. Now this observable fact bears out the pro- 
 priety of the Jewish division of the Psalter into five 
 books'" or portions : each of these comprising one of 
 the divisions now assumed, from internal evidence, 
 to exist. 
 
 This division has been disallowed by some of the 
 Fathers", on the ground that it is contradictory to 
 
 " St. Epiphanius (dc mensuris et ponderibiis) .says that the Hebrews so 
 divided it. So also Eusebius in his vTr&6((ri<:, prefixed to the Codex 
 Alexandr. and given by Grabe in his Prolegomena to the LXX. 
 
 ^ St. Hilary, Troleg. in Psalmos, who speaks of the tradition being held 
 only " secundum quosdam Hebra;os ;" and St. Jerome, Prefat. in Lil)r. 
 Psalmorum. But in his preface to the First Book of Samuel, he says, 
 " quern (juhifjue incisloiiibus, et uno Psalmorum volumine comprehcndunt." 
 Dr. Ilannnond makes the like objection; observing, however, that it 
 forms five books in the Syriac translation. But St. Gregory Nyssen, in 
 his first treatise on the Psalms (cap. v.), admits the quintuple division. 
 And St. Ambrose, Enarr. in Ps. xl. (Bcned. ed. ii. 7G4. F.) " pukhre 
 autem quinque libri et unum Psalterium." This division is defended by 
 Bishop Ilare, in his Prolegomena to his arrangement of the Psalms, 
 affirming that they were certainly collated at diflcrent times, and col- 
 lected together after the return from Babylon, (pp.lxiv. et seq.) Although 
 the metri(;al theory of the Bishop be untenable, there is much in his 
 learned Prolegomena deserving of attention. Genebrard, as remarked 
 before in a note to page 221., remarks upon the division into five parts ; 
 and with him De ]\Iuis (in P.salm xl.) agiees. But authorities on both 
 sides of this question might be needlessly multiplied. 
 
§1.] GENERAL REMARKS. 225 
 
 the express words of Holy Scripture; since in the 2Utli 
 verse of the first chapter of the Acts of the Apostles, 
 the Psalter is designated " the book of Psalms." The 
 utmost that can be fairly conceded to such an objec- 
 tion is this, that the five portions ought not to be 
 styled " books," or that such formal division ought not 
 to be announced as part of the authentic text of Holy 
 Scripture : but it leaves untouched the validity of tlie 
 tradition, which at least recognises five collections, 
 probably made at five several times, and formed into 
 one book by Ezra, or rather Nehemiah.-'' The word 
 hook may be used in a more or less extended sense, 
 as a larger or smaller portion of the same work. We 
 call tlie Bible a book, and yet speak of the books of 
 the Old and New Testament. ' The Jews seem rightly 
 to have preserved the memory of a fact, though in 
 their deductions from it they may have, as usual, 
 made it liable to suspicion, by their o^vTl guesses or 
 unfounded traditions. Such is that, of the Psalms 
 having been divided into five books, in imitation of 
 the Law of Moses'': an assertion which plainly pro- 
 ceeded from conjecture, and wliich obscures tlie pro- 
 bable facts of the case, which we shall now proceed 
 to state. 
 
 Observations have been already made"" on the pro- 
 bable compilation of the first three portions of the 
 Psalms. In addition to what was there said, it is 
 
 " Ezra is accounted the compIliT by the autlior of the Synopsis attri- 
 buted to St. Athanasius. (St. Athanas. Opera, iii. 21. Bencd. Ed.) 
 Theodoret, Pref. in Psahnos ; Hilary, Proleg. in Psalnios, &c. Carpzov 
 has the same opinion. Iluetius thinks that Ezra arranged the Psahns in 
 the order in which they were to be sung in the temple ; but this opinion 
 Bishop Hare well refutes (Proleg. p. Ixviii.). The bishop considers the 
 collection is to be referred to Neheniiah, and supports his view by refer- 
 ence to 2 JNIaccabees ii. 13. " The same things also were reported in the 
 writings and commentaries of Necmias, and how he, founding a library, 
 gathered together the acts of the Kings, and the Prophets, and of David, 
 and the Epistles of the Kings concerning the holy gifts." 
 
 '■ Kimchi records this tradition. Page 187. of ihis vol. 
 
 VOL. II. Q 
 
226 ORDER AND CONNECTION OF THE PSALMS. [Disskrt. 111. 
 
 now to be remarked, that there were five iiulividiials, 
 four of them kings, under whose auspices the 
 Temple worship was regulated or restored, and part 
 of the Holy Scripture rescued from disuse or ol^livion ; 
 namely, David, Jehoshaphat, Ilezekiah, Josiah, and 
 Ezra: the latter being generally considered as the 
 reviser of such books of the sacred Canon as existed 
 up to his time/'' There would be little difficulty or 
 inconsistency in assigning to each of these eminent 
 servants of God the collection of one portion of the 
 Psalms. Thus, the first book, being unmixedly Da- 
 vid's, may without question be considered as a col- 
 lection formed during his reign. The second book is 
 not exclusively his : the third is mainly the compo- 
 sition of others. As we have already observed^ cer- 
 tain Psalms in each of these collections appear to 
 have been composed during the reign of Jehoshaphat, 
 and to have been adapted to the Temple service by 
 Hezekiah." Neither the songs of Korali nor of Asaph 
 can be restricted to either reign, according to their 
 present sequence. The history of the second and 
 third books, however, appears to be this. At one 
 period of his reign King Hezekiah reproduced cer- 
 tain Psalms of Jehoshaphat, adding to them others 
 composed during his own reign. Then he discovered 
 or made public certain Psalms of David, (as we know 
 he did certain Chapters of Proverbs,) which had 
 never been formally collected, or had been forgotten 
 during the disastrous times of Ahaz : and all these 
 he put together in a separate volume, which now 
 forms the second portion. At a later period, he made 
 another collection or adaptation of Jehoshaphat's 
 Psalms, and of those of his own time, and thus formed 
 
 " If not Ezra, at least Nchemiah. '' Dissert, ii. § 5, 6. 
 
 ' This opinion is noticed as probahle by Ciilniet, Bishop Hare in his 
 Prolegomena, and by Coppen (Prooemiura in Psalmos). 
 
§ 1.] GENERAL REMARKS. 227 
 
 the thii'd voliiiiie (jv portion; iiisci-ting one of David's 
 mid one of Ethan's, Avhich hitter Avas probably com- 
 pleted by Isaiah.-^ 
 
 The fourth book may possibly have been a restor- 
 ation made by King Josiah, in whose reign the book 
 of the Law was discovered. But this conjecture, 
 though not contradicted by internal evidence, has 
 nothing to substantiate it. It is enough to observe, 
 however, that the distinct character of this book is 
 sufficiently obvious. AVith the exception of the 
 101st and lU2nd, the Psalms which it contains are 
 not personal : they are simple in their construction, 
 and of a character peculiarly popular. If I mistake 
 not, this book was the earliest collection, made for 
 the public service, and the instruction of the Jewish 
 people, compiled, in part from Mosaical sources, by 
 David himself, at the beginning of his reign, before 
 his own Psalms had yet been adopted in the ordinary 
 service of the sanctuary. The analysis of this book, 
 bearing out this theory, is reserved for the 5tli 
 section of the present Dissertation. 
 
 As to the last or fifth book, the examination of its 
 several parts will, it is hoped, make its compilation 
 by Ezra or Nehcmiah more than probable. It bears 
 many marks of having been in part composed during 
 the Captivity, in part after ; and, as to the rest, of 
 being a supplementary collection of older Psalms, 
 hitherto unpublished or forgotten, or adapted to the 
 circumstances of the Jewish people after their restor- 
 ation to their oan^u land. 
 
 Such is the general outline of the enquiry to be 
 pursued in the following sections. At present a few 
 words must be said on the Doxologies which form the 
 conclusion of all the divisions except the last. These 
 obviously indicate design, and sufficiently mark the 
 
 " Sec p. 200 of (his vol. 
 
228 ORDER AND CONNKCTION OF THE PSALMS. [Disskrt. III. 
 
 boundaries of each book. Their terms are very 
 siinikir, each beginning with " Blessed be the Lord," 
 and concluding with " Amen." These doxologies 
 seem to have been suggested by the conclusion of 
 that eucharistic Psalm of David, recorded in the IGth 
 chapter of the First Book of Chronicles; and as 
 the latter portion of that Psalm is identical with the 
 conclusion of the 106th, which closes the fourth divi- 
 sion of the Psalms, the final reviser of the Psalter, 
 (that is, Ezra,) not improbably gave a similar termi- 
 nation to each preceding division : if, indeed, the last 
 Psalm of David, the 72nd, which closes the second 
 division, had not originally this termination. The 
 doxologies are not essential towards the completeness 
 of the Psalms in which they occur : and the traditions 
 of the church, and the general opinions of scholars, 
 assign them to the compilers or arrangers of the 
 Psalter. 
 
 § 2. THE FIRST PART OF THE BOOK OF PSALMS, 
 
 The iirst part, or division of the Psalter, consisting 
 of forty-one Psalms, is expressly assigned to David, 
 exce[)t in four instances-'', namely, the 1st, 2nd, 10th, 
 and 33rd. As to the authorship of the first Psahn, 
 critics are divided.'' The second is unquestionably 
 David's : as we are assured by the united testimony 
 of the Apostles, in the twenty-fifth verse of the fourth 
 chapter of the Acts. The 10th Psahn is connected 
 with, or more properly forms a part of the 9tli, whicli 
 is David's : and tlie 33rd, though possibly composed 
 before his thne, is obviously connected with the 32nd. 
 
 By some critics, the first Psalm is attributed to 
 
 " This is remarked by Bishop Patrick, who thinks tliat they were for 
 this reason collected into one volume. 
 
 '' David is most commonly considered as the author by the Fathers ; 
 some say Ezra, some Josiah. In fact, this is a matter whiih can be 
 decided by no external testimony. 
 
§ 2.] THE FIRST TART OF THE BOOK OF PSALMS. 220 
 
 Ezra, who is supposed to have prefixed it to the 
 whole collection, as an introduction. For this notion, 
 however, we have no positive authority ; and there is 
 nothing in the structure of the Psalm which militates 
 against assigning it to David, except, perhaps, tlie 
 absence of any thing personal. But the same absence 
 is perceptible in the second, which is proved to be his: 
 and it may be accounted for by the prefatory nature 
 of the composition. There are also some expressions 
 which resemble David's style : thus, " in the seat of 
 the scornful he hath not sat," finds a parallel in 
 Psalm xxvi., " with the ungodly I have not sat :" and 
 the similitude of the chaff scattered by the wind is 
 like the expression in Psalm xxxv. 
 
 Let them be as the chaff before the wind, 
 And let the angel of the Lord persecute them. 
 
 The image of the tree may be compared with that 
 of the olive tree in Psalm lii., where also the dispersion 
 of the wicked is contrasted with the planting of the 
 righteous. 
 
 Still, this Psalm is so purely didactic and oracular, 
 that nothing certain can be said of its authorship. 
 But without any doubt its position marks design, as 
 a statement of the whole moral object of the Psalms, 
 which so fully shew the destruction of God's enemies, 
 and the salvation of his servants. 
 
 The 2nd Psalm is declared by holy Scripture'' to be 
 prophetical of Christ : its primary and literal mean- 
 ing might be applicable, in part, to David ; but in its 
 fulness, and in its most characteristic expressions, 
 the Church has never attributed it to any one but the 
 Son of God. That awful passage, 
 
 Thou art my Son, this day have I begotten thee, 
 refers to Him alone ; as does the following clause, 
 
 ^ Acts iv. 25, 26. 
 Q 3 
 
230 ORDER AND CONNECTION OF THE TSALMS. [Disskrt. TIT. 
 
 Desire of me, aud I will give thee the heathen for thine 
 
 inheritance, 
 And for thy possession the uttermost parts of the earth. 
 
 And again, 
 
 Kiss the Son, lest he be angry. 
 And so ye perish from the right way. 
 
 As tills Psalm is the general introduction to the 
 prophetical parts of the book, so it is more innne- 
 diately to those which follow. It announces a conflict 
 between the powers of the earth, and those of heaven ; 
 between the Most High and his enemies, and at the 
 same time predicts their overthrow. We are thus 
 prepared, as it were, for some great drama, the pro- 
 gress of which is recorded in the sequel. 
 
 Accordingly, in the third Psalm, the servant of 
 God begins his prayer, distinctly stating the approach- 
 ing aggression of his enemies, their power, and their 
 blasphemous malignity. He then lies down to sleep, 
 and rises refreshed by the divine aid, and prepared 
 for the warfare of the day. The same subject is 
 expanded, as has been already she^vn '', in the 4th 
 Psalm: when another day is terminated. Another 
 day opens in the 5th Psalm, which contains his morn- 
 ing prayer, repeating the same topics ; the aggressions 
 of enemies ; trust in God's mercy, the worship of the 
 sanctuary, and a confident prediction of destruction 
 to the wicked, and joy to the fjiithful. But each par- 
 ticular is more fully dwelt upon. And while this 
 Psalm will be found to be exactly parallel with the 
 preceding, its concluding sentiments are of a liigher 
 nature, and contain more expanded views of the hap- 
 piness and blessedness of the righteous. Again, in 
 the 6th Psalm, the meditations of the night return : 
 but here is an accession of grief and pain, greater 
 than has been hitherto recorded. We have for the 
 
 " Pages 56—59. 
 
§2.] THE FIKST PART OF THE BOOK OF PSALMS. 231 
 
 first time an intimation that his troubles have been 
 in part caused by liis own sin, or that at least his 
 transgression deserved this chastisement ; for he prays 
 God not to rebuke him in his anger, nor chasten liim 
 in his hot displeasure. Still, the prayer of faith and 
 repentance is heard, and his spirit is reassured : for 
 the Lord hath heard the voice of his weeping : and 
 he is enabled to say. 
 
 Away from iiic, all yc that work vanity. 
 
 They shall be a.shamcd, and vexed sore, all mine enemies ; 
 
 They shall be tnrncd back, and be ashamed suddenly. 
 
 We may without improbability assign the 6th and 
 preceding Psalms to the time when he was banished 
 from his kingdom, while suffering from filial ingrati- 
 tude and treachery. The 3rd Psalm is expressly attri- 
 buted, by its title, to that period of David's life. And 
 there is no apparent reason why we should date the 
 sixth later. During the persecutions of Saul, his con- 
 science was clear, and after the temporal punishment 
 for his great sin had been undergone, there was no 
 great offence, as the Scriptures'' themselves assure 
 us, for which he could so bitterly reproach himself. 
 Its connection Avith the 7th Psalm justifies this 
 opinion : the title of the latter is decisive. There is 
 but one plausible objection ; namely, that the Psalmist 
 uses the words of conscious rectitude ; whereas, the 
 very sufferings which now assailed him were in con- 
 sequence of sin. But David here alludes to the 
 slanderous imputations of Shimei. He had been 
 forgiven his great sin ; and with it the reproaches 
 of his enemies were unconnected. 
 
 The alternation of night and morning still pro- 
 ceeds; and in the 7th Psalm, the attacks and de- 
 vices of the enemy are more distinctly pictured, 
 and the aid of the Most High is more earnestly in- 
 
 " 1 Kings XV. 5. 
 Q 4 
 
232 ORDER AND CONNECTION OF THE PSALMS. [Dissert. HI. 
 
 vokc'cl ; the prayer concluding witli tlic accustomed 
 strain of prophetic hope. The nightly meditations 
 which follow in the 8th Psalm form a happy contrast 
 to those of the 6th. They give a picture of perfect 
 repose, and peaceful meditation, luialloyed with care. 
 The Avhole character of tliis Psalm is in exact accord- 
 ance with the circumstances of David's earlier days, 
 when he kept his father's sheep. To this period of 
 his life it is with every appearance of probability to 
 be assigned : and perhaps this was one of those 
 songs which he sang to the harp to soothe the discom- 
 posed spirit of Saul. No mention, indeed, is made in 
 Holy Scripture of David's songs, when he played on 
 the harp before him"*; but in the early ages, tlie liarp 
 is supposed to liave been uniformly used as an accom- 
 paniment to the voice. To the same period the 23rd 
 Psalm may justly be assigned ; but their present 
 location was of course an arrangement of later times. 
 The mention of the marvellous works of God, to 
 which the following Psalm, the 9th, refers, is con- 
 nected with the preceding meditations. This Psalm 
 is a noble £7r/t//«iov, or song of triumph, connected, as 
 we have already shewn'', with the 10th. The 11th 
 and those to the 14th inclusive still continue the same 
 subject; their topic being the deceitfulness and 
 cruelty of the wicked, and the vengeance of the Al- 
 mighty; contrasted Avith the meekness and faith of 
 the poor, of those especially whom our Lord desig- 
 nates " the poor in sj^irit ; " and the protecting mercy 
 of their God. The concluding expressions of the 
 14th Psalm, 
 
 When the Lord turncth the captivity of his people, 
 
 has induced some critics to assign this Psalm to the 
 times of the Labylonish captivity. But we must 
 
 " 1 Sam. xvi. 22. and xviii. 10. " Page 66. of this vol. 
 
§ -2.] THE FIRST TART OF THE BOOK OF TSALMS. 233 
 
 remember that David iiiul many of the nation were 
 in temporary exile during the oppressions of Absalom, 
 to wliich I have no doubt the present Psalm refers. 
 
 Ikit at the 15th Psalm a higher strain is interposed : 
 and amidst the warfare of this lower world, the pro- 
 phet is blessed with a vision of the life to come, and 
 of liim who is to open the kingdom of heaven to all 
 believers. A calm having succeeded, and David being 
 restored to the enjoyment of that public worship in 
 the sanctuary which was his highest delight, prepares 
 to approach the holy hill where the ark of God 
 rested. But before lie goes up, he reflects on the 
 purity of mind and conduct required from a sincere 
 worshipper. The 15th Psalm is introductory to the 
 two which folloAv. Mention is here made of God's 
 tabernacle, and the hill of his holiness: doubtless 
 typical of that everlasting Temple which is in heaven ; 
 since the blessing of him who shall be thought worthy 
 to dwell in that holy resting-place is declared to be 
 eternal : "he that doeth these things shall not be 
 moved for ever." Which reflections prepare us for 
 the deeply mystical Psalm in immediate sequence: 
 which, we are assured by the Apostle St. Peter "*, is 
 applicable to Christ, and to Him alone : for David died 
 and saw corruption ; but he, " seeing this before," 
 namely, that Christ should be of his seed, according 
 to the flesh, " spake of the resurrection of Christ, that 
 his soul was not left in hell, neither his flesh did see 
 corruption." 
 
 But, though in its literal sense, and in the fulness 
 of its meaning, and in many of its expressions, this 
 Psalm is applicable to our blessed Lord alone, still we 
 may believe that to a certain extent it expresses the 
 present hope and confidence of David himself. It 
 does certainly no'w' express the hopes of all tlie faith- 
 
 " Acts ii. 25 — 3 1 . 
 
234 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 lul, who through Christ shall he raised to everlasting 
 life. Though worms shall destroy their bodies, yet 
 everlasting corruption shall not ])e their portion. 
 
 Towards the conclusion, heaven itself, tlie antitype 
 of the holy hill and tabernacle of the 15th Psalm, is 
 opened ; and the joys of that blessed place are ex- 
 pressed in words ten thousand times more cogent 
 than any description : words, which to the faithful 
 are more than sufficient for their utmost hopes. 
 
 Thou shalt shew me the path of life : 
 Fulness of joys is in thy Presence : 
 Pleasures are at thy right hand for evei'morc. 
 
 The prophecy is continued in the 17th Psalm ; the 
 life and immortality purchased for us by Christ our 
 Lord being still the theme of the prophet. Most of 
 the topics are here expanded. At its commencement 
 the prayer of faith, and the salutary discipline of the 
 Almighty's hand, and the communings with that 
 fatherly Instructor in the watches of the night. The 
 expressions in the 16th Psalm, 
 
 I will bless the Lord, who hath given me counsel : 
 Yea in the night my reins chasten me : 
 
 are thus responded to in that before us : 
 
 Thou liast proved mine heart. 
 
 Thou hast visited nic in the night : 
 
 Thou hast tried me, and shalt find nothing. 
 
 The protection of the Lord whom he had set before 
 him continually, who was on his right hand, so that 
 he should not be moved, has its reliection in these 
 exquisite words : 
 
 Shew the marvels of thy mercies, 
 
 O thou that savcst them that take rcfngc in thoc 
 
 From those that rise np against thy rigiit hanil. 
 
 Keep me as the apple of the eye : 
 
 Under the shadow of thy wings hide me. 
 
§2.] THE FIRST PART OF TUE BOOK OF PSALMS. 235 
 
 And the terminating assurance of tlie joys of lieaven 
 speaks yet more emphatically of God's Presence, of 
 that likeness to which man shall be then restored^ 
 and of that righteousness with which the faithful 
 shall then be clothed ; that holiness without which no 
 man shall see the Lord. So certain is that assurance 
 of St. Peter", that the great object of God's pro- 
 mises is our participation of the divine nature ; and 
 that of our blessed Lord, that the pure in heart shall 
 see God^: this being the very essence of heavenly 
 
 joy- 
 
 The 18th Psalm, one altogether peculiar in its 
 magnificent but most accurate imagery, brings us 
 again to earth, and contains a summary of the con- 
 flicts heretofore undergone, and now for ever quelled. 
 The occasion of this Psalm is distinctly recorded in 
 the title, and in sacred history ; as being composed at 
 the end of David's life, when his wars were successfully 
 terminated. And as it here occurs, it forms the con- 
 clusion of that great action announced in the 2nd 
 Psahn. 
 
 The 19th Psalm, though not directly connected 
 with the former, makes the same break in the action 
 which has been observed with respect to the 8th. 
 As the 8th may be called a night scene, so may the 
 present be called a day scene : it gives a glorious 
 image of the aspect of the firmament illuminated by 
 the sun ; and, by an unequalled transition, makes 
 this contemplation of the visible universe subservient 
 to meditation on the illuminating and purifying in- 
 fluence of God's law. Here is the same settled habit 
 of contemplative devotion which marked that earlier 
 Psalm, undisturbed by any conflicting emotions, It 
 has perhaps a character of more matured wisdom, 
 and of more experience in the deceitfulness of the 
 
 " 2 St. Peter i. 4. ^ St. Matthew v. 8. 
 
236 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 human lieart. It was probably composed during 
 l^iivid's declining years. 
 
 The same may be said of the 2()th and 21st. 
 The connection of these two Psalms has been already 
 observed. They are also connected with the last 
 prayer of David for Solomon, Psalm Ixxii., and, like it, 
 reach far beyond Solomon ; for whereas his reign was 
 peaceful, here are foretold the victories of the Anointed 
 of the Lord, the Son of David. 
 
 The prophetical strain, thus resumed, is continued 
 in the 22nd, and reaches to the 24th, speaking of the 
 Death, Burial, and Ascension of Christ. The appli- 
 cation of the 22nd in all its details, to our Lord, is 
 well known to every Christian, It does not, however, 
 speak exclusively of our Saviour's sufferings ; for its 
 second part changes to a song of triumph : 
 
 I will tell of thy Name to my brethren ; 
 
 In the midst of the congregation will I praise thee. 
 
 And the universality of the Church of Christ, and of his 
 spiritual family, is fully prophesied in the conclusion. 
 
 The 23rd Psalm, in its primary sense, a pastoral 
 song of David's, after he had been anointed by Samuel 
 during Saul's reign, assumes, by its position here, a 
 character eminently prophetical. The valley of the 
 shadow of death announces the descent of Christ into 
 hell : and the rest in the house of the Lord to the end 
 of days, his future glorification : an interpretation, 
 however, which by no means excludes its application 
 to the faithful of all times. 
 
 The 24th Psalm, again, directly referring to the 
 worship of the Tabernacle (a topic suggested by the 
 concluding line of the preceding), is shewn, by its 
 position here, to be prophetical of Christ's Ascension. 
 The former part, howe\er, is applicable to all those 
 servants of God, who have been by his grace enabled 
 to follow him in lieart and mind thitherward. 
 
§ 2.] THE FIRST TART OF THE BOOK OF TSALMS. 237 
 
 This Psalm may be considered as the germ of the 
 six which follow, tlie topics of which are, the prepa- 
 ration and discipline of the heart, alluded to in the 
 former part of the 24th, and the dwelling-place of 
 God, which forms the subject of its latter division. 
 The 2r)th Psalm is thus a prayer for divine guidance 
 and discipline, uttered in that spirit of hopeful and 
 calm devotion Avhich is peculiarly characteristic of 
 those which form its sequel. 
 
 As this is the first alphabetical Psalm, it is in place 
 to oppose a notion very generally entertained, that 
 compositions of this kind were merely collections of 
 unconnected thoughts, which occurred at different 
 times, and were afterwards reduced to order under 
 this arrangement. Such a notion would surely degrade 
 large portions of inspired philosophy to the character of 
 a common-place book or anthology ; whereas a nicely 
 balanced and finely adapted connection, resulting from 
 the regularity of inspired thought, is the very essence 
 of divine poetry. In all the alphabetical Psalms 
 this connection is clearly to be traced : but in that 
 before us it may be evident to the most cursory 
 reader, who will but look at the arrangement of the 
 stanzas given in the first Volume of this work. The 
 first of these is the general expression of faith : the 
 second is a prayer for guidance into God's ways and 
 paths : the third, for the bestowal of his mercy and 
 forgiveness : the next is a celebration of God's good- 
 ness in teaching men his ways, according to the spirit 
 of the former prayer : then, a couplet again praying 
 for forgiveness : next, are the blessings both temporal 
 and spiritual conferred on the man who fears God : 
 and the concluding portion, consisting of fifteen lines, 
 is an expansion of the first stanza, a more earnest 
 expression of faith, and a consequent prayer for 
 deliverance. 
 
 The 26th Psalm continues the two main topics : 
 first, a prayer for God's searching and justiiying 
 
238 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 discipline, and an assertion of tlie integrity of the 
 propliet's heart ; and secondly, the approach to the 
 altar of ( Jod, to the beloved habitation of his house, 
 and to the place of the dwelling of his glory. The 
 next Psalm reflects the latter of these topics with 
 increased brilliancy. It opens with describing God 
 as his light and salvation, the bestower of illuminat- 
 ing grace and of strength ; and having acknow- 
 ledged him as the source of religious confidence, the 
 desire is expressed to rest for ever in the house of 
 the Lord, to behold the fair beauty of the Lord, to 
 visit his temple, to sacrifice in his tabernacle sacrifices 
 of joy. It is evident that the earthly tabernacle is 
 here intended to be the type of the heavenly, from 
 the following words : 
 
 For he shall cover me in his pavilion in the day of evil; 
 He shall hide me in the hiding-place of liis tabernacle : 
 On a rock shall he lift me up. 
 
 The latter part is an expansion of the prayer which 
 formed the beginning of the 26th Psalm; and, in 
 terms of the most earnest and heartfelt devotion, he 
 intreats that the light of his countenance and his 
 protection and guidance may still be with him, and 
 looks forward to the land of the living, as the goal of 
 his hopes : concluding with a firm assertion of religious 
 courage and hope. 
 
 Of a character exactly similar is the 27th, which 
 continues to commemorate the sanctuary, " the oracle 
 of his holiness," and repeats the assurance of divine 
 protection, under the images of a rock, and a shield ; 
 declaring God to be his strength, the source of his 
 joy, the salvation of his Anointed, and the Saviour of 
 Ids people. 
 
 The two Psalms which immediately follow are of 
 unmixed thanksgiving, and seem to be the fulfilment 
 of the eucharistical services announced in the pre- 
 
§ 2.] THE FIRST PART OF THE BOOK OF PSALMS. 239 
 
 ceclinsr. In the 29th, the oblation is offered at the 
 temple : and then succeeds that magnificent celebra- 
 tion of the Voice of the Lord. But glorious as is that 
 voice when heard in the convulsions of nature, there 
 is a yet more glorious manifestation in the temple, 
 wherein " every thing doth speak of his glory." And 
 still more glorious is his heavenly habitation, where 
 " upon the flood he doth sit," where " he doth sit a 
 king for ever," and whence he dispenses to his people 
 the gifts of strength and peace. Of the 30th Psalm 
 it may be observed in general that this is the spiritual 
 sacrifice of the heart, and, as such, an advance upon 
 the preceding. In its character it bears the strongest 
 marks of the hand of David. 
 
 The 31st Psalm is of a less eucharistical character 
 than the former. The prophet returns to his complaints 
 and fears. But still all the most characteristic imao-es 
 
 o 
 
 and expressions of the Psalms immediately preceding 
 are retained, so as to prove their close connection. 
 The expression of the Kock, wdiich occurred in the 
 28th, is expanded into the cognate images of " a rock 
 of strength, a house of defence, a stony rock and a 
 defence." God is again celebrated as the source of 
 strength ; again the servants of God are sunnnoned 
 to be of good courage ; and again the heavenly pavilion 
 is mentioned in terms closely resembling those em- 
 ployed in the 27tli Psalm: 
 
 Thou shalt hide them in the hidden place of thy presence 
 
 from the provoking of man ; 
 Thou shalt lay them up in a pavilion from the strife of 
 
 tongues. 
 
 With the following Psalm, however, a new strain 
 begins. The 32nd and the following are in close 
 connection : the former speaking of the progress of 
 true repentance, as has been already observed ■■*, the 
 
 " Pajre 84. of this vol. 
 
240 OKDER AND CONNECTION OF THE PSALMS. [Dissekt. III. 
 
 latter recording the thanksgiving of those who have 
 been redeemed. The connection is obviously marked 
 by the concluding words of the former Psalm, which 
 are repeated in nearly the same terms in the next: 
 
 llejoice, ye righteous, in the Lord : 
 For to the upright pleasant is praise. 
 
 The 32nd Psalm is unquestionably David's. P)Ut 
 there are many expressions in the 33rd (an untitled 
 Psalm) which dispose me to assign it to the time of 
 Moses. The style in general is more like his than 
 David's : and the topics are such as remind us of the 
 author of Genesis, and of the leader of the people 
 throuijh the Red Sea and the wilderness. How 
 Mosaical, for instance, is that passage, — " For he 
 spake, and it was; he commanded, and it stood." 
 And the expressions which innnediately precede: 
 " He gathereth, as a heap, the waters of the sea ; he 
 layeth up in treasure-houses the depths : " which re- 
 sembles not only the account of " the gathering 
 together of the waters unto one place," and " the 
 fountains of the great deep," in Genesis^ but the pas- 
 sage in his song of triumph, — 
 
 The floods stood upright as an heap, 
 
 And the depths were congealed in the heart of the sea.'' 
 
 To both events, the creation, namely, and the parting 
 of the Red Sea, this passage may possibly allude. In 
 the second part the destruction of Pharaoh and pi"o- 
 tection of the Israelites are not indistinctly celebrated. 
 
 The Lord scattereth the counsel of the heathen ; 
 
 Tic breaketh the devices of the ]n'inces: 
 
 Hiijjpy is the people to whom the Lord is their God. 
 
 From heaven the Lord looked down : 
 
 He beheld all the sons of men. 
 
 " Gen. i. f>. ; vii. 11.; viii. 2. '' Exod. xv. 8. 
 
§ 2.] THE FIRST TART OF THE BOOK OF TSALMS. 241 
 
 Which latter words recall to mind the subliine narrative 
 of Moses: "And it came to pass, that in tlie niorninti; 
 watch, the Lord looked unto the host of the l']gy[)tiaiis 
 through the pillar of fire and of the cloud, and trou- 
 bled tlie host of the Egyptians;'"* and then the de- 
 struction of Pharaoh, his chariots, and his horsemen, 
 follows in these Avords : 
 
 No king is saved by the inultiliule of an host : 
 
 A mighty man is not delivered by greatness of strength ; 
 
 A vain thing is a horse to save : 
 
 And in die greatness of his strength he shall not rescue. 
 
 In the latter part of the Psalm, the divine protection 
 of the people in the wilderness is clearly connnemo- 
 rated : that " eye of the Lord, which delivered their 
 soul from death, and kept them alive in dearth." 
 
 Thus, the 32nd Psalm celebrates the wonders of 
 divine Grace, the 33rd those of divine Providence. It 
 must, however, be admitted, that though the topics of 
 the latter Psalm refer to the age of Moses, it does not 
 necessarily follow that he was the author ; for David 
 would naturallj^ have selected the most prominent 
 wondei's of old time, when about to celebrate this 
 great sphere of God's universal power. But the 34th 
 Psalm is expressly assigned to David ; and the con- 
 nection between this and the preceding is sutliciently 
 evident. The divine protection is still spoken of: 
 
 The eyes of the Lord are towards the righteous; 
 The Anr/el of the Lord cncampeth round about tliem that 
 fear him, and deliveretli tliem : 
 
 manifestly continuing the allusion to the history of 
 the wilderness, when " the angel of his Presence saved 
 them." ^ In this Psalm, the moral reasons of God's 
 protection are unfolded : and therefore its strain is of 
 
 " Exod. xiv. 24. '' Isaiah Ixiii. 9. ; Acts vii. 38. 
 
 VOL. II. R 
 
242 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 a liighcv kind tlian of that which preceded, celebrating 
 as it does the blessings both of Providence and Grace, 
 and recording tlie faitli and hope of true believers. 
 This alphabetical Psuhu is regular and connected 
 throughout, and affords a second proof that compo- 
 sitions of this kind are not mere collections of dis- 
 jointed thoughts. 
 
 The connection of the 35th Psalm with the preced- 
 ing is not very obvious at first sight ; but we find 
 the recurrence of the expression, " the angel of the 
 Lord," which is twice repeated. It is for the most 
 part a song of complaint, but, as usual, is intermixed 
 with and ends with expressions of praise and confi- 
 dence. In its general character it resembles the 31st, 
 and very strongly, in some parts, the 22nd, especially 
 in this passage: — 
 
 Turn aside my soul from their destructions. 
 From the lions mine only one. 
 
 I will give thanks to thee in the great congregation: 
 Among much people I will praise thee. 
 
 The resemblance to the 31st is continued in the 
 following Psalm, (the 36th,) which renews the image 
 of the heavenly place of refuge. 
 
 The children of men under the shadow of thy wings shall 
 
 have refuge : 
 They shall be refreshed with the plentcousncss of thy house ; 
 And of the river of thy pleasures thou shalt make them 
 
 drink : 
 For with thee is the well of life, 
 And in thy light .sliull we see light. 
 
 The 37th, a didactic poem, is designed to dispel 
 those fears which were expressed in many of the pre- 
 ceding Psalms. It is the language of long religious 
 experience ; and was composed in David's old age, as 
 we are expressly told : — 
 
 *' Youns I have been : now am T old." 
 
§ 2. J Tlir: FIRST TART OF THE BOOK OF FSALMS. 
 
 It is ill fact an expansion of the first Psalm, and is 
 one of tlic most complete expositions of God's parti- 
 cular Providence that the Holy Spirit has afforded to 
 the Church. The gradual climax of the four com- 
 mencing stanzas is remarkable. " Fret not thyself; 
 . . Trust in the Lord, — Commit unto the Ijord thy 
 way, — Hold thou still in the Lord," &c. 
 
 The three following Psalms open a prospect alto- 
 gether new : the progress, namely, of the soul from 
 great affliction, and from the depths of a state almost 
 resembling despair, to the comforts of religious conso- 
 lation, and linally to unshaken security. The begin- 
 ning of the 38th Psalm is an expansion of the (ith ; 
 but describes a state of much greater misery, the 
 dreadful chastisements for sin, both in mind and 
 body. This, and the following Psalin, recording the 
 prayer which gave ease to his burthened heart, have 
 already been analysed.* The 40th Psalm is the 
 sequel. The sufferer is now delivered from his trou- 
 bles, " from the pit of noise, out of the mire and 
 clay," and his "feet are set upon the stony rock:" 
 and into his mouth, Avhich heretofore was duml), has 
 been put a new song, even praise to his God. 
 
 We know from Holy Scripture that a part of this 
 Psalm is prophetical of our Lord, — "Sacrifice and 
 offering thou didst not desire ; a body hast thou pre- 
 pared me : burnt-offering and sin-offering thou didst 
 not require ; then I said : Lo, I come ; in the volume 
 of the book it is written of me, to do thy will, 
 God."" And many parts of the two preceding 
 Psalms, such as the revilings and persecutions of 
 unprovoked enemies, and the silence of their victim, 
 have doubtless their antitype in the sufferings of our 
 
 ^ Pages 43 — 49. of this volume. 
 
 '' Heb. X. 5 — 7. See the note on tliis passage in the first volinnc in 
 loc. The quotation of St. Paul thus uncjuestionably shows thai the 
 received Hebrew reading is corrupt. 
 
244 ORDER AND CONNECTION OF THE rSALMS. [Dissert. Ill 
 
 blessed Lord. Still the type and antitype are not to 
 their whole extent pai-allel: since Ave are expressly 
 reminded throughout, that David's sufterings were on 
 account of his own sins ; and between these, and the 
 ineffal)le agonies of our 1 Redeemer, who underwent 
 them that he might take away the sins of tlie world, 
 there is an immeasurable difference both in their cause 
 and in their nature. 
 
 Between the concluding Psalm of this Ijook and 
 the preceding there is no very marked connection, 
 except the general topic of the aggression of enemies. 
 There is, however, considerable resemblance in the ex- 
 pressions between the concluding stanza of the 40th, 
 and that which opens the 41st. 
 
 AVith this Psalm I would consider the collection 
 actually completed in David's time to end. The 
 other parts, especially the second, contain many of 
 his compositions; but these were not formally col- 
 lected together till a later age. 
 
 § 3. THE SECOND TAUT OF THE BOOK OF PSALMS. 
 
 The nine commencing Psalms of this division having 
 been already severally analysed'', but a few general 
 observations remain to be made. These Psalms have 
 reference to the times of Hezekiah, and those imme- 
 diately preceding. The 42nd, 43rd, and 44th speak of 
 the desolations under Ahaz : but with the 45th, a 
 more happy prospect is unfolded ; and we have now 
 the sanctuary, the city, and the people of God, and 
 the glories of his Church, brouglit more distinctly into 
 view than heretofore ; the 45th speaking of the Church's 
 uni(m with Christ ; the 4r)th, of the divine protection 
 of the holy city ; the 47th, of the future enlargement of 
 
 " ragcs)3— 15. ; 17-2—175.; 1K8— ]f)5. 
 
§ ;3.] THE SECOND PART OF THE BOOK OF PSALMS. 245 
 
 his dominion ; the 48tli, wlierc the scene is still laid 
 in tlic holy city, of the supernatural defence of 
 his people. An interruption to this connected order 
 occurs in the 49th Psalm, probal)ly sug^^ested, as Ave 
 have before remarked-', by the circumstances of Ileze- 
 kiah's sickness and miraculous recovery. The con- 
 nection, however, may be not altogether obscure. The 
 48tli Psalm concludes with declarins: that God shall 
 be our guide unto death. The central part of the 
 49th declares that he shall protect us beyond the re- 
 p^ion of death, and shall redeem us at the resurrection. 
 The 50th and 5l8t are to be referred to the celebra- 
 tion of the great festival by Hezekiah ^ ; which ac- 
 counts for the insertion in this part of the Psalter of 
 these two compositions of David's age. 
 
 The remaining Psalms of this division, with the 
 exception of four, (the 66th, 67th, 71st, and 72nd,) 
 are expressly assigned to David ; and the twelve 
 former, from the 52nd to the 63rd inclusive, bear 
 marks, both in their titles and in their internal struc- 
 ture, of having been composed during the time of 
 Saul, and the early parts of his own reign ; those 
 from the 64th onward, were the ANorks of a later 
 period ; fram the time he was fully established in his 
 kingdom, till his death. 
 
 In the former of these two classes, occur those 
 groups of Psalms, which are called Maschil and 
 Michtam." There is nothing in their structure to 
 Avnrrant the appropriation of either of these words to 
 any particular style or form of composition. It seems 
 probable, that these designations were affixed by the 
 collectors of the Psalms in question during Hezekiah's 
 reign, probably at two different times ; and that they 
 
 " Page 194. '' See page 175. 
 
 "^ These are explained in pages 137 — 142. 
 
 K 3 
 
246 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 intide use of terms already employed, in two in- 
 stances', in the former collection. 
 
 The connection ohserv^able between so many Psalms 
 in the lir.st book is not to be so accurately traced 
 in that now under examination, since its component 
 members have for the most part reference to insulated 
 events, resembling one another in their f^eneral cha- 
 racter, and not to be very accurately discriminated 
 by any internal marks. 
 
 It is to be observed, that the historical notices in 
 the titles are more full in this book than in the pre- 
 ceding. Of these, six, namely, those of the 52nd, 54th, 
 5Gth, 57th, 59th, and 68rd, refer to David's wanderings 
 and persecutions under Saul ; and one, namely, that 
 of the GOth, to a circumstance in an early part of his 
 reign, recorded in the 8th chapter of the Second Book 
 of Samuel, when he conquered the Syrians. The men- 
 tion of Sion Avould assign the 58rd to a time posterior 
 to Saul; that of his treacherous friend Achitophel 
 marks the 55th to belong to a later period still ; and 
 the terms of the Gist would refer us to the time 
 of the divine promise to Solomon. The G5th to 
 the G8tli Psalms inclusive belong to the time when 
 the solemn worship before the Ark was established at 
 Jerusalem, and that of the Temple was in prospect. 
 The remaining Psalms belong to the last days of 
 David's life. 
 
 The topics of the 52nd to the 5Uth inclusive are the 
 same : the wickedness of his enemips, and his trust in 
 God. Tlie 52nd takes up the concluding part of the 
 50th, of wliich it is an expansion, in all its parts: the 
 lies and wickedness of the ungodly ; the vengeance of 
 the Almighty; the salvation of those who order their 
 way aright, and trust in God's mercy. 
 
 The 53rd Psalm is nearly identical with the 14th, 
 and, like it, has the same connection witli that which 
 
 " Titles to the Killi and :i-iii<l r,<alin.s. 
 
§ 3.] THE SECOND TART OF THE BOOK OF PSALMS. 247 
 
 immediately preceded. It is to be remarked, that in four 
 places the word " Lord," occurring in the 14th I'salni 
 is rendered "God" in the 53rd. It is difficult to 
 account for this : unless we suppose that when David 
 revised this Psalm for the public service of the sanc- 
 tuary, he changed that word which expresses less 
 dehnitely the divine Nature for his more peculiar name 
 of Jehovah, wdiicli was revealed to the chosen people 
 only. The 54th Psalm continues the subject, and 
 ends in deliverance. 
 
 The intensity of the action proceeds in the five 
 following Psalms, the first of which, the 55th, has 
 been already analysed. '"" The 56th and 57th each 
 begin with the same expression, " Be merciful unto 
 me, God ; " and the stanzas of each are parallel as 
 to their general sense, the sentiments of the 57th, 
 however, forming a great advance on those of the 
 Psalm preceding. Deliverance is more confidently 
 predicted, and the concluding ascription of praise is 
 more full. The 58th continues the subject of the 
 vengeance on the wicked. The 59th strongly re- 
 sembles, in its main features, the 54th ; the first part 
 of each being a general prayer for rescue ; the other 
 parts containing the action and catastrophe. The 
 city of the wicked is the scene of each. 
 
 The 60th Psalm requires no additional observa- 
 tions.'' But the 61st is in a higher strain than any 
 of the preceding. It speaks of that topic so frequently 
 recurred to in the first part, the tabernacle of God, 
 the covering of his wings, his everlasting Presence. 
 We are thus prepared for the more exalted aspirations 
 of the two following Psalms. 
 
 The burthen^ or recurring word, in both of these is 
 my soul. The conclusion of the 62nd alludes to some 
 oracular communication from God : probably to that 
 obscurely intimated in the preceding : " For Thou, O 
 
 » Pages 73—76. " See pages 22—24. 
 
 R 4 
 
248 ORDEK AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 God, hast heard my vows. Days to the days of the 
 kiiiGf thou shult add." 
 
 The Gord Psahn, written, as its title shows, and 
 internal evidence confirms, in the wilderness of Jude:i, 
 has an exquisite connection with the former. His 
 sold here " thirsteth for God," as it before waited for 
 him. Observe, however, the elevation of this senti- 
 ment above the preceding. He now looks for him in 
 holiness, that he may behold his power and glory. 
 He speaks of the life-giving influence of his Grace, of 
 the spiritual sacrifice of the heart, hereafter to be 
 offered in that everlasting sanctuary of Avhich the 
 earthly sanctuar3'', here alhided to, is the type ; and 
 of the heavenly nourishment that is given to his 
 soul. The construction of the Psalm is most regular: 
 in each of the three stanzas, as in the two former of 
 the 62nd, the soul forms the cardinal topic, and each 
 advances in sentiment above the other: first, the 
 desire for God's presence ; secondly, the rendering 
 of a spiritual worship, and the experience of present 
 grace ; thirdly, the dwelling in God's Presence, under 
 the shadow of his wings, and under the protection of 
 his right hand. 
 
 In each Psalm, the discomfiture of his enemies, and 
 his own triumph, form the concluding topics. 
 
 The connection with the Gist Psalm is no less 
 evident. The same commencing prayer ; the same 
 mention of the covering of God's wings, and of his 
 sanctuary ; and of the blessings conferred on the 
 King, in the concluding verses. 
 
 The G4th connects itself in a general way with the 
 two preceding. But the parallelism between tiie 
 concluding sentiment of the G3rd and G4th is exact. 
 
 Tlio Kincj shall rejoice in Cletl, 
 
 And every oiuMvlio swcureth l)y lilni shall give praise. 
 The rijjjhtoous shall In: ,^h"l i'l ihc IjOKI), and tru-I in hlni : 
 And llu-y shall j)rai.-^c him, all ihr iipriiiht in heart. 
 
§ 3.] THE SECOND TART OF THE BOOK OF TSALMS. 249 
 
 The moral reason of the divine blessing and appro- 
 bation, expressed in the former Psalm, is given in tlic 
 hitter. The Kiiii!; shall reioiee, because he is riirli- 
 tcous : they that swear by him shall be commended, 
 because they are true of heart. And the commenda- 
 tion of God is the source of gladness. This moral 
 gradation resembles that observed already between 
 the ord and 4th Psahhs.'" 
 
 The general connection between the preceding 
 Psalms must, it is ho[)ed, be suflticiently evident. We 
 are now brought to Avitness a more glorious scene, 
 and return to the service of the sanctuary. The four 
 following Psalms are in close connection, fully cx- 
 ])ressive of that joy for which the last verse of the 
 ()4th gave the note of preparation. In the first of 
 these, the 65th, after prefacing his song with the 
 expression of the delight afforded by the sanctuary, 
 he proceeds to detail God's temporal blessings of 
 abundant fertility bestowed upon the land, in a de- 
 scription unequalled by any in the whole inspired 
 volume, and accurately true to nature through- 
 out. The 66th Psalm, however (already analysed) '', 
 proceeds to higher things than these, alternately 
 commemorating God's wonders, of Providence and 
 Grace. There can be no doubt that this, and the 
 following, proceed from the hand of David. In the 
 67th the same topics are continued. And these pre- 
 pare us for the magnificent prophecy contained in 
 the 68th'', which gives at one view the whole dispensa- 
 tion of God, from the miraculous departure from 
 Egypt, till that fulness of time, yet unborn, when 
 all nations shall worship the true God. This Psalm 
 enlarges on all the great themes that have hitherto 
 been celebrated ; the past Providence of God, his 
 present mercy, the happiness and salvation of his 
 
 » Sec pages 5G—oO. ^ Pages 8G— b8. <= See pages 88—1)2. 
 
250 ORDER AND CONNECTION OF THE rSALMS. [Dissert. III. 
 
 people, the glories of his sanctuary, and, propheticall}^, 
 the future universality of his dominion: all subjects 
 which fully accord with the retrospective and pro- 
 spective piety of the royal prophet's declining years. 
 
 It is, I conceive, more than probable, that this 
 Psalm was, in its earlier divisions (the two former 
 diapsalmas), the adaptation of an ancient ode com- 
 posed during the time of Moses, or of his successors. 
 Its commencing words arc known to l)e Mosaical : and 
 the style of the second Diapsalma is like that of 
 Deborah. The latter speak of the times of David, 
 and of those glorious after times which we know that 
 he, as a prophet, foresaw. The Temple of Jerusalem, 
 to the completion of which he so fondly looked for- 
 ward ; the service of tlie sanctuary, which he so com- 
 pletely regulated ; the glories of tliat chosen people 
 whom he so dearly loved ; the future reign and domi- 
 nion of that Messiah who was to proceed from his 
 lineage, — tliese are all the subjects of his inspired 
 thanksgiving, at that declining period of his life, 
 when the future glories of the Church were more in- 
 tensely apprehended, and the spirit of prophecy was 
 bestowed in fuller measure. 
 
 Perhaps the prophetical nature of tliis Psalm may 
 account for its connection with the GOth, one of those 
 which speak most markedly of our blessed Lord's 
 sufferings and final triumph. The salvation of Sion, 
 and the building of the cities of Judah, and the in- 
 habitation of his servants, are the concluding topics, 
 harmonizing witli the most prominent of the 68th. 
 
 The GDth Psalm is chosen by the Church as one of 
 those to be used on Good Friday. It has a remarkable 
 resemblance to anotlier Psalm also appropriated to 
 that day, the 22nd, botli in length, in subject matter, 
 and in arrangement. In each, the chief part of tlie 
 poem consists in deep complaints, and in prayer for 
 deliverance. The latter part in eacli contains a sudden 
 
§ 3.] THE SECOND PART OF THE BOOK OF TSALMS. 251 
 
 transition from complaint to thanksgiving, and of a 
 pro[)hctical declaration of blessings on the future 
 generations of the chosen people. Thus in the 22nd 
 Psalm : 
 
 I will declare thy Name unto my brethren ; 
 
 In the nrul::;t ufllie congregation will 1 praise thee. 
 
 In the GUtli, 
 
 I will praise the name of God with a song. 
 And magnify it Avitli tiianksgivin<:;. 
 
 And the conclusion of the 22nd, 
 
 My seed shall serve him : 
 
 They shall be counted unto the Lord for a f^eneration : 
 
 They shall come, and the heavens shall declare his righte- 
 ousness ; 
 
 Unto a people that shall be born, whom the Lord hath 
 made : — 
 
 finds its parallel in the last verses of the 69th : 
 
 For God will save Sion, and build the cities of Judah, 
 That men may dwell therein, and have it in possession. 
 The posterity also of his servants shall inherit it : 
 And they that love his Name shall dwell therein. 
 
 There is a very remarkaldc parallelism between 
 the first and second divisions of this Psalm, the se- 
 cond beginning thus : " But as for me, my prayer is 
 unto thee, Lord." There is the same prayer, the 
 same imagery of the deep waters, the same mention 
 of the persecutions of enemies, but expanded, as usual, 
 in the second division.'' 
 
 The following Psalm, the 70th, is connected in 
 sentiment with both those which precede and follow. 
 It is nearly identical with the latter portion of the 
 40th. If the 71st and 72nd were in immediate se- 
 
 * For this obscrviition the author is irnk'l)te'(l to a IViond and rehitive, 
 the llev. Josejth M'Corinick, vicar of Ilolyvvood, who, some years since, 
 pointed out to hiui this parallelism. 
 
252 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 qiience after the 40tli, the connection of all would be 
 sufficiently evident, as the compositions of the last 
 days of David. It is likely that the insertion of these 
 Psalms into the collection already made Ly their 
 composer was prevented by death, and hence it w;is 
 that the 70th, and the following Psalm, were })laced 
 at the end of the second book, when recovered in a 
 later age. The connection of this with the 71st is 
 shown in the words, 
 
 O God, be not far from inc. 
 () God, to my help liasteii ; 
 Let them be ashamed, let them [)erish, that are against my 
 
 soul ; 
 Let them be covered with reproach and dishonour lliat 
 
 seek my hurt : — 
 
 an exact repetition of the beginning of the preceding 
 Psalm, of which the 71st is an expansion. This and 
 the following Psalm have been already examined, and 
 shown to be the last words of David." 
 
 In the total absence of external evidence on tlie 
 subject, it would be indulging in fanciful, and tlicrc- 
 fore dangerous speculations, to conjecture why several 
 of the Davidical Psalms are postponed to this second 
 collection. Suffice it to remark, that many specific 
 ditferences between the two collections are observable : 
 namely, the groups of ]\faschils and Michfams, the 
 liistorical titles, more largely given in the second 
 l)<)()k tlian in the iii'.st, where they but rarely occur, 
 and wliere in but one instance (Psalm 34th) reference 
 is made to occurrences of an early date in David's 
 life ; and lastly, many particulars of their sentiment 
 and connection. On these and other indicia some in- 
 ferences might be founded ; but as those wliich have 
 occurred to the writer of these pages are at best but 
 very vague, he will not ofter a real injury to the 
 minds of liis readers by enlarging on them. It is, 
 
 » IVes 1G5 — 1G«. 
 
§ 4.] THE TIIIKD PART OF THE BOOK OF TSALMS. 253 
 
 liowcvcr, sufficiently evident, tliat the Davidicul 
 portion of the fii-st tu'o books forms a division of tlie 
 Psalter altogetliei* distinct in its features from the 
 sequel. 
 
 § 4. THE THIUI) PART OF TUE P.OOK OF PSALMS. 
 
 This hook consists, witli but one exception, of the 
 Psalms of Asaph and Korali ; which having been 
 already examined'', little remains to be added in the 
 present section. These Psalms having been collected 
 or adapted for the public service as the occasion 
 demanded, and having reference to the historical 
 circumstances of Jehoshaphat's and liezekiah's reigns, 
 we are not to look for any chain of connection between 
 them, beyond what is afforded by the course of sacred 
 history. A few marks of more particular connection, 
 however, we will proceed to notice. 
 
 The 73rd Psalm ends with mention of the "gates 
 of the daughter of Sion : " and in the third verse of 
 the following. Mount Sion is again mentioned. Both 
 speak of the aggressions of the enemies of God against 
 the Holy City. The latter Psalm has already been 
 referred to the reign of Ahaz : but it may have a 
 2)rospective and prophetical allusion to the desola- 
 tions of Jerusalem under Nebuchadnezzar, which Ave 
 know to have been revealed to Hezekiah by Isaiah.'' 
 
 In the 74th, the Name of God is emphatically 
 mentioned several times. This appears to be the 
 innnediate link of connection with the 75th, where 
 it occurs in the second verse. But we are to observe 
 in the 74th, that phrase of " sheep of thy pasture," 
 Avhich occurs so frequently in this book; in the 77th, 
 78th, 79th, and 80th Psalms. 
 
 The destruction of the wicked, foretold in the 
 75th, is accomplished in the 76th, which, by a 
 
 » Dissertation II. § 5. and G. ^2 Kings xx. IG— 18. 
 
251 
 
 ORDER AND CONNECTION OF THE TSALMS. [Dissert. III. 
 
 very general consent of commentators, speaks of tlic 
 destruction of Sennacherib's army. 
 
 The 77th is an alternation of complaint. It is 
 plainly introductory to the historical Psalm Avliich 
 follows ; the connection beginning at the latter part, 
 where tlic Psalmist celebrates the wonders of God in 
 tlie wilderness, and the leading of his people like 
 sheep, by tlie hand of Moses and Aaron.'' 
 
 The succeeding historical Psalm (the 78th) and 
 the 79th are in connection. The sentiment common 
 to both is the image of sheep and a sliepherd, which 
 concludes both Psalms. Tlie moral connection of 
 these with the 77th is very beautiful. The 78th is 
 placed where it stands, in order to recall the people, 
 so signally delivered by the " God that doeth wonders," 
 to a recollection of his providential mercy and justice. 
 The 79th shows the punishment of their ingratitude, 
 in the desolations of that " tribe of Judah, and the 
 hill of Sion Avhich he loved ;" and concludes with an 
 expression of repentance from that people who had 
 gone astray like sheep that were lost. Tlie 80tli Psalm 
 is an enlargement of the preceding, the pastoral image 
 being still sustained, and the magnificent parable of 
 the vine being introduced. The 81st is still in con- 
 nection. It again recurs, like the 77th and 78th, to 
 the wonders of their national history, to the deliver- 
 ances effected by their God ; while it forms a cheering 
 contrast with the penitential Psalms immediately pre- 
 ceding. The 82nd Psalm recurs to the topics of the 
 75th: the 83rd to those of the 73rd and 74th. The 
 84th was written durinff one of the former desola- 
 
 'O 
 
 " Sec p. 180. In tlio note to tliis section I am happy to lay before my 
 readers an extract from the unpublished sermon of a friend, the A'enerable 
 Archdeacon Forster, upon the subject of tliis Psalm, being too long for 
 insertion in the text. I am very thankful for the permission given me by 
 its author, as this sermon made an early iini)ression on my mind, and was 
 one of the stimulating causes which suggested the present work. 
 
§ 4.] THE THIRD PART OF THE BOOK OF PSALMS. 255 
 
 tioiis, under Almz. It is the first Psfilm of Korah in 
 this book: and, like most oi' tlic same ekiss in tlie j)re- 
 cediiig book, is i'ull of reference to the sanctuary and 
 the divine worship at Jerusalem. As this speaks of 
 exile, so the ])rophetical and evangelical Psalm, the 
 85th, speaks of restoration to the promised land. 
 
 There appears no marked connection Avith this 
 and the following Psalm, the SGtIi, the Prayer of 
 David, which seems to have been interposed by 
 the collectors of this book, as it interrupts the 
 connection which evidently subsists between the 
 85tli and 87th. The Psalm is eminently David's 
 in all respects, being personal, and full of the pas- 
 sionate alternations for Avhicli his compositions are 
 so remarkable. The 87tli is, like the 85th, pro- 
 phetical ; and celebrates the glories of the redeemed 
 people, and restored city of God. The 88th, like the 
 86th, again breaks the connection, being an alterna- 
 tion of an elegiac strain. The moral use, however, of 
 such checks to the flow of triumph and thanksgiving 
 must be felt by every thoughtful heart, especially 
 when such great and undeserved blessings form the 
 theme of the prophecies which precede and follow. The 
 88th Psalm, however, is prophetical of our Lord's 
 sufferings and death, as the Church teaches us by her 
 selection of it as part of the service for Good Friday. 
 In this point of view it may be considered as con- 
 nected with the preceding, which speaks of his l)irth, 
 and with the following magnificent prophecy, cele- 
 brating the reign of the Messiah. 
 
 Of this ancient prophecy (the 89th Psalm), the 
 latter part seems to have been added by Isaiah. 
 It concludes the present book, which was closed, 
 in all probability, at that time of Hezekiah's life 
 when the prospect of the nearly approaching deso- 
 lation of Jerusalem was revealed to both king and 
 prophet. 
 
256 ORDER AND CONNECTION OF THE PSALMS. [Dissert. IH. 
 
 § 5. THE FOURTH PART OF THE BOOK OF PSALMS. 
 
 The fourth division of the Psalter is very remark- 
 ably discriminated from the rest. Out of the seven- 
 teen Psalms of which it consists, ten are without 
 titles ; and the general character of the collection 
 is less personal than that of the Psalms ascrilx'd to 
 David, and less national than that of Asaph and of 
 Korah. They are, for the most part, simple in their 
 construction, and adapted to general use, speaking of 
 the connnon frailties of human nature, the glory of 
 God, and the wonders of his universal Providence. 
 It may be partly for this reason that Selali does not 
 once occur in this collection, as Bishop Hare observes." 
 It forms a magnificent chain of closely connected 
 hymns of thanksgiving, broken only by the interpo- 
 sition of the 94th, 101st, and 102nd. 
 
 The first three Psalms are introductory ; thence 
 from the 93rd to the 100th, inclusive, follows one con- 
 tinued strain, celebrating the majesty of God: while 
 at the 1 03rd begins another series, continued to the 
 end of this division, commemorating his Providence, 
 both general and particular. 
 
 It is the opinion of Aben Ezra, that the 90tli 
 Psalm to the 101st inclusive, are all the composition 
 of Moses ; but, as Dr. Hammond observes, the men- 
 tion of Samuel in the 99th Psalm militates against 
 this assertion, to which may be added the internal 
 evidence supplied by the 92nd Psalm. Still, if I 
 mistake not, each Psalm, in the series which closes 
 Avith the 100th, bears marks of archaic composition. 
 I think it probable that these were sacred songs of 
 ancient use in the Church of Israel, partly composed 
 ill tlie time of Moses, and added to and collected into 
 one vcjlume by David, for the special use of the 
 
 ■ Prolegomena, p. Ixvi. 
 
§ 5.] THE FOURTH PART OF THE BOOK OF PSALMS. 257 
 
 public service soon after his accession to the throne, 
 on which occasion he interposed the 101st Psalm, 
 and possibly the 94th. Whether this collection was 
 afterwards restored to use by King Josiah, or by the 
 revisers of the Scriptures after the captivity, is doubt- 
 ful ; the latter notion will appear most probable to 
 those who refer the 102nd Psalm to the age and 
 authorship of Jeremiah. 
 
 The 90th and 91st Psalms have been already" re- 
 ferred to Moses. The 92nd Psalm is entitled " a 
 Psalm for the sabbath day." And if we consider this 
 book to be eminently liturgical in its first intention, 
 the title will appear far from inappropriate. Pro- 
 bably many of those which follow were used on the 
 same occasion. 
 
 It is a Rabbinical tradition, as Kimchi relates, 
 that the 92nd Psalm was composed by Adam, imme- 
 diately after his creation. The absurdity of this 
 tradition is sufficiently evident from the texture of 
 the Psalm itself. It is evidently of a later date than 
 that of Moses. The "cedar in Lebanon" must have 
 been mentioned either by prophetical anticipation, or 
 traditional recollection, if this Psalm was composed 
 by Moses. But the whole imagery and allusions of 
 the Psalm are perfectly unsuited to the wilderness, 
 while they are precisely those which David elsewhere 
 uses. The " house of the Lord, and the courts of 
 the house of our God," allude to the settled establish- 
 ment of the sanctuarj'" contemplated by him : the 
 allusion to musical instruments is also his ; while 
 the anointing with fresh oil marks the early period of 
 his reign, or rather of his designation by the Almighty 
 as the future king ^ ; and the prophecy of the destruc- 
 tion of his enemies is a further presumptive proof. 
 
 With the 93rd Psalm the eucharistic series already 
 
 » Pages 201—205. " 1 Sam. xvi. 13. 
 
 VOL. II. S 
 
258 ORDER AND CONNECTION OF THE TSALMS. [Dissert. III. 
 
 alluded to begins. It is ably remarked by Bishop 
 Horsley, whose words 1 sliall give at length, that a 
 connection is evident between the series of Psalms 
 Ijeginning with the Doth. But, as will be sho^vn pre- 
 sently, this connection begins earlier. 
 
 " These six Psalms form, if I mistake not, an en- 
 tire prophetic poem, cited by St. Paul in the Epistle 
 to the Hebrews, under the title of the Introduction 
 of the First Born into the World. Each Psalm has 
 its proper subject, which is some particular branch of 
 the o;eneral arc-ument, the establishment of the Mes- 
 siah's kingdom. The 95th Psalm asserts Jehovah's 
 Godhead, and his power over all nature, and exhorts 
 liis people to serve him. In Psalm 9Gth, all nations 
 are exhorted to join in his service, because he cometh 
 to judge all mankind, Jew and Gentile. In the 97th 
 Psalm, Jehovah reigns over all the Avorld, the idols 
 are deserted, the Just One is glorified. In the 98tli 
 Psalm, Jehovah hath done wonders, and Avrought de- 
 liverance for himself : he hath remembered his mercy 
 toward the liouse of Israel : he comes to judge the 
 whole world. This, I think, clearly alludes to a resto- 
 ration of the JeM'ish nation. In the 99tli, Jehovali, 
 seated between the cherubim in Zion, (tlie visible 
 Church,) reigns over all the world, to be praised for 
 the justice of his government. This Psalm alludes, I 
 think, to a reign of Jehovah in Zion ; subsequent to the 
 restoration of the Jewish nation, Avlien ]Moses, Aaron, 
 and Samuel are to bear a part in the general worship. 
 In tlie 100th Psalm, all the world is called upon to 
 praise Jeliovah the Creator, wlio.se mercy and truth 
 are everlasting." 
 
 That, however, the scries begins with the 93rd 
 Psalm is evident from tlie commencement of that 
 Psalm, according with those of the 97th and 99th, 
 " The Lord is King." The creation of the world 
 forrn.*^, ns in the 95th and the 9r)th, one of its main 
 
§5.] THE FOURTH PART OF THE BOOK OF PSAJLMS. 259 
 
 topics ; and the rising of tlie floods find their parallel, 
 or rather their moral amplification, in the rejoicing of 
 the sea, and of the floods, in the 96th and 98th ; 
 these two last-named Psalms being obviously con- 
 nected. The 93rd Psalm is possibly Mosaical ; this 
 may be presumed from the allusion to the creation in 
 the third verse, and to the raging of the sea, miracu- 
 lously stilled by the Almighty at the departure from 
 Egypt. 
 
 Between this Psalm and the following is no ob- 
 vious connection, unless it may be traced in a simi- 
 lar kind of repetition. Thus in the 93rd : — 
 
 The floods have lifted up, O Lord, 
 The floods have lifted up their voice ; 
 The floods lift up their waves. 
 
 In the 95th: — 
 
 How long shall the ungodly, O Lord, 
 How long shall the ungodly triuni})h I 
 
 It is possible that the raging of the sea in the former 
 Psalm may be emblematical of the madness of the 
 people enlarged upon in this. 
 
 The 95th Psalm has many Mosaical allusions, as 
 " Rock of our salvation," the creative power of God ; 
 and the wilderness ; but is evidently of a later date, 
 since it alludes to the forty years as passed. The 
 96th is connected in style, sentiment, and arrange- 
 ment with the former, of which it is an expansion. 
 It begins with an invitation to sing unto the Lord, in 
 more amplified terms, and like the former, celebrates 
 his salvation ; again magnifies the greatness of God, 
 calls upon his people to worship him, not merely 
 with the general adoration of natural religion, but 
 with sacrifices and gifts, in his sanctuary. Then it 
 recurs to the works of his hands, and, calling upon 
 the whole creation to join in the worship of the 
 
 s 2 
 
260 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 Creator, ends with an announcement of tlie fu- 
 ture judgment. There is mention of the heathen and 
 their idolatries in this Psalm, which marks the ad- 
 vance of the Israelites from the wilderness to the 
 habitations of the Gentiles. 
 
 All the sentiments of the preceding Psalm are re- 
 peated in the 97th ; God's wonderful works, the con- 
 fusion of the heathen, and his exaltation above all 
 gods. There is an exhortation to righteousness, 
 corresponding to that at the end of Psalm 95, but in 
 a higher strain, with a more special commemoration 
 of God's grace and mercy, and of religious joy. The 
 mention of Sion and the daughter of Judali mark 
 more distinctly the establishment of the children of 
 Israel in a settled polity ; so that this Psalm is again 
 an historical advance upon the two former. The first 
 part is a remarkable antistrophe to the whole of the 
 93rd. 
 
 Between the 96th and the 98th there is a close 
 resemblance: the latter indeed is to a considerable 
 degree a repetition of the former. Botli begin Avith 
 the same words, 
 
 " O sing unto the Lord a song that is new ;" 
 
 But the 98th contains a more spiritual announce- 
 ment ; speaking of the salvation, righteousness, 
 mercy and trutli, manifested towards the house of 
 Israel, while, as before, his universal empire is pro- 
 phetically commemorated. The four topics of the 
 two Psalms are identical: 1. a jubilant recognition 
 of the divine power : 2. an invitation to all the intel- 
 ligent creation to praise him : 3. to the inanimate 
 creation : 4. a declaration of his coming to judgment. 
 God's power is the main topic of the 9Gth : his mercy 
 and grace of the 98th. 
 
 " The Lord is King " again forms the commence- 
 ment of the 99th, which is antiphonal to the 97tli 
 
§ 5] TlIK FOURTH PART OF THE BOOK OF PSALMS. 2G1 
 
 and 95tli, in the same remarkable manner that the 
 98th is to the DGth ; and rising above the preceding 
 Psalm in sentiment. It is divisible into three 
 parts, each concluding with the epistrophe, " holy is 
 He," or " holy is the Lord our God." Mention is 
 made of Moses and Aaron, as his priests, and Samuel 
 among his prophets, or those who called upon his 
 name, thus referring the Psalm to a time posterior at 
 least to Moses : while the mention of Sion refers us 
 to the age of David. In the 97th Psalm the judg- 
 ments of God are more prominently mentioned ; in 
 the 99th, his mercies; but in botli, the wonders and 
 mercies exhibited to the Israelites during their sojourn 
 in the wilderness are aj)parently most prominent in 
 the inspired author's recollection. 
 
 The 100th Psalm resembles, in its expressions as 
 well as in its imagery, the 95th; of which it is an 
 epitome. The topics are similar. 1. The rejoicing be- 
 fore the Lord : 2. the recognition of the Lord as our 
 Maker and our God : 3. the comparison of liis people 
 to sheep. AVliile the concluding part, making a noble 
 termination of the series, repeating the exhortation to 
 praise, and the recognition of God's mercy and ever- 
 lasting truth, forms an epitome of the former part of 
 the 96th Psahn. 
 
 It is to be observed that the pastoral comparisons 
 t)ccurring in these Psalms, which might be appropri- 
 ately made either by David or Moses, are peculiarly 
 applicable to a nation of shepherds. It is one fre- 
 quently made by the Prophets, especially Isaiah. 
 
 The alternation of the obviously connected Psalms 
 is very remarkable, and will now be exhibited, by 
 giving their commencing titles, omittihg the 94tli : — 
 
 93. The Lord Is King : with majesty he is apparelled. 
 
 95. O come, let us sing unto the Lord. 
 
 96. O sing unto the Lord a song that is new. 
 97. The Lord is King : let the earth rejoice. 
 
 s 3 
 
2G2 
 
 ORDER AND CONNECTION OF THE PSALMS. [Dissert. HI. 
 
 98. O sing unto the Lord a song that is new. 
 99. The Lord is King: let the nations treml)le. 
 
 100. Make a joyful noise unto the Loud, all the 
 earth. 
 
 The 101st Psalin fully justifies its title, as one of 
 David's. It is generally considered, with apparent 
 justice, to contain his sentiments, with regard to the 
 forming of his court, towards the beginning of his 
 reijrn. Dr. Hanimond considers it to ha\^e been com- 
 posed after the Ark had been established in Mount 
 Sion. He renders the words " when "wilt thou 
 come unto me" thus, " when it, that is, the Ark of 
 God, shall come unto me," a meaning which the He- 
 brew •■* will bear. But if the usual translation is fol- 
 lowed, it means, " when thy Presence shall be more 
 fully manifested in the temple," that great object to 
 which he so fondly looked forward. The whole 
 Pgalm is a fitting lesson to all Christian monarchs: who 
 are often too forgetful of the indissoluble connection 
 that ought to subsist between private and public in- 
 tegrity, between political wisdom and personal piety 
 and virtue : the dissociation of which, in some mem- 
 bers of his own court, David felt to be the cause 
 of great calamities. 
 
 If the opinion here expressed as to the occasion of 
 the Psalm before us be correct, we may discover a key 
 to the compilation of the fourth part of the Psalter. It 
 was probably made by David on his establishment at 
 Jerusalem, as king over all Israel and Judah, when he 
 had arranged the details both of the civil government, 
 and of the religious service of the ark and tabernacle. 
 The 102d Psalm has been generally attributed, and 
 Avith every appearance of probability, to the times of 
 the captivity; and the style is like that of Jeremiah. 
 I')iit it is not inconsistent to attribute it to David. 
 
§ 5.] THE rOURTlI PAUT OF THE BOOK OF PSALMS. 2G3 
 
 The verses commonly considered applicable to the 
 captivity do not necessarily exclude another interpre- 
 tation : — 
 
 Thou thyself shalt arise, thou shalt have mercy upon Sion : 
 For it is time that tliou have pity upon her ; for it is coiue, 
 
 the set time. 
 For thy servants take pleasure in her stones ; 
 And in her dust they have pity. 
 
 Here may be reference to the present aggressions of 
 enemies not yet quelled, and to the future building of 
 the walls of Jerusalem. Still the usual acceptation is 
 by far the most obvious and natural. The concluding 
 part, however, which mentions the works of God, and 
 his imperishable nature, is the preparation for the 
 magnificent series of sacred Odes which follows. 
 
 The first of these, ascribed to David, is deeply 
 characteristic of that royal prophet. I must here 
 avail myself of the just and forcible language of 
 another, to express the true Davidical character of 
 this Psalm. " We have before us, in the 103rd Psalm, 
 the spirit and scheme (if the devout aspirations of a 
 thankful heart may be treated of without injury in 
 formal language) according to Avhich the Psalmist of 
 old was used to conduct his eucharistic meditations. 
 His voice of praise and thanksgiving, we observe, is 
 first heard, Avhere rightly and duly it had been at the 
 first enkindled, in the quiet secret chambers of the 
 heart. From this spring, the stream of gratitude, 
 winding its salutary course through the various 
 channels of personal and private mercies, presently 
 swells into a feeling sense and participation of the 
 divine benefits imparted to the Church and com- 
 munity at large, whereof he was an individual 
 member. As the stream enlarges, so naturally will 
 enlaro'c the bed in which it flows. The course of the 
 Psalmist's thoughts and thanksgivings still widens 
 
 b 4 
 
2G-1 OKDEIl AND CONNECTION OF THE I'SALMS. [Dissert. III. 
 
 and expands, until it includes, not the universal 
 Church only, and the Avhole community of mankind, 
 but angels and archangels, and all the company of 
 heaven. Amidst this vast unbounded expanse, still, 
 however, is strictly and visibly preserved the sense of 
 individual gratitude ; the individual sense of gratitude 
 it is which thus fills the worlds. And as the heart of 
 David was the source whence, at the first, it took its 
 rise, so the heart of David is the ocean into which, at 
 the last, it returns, — Bless thou the Lord, my 
 soul."^ 
 
 We have in this Psalm, the celebration of the 
 power, the mercy, the grace, the universal dominion, 
 both natural and spiritual, of God. The topics are 
 those which had formed the theme of the former 
 chain of Psalms. At the conclusion he ascends from 
 the thanksgivings of mankind, and from this lower 
 sphere of his dominions, to heaven, where God has 
 fixed his throne, to the songs of the angels, and their 
 heavenly ministry, and to the universal praise ascribed 
 to their Maker by the whole creation : the heartfelt 
 thanksgiving of the Prophet being again expressed 
 in the Epanodos, " Bless, my soul, the Lord." 
 
 This expression forms the commencement of the 
 104th, which is thus obviously connected with the 
 preceding. The great scene of his Providence having 
 been opened in the 103rd, we have now its operation 
 more particularly specified. It is perhaps the most 
 magnificent picture revealed in Holy Scripture : hea- 
 ven and earth, the whole range of creation, both 
 visible and invisible, being brought ^\dthin its range, 
 God's spiritual influence and dominion forming a sub- 
 lime climax. 
 
 First, the concluding theme of the 103rd Psalm is 
 
 • Tlic Rev. Charles Forster's Discourses on Subjects of Scripture His- 
 tory. Disc. V. p. 125. See also Disc. iv. ou Psalm 23. 
 
§ 5.] THE rOURTH PART OF THE BOOK OF TSALMS. 
 
 rencAved ; the place Avliere the Almighty dwells ; the 
 lioiiuLir, majesty, and brightness with which he is 
 clothed, the heavens that are his architecture, and 
 form his habitation ; his dominion OAer the elements ; 
 his angels, both cherubic and seraphic, that are his 
 ministers." 
 
 Then the Psalmist descends to earth, and follows 
 the author of Genesis in accurately describing the 
 creation of this world: her firm foundation at the 
 beginning ; the chaos, when darkness was upon the 
 face of the deep, and before the separation of the 
 waters : the Voice of God which reduced it to order, 
 and which, at the subsidence of the deluge, ordained 
 that a flood should never again destroy the earth. 
 With the very words of this description the later 
 discoveries of geologists accurately harmonise. By 
 the words " the hills ascend, the valleys go down," 
 are represented the upheaving and oscillation of the 
 earth, which caused the fountains of the great deep to 
 be broken up, and formed many of the mountainous 
 features of the postdiluvian globe ^j while the latter 
 words, 
 
 A bound tliou hast set ; they shall not pass it ; 
 They shall not return to cover the earth ; 
 
 • Bishop Horsley observes, that " it is a singular cu'ciimstance iu the 
 composition of this Psahu, that each of the parts of the first semichoriis, 
 after the first, begins with a participle. And these participles are accu- 
 satives, agreeing with nin*, the object of the verb ^313, at the beginning 
 of the whole Psalm. Bless the Jehovah, putting on, extending, laying, 
 constituting, travelling, making, setting, sending, watering, making, 
 making. Thus, the transitive verb, in the opening of the Psalm, extend- 
 ing its government through the successive parts of the same scmichorus, 
 except the last, unites them all in one long period." 
 
 ^ It is gratifying to find this application of the words in the Psalm con- 
 firmed by the observations of the Rev. Charles Burton, LL.D., in his 
 very interesting and valuable " Lectures on the Dehige, and the World 
 after the Flood ; " p. 45. This volume forms the secpiel to another 
 work by the same author, " Lectures on the World before the Flood." 
 
 265 
 
266 
 
 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 can allude to no other event than the promise of the 
 Ahniglity after the flood of Noah." 
 
 Then the happy condition of the renovated cre- 
 ation, after that great convulsion, is described in all 
 its parts, beginning with the valleys and their inhabi- 
 tants ; thence ascending to the hills, and the produc- 
 tions ai)pointed for the nourishment of man ; the mag- 
 nificent forests, and the high hills and the stony rocks, 
 all appointed for their several beneficial uses, for the 
 habitation of the birds of the air and the beasts of 
 the earth. 
 
 Then he celebrates the alternation of night and 
 day; night, the season when the wild beasts seek 
 their meat from God ; day, the season of man's ap- 
 pointed work. And the repose of night brings with 
 it that reflection fitted to such a season of meditation : 
 
 IIow manifold arc thy -works, O Lokd ! 
 All of them in wisdom thou hast made : 
 The earth is full of thy riches ! 
 
 And now he recounts the wonders of the great deep, 
 from the creeping things to the leviathan, whom God 
 hath made to take his pastime therein ; that sea, 
 which is to the human race the great channel of com- 
 merce, the pathway of civilisation. 
 
 The whole of this unequalled panorama is summed 
 up by shewing the dependence of the whole creation 
 upon God, the author of life and death ; no obscure 
 intimation beino- o;iven of the new heaven and tlic 
 new earth, shadowed forth by the postdiluvian 
 restoration. 
 
 Thou scndcst forth thy Spirit, they arc created : 
 And thou renewest the face of the earth. 
 
 That a spiritual meaning is here intended, we ai-e lully 
 
 " Gen. ix. 1 1 — 17. 
 
§a.] THE FOURTH PART OF THE BOOK OF rSALMS. 207 
 
 Avarranted in believing, since this is one of the Psahns 
 appointed for special use on Whitsunday. 
 
 The cpodc celebrates the everlasting nature and 
 power of God, his love for his own creation, his 
 moral dispensations in the punishment of the wicked, 
 and in affording gladness to the heart of the righ- 
 teous whom he will redeem : the expression, " Bless, 
 my soul, the Lord," being again the epanodos. 
 
 This Psalm, as well as the two following, concludes 
 with " Hallelujah," or " praise the Lord;" another 
 mark of connection, which however is fully manifested 
 in the subject-matter of the sequel. Thus the 105th 
 enters into that department of God's more particular 
 Providence, which men call history'': the history of 
 the chosen people. It begins with a reiteration of 
 that praise with Avhich the former Psahu concluded, 
 and then proceeds to recall the children of Israel, not 
 to a mere general recollection of his universal pro- 
 vidence, common to the whole world, but to the 
 miraculous preservation of their forefathers, in the 
 land of Egypt. The strain is so evidently the same 
 as that of the two preceding, that we could have no 
 hesitation in assigning the Psalm before us to David, 
 even were we not assured of its authorship, or at least 
 adaptation, by the record of David's Psalm in the 16th 
 chapter of the first book of Chronicles, which also 
 gives a portion of the 106th. 
 
 The 1 05th, it is to be remarked, speaks of the 
 
 ° " The history of Providence containeth that excellent correspondence 
 which is between God's revealed will and his secret will : which, though 
 it be so obscure, as for the most part it is not legible to the natural man ; 
 no, nor many times to those that behold it from the tabernacle ; yet at 
 times it pleaseth God, for our better establishment and the confuting of 
 those which are as without God in the world, to write it in such text and 
 capital letters, that, as the Trophet saith, " he that runneth may read it ;" 
 that is, mere sensual persons, which hasten by God's judgments, and 
 never bend or fix their cogitations upon them, are nevertheless in their 
 passage and race urged to discern it. Such are the notal)le events and 
 examples of God's judgments, chastisements, deliverances, and blessings. 
 — Lord Bacon : Advancement of Learning, book ii. 
 
268 ORDER AND CONNECTION OF THE PSALMS. [Disseiit. III. 
 
 mercy and power of God, making no mention of the 
 sin of his people ; whereas the latter Psalm, reverting 
 to part of the same period as that celebrated in the 
 preceding, speaks of the transgression of Israel, and 
 the judicial punishment of God, who nevertheless in 
 his wrath remembered mercy. And such an admoni- 
 tion to this people, ever prone to idolatry, was most 
 appropriate at the solemn dedication of the Ark of 
 God at its establisliment in Jerusalem, the event to 
 which the above-named passage in Chronicles refers 
 us. The observation of this fact ^vill further confirm 
 the theory already proposed, of the compilation of 
 this fourth part of the book of Psalms. 
 
 With this Psalm the 107th is obviously connected; 
 but as the 107th forms the commencement of the 
 fifth book, observations upon it must be reserved for 
 the next section. 
 
 § 6. THE FIFTU PART OF THE BOOK OF PSALMS. 
 
 Many circumstances combine to refer the fifth col- 
 lection to the time immediately following the resto- 
 ration of the Jews, after the Babylonish captivity. 
 These will be observed upon in their order. And 
 first, the 107th Psalm is exactly that Avhicli we might 
 expect to find placed in tlie front of such a collection, 
 so marked are its allusions to the divine deliverance 
 wliich they had recently experienced. 
 
 Still, I am far from concluding that this Psalm was 
 then first composed. It seems more likely to liave 
 been the composition of an earlier age, that of David, 
 and to have a direct reference to the many deliverances 
 of the Israelites from Egypt, and from their several 
 captivities under th(^ Judges, and a prospective and 
 ])ropheticnl allusion to the restoration, still future, of 
 the chosen peoi)le to their own land. It is closely 
 
§G.] Tin: FIFTH TAUT OF TIIK BOOK OF PSALMS. " 269 
 
 connected with the 106th, and is an expansion of the 
 hist chiuse of that Psahn. 
 
 Save us, O Lord our God, 
 
 Aud gather us from amono- the heathen, 
 
 That we may give thanks unto the name of tliy hohness, 
 
 That we may triumpli in tliy praise. 
 
 It is clear from this prayer having been used by 
 David (I Chron. xvi. 35.), that the alkision to cap- 
 tivity is not a decisive mark of kite composition. 
 I)Ut indeed it forms a magnificent climax to all the 
 providential Psalms, which preceded ; and in con- 
 cluding this high argument, exhibits an ode un- 
 equalled in the regularity and beauty of its arrange- 
 ment, and in the heartfelt piety of its eucharistic 
 tone. 
 
 The 108th Psalm is David's, a compilation from 
 two Psalms, the 57th and 60th. Its connection with 
 those around it is not obvious, and we may believe that 
 this, and the follomng, which is a penitential Psalm, 
 awfully prophetical of the curses which fell upon 
 the Jewish nation for the rejection of their Saviour, 
 were inserted on the final revision of the Psalter by 
 Ezra and Nehemiah. 
 
 The 110th is one of those deeply prophetical Psalms 
 Avliich is applicable to the Messiah, and to him alone, 
 as our blessed Lord declares. ■'' It speaks of the con- 
 quests, the innumerable spiritual progeny of Christ; 
 his eternal priesthood, his humiliation, and his exalt- 
 ation ; his humiliation being signified in these words, 
 " Of the brook in the way he shall drink," like a 
 weary pilgrim on his journey^ ; " therefore shall lie 
 lift up the head :" therefore hath God highly exalted 
 him. This Psalm seems also to be supplemental. 
 
 But from the 111th to the 118th inclusive, we find 
 
 * St. Matt. xxii. 43, 44. 
 
 ^ This is the interpretation of Dr. Ilaunnond and Bishop Patrick. 
 
270 ORDEIt AND CONNECTION OF THE TSALMS. [Dissert. III. 
 
 very interesting marks of a ceremonial which tradi- 
 tion asserts was observed by tlie Jews at the eating 
 of the Passover, namely the singing of the Great 
 Hallel ; that hymn, in all Hkelihood, whicli our blessed 
 Lord sang with his disciples after the last supper/'' 
 
 Dr. Lightfoot'' informs us, that there is consider- 
 able discrepancy of opinion among the Jews as to 
 what Psalm constituted the Greater Hallel : the 
 various opinions extending or contracting its range 
 from the 113th to the 137th J'salm. As usual, these 
 traditions are uncertain and ill-defined, and have more 
 respect to the arbitrary dicta of the Rabbins, than to 
 the internal evidence of Holy Scripture. 
 
 Let us now examine this evidence. In the first 
 place we are to remark, that all the Psalms, (except 
 the 114th and 118th,) which precede the 119th, 
 have Hallelujah^ (that is. Praise ye the Lord,) either 
 prefixed or subjoined, or both: wliile those which 
 are without this burthen are in evident connection ; 
 the 119th as evidently beginning a new series. In 
 the absence, then, of any consistent testimony, it 
 seems fair to assume that this group of Psalms formed 
 the greater Hallel, the sentiment they contain being 
 singularly applicable to the festival, — to the great de- 
 liverance from Egypt, which it celebrated, and to the 
 second delivery from Babylon, which so strongly re- 
 sembled it. 
 
 According to Dr. Lightfoot, the 113th and 114th 
 Psalms were sung at one period (jf the feast, at the 
 
 " St. Matt. xxvi. 30. 
 
 * Temple Service, chapter xiii. According to him, Rabbi Judah 
 said it extended from Psalm 118 to 137. — Rabbi Jochanan from 
 the first song of degrees to Ps. 137. — Rabbi Abraliam Jacob from Ps. 
 135. to the same Psahn. In the 3rd chapter of the 'I'osaphta Taanith 
 c. iii. in the Gemara of .lerusalom, the greater Hallel is said to be " C 
 give thanks unto the God of Gods, O thank the Lord of Lords." Again 
 in the Treatise on Fasts, in the same Gemara, c. iii. See Ugolini' 
 Thesaurus, vol. xviii. pp. GG5. 742. 758. 
 
§ G.] THE FIFTH PART OF THE BOOK OF PSALMS. 271 
 
 second cup; and after the fourth cup, the other Psahns, 
 namely, the 115th to tlie 118th inclusive; and here 
 the feast ordinarily ended. They thus held the place 
 of grace before or after meat ; and this division is 
 very consistent, the later Psalms being more evi- 
 dently eucharistical. 
 
 NoAv, if we prefix the two former Hallelujah 
 Psalms, the 111th and 112th, the whole order of this 
 continuous sonoj Avill be most beautiful and re<>ular. 
 For first we have these two alphabetical Psalms, the 
 former of which celebrates the mercy and righteousness 
 of God : the second, the blessings conferred upon his 
 faithful servants ; both of them forming a fit introduc- 
 tion to the next, which calls upon his servants to praise 
 him, and records the exaltation of his humiliated peo- 
 ple, to set them with the princes, even with the princes 
 of the people. The 114th speaks more distinctly of the 
 divine mercy in the redemption of the people from 
 Egypt : in all likelihood, a very ancient hymn, placed 
 in its present position, in order to serve as a celebra- 
 tion of deliverance from Babylonian bondage. The 
 115th Psalm is an address to this redeemed nation, 
 the house of Israel and of Aaron, to eschew the wor- 
 ship of idols, and to worship the true God. The llGth 
 is a heartfelt thanksgiving for deliverance from deep 
 troubles and sorrows, and distinctly makes mention of 
 the ordinances of religious worship : " the cup of sal- 
 vation" of which the faithful at the festival at the 
 passover were partaking; the vows and sacrifices of 
 thanksgiving which they were to render in the house 
 of the Lord : so that this Psalm may be aptly termed 
 sacramental. The 117th Psalm, the shortest in the 
 whole collection, reiterates the praises of the 115th ; 
 and the 118th, repeating the sentiments of the pre- 
 ceding, especially of the 115th, is eucharistical in 
 the highest degree, at once a song of triumph, of 
 faith, of prophecy. In the allusion to the newly edified 
 
272 ORDER AND CONNECTION OF THE I'SALMS. [Dissert. ITT. 
 
 temple, Christ, that stone which the builders re- 
 jected, and is become the headstone in the corner, is 
 foretold-'; and the whole concludes with repeated 
 allusions to sacrifices, both material and spiritual, and 
 ends with the epanodos, 
 
 O give thanks unto the Lord, for lie is good ; 
 For everlasting is his mercy ! 
 
 There is something very peculiar in the style of 
 these Psalms. The repetition, for instance, of the 
 same words and clauses : 
 
 The sea saw that, and fled, 
 
 Jordan was driven back, &c. 
 
 What ailed thee, O thou sea, that thou fleddest ; 
 
 Jordan, that thou wast driven hack, &c. 
 
 And, " Israel, trust in the Lord — house of Aaron, 
 trust in the Lord. — The Lord will bless the house of 
 Israel, He will bless the house of Aaron." And more 
 particularly in every clause of the 118th Psalm. This 
 feature is, as will presently be shown, very charac- 
 teristic of the Songs of degrees, and, as well as other 
 artificial contrivances, seems to mark distinctively the 
 Psalms of the age which followed the Babylonish 
 capti\dty. 
 
 The 119th Psalm requires a separate section by 
 itself, so peculiar is its construction, both as to length 
 and as to arranjrement. 
 
 'O" 
 
 § 7. THE CXIXTH rSALM. 
 
 With the 119th may be considered to begin that 
 collection of Psalms which were composed during the 
 captivity. There are many reasons which combine 
 to make this opinion probable. In the first place we 
 must remark that peculiar artifice of construction, by 
 
 " St. Matt. xxi. 42. 
 
§ 7.] THE CXIXTII rSALM. 273 
 
 wliicli tlic twenty-two letters of tlie Hebrew Alplia- 
 bet have each a stanza of eight distichs allotted to 
 tlieni, connnencing the first word of each disticli. 
 Alphabetical Psalms of an earlier date occur, indeed, 
 in the Psalter, but none of so great length, or con- 
 structed with such remarkable regularity. Now this 
 artifice resembles very much that observed in tlie 
 Lamentations of Jeremiah, of which each chapter, 
 except the last, is alphabetical : in the first and 
 second chapters, the characteristic letter beginning the 
 first word of each stanza of three lines, in the fourth, 
 of two lines ; while in the third, eacli stanza of three 
 lines has it at the beginning of every line ; this last 
 method more resembling the 119th Psalm. There 
 are other artifices of construction observable in the 
 psalms and hymns composed in these later ages of 
 the Church. For example, that repetition of the 
 same words and clauses, and the frequent recurrence 
 of a characteristic word, so frequent in the Greater 
 Hallel " and in the Songs of Degrees : and in a con- 
 tinually recurring burthen, in each distich, as in the 
 Song of the three Children, and the 136th Psalm, 
 which latter is unique in the Psalter. It has been 
 the tendency of the poetry of most countries'", in 
 the progress of time, to make its characteristic fea- 
 tures depend less upon the exactness of sentimental 
 arrangement, and more upon some external artifice, 
 wliether this be prosodial metre, alliteration, rhyme, 
 assonance, or the recurrence of a burthen. Now, 
 though the poetry of the Scriptures, because it was 
 inspired, never declined from the perfection of its 
 sentimental construction, still these artificial con- 
 trivances, practised indeed in earlier times, seem to 
 have been more prevalent at the time of the captivity, 
 
 • Vide p. 270. *' See Diss. IV. in this Volume. 
 
 VOL. II. T 
 
274 ORDER AND CONNECTION OF THE PSALMS. [Dissekt. III. 
 
 and the time immediately following, than heretofore. 
 It was probably so ordained, for the purpose of assist- 
 ing the memories of the eJews, who at Inibylon were 
 excluded from the open exercise of then* religion and 
 from public teaching, and therefore required more 
 private helps, which could be more easily commu- 
 nicated orally from parents to children, or from 
 masters to disciples. 
 
 But a stronger reason appears for assigning this 
 Psalm to one of the prophets of the captivity, either 
 Jeremiah or Daniel, whose circumstances were in 
 many respects similar : I should think, with greater 
 probability, to the latter. There seem in the Psalm 
 many allusions to his history. For example, his con- 
 stant and persevering practice of religious exercises, 
 his nightly meditations, his rendering of praise at 
 stated periods, seven times a day, and this openly ; 
 " I Avill speak of thy testimonies even before kings : " 
 while the persecutions of the iniquitous nobles of Ba- 
 bylon are plainly alluded to in these words : " Princes 
 did sit, against me they spake :" that is, " they 
 brought a formal judicial accusation against me:" 
 " Princes have persecuted me Avithout a cause : . . . the 
 proud have forged a lie against me ; . . . the proud have 
 derided me exceedingly ; . . . the proud have digged pits 
 for me :" the latter expression possibly referring to 
 the den of lions. The meditative and faithful cha- 
 racter of the whole Psalm is exactly accordant with 
 that " greatly beloved" prophet, who was in such 
 constant communion with God ; emphatically a man 
 of prayer ; and one to whom in the night visions 
 were revealed the deep mysteries of God's Providence, 
 those future events in which the Law and the 
 Prophets were fulfilled. 
 
 It has been too commonly assumed, that tlic 119th 
 Psalm is a collection of unconnected thoughts. To 
 this opinion even that most profound religious i)liilo- 
 
§ 7.] THE CXIXTII rSALM. 275 
 
 sophcr, J)i'. Barrow'*, inclines; and his eloquent 
 words must, in this instance, be received witli n(j 
 small caution. " This Psalm," he says, " no less 
 excellent in virtue, than large in bulk, containeth 
 manifold reflections on the nature, the properties, the 
 adjuncts, and efTects of God's law ; many sprightly 
 ejaculations about it, conceived in different forms of 
 speech ; some in way of petition, some of thanks- 
 giving, some of resolution, some of assertion or aphor- 
 ism ; many useful directions, many zealous exhorta- 
 tions to the observance of it ; the which are not 
 ranged in any strict order, but, like a variety of 
 wholesome herbs in a fair field, do with a grateful 
 confusion lie dispersed, as they freely did spring in 
 the heart, or Avere suggested by the devout spirit of 
 him who indited this Psalm, where no coherence of 
 sentences being designed, we may consider any one of 
 them absolutely, or singly by itself." 
 
 The fine imagination of this eminent writer justly 
 recognises the beautiful variety, the variegation of 
 thought, the TToAuTTOJx/Xo^ (To^la exhibited in this Psalm ; 
 but too much seems to be conceded to the prevalent 
 opinion of a want of connection. I willingly allow, 
 that the sentiments are not limited and enthralled by 
 any exact or Procrustean rule ; that there are no 
 measures of intellectual geometry adhered to, redu- 
 cing this divine poem to a rigid didactic system : that 
 the mind of the prophet is free, and flowing, and dis- 
 cursive. Still this very flow of thought implies con- 
 nection and association, and forbids the frigid idea 
 that the Psalm is a mere canto of reflections, like 
 Lord Bacon's collection of aphorisms, or the maxims 
 of Isocrates. I do not intend to maintain, what could 
 not be proved, that a consecutive order can be traced 
 throughout ; but instances can undoubtedly be shewn 
 
 " Sermon xlviii. on Psalm cxix. 60. 
 T 2 
 
276 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 of passages which maintain a beautiful sequence and 
 connection between their several members. 
 
 To enter into any thing like an analysis of this 
 Psalm, which has been justly considered in all ages 
 of the Church as a storehouse of religious wisdom, 
 and, as interpreted by the light of the Gospel, of 
 Christian philosophy, would require a volume ; and 
 it is well known, that upon no portion of Holy Scrip- 
 ture have so many practical commentaries been writ- 
 ten. It must suffice to give a few more obvious 
 instances of design and connection. 
 
 The be";innino: of the Psalm makes mention of the 
 way of the Lord, as that which it is a happiness to 
 find. The seeking of this way forms the subject of 
 the first two divisions. 
 
 Happy are the perfect in the way, 
 Who walk in the law of the Lord : 
 Happy are the observers of his testimonies : 
 With the whole heart they seek lilm : 
 Verily they who do no iniquity. 
 
 In his ways they walk 
 
 O that ray ways were made so direct. 
 
 To keep thy statutes 
 
 Wlierewithal shall a young man cleanse his path ? . . . 
 
 Let me not go astray from thy commandments 
 
 In the way of thy testimonies have I rejoiced 
 
 In thy precepts will I meditate. 
 And behold thy paths. 
 
 Now the last division refers to this theme : the way 
 of God has been found ; and he concludes his medita- 
 tions, as he had begun, with an allusion to his former 
 wanderings, and a prayer to be kept in the right 
 way. 
 
 I have gone astray like a sheep that is lost : 
 O seek thy servant : for thy commandments I have not 
 forgotten. 
 
§7.] THE CXIXTII rSALM. 277 
 
 As the Psalm proceeds, the intensity of devotion 
 and of praise becomes stronger ; in its later petitions, 
 from the 19th division inclusive, prayer for deliver- 
 ance is more fervent. In the 4th division, observe 
 the repetition of the same sentiment. 
 
 My soul cleaveth to the dust : 
 Quicken ine, according to thy word : 
 
 which is presently repeated with greater earnestness. 
 
 My soul melteth away from heaviness ; 
 StabUsh me according to thy saying. 
 
 And then follows the contrast between the way of 
 falsehood and the way of truth, which latter is de- 
 clared to be the way of God's commandments. In 
 like manner observe the connection of the whole fifth 
 stanza ; of which the Avay of God is the commencing 
 theme, the latter part being a prayer for deliverance 
 from vanity, and from the reproach which he fears. 
 The 6th division is a prayer for fortitude and wisdom, 
 that he may openly and publicly persevere in the 
 service of God. There is a connection between the 
 7th and 8th : both speak of the aggression of enemies, 
 and of his own nightly meditations and thanksgivings ; 
 the former being continued through many subse- 
 quent divisions. The 11th division, in the first three 
 distichs and towards the end, represents \nm. fainting 
 for God's salvation and his word. The 12th declares 
 the unchangeable and imperishable nature of God's 
 word. 
 
 For ever, O Lord, is thy word : 
 
 It cndurcth in heaven. 
 
 Unto generations of generations is tliy truth : 
 
 Thou hast established the earth, and it abidcth. 
 
 Accoi'ding to thy judgments they abide this day. 
 
 For all are thy servants 
 
 Of all perfection I have seen an end : 
 Thy commandment is large exceedingly. 
 
 T 3 
 
ORDER AND CONNECTION OF THE TSALMS. [Dissert. III. 
 
 The wisdom imparted by the divine teaching is 
 detailed in the 13th division: he is wiser than his 
 enemies, has more prudence than his teachers, more 
 understanding than the aged; and he assigns the 
 reason for this superiority ; and dechires in conclusion 
 his love for the words of God, his hatred of every 
 path of falsehood. 
 
 In the 19th division occurs a beautiful instance of 
 alternate parallelism, which shews the constancy of 
 his devotions both by night and day. 
 
 I cried with my whole heart : 
 
 Hear me, O Lokd ; thy statutes I will observe : 
 I cried unto thee, O save me : 
 
 And I shall keep thy testimonies. 
 I was before the dawn, and I cried aloud : 
 
 In thy word I hoped. 
 Mine eyes were before the night watches : 
 
 That I might meditate in thy saying. 
 
 The 20th is a connected prayer for deliverance 
 from persecutors; and, to bring forward no more 
 instances, which doubtless could be multiplied, in the 
 22 nd there is a similar alternation of connected 
 thought. 
 
 "O' 
 
 Let my complaint come near thee, O Lord : 
 
 According to thy word make me to understand. 
 Let my supplication come before thy face ; 
 
 According to tliy saying deliver me. 
 My lips shall utter praise, 
 
 When thou hast taught me thy statutes : 
 My tongue shall sing of thy saying. 
 
 For all thy commandments are righteous. 
 
 The next peculiarity to be observed is the regular 
 recurrence of nine characteristic Avords, at least one 
 or other of which is found in each distich, with one 
 solitary exception, the second distich of the 12th 
 
§ 7.] THE CXIXTII PSALM. 279 
 
 division." These words arc, Law, Testimonies, Pre- 
 cepts, Statutes, Commandments, Judgments, Word, 
 Saying ; and a word which only twice occurs as a 
 characteristic, — Way." 
 
 These are, doubtless, all designations of the divine 
 law ; but it were doing a deep injury to the cause of 
 revealed truth, to affirm, that they are mere syno- 
 nymes ; in other words, that the sentiments of this 
 compendium of heavenly wisdom are little better than 
 a string of tautologies. The fact is, as some critics, 
 both Jewish and Christian'', have observed, that each 
 of these terms designates the same law of God, but 
 each under a different aspect, signifying the different 
 modes of its promulgation, and of its reception. Each 
 of these words will now be examined in order, and an 
 attempt will be made to discriminate them. 
 
 1. Law.'' This word is formed from a verb which 
 means to direct, to guide, to aim, to shoot forwards. 
 Its etymological meaning, then, would be a rule of 
 conduct, a xavcov a-a<pr}s. It means God's law in 
 
 " The word here is "jriJIDK, thy truth. It is possible tliis might have 
 been written for a very similar word, "|"1J3N ; but no MS. justifies this con- 
 jecture, nor does the LXX. 
 
 ^' In the first division and fifth "111. May not this have been written 
 for "in ? If so, the corruption took place before the LXX. version was 
 made, as they read tvay. If this word "jll is excluded from the set of 
 characteristic terms, we then have exactly eight terms, as we have eight 
 distichs in each stanza. In sLx of these divisions (the 4th, 6th, 8th, 
 10th, 13th, and I7tli), all the eight characteristic words occur. 
 
 '^ De Muis and Calmet give each an explanation of these terms, very 
 much founded on Kimchi's interpretation. The following is an abstract 
 of it. min (the law), the doctrine delivered by God, especially to Closes 
 and the prophets, in all its parts : "["IT (the path) the example of God, 
 the method of life : r\)1]! (testimonies), the ordinances, the sacramental and 
 ceremonial law. DHIpS (precepts), the precepts that speak to the intellect 
 and are deposited in the heart of man . . . "I3"l (word) and "llDX (saying), 
 the promises of God; but generally, all precepts. niVO (commandments), 
 which God teaches, in order to his worship and love: nD*02L*'Q (judg- 
 ments), reciprocal duties : as forensic laws ; divine punishments. Q'pn 
 (statutes), those of whose reason we are ignorant, such as were some pre- 
 cepts of the ceremonial law. To which they add pIV (righteousness), that 
 justice which is in all God's precepts ; and HJltDN (truth), the whole law. 
 
 T 4 
 
280 ORDER AND CONNECTION OF THE PSALISIS. [Dj&sert. III. 
 
 general", ■whether it be tliat universal rule called the 
 law of nature, or that which Avas revealed to his 
 church by Moses, and perfected by Christ. In strict- 
 ness the Law means a plain rule of conduct, rather 
 placed clearly in man's sight, than enforced by any 
 command ; that is to say, this word does not neces- 
 sarily include its sanctions. 
 
 It is a thing known, not sought for. The Psalmist 
 does not ask to be taught the law, as he does the 
 statutes of God. " I shall keep thy law ... I have 
 kept thy law . . . thy law I have not forgotten."" It 
 is known to mankind in general : " men keep not thy 
 law . . . the ungodly are forsaking it." It is a plain 
 guide . . . "to those that love it, it is no stumbling- 
 block." Men walk in it or forsake it, as a known 
 and beaten path. Thus it is connected with God's 
 way. " Blessed are the undefiled in the way, who 
 walk in the law of the Lord." It is, in fact, the way 
 itself. Now, in the whole of the 5tli division, a rule 
 of conduct, a way is spoken of. But the law being 
 itself a path or way, he does not say, I shall observe 
 the icay of thy law, but, thy law. In the 7th division, 
 " From thy law I have not declined," the same meta- 
 phor is implied ; and that visible conduct is intended, 
 appears from the context, " the proud have derided 
 me exceedingly ; " his keeping of the law is a palpable 
 act, which exposes him to public scorn. It is a rule 
 of outward rectitude. In the 6th division, he says, 
 " I shall keep thy law continually, for ever and ever." 
 The context mentions his speaking publickly of God's 
 testimonies. " As for lies, I hate and abhor them." 
 It therefore prescribes the observance of truth. It is 
 
 " I must be understood here, as being far from intending to make 
 this the definition of the word lau\ as commoidy received by us : it is 
 merely the interpretation of a Hebrew word, emi)k)yed in this partieuhir 
 aspect. 
 
 •' The natural hiw, mentioned by St. Paul. Romans, ii. 14, 15. 
 
§7.] THE CXIXTII PSALM. 281 
 
 the contrary of oppression and lies. In the IGth 
 division the " destroyers of God's law " are plainly 
 the violators of known commandments. 
 
 It has been openly promulgated by God ; as it is 
 called, in the 8th division, " the law of his mouth." 
 It is no technical or arbitrary rule ; but is the pro- 
 mulgation of the fundamental principles of truth : 
 " Thy law is truth " (18 div.). And from the con- 
 text of the 12th division we collect, that it is ever- 
 lasting and unchangeable, like the visible architecture 
 of the universe. 
 
 But though openly promulgated, so that its great 
 features are visible to mankind, still it is not so clear 
 as to supersede the exercise of a careful discrimina- 
 tion. Faith must be kept alive, in order to its due 
 comprehension and preservation. As in natural qua- 
 lities, Avhich are most opposite, such as light and 
 darkness, the confines so nearly assimilate as to re- 
 quire the nicest discrimination, lest these should be 
 transgressed. " Make me to understand," that is 
 give me discernment, (for such is the force of under- 
 standing'')^ "that I may keep thy law." Again, 
 " Open thou mine eyes, that I may behold the won- 
 ders of thy law." He does not say, that I may behold 
 thy law : that he had always before him ; but he refers 
 to its close contemplation, its more accurate anatomy ; 
 the perception of its more hidden principles, its won- 
 derful ends, those views of Providence and Grace, 
 which require a spiritual discernment. The stars of 
 heaven are obvious to all ; not so the principles of 
 astronomy, or those wonderful scenes which the tele- 
 scope discovers. 
 
 This law is not a mere dry rule : but, being founded 
 in truth, and an emanation of God's nature, is unde- 
 filed, and exercises a purifying influence on the heart. 
 
 ' ny3, from p, to discriminate. 
 
282 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 From the following expressions it is clear, that it 
 means more than the ceremonial law. " I shall keep 
 it with my whole heart ... in thy law is my delight . . . 
 how I love thy laAv . . . thy law do I love ... in thy 
 law I delight." He loves it, not from mere impulse, 
 but from a recognition of its intrinsic excellence : 
 " The law of thy mouth is dearer unto me, than thou- 
 sands of gold and silver." It is the channel of peace : 
 " Great is the j)eace of those w^ho love thy law." 
 
 2. Testimonies* are derived from a word which 
 signifies to bear witness, to testify. The ark of the 
 Tabernacle ^ is so called, as are the two tables of 
 stone ", and the tabernacle '^ : the earnests or witnesses 
 of God's inhabitation among his people. Testimonies 
 are more particularly God's revealed law: the wit- 
 nesses and confirmation of his promises made to his 
 people, and earnests of his future salvation. 
 
 Like his law, they are promulgated ; being called 
 the testimonies of his mouth (8th div.), and like them 
 they are known : "in the way of thy testimonies 
 have I rejoiced ... I turned my feet unto thy testimo- 
 nies : " and observed as a known rule ; " I shall keep 
 thy testimonies : . . . my soul hath kept thy testimonies." 
 But the term implies more distinctly a positive in- 
 junction : they are not only, like the law, exhibited, 
 but commanded: "the testimonies that thou hast 
 commanded." They were not known to the heathen : 
 for " I will speak of thy testimonies even before 
 kings." 
 
 Though matters of special revelation to his chosen 
 people, they are not temporary in their nature or 
 object. " The righteousness of thy testimonies is 
 everlasting ... of old I liave knoAvn thy testimonies, 
 that thou hast grounded tliem for ever." 
 
 * nny. '• Exod. xvl. 34. ct alibi passim. 
 
 * Exod. xxxi. 17. &c. ' Levit. xxiv. 3. &c. 
 
§ 7] THE cxixTii rsAor. 283 
 
 Like the law, they are based on truth : l)ut righte- 
 ousness is added as their characteristic : " Thou hast 
 commanded the righteousness of thy testimonies : . . . 
 the righteousness of thy testimonies is everlasting." 
 
 Though promulgated, }'et, like the law, they re- 
 quire the discriminative exercise of the illuminated 
 understanding: "The righteousness of thy testimo- 
 nies is everlasting : make me to understand, and I 
 shall live. Make me to understand, and I shall know 
 thy testimonies." 
 
 They are, like the law, also wonderful: yet the 
 wonders are evidently of a spiritual and comforting 
 nature ; the wonders of redemption : for " therefore 
 doth my soul keep them." 
 
 They are the peculiar heritage of God's people ; 
 and therefore have a substantive virtue. " Thy 
 testimonies have I claimed as mine heritage for ever :" 
 a permanent possession. 
 
 They are of a more internal character than the 
 law, as being more intimately connected with the 
 heart. " Happy are they who are observing his 
 testimonies: with their whole heart they seek him. 
 . . . For thy testimonies I have observed : " where 
 the word observed, means more properly, to cherish. 
 They are inward monitors: "my counsellors," literally, 
 meji of my counsel. To them the heart is inclined as 
 to a heavenly treasure : " Incline my heart to thy 
 testimonies, and not to covetousness. In the way of 
 thy testimonies have I rejoiced as in all riches." 
 They are a support to the fainting heart: " I have 
 cleaved to thy testimonies ; " (see the whole context 
 of this 4th division). They are a matter of delight: 
 " Thy testimonies are my delight . . .joy to my heart 
 are they ... I love thy testimonies . . . ]\Iy soul hath 
 kept thy testimonies, and loved them exceedingly." 
 They are matters of meditation : " Thy testimonies I 
 will consider . . . thy testimonies are my meditation. 
 
284 ORDER AND CONNECTION OF THE TSALMS. [Dissert. IH. 
 
 3. PRECErTS '', from a word which means to place 
 in trusty mean something intrusted to man, " that 
 which is committed to thee : " appointments of God, 
 which consequently have to do with the conscience, 
 for which man is responsible, as an intelHgent being. 
 
 The precepts are not so obviously apprehended as 
 the law and the testimonies. They must be sought 
 out. " Behold my desire is for thy precepts . . . thy 
 precepts I seek . . . thy precepts I have sought." 
 
 Still they are commanded : the command requires 
 diligence in their observance, and consequent earnest- 
 ness in their pursuit. " Thou, even thou, hast com- 
 manded us thy precepts to seek with diligence." They 
 are attainable ; those who seek shall find ; the Psalmist 
 has found them, and keeps them : "I will keep thy 
 precepts . . . thy precepts I have not forgotten ... I 
 have kept thy precepts and testimonies." 
 
 They are a law of liberty : " and I will walk at 
 liberty ; for thy precepts I seek." They have a life- 
 giving influence : " With them thou hast quickened 
 me. . . Behold how I love thy precepts : according to 
 thy mercy quicken me. . . . Behold my desire is for thy 
 precepts : in thy righteousness quicken me." They 
 are connected with salvation. " I am thine ; save 
 me : for thy precepts I have sought." 
 
 They are the [enlighteners of 'the understanding : 
 the instructed conscience clears the intellectual fa- 
 culties, which are often clouded when its suggestions 
 are abandoned. " From thy precepts I get under- 
 standing : therefore I hate every Avay of falsehood." 
 " Therefore thy precepts concerning all things I hold 
 straight : every way of falsehood I abhor. . . . The un- 
 godly laid a snare for me : yet from thy precepts I 
 swerved not." The specious lures of false morality and 
 worldly wisdom are avoided. 
 
 The same term " observe," or cherish, is applied to 
 
§7.] THE CXIXTH PSALM. 285 
 
 precepts as to testimonies. " This was even so to 
 me, because thy precepts I observed. With my whole 
 heart I will observe thy precepts." 
 
 They are chosen: the heart and the will, disci- 
 plined by God, recognise them. They are no unin- 
 telligible law imposed, or adopted from mere fear. 
 " Thy precepts I have chosen. Behold how I love 
 thy precepts." 
 
 But with a godly fear they are connected. " I 
 am a companion of them that fear thee, and keep 
 thy precepts." 
 
 They are matters of meditation. " In thy pre- 
 cepts I will meditate, and have respect, (or look) unto 
 thy ways. . . I will meditate on thy precepts." 
 
 4. Statutes." The verb from which this word is 
 formed, means to engrave or inscribe. The word 
 means a definite, prescribed, written law. The term 
 is applied to Joseph's law ^ about the portion of the 
 priests in Egypt, to the law about the passover", 
 &c. But in this Psalm, it has a more internal 
 meaning ; that moral law of God, which is engraven 
 on the fleshly tables of the heart '' : the inmost and 
 spiritual apprehension of his will : not so obvious as 
 the law and the testimonies, and a matter of more 
 direct spiritual communication than his precepts : 
 the latter being more elaborated by the efforts of the 
 mind itself, divinely guided indeed, but perhaps 
 more instrumentally, and less passively, employed. 
 
 They are contimially spoken of as things yet to be 
 learned, either wholly or in part, not objectively ap- 
 prehended already, like God's law. " that my 
 ways were made so direct to keep thy statutes." In 
 the first division, the distich, " Thy statutes will I 
 keep, forsake me not utterly," is connected with 
 being taught the judgments of his righteousness. 
 
 • D'pn. " Gen. xlvii. 26. " Exod. iv. 14. &c. 
 
 ■' 2 Cor. iii. 3. Jer. xxxi. 33. 
 
28G ORDEll AND CONNECTION OF THE PSALMS. [Disseht. III. 
 
 " Blessed art thou, Lord : learn me thy statutes. 
 Of thy mercy Lord the earth is full ; learn me 
 thy statutes : " an expression which frequently occurs. 
 " My lips shall utter praise, when thou hast learned 
 me thy statutes." The ungodly are spoken of as not 
 seeking God'.s statutes (20th div.); therefore they are 
 not so obvious : the way of salvation is far from them. 
 The ascription of praise to God, and the connection 
 of mercy and goodness with his teaching, which ac- 
 company this Avord, shew us, that the statutes so 
 sought are of a merciful, kind, and saving nature. 
 
 They are learned, not suddenly, but by experience, 
 and through the means of trials mercifully ordained 
 by God ; lessons therefore which are deeply engraven 
 on the heart. " Good is it for me that I have been in 
 trouble, that I might learn thy statutes. ... I have 
 more understanding than my teachers, because thy 
 statutes I have observed." He that profits by such 
 instructions, gains an experience far superior to all 
 Avorldly wisdom. 
 
 But though of comparatively rare attainment, it is 
 the duty of all men to seek them. God will visit 
 those who do not apply their hearts to this know- 
 ledire, and seek to make increase of the talent com- 
 mitted to them. " Thou hast trodden down all that 
 go astray from thy statutes." 
 
 They are attainable. The prophet has attained in 
 part at least. " Thy statutes 1 do not forget. . . . 
 I have inclined my heart to perform thy statutes 
 alway. . . . Hear me, Lord ; tliy statutes I will 
 observe." 
 
 Like God's law, testimonies, and precepts, his 
 statutes are jnatters of meditation and of joy. " Li 
 tliy statutes will I delight myself. . . . Thy servant 
 did meditate in tliy statutes. ... I Avill meditate in 
 thy statutes. . . . Thy statutes have been songs to me 
 
§7.] THE CXIXTir rSALM. 287 
 
 in the house of my pilgrimage. . . . And I shall delight 
 in thy statutes continually." 
 
 5. Commandments": derived from a verb signifying 
 to command, or ordain. Such was God's command 
 to Adam about the tree**; to Noah, about constructing 
 the ark." 
 
 The commandments are God's laws, not only exhi- 
 bited, and revealed, and recommended, but positively 
 enjoined. The distinction not being the exhibition, 
 as in law, the more peculiar revelation, as in testi- 
 monies, the commendation to the conscience, as in 
 precepts, or to the inmost nature, as statutes, but the 
 specific command. 
 
 The above definition is not markedly brought out 
 by the use of the word in the Psalm : but with 
 this etymological meaning, its use is uniformly con- 
 sistent. But if the first division of the Psalm be, as 
 I apprehend, a climax, then the definite injunction of 
 God may be regarded as that sanction, for which a 
 pious mind, already instructed by his outward provi- 
 dence, and inward admonition, and revealed will, 
 would be desirous. 
 
 They are a prescribed rule, (in the second division, 
 they are connected with God's ivord, his declared will. ) 
 " With my whole heart have I sought thee : let me not 
 go astray from thy commandments. . ." " Cursed 
 are they that go astray from thy commandments. . . . 
 The way of thy commandments I will run. . . . Make 
 me to walk in the path of thy commandments. ... I 
 made haste, and delayed not to keep thy command- 
 ments." 
 
 They are attainable. " I have respect unto all thy 
 commandments. As for me, I forsook not thy com- 
 mandments. ... I will observe (or cherish) the com- 
 mandments of my God. . . . Thy commandments I have 
 done. . . . Thy commandments I have not forgotten." 
 
 '■' ni^'D. " Gcn.iii. 11. *■ Gen. vi. 22. 
 
288 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 But, though prescribed and attainable, they re- 
 quire, like the law and testimonies, a spiritual dis- 
 cernment. " hide not from me thy command- 
 ments " (3rd div.), where they are connected with 
 the wonders of God's law. In the 10th division, he 
 already recognises God's outward works : he prays 
 noAv to recognise what is right, and what is wrong. 
 " Make me to understand, and I shall learn thy 
 commandments. " 
 
 The preparation of the heart is necessary towards 
 folio win fj them. It is not from a sense of God's dis- 
 pleasure, but from this preparation, that they are 
 willingly obeyed. " The way of thy commandment 
 will I run, when thou hast enlarged my heart." " Fat 
 as brawn is their heart ; as for me, in thy command- 
 ments I have had delight." 
 
 Pride is an obstacle in the way of their attainment. 
 *' Cursed are they that go astray from thy command- 
 ments," which follows " thou hast rebuked the proud." 
 (3rd div.) 
 
 They are of eternal obligation : are founded in 
 truth and righteousness, and so far from contracting 
 the sphere of legitimate liberty, are of an expansive 
 nature. " All thy commandments are faithfulness. . . . 
 Of all perfection I have seen an end ; thy command- 
 ment is large exceedingly. . . All thy commandments 
 are truth. , . . For all thy commandments are righte- 
 ousness." 
 
 They are the precursors, or source of wisdom and 
 knowledge. " Good judgment and knowledge learn 
 me ; for in thy commandments have I believed. . . . 
 Thou hast made me wiser than mine enemies, through 
 thy commandments." 
 
 They are a source of joy. " Therein is my 
 delight. . . I will delight myself in thy commandments, 
 which I have loved : . . . and I will lift up my hands to 
 
§7.] THE CXIXTII I'SAL^r. 2811 
 
 thy coinman<lineiits wliicli I have loved : tlierefore I 
 love thy coininandments above gold, yea, above fine 
 gold. I opened my mouth : I panted ; for thy com- 
 mandments I desired . . . Thy commandments are my 
 delight." 
 
 G. Judgments-', derived from a word signifying 
 to govern, to judge, or determine, mean judicial or- 
 dinances, and decisions : legal sanctions. 
 
 In the 21st chapter of Exodus, after the Com- 
 mandments, which are called the words of the law, 
 follow the iudo-mcnts: those statutes for the o-oveni- 
 ing of the people in spirituals and temporals, whicli 
 involve the details of forensic cognizance, the pro- 
 nouncing and performing judicial sentences and acts. '' 
 
 Judgments mean here, as regards God, the righ- 
 teous retribution of good and evil, by the judge of the 
 world, according to the laws of divine justice, or 
 righteousness ; consequently, they include his provi- 
 dential dealings. As regards man, they mean, the 
 conformity to God's law, the acceptance of his sanc- 
 tions, the submission to his sentence. 
 
 They are promulgated, and are called, " the judg- 
 ments of thy mouth :" but require, like the law, to l)e 
 taught ; " when I learn the judgments of thy righte- 
 ousness . . . Thy judgments learn me." 
 
 They are founded in righteousness, or justice. " The 
 judgments of thy righteousness. . . Righteous art thou, 
 Lord, and upright are thy judgments." And in 
 
 ^ In the Hebrew, and the ancient oriental dialects of that language, 
 the word \2^l^ includes those two functions, which, according to modern 
 parlance, are termed judicial and executive, one of the three wliich 
 intrinsically belong to the monarch, the legislative being the third. 
 The judges among the Jews, and the sulletes, (□^OSt;') of the Car- 
 thao'inians were the supreme magistrates, both forensic and execu- 
 tive. It is too commonly tbrgotten, that our sovereign is the supreme 
 legislator, as well as magistrate of the nation, thougii acting in this 
 respect by the advice of her great council, the parliament. 
 VOL. II. U 
 
290 ORDER AND CONNECTION OF THE PSALMS. [Dissert. 111. 
 
 truth: " The way of truth have I chosen: thy judg- 
 ments learn me." They are good, that is, merciful : 
 " Thy judgments are good." They are founded on 
 eternal principles : " From everlasting are the judg- 
 ments of thy righteousness." 
 
 They are providential ; showing God's mercy to 
 the good, his righteous retributions to the wicked ; 
 his fatherly discipline, as a means of good to those 
 he loves. " Make to pass away the reproach which I 
 fear, for thy judgments are good. ... I know, 
 Lord, that thy judgments are righteous, and that in 
 faithfulness thou hast caused me to be afflicted. . . . 
 When wilt thou do judgment to them tliat persecute 
 me? . . . From thy judgments I have not shrunk: 
 because thou teachest me. ... Of thy judgments I 
 am afraid. ... Be merciful to me, according to the 
 judgment on those who love thy Name." 
 
 They are a source of comfort, joy, and praise ; since 
 all good men rejoice in God's governance. " I will 
 praise thee with an unfeigned heart, Avhen I have 
 learned the judgments of thy righteousness. . . . 
 My soul breaketh out for the desire it hath unto thy 
 judgments at all times. . . . In thy judgments I have 
 hoped. ... I have remembered thy judgments of 
 old, Lord, and I have received comfort. . . . Li 
 the midst of the night I will rise to give thanks to 
 thee, because of the judgments of thy righteousness. 
 . . . Seven times a day do T praise thee, because of 
 the judgments of thy righteousness. . . . With m}' 
 lips have I been telling of all the judgments of thy 
 mouth." 
 
 They have a quickening and strengthening in- 
 fluence. " Lord, according to thy judgments 
 (|uicken me. . . . Thy judgments shall help me." God's 
 judgments, as regards men, are to be heeded and 
 kept. " The way of truth I have chosen : thy judg- 
 
§7.] THE CXIXTII PSALiM. 291 
 
 ments I have laid before me. ... I have sworn to 
 keep the judgments of thy righteousness. . . . From 
 thy judgments I have not shrunk, because tliou 
 teachest me. ... 1 have done judgment and righte- 
 ousness. . . . From thy judgments I will not decline." 
 
 7. Word.'' There are two terms, quite distinct in 
 the Hebrew, but both rendered word^ in each of our 
 authorized versions. The latter of these is rendered 
 saying, in the former volume of this work. They 
 are closely connected ; since out of twenty-two pas- 
 sages in which icord occurs, in fourteen it is parallel 
 to, or in connection with sayimj. From this very cir- 
 cumstance it is evident, they are not synonymous. 
 
 The term liere rendered icord means the Ao'yoc, or 
 Word of God, in its most divine sense ; the announce- 
 ment of God's revealed will ; his command ; his oracle ; 
 at times the special communication to his propliets. 
 The ten commandments are called by this term in 
 Exodus: and l^^l is the oracle in the Temple. 
 
 In this Psalm it may be considered as, ( 1 . ) God's 
 revealed commandments in general. No mention is 
 made of learning God's word : since the word itself 
 teaches. 
 
 (2.) As a revealed promise of certain blessings to 
 the righteous : " Quicken me, Lord, according to 
 tliy word. . . For I have trusted in thy word. . . . Re- 
 member thy word to thy servant, upon which thou 
 hast caused me to hope. . . . Good hast thou done 
 unto thy servant, according to thy word. . . . Because 
 in thy word I have hoped. ... In thy word do I hope. 
 . . . According to thy word, give me understanding." 
 
 (3.) As a thing committed to him, as the minister 
 of God. " Take not from my mouth the word of 
 trutli, utterly," which refers to the preceding and fol- 
 lowing context. (G div.) 
 
 (4.) As a rule of conduct: a channel of illumi- 
 
 u 2 
 
292 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 nation. " Even by keeping himself according to thy 
 word. ... A hmip unto my feet is thy word. . . . The 
 going fortli of thy words enlighteneth, giving under- 
 standing unto the sinipk'." 
 
 It is a thing that has been taught, " I will not 
 forget thy word. ... I shall learn and shall keep thy 
 word. ... 1 will keep thy word. . . . Mine enemies 
 have forgotten thy word. ... I have said, that I will 
 keep thy word." 
 
 It is to be feared. " Thy word my heart feareth." 
 
 God's word is eternal. " For ever, Lord, is thy 
 word. It endureth in heaven." A truth which finds 
 its highest application in the Eternal Son of God. 
 The Word, which was in the beginning ^vith God, and 
 was God. 
 
 8. The cognate term Saying"\ has a different shade 
 of meaning from the preceding. It more ])roperly 
 means the actual articulation, tlie personal and inmie- 
 diate address. " The word of the Lord came unto 
 him, saying^^'' is a frequent expression in Holy Scrip- 
 ture : the word being a more concrete and general 
 term. 
 
 It means something more personal to the indivi- 
 dual than word, a special revelation, a peculiar pro- 
 mise, over and above the ordinary revelation of (J od's 
 law. But it is used in the same senses, and with tlie 
 same application as word, as the following instances 
 will shew. 
 
 God's special promise. " Strengthen me accord- 
 ing to thy saying. . . . Thy salvation, according to 
 thy saying. . . . Have mercy upon mc, according to 
 thy saying. . , . According to thy saying unto thy 
 servant. . . . Stablish me, according to thy saying. 
 . . . Stablisli in thy servant thy saying. . . According 
 to thy saying, quicken me. . . . According to thy 
 word, deliver me." 
 
§ 7.] THE CXIXTII PSALM. 203 
 
 It is pure and righteous: a rule of conduct, a quick- 
 ening principle. " Thy saying hath quickened me. . . . 
 Order my steps in thy saying. . . . Thy saying is pure 
 exceedingly. . . . The sayings of thy righteousness." 
 
 It is a source of joy ; of delightful meditation in 
 secret, and of open praise. " Within my heart I 
 have hid thy saying. . . . Mine eyes fail for thy say- 
 ing. . . How sweet are thy sayings unto my throat. 
 . . . Mine eyes fail for thy salvation, and for the say- 
 ings of thy righteousness. . . . That I might meditate 
 on thy saying. > . . Rejoiced am I at thy saying. . . . 
 My tongue shall sing of thy saying." 
 
 As to the remaining word. Way**, this occurs but 
 twice, as a characteristic word, and the places in which 
 it occurs must rather be considered as exceptions 
 to the general rule : so that I am not disposed to con- 
 sider it as intended to be a cognate expression with 
 the above. At all events, its meaning is so direct 
 and simple as to require no explanation : a plain rule 
 of conduct ; in its higher sense, the assisting grace of 
 God, through Christ our Lord,, who is the Way, the 
 Truth, and the Life. 
 
 The above analysis, it is presumed, will shew that 
 certain distinctions, of a moral kind, do exist between 
 these words, which yet represent one and the same 
 great object. And these considerations will not be 
 unprofitable, when we reflect upon the intention of 
 the 119th Psalm, which is, to supply the members of 
 the Church with subjects of religious meditation. It 
 is well, for instance, to learn from this Psalm, to con- 
 sider God's law as a guide, as a lamp of illumination ; 
 as an object of thankfulness, and a source of peace and 
 joy, Avhether contemplated in the light of an objective 
 truth, of a divine revelation, of an address to the 
 conscience, of a command, of a judicial ordinance, 
 
 u 3 
 
29-1 OKDEU AND CONNECTION OF THE I'SALMS. [Diss^krt. III. 
 
 or of a communication from God's own mouth. 
 Tor each instance of its bestowal we ought ever to 
 be thankful, and hoAvever taught to us, we ought to 
 receive it. It is well to remember, in these days, 
 when a new interpretation, unknown to philosophy 
 or Christianity, has been given to Conscience, that 
 Conscience is not the blind following of a wayward 
 will, but the implanted knowledge of good and evil, 
 based upon those fixed laws Avhicli God hath revealed 
 in his word, and by his Spirit Avrites upon our hearts. 
 It is well to know, that Meditation, about which such 
 strange things have of late been spoken, is not the 
 indulgence in a diseased or dreaming or headstrong 
 fancy, but the chastened, docile, systematic reflection 
 upon the revealed wonders of the Divine will, in a 
 spirit not the less free, because it yields to the in- 
 struction of Him, the knowledge of whose truth can 
 alone make us free ; not the less ethereal, because it 
 submits to be led by PI is sure guidance through the 
 boundless regions of thought and imagination, where, 
 if left to herself, the soul Avould irretrievably go 
 astray. 
 
 § 8. THE SONGS OF DEGREES. 
 
 With the 120th begins a series of Psalms of a 
 character altogether peculiar, the fifteen Songs of 
 Degrees. Their general diversity of style from the 
 other Psalms, and their general features of resem- 
 Wance to one another must strike the most careless 
 reader, and would suggest a good a priori presump- 
 tion in favour of a specific designation. 
 
 Upon no one title have greater diversities of opinion 
 existed. Since the word'"* translated ch'</rees means 
 ascendons or elevations, it obviously admits a great lati- 
 
§ 8.] SONGS OF DEGREES. 295 
 
 tude of conjecture, and might, if taken abstractedly, 
 be plausibly applied either to the sentiments of the 
 Psalms themselves, or to the manner and circum- 
 stances of their performance. Accordingly, the con- 
 jectures of the fanciful have not been wanting in 
 giving interpretations wholly unwarranted by the 
 context, or by the facts of history. Thus, some give 
 an easy solution of the word, by imagining it to 
 signify a musical tone, or some elevation of the voice", 
 Avhile others consider it to mean a peculiar excellence 
 or elevation of sentiment. '' On these notions it is 
 unnecessary to dwell, and still less upon that JcAvish 
 fable mentioned by Rabbi David, that these Psalms 
 were sung on ascending the fifteen steps, which were 
 imagined to lead from one of the outer courts of the 
 Temple to that of the Levites. No trace in history 
 or authentic tradition can be found of these steps, 
 which owe their construction solely to the accommo- 
 dating fancy of the Rabbins, who, as usual, imagined 
 facts, in order to support their preconceived theories. 
 It is, however, the opinion of one, whose judgment 
 deserves not only far more attention, but the greatest 
 intrinsic deference. Dr. Hammond, that these Psalms 
 were sung at the desks, or on the elevated platform 
 mentioned hi Nehemiah, ix. 4. by the Levites, on 
 their return from the Captivity. The etymology of 
 the word*", translated in that passage, stairs, in our 
 English Bible, will justify this interpretation. But it 
 does not appear from the context, that the Songs of 
 Degrees were sung on that occasion ; indeed Xehe- 
 miah gives the words of a very different composition, 
 a prayer rather than a Psalm. And we are surely 
 not to suppose that these fifteen were the only Psalms 
 
 ■■^ Aben Ezra : Kimchi : &c. 
 
 '' Junius, Tromellius, &e. For tliese and other authorities, see Cal- 
 met's admirable preface to these Psalms. 
 
 "^ The word in the original is Tr?]}^. So also Lyranus, Mollerus, &c. 
 
 V 4 
 
296 OKDKIl AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 sung by the Levites, in tlicii- iip})()inted station in the 
 Temple sifter the Iiestoi-ation. 
 
 Ijiit there is an o[)inion, very generally entertained 
 by the fathers^ and by many modern crities, that the 
 word translated de(/ree.s, means the going up of the 
 Jews to Jerusalem, on their return from the Babylo- 
 nish Captivit}', and that the Psalms, though not all 
 composed at tliat time, were then all appropriated to 
 that special occasion, liishop Lowth '' considers tliem 
 to have been used when the people went up to Jeru- 
 salem, either at the yearly feasts, or after the Capti- 
 vity ; and he well remarks, that the Hebrew word"" 
 is applied in Holy Scripture to both these occasions ; 
 to the latter especially, by Ezra himself.'' 
 
 The opinion Avliich will be supported in the sequel 
 of this section, is that which appropriates the Songs 
 of Degrees to the time of the return from the Capti- 
 vity, and considers the word translated degrees, to 
 signify the going up to Jerusalem on that occasion. 
 At the same time, I conceive, with Dr. Hammond 
 and l>ishop Patrick, that some at least of these Psalms, 
 indeed most of them, Avere composed on former occa- 
 sions. This may be collected from the following 
 circumstances. 
 
 " The ancient Syriac veraion, as Bi.-iluip Lowth remarks ; Theodoret, 
 St. Athanasius, St. Clirysostom, Euthjniius, the veneraljle liede, &c. 
 Among the moderns, Genebrard, Vatablus ; and, in particnlar, Bisliop 
 Andrews, in his sermon on Psahn 126. "Divide the whole book into 
 four parts, one fourth part is for this return : either directly of set pur- 
 pose, (as here arc fifteen together,) or recorded in Psalms, though made 
 upon other purposes : still, as the greatest delivery that ever they had." 
 
 •■ Note to Pricl. xxv. It is worth while to compare the clearness and 
 common sense of this eminent scholar with the obscure and perplexed 
 note of one of his commentators, Rosenmiillcr, who quotes Eichhorn and 
 Bellerman's opinion, that the term is a nmsical note, and signifies the 
 raising of a tone, referring us to other conjectures. Truly this is pro- 
 fitable criticism, to perplex a sul)ject already made clear, by a mere 
 display of cumlirous and ill-digested learning, and to decide nothing 
 after all ! 
 
 ' r\)h]}- *" Ezr-i) vii. 9. 
 
§ 8.] SONGS OF DEGREES. 297 
 
 In tlic lotli chapter of the First l>ook of Chronicles, 
 it is related, that David brought up the Ark from 
 Kirjath-jcarim to the house of Oljed-edom. The word 
 used in the 7th verse, for "bringing up" the Ark", 
 is of the same etymology with, and cognate to that 
 which is translated degrees. And upon this occasion 
 this great event was celebrated hj the accompaniment 
 of sacred music. " And David and all Israel phiyed 
 before God, with all their might, and with singing, 
 and with harps, and with psalteries, and with timbrels 
 and cymbals, and with trumpets." 
 
 Again, in the 15th chapter of the same book, in the 
 14th verse, the same term is employed, for bringing 
 up the Ark to Jerusalem ; and the choral services of 
 the Levites are mentioned in immediate connection. 
 And in the 5th chapter of the second book of Chro- 
 nicles (5th verse), we are told that Solomon assembled, 
 the people at the dedication of the TemjDle, to bring 
 up the Ark from Sion to the Temple of the Lord. 
 
 I would, therefore refer the Songs of Degrees to all 
 these occasions. The 120th bears marks of having 
 been composed on the first removal of the Ark. .And. 
 nothing is more natural than to believe, that upon 
 each subsequent occasion connected, with the esta- 
 blishment or restoration of the worship of God, the 
 inspired, leaders of the people should have commemo- 
 rated these events in a similar manner, and in songs 
 of a like character to that of which David had given 
 the type. 
 
 If this view of the case appear sound, then the 
 sequence and connection of these Psalms will be clear 
 and consistent, in harmony with the facts of history, 
 and with the circumstances of their several authors. 
 Those which are peculiarly applicable to David and 
 Solomon especially, will be noticed in the analysis of 
 each Psalm, which follows. 
 
298 ORDER AND CONNKCTION OF THE PSALMS. [Dissert. III. 
 
 The construction of the songs is such as to reduce 
 them evidently to a class. They are all short com- 
 positions, sententious, eminently fitted for lyrical use, 
 in the highest degree poetical, and, as Calmet justly 
 remarks, epigrammatic ; using this term in its highest 
 sense as concinnate, terse, and abounding in turns 
 expressed with the most exquisite brevity. Two 
 remarkable characteristics they possess, which, though 
 found occasionally in other Psalms, seem to enter 
 into the very texture of these. I mean the frequent 
 recurrence of a characteristic word, and that figure 
 which the rhetoricians call Epanapliora^ or the repeti- 
 tion of the same idea or expression. As to the cha- 
 racteristic words : In the 121st Psrdm, this is the word 
 Iceep [lD*Z^],in the 122nd the word Salem^ and others 
 of a like sound. (The remarkable play upon words 
 in this Psalm is shown in the note appended to it in 
 the first volume of this work.) In the 123rd the 
 word eyes ['?Vl- Iii the 126th the words turn and 
 captivity^ which in Hebrew are almost the same [y\tJ^ 
 and T\1^'^]. In the 127th vain [;i^^W\ In the 
 183rd the word descend [l"l'], and bless [1"1!d] in 
 the 134th. 
 
 In the 120th are the following repetitions : "From 
 the tongue of deceit : . . . tongue of deceit." " Long 
 hath my soul had her dwelling with him that hateth 
 peace: ... I am for peace." In the 121st, "From 
 whence cometh my help : my help is from the Lord. 
 He will not sleep that keepeth tliee ; behold, lie will 
 not sleep nor slumber, who keepelli Israel." In the 
 122nd, " Our feet are standing in thy gates, Jerusa- 
 lem: Jerusalem is built. . . . Peace be within thy walls : 
 ... I will now say peace be within thee." In the 
 123rd, " Until he have mere}' upon us : Have mercy 
 upon us, Lord, have mercy upon us," &c. So the 
 whole construction of the 124th and of the 129th, both 
 formed in the like model. In the 125th, " Jerusa- 
 
§ 8.] SONGS OF DEGREES. 
 
 lein. . . The liill:^ are round about lier; and the Lokd 
 is round about his people." And so in ;dl the others, 
 to a greater or less degree. 
 
 The 120th Psalm forms the appropriate opening of 
 the series. This represents the people and the Ark of 
 God still in an unsettled state, without a fixed habita- 
 tion, and surrounded by faithless enemies : the state 
 in which David found the affairs of his people. They 
 dwelt in Mesech, and in the tents of Kedar ; that is, 
 their state wjis like that of the wandering Arabs and 
 Scythians'', who had their changeable habitations in 
 tents ; a circumstance peculiarly applicable to the Ark 
 of God, which formed that sacred centre, round which 
 the people of Israel, in the time of their glory, were 
 wont to rally. It is but consistent to conceive that 
 this Psalin was composed by David, when the Ark 
 was about to be removed from Kirjath-jearim to its 
 settled resting-place at Jerusalem. 
 
 In the 121st Psalm the holy city is in sight. The 
 royal prophet who led the procession to Jerusalem, 
 lifts up his eyes unto the hills from whence coraeth 
 his hel}) ; and takes occasion from the observation of 
 •the night watches of them who kept the Ark, to speak 
 of the constant watchfulness of Him who keepeth 
 Israel, and who neither slumbers nor sleeps. 
 
 The 122nd brings us actually to Jerusalem, and 
 celebrates the establishment of the Ark on the mount 
 
 " The word Mesech is very obscure. Meshech was a son of Japhet 
 (Gen. X. 2.) ; and the name is generally supposed to be applied to the 
 Scythians, being found in connection with Gog, Magog, and Tubal, in 
 the prophecies of Ezekiel. (xxvii. 13. xxxii. 26. and xxxviii. 2, 3.) 
 Bochart is of opinion that the word means the " tented Arab," Arabes 
 Scenitae : "JDD signifying a skin in Chaldcc. The Chaldec parajihrasc 
 translates it Asiatics. That it means a nation appears plain from its ap- 
 position with Kedar, evidently a proper name ; and therefore I cannot 
 acquiesce in the interpretation of Bishop Batrick and Dr. Ilannnond, 
 who follow Aquila, Symmachus, and Kimchi, in rendering it adverbially, 
 for a long time, a meaning which the word will bear, but is destructive of 
 the poetical structure of the i)assage. 
 
 299 
 
300 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 of Sioii. The house of the Lord was the tent 
 Avliic'h lie then pitched for it, the tabernacle being 
 still at Gibeon. The occurrence of an apparent 
 Chaldaisni* in this Psahn has induced some critics to 
 assign it to a later period, that of the Restoration. 
 Little dependence, however, is to be placed upon 
 apparent marks of this kind. These indications are 
 very slight in the Psalms, and may easily be ac- 
 counted for by the alteration in the transcript of 
 the older Scriptures, probably without design, by the 
 kiter Jews. Li the instance before us, however, it 
 appears very evident that the supposed Chaldaism is 
 an ancient, though rarely used Hebrew idiom.'' The 
 extraordinary play upon words, however, already 
 noticed, might argue a later period of composition. 
 Still I cannot but think that the Title, assigning the 
 Psalm to David, is borne out by internal evidence of 
 a stronger kind. The fond mention of Jerusalem, 
 David's beloved city ; the thrones of the house of 
 David ; and the recurrence of Peace, which was so 
 emphatically promised to David, as the blessing about 
 to be conferred on his son Solomon, are all circum- 
 stances which, taken in connection, stamp this song 
 with a character eminently belonging to the reign of 
 the royal Psalmist. 
 
 The 123rd Psalm opens with the same sentiment 
 of confidence as the 121st; and reiterates an assu- 
 rance of the divine guardianship, encompassed as the 
 people of Israel still were by their enemies. The 
 124th Psalm is retrospective, and speaks of past 
 deliverances : not only of those experienced at the 
 
 " £?> instead of "IL*'N- Sec the note on this Psahn in the former 
 Volume. 
 
 '' It occurs not only in the book of Judges, v. 7. vi. 17. vii. 1'2. viii. '2G., 
 l)ut in Job, XV. 30. xi.\. '2!). Ecclcs. i. 9. ii. 18. 19. 24. iii. 14. iv. 10. 
 Cant. i. 7. ii. 17. It is not a mere poetical license, but an ancient and 
 established idiom, as the above passages ought to jirove : uncjuestionably 
 one of the age of Solomon. 
 
§ 8.] SONGS OF i)p:grees. 301 
 
 Captivity, but of all the instances of divine protection 
 afforded to the |)eople during their frequent wars, 
 (•a})tivities, and struggles with the surrounding 
 Jieathen, in which David had so largely participated. 
 The imagery of all the preceding Psalms is repeated 
 in the 125th. The hill of Sion ; that hill to Avhich 
 they had flown, as a bird escaped from the snare of 
 the fowler : the beloved localities of Jerusalem : the 
 tender protection of the Almighty ; and tlie con- 
 cluding strain, Peace upon Israel, again reju-ated, so 
 frequently reiterated in the Psalms which follow. 
 
 The 126th Psalm is clearly to be referred to the 
 Captivity, according to Theodoret, and the general 
 testimony of commentators. The imagery is evidently 
 rural and pastoral : the allusion to the inundations 
 of Egypt, the mercy of God, which like a full river 
 has refreshed the thirsty land, is both exquisite in 
 itself, and in harmonious keeping with the image of 
 the harvest which follows. 
 
 The 127th Psalm, composed, as the Title tells us, for 
 or by Solomon, has an immediate reference to those 
 blessings which God had promised to the house of 
 David.'"' Its application to the Jews, while rebuilding 
 the Temple and City of Jerusalem, is here eminently 
 in place. The passage, " for so he giveth his beloved 
 sleep," and the preceding words, are thus to be 
 interpreted. All human toil and anxiety are un- 
 availing, without God's assistance : and more suc- 
 cessful are they even in their worldly concerns, who, 
 trusting to the divine blessing, do their appointed work 
 in faith, and take the gifts of natural repose which he 
 allows to them, than those who, in their over care- 
 fulness, take so much thought for the morrow, and 
 deny themselves necessary rest. To this Psalm the 
 
 •■" 1 Chron. xvii. 11. Dr. Ilauunond's notes on this Psalm arc eminontl)' 
 deserving of attention. 
 
102 ORDER AND CONNI-:CTION OF THE TSALMS. [Dissert, III. 
 
 128th is an obvious sequel, and describes, with a 
 recurrence to rural imagery, the happiness of those 
 who have so put their trust in God. " Peace upon 
 Israel " is again repeated. This repetition is to be 
 referred, as before remarked, to the age of Solomon's 
 youth. Tlie promise of the Almighty was uppermost 
 in the mind of David. " Behold a son shall be born to 
 thee, wlio shall be a man of rest ; and I will give 
 him rest from all his enemies round about : for his 
 name shall be Solomon " (that is, peaceable), " and I 
 will give peace and quietness unto Israel in his days. 
 He shall build an house for my name. . . . Now, m}- 
 son, the Lord be with thee ; and prosper thou, and 
 build the house of the Lord thy God, as he hath said 
 of thee."* This whole context is exactly in accord- 
 ance with the sentiment of these two Psalms. 
 
 The 129th, in style like the 124th, in its commence- 
 ment, resembles it also in its subject, a recurrence 
 to past persecution : and in its rural imagery of the 
 mowers and reapers, is like the 127th. Sion is the 
 theme of this as well as of most of the preceding Psalms. 
 The 130th is deeply penitential in its commencement, 
 but at the latter end recurs to the image of the watch- 
 man, as in the 121st; and its concluding sentiment, 
 " Let Israel trust in the Lord," connects it accurately 
 witli the other Psalm of meditation wliich immediately 
 follows. This Psalm, the 131st, whicli records the 
 meek and humble spirit of those who are the true 
 worshippers of the Temple, doubtless belongs, as 
 its title announces, to the time of David. It is exactly 
 in the spirit of that humble thanksgiving made by 
 him, after the divine revelation by Nathan of the 
 future blessings of his posterity ''; and forms a most 
 appropriate introduction to the following Psalm, the 
 
 " 1 Chron. xxii. 9 — 11. 
 
 '• 2 Sam. vii. 18— 'JO. ami I Cliron. xvi. IG— 27.' 
 
§ 8.] SONGS OF DEGREES. 
 
 132n(l, tlie theme of which is evidently the dedication 
 of the Temple. 
 
 Tlie whole tenor of this Psalm is an exact epitome 
 of the Dedication Prayer of Solomon.* The topics are 
 the same : the building the house of the Lord ; the 
 promise to David : the inhabitation of the Almighty : 
 and the concluding clause of the Dedication are 
 identical with these expressions of the Psalm : 
 
 Arise, O Lord, into thy resting-pluce. 
 
 Thou, and the Ark of thy strength. 
 
 Let thy })riests be clotlied with righteousness. 
 
 And let thy saints sing for joy : 
 
 For the sake of David, thy servant, 
 
 Turn not away the face of thine Anointed. 
 
 There can therefore be little question that this 
 Psalm was composed by Solomon. It forms a noble 
 climax to those which preceded, and completes the 
 grand subject with w^hich the Songs of Degrees began. 
 The Ark and the people of God are delivered from 
 the tabernacles of Mesech and Kedar, and brought 
 to aglorious and peaceful habitation. The 133rd 
 Psalm, one of David's, with the 134th, are an appen- 
 dage to this Psalm. They represent the harmony 
 and peace which subsists in the family of Israel, 
 especially among those who are appointed to keep 
 watch and do service in the house of the Lord. The 
 imagery still alludes to the beloved hills on which 
 Jerusalem was built, and in the same exquisite strain 
 as heretofore, compares the blessing of God to the 
 dew which fertilized alike the most distant hills in 
 the holy land, those of Hermon and Sion ; that bless- 
 ing which, from Dan to Beersheba, rested upon Judah 
 and Israel in the happy days of David and Solomon. 
 The whole series concludes with a thanksgiving from 
 the people, and with a benediction from God. 
 
 * 2 Chron. vi. 
 
304 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 Behold, bless ye the Lord, 
 
 All ye servants of the Loud: 
 
 Ye that stand in the house of the Lord by night, 
 
 Lift up your hands in the sanctuary. 
 
 And l)less ye the Lord. 
 
 The Lord bless thee out of Sion, 
 
 Even he who hath made heaven and earth. 
 
 § 9. THE FIFTEEN CONCLUDING PSALMS. 
 
 The Psalms of the Captivit}-, and of the Restoration, 
 do not terminate with the Songs of Degrees. Three 
 immediately follow, whicli are manifestly to be re- 
 ferred to those times. 
 
 The 135th is so intimately connected, in its com- 
 mencement, with the Psalm which precedes, that it 
 seems to claim a place among the Songs of Degrees, 
 a claim which is strengthened by the sequel, since all 
 its topics are those which are found in other Psalms. 
 Thus, the distich. 
 
 Every thing that the Lord pleased, he did in heaven, and 
 
 in eai'th. 
 In the sea, and in all depths, 
 
 corresponds to a similar expression at the beginning 
 of the 115th. And the concluding part, speaking of 
 the idols of the heathens, and calling upon the house 
 of Israel and Levi to praise the Lord, is parallel in 
 its sentiments, and nearly in its terms, >vith a con- 
 siderable portion of the same Psalm, the 115th. The 
 passage relating the wonders of his Providence, the 
 destruction of the Egyptians, and the kings of the 
 Amorites, of P)ashan and of Canaan, and the giving 
 their lands as an heritage to Israel, is either the germ 
 or the abridgment of the 13Gth Psalm. So that it is 
 made up of extracts from Psalms which Avere com- 
 posed (as there is strong reason to believe) after the 
 
§ 9.] THE FIFTEEN CONCLUDING PSALMS. 305 
 
 return from the Captivity. Its connection with the 
 tidjoininf^ songs is evident : and as it stands here, it 
 AvoLihl form a complete and noble termination to the 
 Songs of J)egrees. If the opinion of St. Jerome"' is 
 to be adopted, that the untitled Psalms are to be 
 ascribed to the author of the last titled Psalm, or to 
 the same occasion, this rule would establish the claim 
 of the 185th. But it is one on which no dependence 
 can be placed, as we see many instances in which it 
 obviously cannot hold, for example, in the case of 
 the 137tli. 
 
 The 136th Psalm is altogether peculiar in its con- 
 struction, as it has the recurrence of the same words, 
 " For everlasting is his mercy," at the end of every 
 distich. It thus resembles the Song of the three 
 Children ; and, as has been already observed, in the 
 connnencing remarks on the 119th Psalm, this elabo- 
 rate artifice of construction seems characteristic of 
 that later period which comprised the Captivity and 
 Pestoration. There is a passage, indeed, in the ac- 
 count of the dedication of Solomon's Temple'', which 
 might seem to justify the reference of this Psalm to 
 his time : when we are told that the whole choir of 
 Israel united in praising God, " for he is good ; for 
 his mercy cnduretli for ever." But this expression, 
 it is well known, forms the commencement of three 
 other Psalms, the 106th, 107th, and 118th; the first 
 of which has been already assigned to tlie age of 
 David ; and it forms part of the Psalm recorded in 
 1 Chron. xvi. The sentiments, and the location of the 
 136th, rather favour the opinion of a late date. 
 
 But of the 137th no doubt of course can be enter- 
 tained. It is a Psalm of the Captivity, and probably 
 composed by Jeremiah, whose style it resembles. Its 
 
 " Eplst. ad Cyprianum. So Origcn, ^^uidcil by tlio tradition of a 
 Jewish writer Iluillus. 
 ''2 Chron. v. 13. 
 
 VOL. n. X 
 
306 ORDER AND CONNECTION OF THE PSALMS, [Disskrt. III. 
 
 exquisite beauty and pathetic character are obvious 
 to all; nor does a more perfect elep^y exist. The 
 Songs of Sion to which it alludes I think are probably 
 those triumphant ones in the second and third parts of 
 the Psalter, the songs of Asaph and Korah, and the 
 earlier ones in the fourth. 
 
 After this follows a supplemental collection of 
 Davidical Psalms, probably inserted on the completion 
 of the Canon, by Ezra or Nehemiah. These are seven 
 in number: and all bear out the integrity of their 
 titles, by internal evidence, which stamps them un- 
 equivocally as David's. 
 
 No plausible connection can be traced with the 
 preceding, nor indeed have we reason to suppose that 
 such was intended. The reference in the 138th to 
 the Temple of God may possibly suggest a link with 
 the Songs of Degrees ; but this is so very faint a mark, 
 as not to be depended on. The occurrence, however, 
 of the Psalm, in this place, is a feature of great beauty. 
 It affords a most soothing contrast to the Psalm which 
 precedes : and there is a feeling of delight, in being 
 brought back to the pecular sentiments and aspirations 
 and hopes of David, to tliose meditations of his which 
 are so markedly personal. I would appeal to any one of 
 common taste and feeling, whether the characteristics 
 of David's composition are not at once perceptible on 
 making this transition. 
 
 The 139th bears the same characteristic impress. 
 How any critic can assign this Psalm to other than 
 David I cannot understand. Every line, every 
 thought, every turn of expression and transition, is 
 his, and his only. As for the arguments dra-\vn from 
 the two C'haldaisms wliich occurs this is really nuga- 
 tory. These Chaldaisms consist merely in tlie substi- 
 tution of one letter for another, very like it in shape, 
 
 ■' ^yan for 1^;3-l, and y-\]} for inV. 
 
§ 9.] THE FIFTEEN CONCLUDING TSALMS. 307 
 
 and easily to be mistaken by a transcriber, particu- 
 larly by one who had been used to the Chaldee idiom : 
 but the moral arguments for David's authorship arc 
 so strong as to overwhelm any such verbal, or rather 
 literal criticism, were even the objections more formi- 
 dable than they actually are. 
 
 In its general i)lan and moral arrangement it much 
 resembles the 19th. It begins, as there, with medi- 
 tations on the wonders of God's handy work, and 
 from thence passes on to the contemplation of his 
 spiritual law, and ends with a prayer for the chasten- 
 ing of his own spirit, and the guidance of his ways. 
 But it is plainly an advance upon the former Psalm, 
 and contains many topics there unnoticed ; God's 
 omnipresence, and the influence of his Spirit, and the 
 prophet's hatred of God's enemies. There is no Psalm 
 in the whole collection which affords a more perfect 
 model for the meditation of the faithful. 
 
 The four Psalms which follow are all connected. 
 They speak of the troubles of Da\dd's early da5^s, then 
 suffering from the persecution of Saul : and the title 
 of the 142nd, " Maschil of David ; when he was in 
 the cave," affords a key to their adjustment. The 
 140th Psalm has been analysed^; the 141st (as ob- 
 served in the note to the translation in the former 
 volume), relates to the event in David's life, recorded 
 in 1 Sam. xxiv. 2, 3. The passage " their judges 
 were dismissed," is best explained in the words of 
 Bishop Home. " David, reflecting on Saul's cruelty 
 in driving him out of his country, to Avander amongst 
 aliens and idolaters, very naturally calls to mind, and 
 mentions, his own different behaviour towards that 
 implacable enemy, whose life he had spared at two 
 several times, when he had it in his power to destroy 
 him as he pleased. Their judges, or princes, leaders, 
 
 - pp. 94—1)5. 
 
308 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 generals, &c., according to the frequent usage of the 
 word in Scripture, 1D*Jui^J, " have been dismissed," 
 (tlie common signification of tlie verb I2ij^), ' in the 
 sides of the rock,' when I had tliem at an advantage 
 there ; 1 Sam. xxiv. 3. ' and have heard my words, 
 that they were sweet : ' they only heard me expos- 
 tulate with them in a manner so mild and humble, 
 that even Saul himself was overcome, and ' lift uj) liis 
 voice and wept, saying, ]\Iy son David, thou art more 
 righteous than I, — the Lord reward thee good for 
 that thou hast done unto me this day.' 1 Sam. 
 xxiv. 16." 
 
 The 142nd is closely connected: as is the 143rd, 
 which has been examined in a former dissertation "", 
 and apparently was composed at the same time. It 
 is remarkable that the greater part of those Psalms 
 which are represented in the titles, and appear, from 
 their sentiments, to have been composed during the 
 persecutions by Saul, are placed in supplementary col- 
 lections. Perhaps the Psalmist was less disposed to 
 make public these compositions of a more peculiarly 
 personal character, alluding to painful events of his 
 early life, and reflecting on Saul, whom, notwithstand- 
 ing all his grievous sins, he yet regretted with such 
 generous tenderness. 
 
 The 144th Psalm", however, begins a new strain, 
 which is sustained to the end of the book. Its open- 
 ing imagery is almost identical with that of the 
 18th, and the reflection, " Lord, what is man," 
 has its parallel in the 8th. It is a song of thanksgiv- 
 ing rendered by the King of Israel, his enemies being 
 overcome, and the blessing of God being manifested 
 to his people, in all tlie gifts of prosperity and peace : 
 for all which he is thankful, and prays for their con- 
 tinuance, recognising, however, as a far higher bless- 
 
 » pp. 35—37. '' Sec pp. lG-1— 1G5. 
 
§ 9.] THE FIFTEEN CONCLUDING PSALMS. 309 
 
 ing than all earthly increase, that righteousness which 
 exalteth a people, that national piety which acknow- 
 ledges the liORD to be their God. A reflection pecu- 
 liarly needful to the people of iMigland at the present 
 hour, who are well nigh poisoned and perverted by 
 the spirit of greedy speculation ; and who seem to 
 consider the chief arts of statemanship not to be the 
 promotion of godliness, and true religion, but of those 
 measures only which are subservient to the preserva- 
 tion of animal life. 
 
 The 145th is entitled " David's Psalm of praise'"': " 
 and truly it deserves a peculiar epithet of dis- 
 tinction. It is constructed in six regular stanzas ; 
 the first four having three, and the two remaining 
 four, distichs each. The stanzas are alternate in the 
 sentiment. The first is introductory, celebrating 
 God's praise in a general manner. The second to 
 the fifth celebrate alternately his greatness and his 
 goodness. The sixth, his special grace to those who 
 call upon him. This Psalm is alphabetical : each 
 distich having the characteristic letter at the com- 
 mencement. We have thus another proof that the 
 alphabetical Psalms are not mere centos of uncon- 
 nected thoughts. 
 
 The " Psalm of praise" proceeds through the five 
 which complete the Psalter : and there seems every 
 reason to assign them all to David, so as to form 
 compound parts of one magnificent ode. The Septua- 
 gint, indeed, assigns the 138th, 139th, 146th, 147th, 
 and 148th, to Haggai and Zechariah, after the return 
 from the Captivity: but these titles are evidently 
 spurious. They are partly marked by Origen as not 
 existing in any Hebrew manuscript in his time, and 
 are partly stamped with that critical mark which 
 shews them to be the interpolation of later times. 
 
 '' Tlie title of this Psalua was omitted, from an oversight, in the first 
 volume. 
 
 X 3 
 
310 ORDER AND CONNECTION OF THE PSALMS. [Dissert. III. 
 
 Besides, the I30tli is assigned both to David and 
 Zecliariali, which is inconsistent. 
 
 All these five are Hallelujah Psalms: and it is 
 remarkable that these follow an alphabetical Psalm, as 
 we find in the case of most of those connected with 
 the lUth and 112th. The first of them, the 146th, 
 takes up the concluding topic of the 145th, and cele- 
 brates God's mercy, as manifested to mankind in 
 ceneral. In its last clause Sion is mentioned, thus 
 preparing us for the praise of his particular mercy to 
 his chosen people, commemorated in the 147th. The 
 construction of this, again, is very regular. It is 
 divided into three stanzas : each lieginning with a 
 couplet exhorting to God's praise : then, the com- 
 memoration, first, of his providential power and good- 
 ness in his works of creation ; secondly, of his mercy 
 to his servants. The second stanza recounting these 
 in a general way, the first, and (in a more expanded 
 form) the third stanzas specially mention his mercy 
 to Israel, in the bestowal of all earthly good, and in 
 the imparting of his statutes and judgments. 
 
 The three concluding Psalms are an expansion of 
 these topics. The 148th, a most regularly constructed 
 hymn", celebrates the work of creation, and invites, 
 first, all the heavenly host, all the earthly creation, to 
 praise God ; and the reason of his praise is given at 
 the end of each of the two divisions of the Psalm. 
 The 149th is the praise of his saints whom he hath 
 redeemed, of those on whom the fulness of his mercy 
 hath been shewn. The conquest announced in the 
 second Psalm is achieved ; the saints of God, who had 
 cried under the altar. How long, Lord, holy and 
 true**, have overcome, through him who has bruised 
 his enemies with a rod of iron, and broken them to 
 pieces like a potter's vessel. We are led from tlie 
 
 ■ Soo ].]>. 117— IIM. "• Rev. vi. 10. 
 
§ 9.J THE FIFTEEN CONCLUDING PSALMS. 
 
 Church Militant to the Church Triumphant, to anti- 
 cipate the actual songs of lieaven, that worship which 
 shall be rendered to God, day and night unceasingly, 
 and for ever. The 150th, which enumerates all the 
 instruments used in the Sacred Songs of the Taber- 
 nacle, prepares us for the harps of heaven, and the 
 hallelujahs of the Angels; and with its concluding 
 sentence, " Let every thing that hath breath praise the 
 Lord : praise ye the Lord," calls upon the whole cre- 
 ation to give thanks to him perpetually, for all his gifts 
 of Providence and Grace, and dismisses the faithful 
 worshipper with that sentiment, which is the consum- 
 mation of all religion, and which shall last, when 
 death and sin shall be destroyed, when prayer shall 
 be no longer needful, and the image of God shall 
 be inalienably restored to his redeemed children. 
 
 311 
 
 X 4 
 
312 
 
 NOTE ON DTSSERTA170N TIT. 
 
 The following is the extract from the Sermon referred to in 
 § iv. p. 254. 
 
 " This Psalm (the 77th) was evidently composed in a frame of 
 deep suffering. Yet, in the very oi:)ening, we perceive the ground- 
 work of that trust, which, after the Psalmist had been fully ex- 
 orcised in the school of afilietion, led to the fervent and triumphant 
 conclusion of this magnilicent hymn. In the depth of his depres- 
 sion, before he had brought his mind to such a state as to be able 
 to reflect upon the nature of his present condition, before he had 
 given himself time to remember that the divine arm could reach 
 him even then, before he had reckoned up those instances of God's 
 mercy vouclisafed of old to his faithful servants, when hope had 
 almost gone — before he had learned that out of trt)uble and sor- 
 row, the grace of God brings peace and joy ; even while liis soul 
 refused comfort, we have the effusion of his trembling heart : ' I 
 Avill cry unto God with my voice ;' while the secret whispering of 
 that heart, though well nigh overwhelmed with the weight of woe, 
 tells him that he shall not cry in vain : ' Even unto God will I 
 cry with my voice, and he shall hearken unto me.' 
 
 " In these words the holy Psalmist pours forth the vehement 
 torrent of thoughts and feelings, that had Ix'en brooding over the 
 wretched and seemingly hopeless state of himself and the people 
 of God (for this Psalm appears, like some others, to have been com- 
 posed during the captivity of the chosen people): till, finding that all 
 within him was confusion, and darkness, and despondency, that his 
 heart was sick, that he could see no way to escape, that his soul 
 was faint, he gives up the effort to struggle any longer against the 
 flood which is bearing him down, and cries aloud with his i-oice, 
 though his spirit could hardly join in the supplication. He thus 
 describes the manner in which he threw himself upon God's 
 mercy. It appeared to be entirely an outward act ; the inner 
 man seemed not to concur in the fervent exclamation ; yet this 
 very outward act had its rise in deep inward feeling, a deptii of 
 which the Psalmist, in the agony of his mind, was not conscious. 
 ' In the time of my trouble I sought the Lord : my sore ran ;' or, 
 as it is rendered in another version, ' My hand was stretched out 
 in the night season, and ceased not ; my soul refused comfort.' 
 Such was his desponding state. 
 
NOTE ON DISSERTATION III. 
 
 " But the blessed effect of his earnest cry appears in tlie fol- 
 lowing verse ; when, after he had experienced the Divine good- 
 ness, in cahning the tempest that raged within his breast, and teach- 
 ing him not only to see the hand of God, bnt even the mercy of God, 
 in all his visitations, and to look forward to brighter days, after he 
 has been made fully sensible of his own want of faith, and distrust 
 of God's overruling Providence, he resolves at once how, upon any 
 future occasion of suffering or dejection of mind, he will prepare 
 to meet the trial. ' "When I am in heaviness, I will think upon 
 God.' He now feels that the only refuge for the troubled spirit is 
 the thought of God ; that the only alleviation of that bitter sor- 
 row of heart, which can iind no rest nor relief, is to pour out all 
 his sorrows in the voice of prayer and supplication to the Throne 
 of Grace. ' When my heart is vexed, I will complain.' 
 
 " Let us mark now the way in which the Psalmist is led by 
 Divine Grace to see the ungrounded nature of his complaints, and 
 to rise from such utter despondency to holy hope and joy. God 
 speaks to his heart in the silence of the night ; in that solemn 
 season such impressions are made, such mysterious feeling of the 
 Divine Presence, such awful thoughts of the Divine Majesty crowd 
 in upon his soul, that the very world and all its cares and sorrows 
 seem to have passed away, and his own spirit is so broken down 
 that he ceases to complain. ' Thou boldest mine eyes waking : I 
 am so feeble that I cannot speak.' Then comes the calm re- 
 flection upon the former dealings of a gracious Providence. The 
 present season of anxiety, and trouble, and dismay, like the slum- 
 Ibering world around him, is for a moment forgotten. And by his 
 meditation upon time past, he is enabled to contemplate, Avith a 
 blessed hope, the time to come. He rises above the present scene, 
 to look back upon years past and gone into the great deep of Eter- 
 nity ; and from that height he looks forward, with the eye of faith, 
 into the future. ' I have considered the days of old, and the years 
 that are past. I call to remembrance my song ; and in the night 
 I commune with mine own heart, and search out my spirits.' He 
 remembers his own songs of thanksgiving and rejoicing, under the 
 fresh impression of blessings heretofore conferred ; he enters into 
 a conference with his own heart, while the quiet night gives him 
 leisure for the inquiry, and closely questions his present state of 
 mind, when he compares it with the serene and heavenly medita- 
 tions he then had felt, and enjoyed, and communicated to all 
 around. 
 
 " His first inquiry is ; Will the gracious Being, whose goodness 
 I then proclaimed, cease to extend his Almighty care over his 
 people ? Shall their prayers and supplications cease to be regarded 
 by Ilim who has done so much for them already? 'Will tlie 
 
314 ORDER AND CONNECTION OF THE I'SALMS. 
 
 Lord absent himself for ever ; and will he be no more entreated ? ' 
 Is the favour that he shewed unto our fathers, whose provocations, 
 like our own, were great, no more to be shewn unto their children, 
 even when they return unto him with all their heart, and with all 
 their soul ? Is the covenant that he made with Abraham, and the 
 oath that he sware unto Isaac, are the sure mercies of David to be 
 had no more in his remembrance ? ' 'Is his mercy clean gone for 
 ever ; and is his promise come utterly to an end for evermore ? ' 
 Can the unchangeable God no more remember all these things ? 
 Will the remembrance of our transgressions so prevail against us, 
 that he will now, for the first time, turn away his face from our 
 humble supplications, from the prayer of the poor and destitute ? 
 ' Hath God, indeed, forgotten to be gracious ; and will he shut up 
 his loving-kindness in displeasure ? ' 
 
 " Tiie holy Psalmist could doubt no longer. His fears and appre- 
 hensions are done away ; his faith triumphs over the weakness of 
 human nature ; his trust in God puts to flight all suggestions of 
 the evil one ; he acknowledges his own folly in forming such a 
 judgment of the Father of mercies, and he gives his heart and 
 mind to the contemplation of God's wondrous doings among the 
 children of men, and declares that the loving-kindness of God shall 
 henceforth be the subject of his thoughts, tlie theme of his conver- 
 sation. ' And I said, it is mine own infirmity ; but I will remember 
 the years of the right hand of the Most Highest. I will remember 
 the works of the Lord, and call to mind thy wonders of old time. 
 I will think also of all thy Avorks, and my talking shall be of thy 
 doings.' 
 
 " The result of this determination is a deep sense of the holiness 
 of God, of the greatness of his Majesty, of the power of the Lord 
 Jehovah, so often exercised for the sake of his people. And he 
 feels that whoever would worthily speak of him, must be influenced 
 by his Spirit, and taught of God. ' Thy way, O God, is holy ; 
 who is so great a God as our God ? Thou art the God that doest 
 wonders, and hast declared thy power among the people. Thou 
 hast mightily delivered tliy people, even the sons of Jacob and 
 Joseph.' He then commemorates that signal deliverance, whereby 
 God brought his people out of Egypt ; when the waters saw their 
 God, when the deep retired at his word, and made a way for his 
 ransomed to pass over, while the returning waves were arrayed 
 against their adversaries, and the elements marshalled as a host to 
 stop the way against their persecutors : when tlie chariots and 
 horsemen of Egypt sank as lead in the mighty waters, when the 
 Invisible Jehovah marched before his people, and brought them 
 into the promised land, by the hands of his chosen servants. ' The 
 waters saw thee, O God, the waters saw thee, and were afraid : 
 
NOTE ON DISSEKTATION III. 315 
 
 the deptlis also were troubled. The clouds poured out water : 
 the air also thundered ; and thine arrows went abroad. The voice 
 of thy thunder was heard round about ; the lightnings shone upon 
 the ground ; the earth was moved and shook witlial. Thy way is 
 in the sea, and thy paths in the great waters, and thy footstt'ps are 
 not known. Thou leddest thy people like sheep ; by the hand of 
 Moses and Aaron.' " 
 
THE 
 
 BOOK OF PSALMS. 
 
 DISSERTATION IV. 
 
DISSERTATION IV. 
 
 ON THE METRICAL CONSTRUCTION OE THE PSALMS. 
 
 § 1. THE RHYTHM OF HEBREW POETRY. 
 
 It is not the design of the following Essay to enter 
 into a detailed account of the structure of Hebrew 
 Poetry, or to offer proofs of a doctrine, which, by the 
 learning and critical acumen of divines of our own 
 Churcli, has been irrefragably established. Bishop 
 Lowth demonstrated the systematic nature of paral- 
 lelism, as the essential character of sacred poetry ; 
 but left the question of syllabic metre undecided. 
 Bishop Jebb not only discovered some new and most 
 important features of parallelism, and made the fur- 
 ther invaluable discovery, that the writings of the 
 New Testament were cast in precisely the same 
 model as those of the old, but also demonstrated that 
 a metre of words and syllables formed no part of the 
 system. There is nothing merely mechanical in sa- 
 cred verse. In it we do not measure syllables with 
 syllables, or mark tlie proportion between long and 
 short feet : we trace the agreement of sentiment with 
 sentiment, of one truth witli another ; we see the re- 
 gular balancing and adjustment of religious maxims, 
 holy thoughts, divine verities ; we recognise a system 
 which is, in the highest sense, intellectual, and which 
 essentially ministers to the moral training, the spiri- 
 tual education of the soul. 
 
320 METllICAL CONSTRUCTION OF THE PSALMS. [Dissert. IV. 
 
 The observations "svliich follow are merely intended 
 to offer some solution for the opinion entertained by 
 many, that, allowing the doctrine of parallelism to 
 exist in its full extent, still there is strong reason to 
 suppose, that there is a metre besides ; that is, one 
 of accents and syllables, like the poetry of modern 
 Europe ; for any system like that of classical quantity 
 it Avould be impossible to prove, and idle to imagine. 
 
 It is fairly acknowledged by the great body of an- 
 cient authorities that the rules of Hebrew metre, 
 considered in the syllabic sense, as connected with the 
 car, not Avitli the intellect, are altogether lost : and 
 even those authorities'' who acknowledge a metre, 
 rather speak of an harmonious rhythm, than any 
 system regulated by rigid laws. Thus, St. Jerome'', 
 in his Preface to Job, though he mentions hexameters, 
 consisting of dactyls and spondees, existing in that 
 book, yet allows that, on account of the idiom of the 
 language, other feet are frequently admitted ; and 
 speaks of a rhythm bound by no fixed laws. The same 
 seems to have been the opinion of the venerable Bede, 
 (or the ancient author of the treatise attributed to 
 him,) and Joseph Scaliger ° speaks of a rhytlimical, 
 not metrical poetry, far superior to all the measures of 
 Pindar. And he says that in tlic Psalms there is no 
 
 ° Sec for a summary of tliese opinions Theodori Ebcrti Poetica 
 IlcVn-aica : and IJuxtorfii Prosodia Metrica Ilcbraica : in the 31st volume 
 of Ugolini's Thesaurus. I'^rom the former of these works most of the 
 authorities broupiht forward in this page are taken. 
 
 '' Porro a verbis Job, in quibus ait, percat dies, &c., usque ad cum 
 locum, idcirco ipse me, &c., hexametri versus sinit, daclylo sjjondcocjue 
 currcntes : ct propter lingua^ idioma, crebro rccipientcs et alios pedes, 
 non earundem syllabarum, sed eorundem tcmporum. Intcrdum quotpic 
 rhythmus ipse duleis et tinnulus fertnr numeris lege solutis, <piod nietriei 
 magis quam simplex leetor intelligent. 
 
 *■ Pnram putam jfoesin esse rhythniicam, non metrioain, et snjier omncs 
 Pindarieos modos. ... In Psalterio nullum esse canlicum metrieis legibus 
 a<lstrietuni, sed mere solutam orationcm, charaetero ])oetico animatam. 
 In Euscbiauis (cited by Ebertus). 
 
§1.] RHYTHM OF HEBREW TOETRY. 
 
 system of metrical laws, but'' a free and flowing style, 
 animated with a poetical character.'' 
 
 It may be safely affirmed, that tliis is the utmost 
 which can be conceded to the advocates of strict 
 metre. And all the attempts made by Gomar, Bishop 
 Hare, and others, may be demonstrated to be failures, 
 for this reason ; that any such system of metrical ar- 
 rangement invariably interferes witli the parallelism, 
 in other words, with the intellectual construction of 
 the Psalm : interrupting the continuity of clauses^, 
 and destroying the fair proportion and balance of 
 the sentiments. If metre, then, be true, parallelism 
 must be false ; the two systems are inconsistent. 
 But the doctrine of parallelism is capable of de- 
 monstration ; the other is, at the very best, a system 
 of conjecture, requiring for its establishment a 
 number of postulates that cannot be proved, and all 
 of which one ascertained fact would instantly over- 
 turn. 
 
 For one very obvious reason the two S3"stems must 
 be inconsistent. The latter portion of each parallel 
 couplet, or quatrain, or of whatever length the senti- 
 ment may be, is always some amplification or modifi- 
 cation of the former. This amplification, indeed, often 
 requires no addition of any epithet, so that the two 
 members may be of exactly the same syllabic length. 
 But in very many cases there is an addition, not of 
 one only, but of several qualifying words, which 
 necessarily destroys the syllabic, or, as it is commonly 
 called, the metrical proportion. Or it may be, that 
 an epithet, or noun, required in the first member is 
 not required, because it is understood, in the second : 
 
 •' T (1(1 not translate " soluta oratio" here by " proso," its usual rendering. 
 Scaliger douhtless meant a kind of dithyrambic ; a rhythmical language, 
 unconfined by metrical laws. 
 
 ^ See also Kircher's Musurgia, (a work strangely over-estimated, as it 
 really is very meagre), cap. v. § v. 
 VOL. ir. Y 
 
322 METRICAL STRUCTURE OF THE TSALMS. [Disskrt. IV. 
 
 SO that the latter part, tliough amplified in senti- 
 ment, may be eontractcd in ex[)ression. 
 
 To this many other arguments might be added. 
 But one point at present is, to shew that the hypo- 
 thesis of a mechanical versification actually has its 
 rise from the existence of parallelism. 
 
 In the first place, then, an absurd, and now ex- 
 ploded opinion, at one time prevailed, that rhyme 
 was one of the characteristics of Hebrew poetry. 
 Yet this opinion, however untenable, had its rise, 
 like most errors, in the partial observation of a fact. 
 It is perfectly true, that Ave often find couplets or a 
 greater number of lines endino; in Hebrew with one 
 or more similar letters. Yet this arises altogether 
 from the sentiment : for a plural noun will of 
 course be frequently answered by another plural 
 noun ; so also as to the termination of verbs in the 
 same person and tense, and the pronouns, which are 
 always affixed to the end of the noun or verb in 
 Hebrew. But the same similarity of termination is 
 observable in English, and would be more so, were 
 the structure of the two languages the same. For 
 example : 
 
 ]My heart is sore pained within me, 
 And the terrors of death are fallen upon nic : 
 Fcarfulness and trembling arc come upon vie. 
 And horrors have overwhelmed vie. 
 
 Yet no one could think of adducing this as an instance 
 of designed rhyme, or rather of that imperfect rhyme, 
 called assonance, Avhich, tliough tolerated in the lio- 
 manesque languages, is not considered legitimate in 
 our own. It is (|uite obvious, that in this, and other 
 instances, the syllabic tenniiiation is as accidental as 
 in the Yirgilian couplet, 
 
 A^pice nutantcm convexo ponderc nnindun), 
 Terrasquc, tractusquc maris, coclunupie prol'unduin :" 
 
 ' Ecloscue iv. 50. 
 
§ Ij RHYTHM OF HEBREW POETRY. 323 
 
 or, what is more in point, in these floAving lines of 
 Homer : — 
 
 AvTiip eTTsl TTOTa/jLolo X'ttsv poov (OKsavolo 
 Nrjvs, (Itto S' iKSTO Kvfia daXdcrcnjs svponopoio, 
 Nf/<Toy is Alalrji', 66i t' 'IJoOs rjptysvstrjs 
 OiKia Koi X^P^^ slcTLy Kal dvTokal 'HsXtoio. ^ 
 
 This is sufficiently obvious. But another theory has 
 been started, and maintained with some in^^enuity, 
 by Dr. Somers Clarke, in his work on " Hebrew Criti- 
 cism and Poetry : " namely, that the metrical lines 
 of Hebrew poetry are regulated by the number of 
 words in each line, which generally consist of three 
 or four. In ap[)lying his theory, it is to be remarked, 
 he continually disturbs the parallelism, and not 
 seldom finds, or rather creates, difficulties wliich can 
 only be remedied by conjectural alterations of the 
 text. Still, this system is founded in an observation 
 of a fact, which will now be briefly stated. 
 
 The style of sacred poetry being of that simple 
 kind which enunciates each proposition singly, 
 without parentheses or involutions, and clearness 
 and regularity of thought being its evident charac- 
 teristics, it must follow tliat in many instances there 
 will be but three members in a sentence. To use 
 the language of logic, these will sometimes consist of 
 the subject, tlie predicate, and the copula ; in other 
 words, of the noun which precedes the verb, of the 
 verb itself, and of the noun or adjective which follows 
 the verb. But as either the first or second member 
 of the sentence often requires some epithet or adjunct, 
 some qualifying addition, the sentence will frequently 
 consist of four words. And as each line in Hebrew 
 is a clause in itself, very rarely running into the line 
 whicli follows, a large proportion of the verses of the 
 
 " Odyss. M. 1. 
 y 2 
 
324 METRICAL STKUCTUKE OF THE PSALMS. [Dissert. IV. 
 
 Psalms consists of three or four words. The reader 
 must bear in mind, that a larp^c ])roportion of the 
 copulatives, and pre[)ositions, and the possessive pro- 
 nouns, form, in Hebrew, a part of the word with 
 which they are connected, like the enclitic " que" 
 in Latin, and the terminations and augments both 
 in that language and in Greek. To this general rule 
 there are many exceptions : very numerous even in 
 the Psalms : while in the Lamentations of Jeremiah 
 in particular, the lines are much longer. 
 
 Let us examine the opening of the first Lamenta- 
 tion : the boundary of each line being unquestionably 
 fixed for us by the acrostical arrangement : each line 
 in each stanza beginning -svith the same letter of the 
 alphabet. The number of words in the original is 
 marked, and each Avord divided from the others by 
 a line. 
 
 1. I 2. I 3. I 4. I 5. I 6. 
 
 How I doth she sit | solitary, | the city | that was great | icith people ; 
 
 1. I 2. I 3. I 4. I 5. 
 
 She is become 1 as a widow, | that was great | among | the nations. 
 
 1. I 2. I 3. I 4. 
 
 The Princess | among the provinces, | she is become | tributary. 
 
 "With weeping | she weepcth | in the night, | and her tears | are on j her cheeks : 
 
 1. I 2. I 3. I 4. I 5. 
 
 There is none | for her | as a comforter | among all | her lovers ; 
 
 1. I 2. I 3. I 4. I .5. I (i. j 7. 
 
 All I her friends | are Ireacherous j tu her; | they are become | to her j as enemies. 
 
 1. I 2. I 3. I 4. I ^• 
 
 A cnj)tive | is Judali, | under allliction, | and in great | servitude. 
 
 1. I 2. I 3. I 4. I ^- I ^• 
 
 She I is dwelling | among the heathen; | she doth not | find | rest: 
 
 1. I 2. I 3. I 4. I 5. 
 
 All I her i)ers(,'cutors | overtook her I between | the straits. 
 
 Who does not see that the style of thought is very 
 diflerent from that of the Psalms; more dilfused, 
 
§1.] RHYTHM OF HEBREW TOETRY. 325 
 
 more circumstantial, more strictly elegiac ? Hence 
 the different lengths of the lines. And here may 
 be remarked the truth of what has been advanced 
 above, namely, that their length varies according to 
 the paucity or frequency of epithets or adjuncts. 
 
 A tolerably attentive examination, in short, of the 
 original text will shew, that this greater length arises 
 from the nature of the sentiment, and that in no 
 instance is there the slightest trace of the thoughts 
 having been either curtailed or extended by any l*ro- 
 crustean process, in order to be connnensurate Avith 
 the metre ; a circumstance which must have been 
 clearly observable, had syllabic symmetry been the 
 rule of construction. The sentiments uniformly flow 
 in their natural channel : no elisions or verl:)al licences 
 are made, except what are equally found in prose, 
 and these are very rare : no transposition of words is 
 made, but what the parallelism and the laws of epa- 
 nodos require. The theory of the metre of words is 
 simply met by the fact, tliat regularity and precision 
 of thought produce in the Hebrew poetry a corre- 
 sponding regularity of diction. 
 
 But this regularity of diction will also produce, to 
 a considerable extent, a regularity of rhythm. This 
 obtains, more or less, in every language. Some 
 instances, doubtless undesigned, occur, in which 
 thoughts placed in parallelism, or in exact antithesis, 
 could not be disturbed without disturbing the metre : 
 in other words, the metre of thoughts and of syllables, 
 the accordance that speaks to the intellect and to the 
 ear, are coincident. Take that remarkable instance 
 of the lines attributed to A'iriril : 
 
 o 
 
 Sic vos non vobis nidificatis, avcs : 
 
 Sic vos non vobis vellera fertis, ovcs ; 
 Sic vos non vobis mcllificatis, apes : 
 
 Sic vos non vobis fertis aratra, boves. 
 
 T 3 
 
326 5IETRICAL STRUCTURK OF THE PSALMS. [Dissert. IV. 
 
 This quatrain is remarkable for being not only con- 
 structed in regular Latin metre, but for being in 
 rhyme, and in alternate parallelism, almost perfect; 
 the only defect in this latter respect being the trans- 
 position of the two words " fertis aratra," which the 
 prosody required. If the poet had intended to express 
 these thoughts in the mere soluta oratio, he must of 
 necessity have fallen into this metrical arrangement ; 
 that is, supposing him to have recognized the laws of 
 parallelism as the rule of construction. Of course of 
 these laws he was unconscious : some epigrammatic 
 arrangement, however, was intended ; and it is quite 
 credible that he perceived in this instance the nice 
 coincidence of sentiment with metre. Now the con- 
 verse of this must frequently happen in Hebrew 
 poetry : as will be presently she"svn Avhen we come to 
 explain the occurrence of rhythm by the fact of the 
 extreme regularity of the language. 
 
 Meantime to give a few more instances. 
 
 Ebertus, in his treatise on Hebrew poetry", among 
 other instances of accidental metrical lines in the 
 original of the New Testament, brings forward the 
 following : 
 
 air SITS, Kol 8od7](7STai' 
 ^rjrsiTS, KaX svpijcrsrs^, 
 
 which is a regular dimeter iambic couplet. The 
 metre is accidental, but arises from the strict paral- 
 lelism of the words. In our own language, instances 
 similar, but not so close, may be found. In that great 
 master of rhythm, Shakspeare, for instance ; the fol- 
 lowing passages owe their melody chiefly to the 
 parallelism of the sentiment : 
 
 If ever you have look'd on better days ; 
 
 If ever been where bells have knolFd to church ; 
 
 " The work already referred lo : cap. il. '' St. Luke vii. 7. 
 
§1.] RHYTHM OF HEBREW ROETRY. 327 
 
 If ever sate at any good man's feast ; 
 
 If ever from your eye-lids Avip'd a tear, &c/ 
 
 And again in the tragedy of Uicliard II., which 
 contains perhaps more variety of harmonious and lofty 
 diction tliiin any of his compositions : 
 
 Tliis royal throne of kings, this scepter'd isle. 
 
 This earth of majesty, this seat of Mars, 
 
 Tliis otlicr Eden, dcmi -paradise, 
 
 This fortress, built by nature for herself, 
 
 Against infection, and the hand of war ; 
 
 This happy breed of men, this little world. 
 
 This precious stone, set in a silver sea, . . . 
 
 This blessed plot, this earth, this realm, this England, 
 
 This nurse, this teeming womb of royal kings, 
 
 Fear'd for their breed, and famous by their birth, 
 
 lienowned for their deeds as far from home. 
 
 For Christian service, and true chivalry. 
 
 As is the sepulchre in stubborn Jewry, 
 
 Of the world's ransom, blessed Mary's son : 
 
 This land of such dear souls, this dear, dear land, 
 
 Dear for her reputation through the world, &c.'' 
 
 Again : 
 
 With mine own tears I wash away my balm ; 
 With mine own hands I give away my crown ; 
 AVith mine own tongue deny my sacred state : 
 With mine own breath release all duteous oaths : 
 All pomp and majesty I do forswear : 
 My manors, rents, revenues, I forego : 
 INIy acts, decrees, and statutes, I deny : 
 God pardon all oaths, that are broke to me ! 
 God keep all vows unbroke, are made to thee I*^ 
 
 Now in most of the above instances the correspond- 
 ence in rhythm arises from the words that are in an- 
 tithesis or apposition being of tlie same construction. 
 Thus nidijicatis is a compound verb cast in exactly 
 
 ' As You Like It. Act. ii. Scene 7. ^ Act ii. Scene 1. 
 
 " Act iv. Scene 1. 
 
 y 4 
 
328 METRICAL STRUCTUKE OF THE RSALISIS. [Dissert. IV. 
 
 the same uioiikl as iueUifn:at'ii< ; consequently tliey 
 would each metrically correspond through all their 
 cases and tenses. Apes and aves, also, are nouns 
 of the same construction, as are oves and boves : 
 the only exception l)ein<2: in words which do not 
 so correspond, vellera and aratra. In tlie quotation 
 from St. Luke, aWsirs and ^r^Ts^rs arc similar in 
 their moidd, and consequently in their metrical 
 value : Z(>%(T=rai and su^r](T£rB are both future, and 
 have each a common characteristic of the future 
 tense. In the first quotation from Shakspeare^ the 
 nouns that close each line are all monosyllables ; all 
 the verbs (also monosyllables) are accented; and the 
 words knoWd and wip'd occupy the same part of the 
 sentence : and in the last instance, the verbs in the 
 first couplet are monosyllabic, as are the nouns ; in 
 the second and third, dissyllabic, with the accent on 
 the last syllable, as in the two next lines. 
 
 If, therefore, in our own language, and in Latin 
 and Greek, there were but one form of declension of 
 verbs and of nouns, and if the roots of these were 
 uniformly monosyllables or dissyllables, if the particles 
 and prepositions were uniformly of the same length, 
 and occupied the same place in construction ; then we 
 might expect that any composition arranged in strict 
 antithesis in those languages would have the effect 
 of metre, would at least be to the highest degree 
 rhythmical. 
 
 But in the Hebrew language, such regularity does 
 exist to a very considerable extent. Irregularities 
 there are, but these so few as by no means to inva- 
 lidate the existence of a general rule. Their verbs 
 have but one paradigm, their nouns but one S3'stcm of 
 affixes and suffixes : the conjunctions and preposi- 
 tions for the most part consist merely of one letter 
 (or syllabic letter) prefixed to the noun or vei'l). 
 Ilence it nuist follow, that when one present or future 
 
§ 1.] miYTIlM OF HEBREW rOETRY. 329 
 
 tense is |)ut in apposition with niiotlier, a |>liii";il 
 noun with a plural, Sec, there nuist be a consitlerable 
 agreement in sound. 
 
 Nor is this all. The roots of the language consist 
 for the most part of three letters : that is, of three 
 consonants, witli an inserted vowel between each, not 
 expressed in writing, but supplied according to cer- 
 tain fixed laws. So that each verb or noun will be 
 generally of the same length as another of a similar 
 case or gender, tense or person. 
 
 The prosody of the words, also, is fixed by rules 
 which have but few exceptions. It is true, the ac- 
 curate pronunciation of Hebrew is to a considerable 
 degree lost ; and the positive prosodial value of sylla- 
 bles is perhaps irrecoverable. But we owe to the care- 
 ful diligence of tlie Masorites in the sixth century, 
 the creation of the system of pointing'', which shews 
 us what was the received pronunciation of the sacred 
 language in their day at least. A careful examina- 
 tion of their system will indeed make it appear all 
 but demonstrable, that it had, in its pronunciation, 
 undergone many of the corruptions and debasements 
 to which the Ian2;ua2:es of all countries are liable : 
 and that in the use of elisions and contractions, pre- 
 cisely the same vulgarisms had crept in, which prevail 
 now, as part of the settled system of pronunciation, in 
 English, French, modern Greek, and in all probability 
 the more popular dialects of the Arabic. Still enough 
 remains to shew that a principle of pronunciation 
 was established, so regular as to require but compa- 
 ratively seldom the written insertion of the vowels 
 in the middle of words. In fact, it is quite possible 
 to attain to a tolerably correct pronunciation of the 
 Hebrew verbs at least, and of all the inflections of 
 the nouns, Avithout the use of the points, and by a 
 
 " Sec a note on Masorctic pointing, at the end of this Dissertation. 
 
330 ' ]\[ETRICAL STRUCTURE OF THE PSALMS. [Dissert. IV. 
 
 simple attention to a few rules. Thus the word 
 Zaniar, to prmic^ is expressed in Hebrew writing by 
 the three radical letters, zmr ; the. letters are sup- 
 plied, as the tense or case demands, which (as in 
 English) the context will clearly shew. Thus the 
 letters supplied for the third person singular of the 
 perfect tense are a longer and a shorter a : as zfuMaR, 
 he pruned ; the participle inserts o and e, as zoMeR, 
 priuiiw/ ; and the vowels are changed in those in- 
 stances where there are letters affixed or suffixed, as 
 Niz'MaR, it ivas jjnined ; cz'mor, I [will prune. The 
 same vocalization generally prevails through most 
 verbs: and similar changes take place in the in- 
 flection of nouns. 
 
 Hence it is, that Hebrew poetry must be very 
 rhythmical ; and Avere its true pronunciation reco- 
 vered, and rescued from those barbarisms, which the 
 Masoritesdid not invent, but inherited (at an age when 
 the nation had sunk into great degradation), there 
 can be little doubt, that its verses w^ould have a more 
 than Pindaric flow, and would gratify the ear even 
 more than the most harmonious measures of England, 
 Italy, or Spain ; giving all and more than the variety 
 sought by the stanza of Spenser, by ]\Iilton in his 
 Lycidas, and in his Hymn on the Nativity, and by that 
 greatest and most religious^ poet of his day. Sou they, 
 in his Thalaba and Kehama. 
 
 It was no doubt the perception of this obvious 
 rhythm which induced Bishop Hare, a scholar of no 
 
 " The author must express his feeling on tliis subject witliout qua- 
 lification : thougli it is one not commonly entertained. It is with real 
 wonder that he considers liow deeply interesting this great poet has cen- 
 trived to make the two poems now mentioned, founded as they are upon 
 such wild and uncouth fables. However his judgment may be liable to 
 imjjutation in the choice of his subjects, his poetical strength is only the 
 more forcibly shewn, in the power with which he can command the 
 affections, and inculcate lessons of the deepest moral and religious 
 weight. 
 
§ 1.] RHYTHM OF HEBREW POETRY. 
 
 ordhiaiy inii'cnuity and leariiiiii^, to propose his me- 
 trical system. This hypothesis, however, was so 
 baseless as easily to lie overtunietl by Ijishop Lowtli -^ 
 who clearly shewed that another system diametrically 
 opposite, and equally untenable, could easily be 
 proved upon grounds equally plausible. A metrical 
 system has likewise been proposed by a learned and 
 elegant Dutcli writer, K. J. Greve''; but on grounds 
 as unsubstantial. Before acceding to this theory, the 
 whole question must be granted, upon mIiicIi all de- 
 pends, namely, the actual quantity of Hebrew syl- 
 lables, of which we are totally ignorant. And both 
 Avriters interfere with the parallelism (Greve indeed 
 to a less degree than Bishop Hare) ; and when this is 
 once admitted, no bounds can be set to any system of 
 metre, so flexible will language be found, when such 
 liberty is once conceded. 
 
 I should not, however, have noticed these obsolete 
 and exploded doctrines, were it not to bring into pro- 
 minence the fact, that though there is no metre, 
 rhythm does actually, and from the very nature 
 of the case, exist in Hebrew poetry : and thus the 
 obscure expressions of ancient authors may be ac- 
 counted for. The expression of Josephus, for exam- 
 ple, that there were hexameters in HebrcAV poetry may 
 be explained by the fact that in very many instances 
 there are distichs consisting each of six words, and each 
 word of two syllables, which would allow a foot for 
 each word. But we must remember that the Jc^\ish 
 language was much corrupted in Josephus's time: 
 
 ° The shorter confutation of Bishop Lowth is generally known. His 
 longer confutation, addressed to Dr. Edwards, is an essay full of wit, 
 ability, and sound reasoning. 
 
 '' Tractatus do Metris Ilebraicis, prassertim Jobasis. Of the theological 
 character of this work, and of his Essay on Job, I am unable to speak, not 
 having read either through. But I must here repair an omission, by re- 
 marking that this writer has observed upon the recurrence of Selah, in 
 Psalm xxsii. as terminatin!]: each stanza. 
 
332 METRICAL STRUCTURE OF THE PSALMS. [Dissert. IV. 
 
 tlie vcrnaculsir speech of his nation had a considerable 
 (Miakliiic or Syriac infusion ; and the pronunciation of 
 the ancient sacred poetry was as much lost to them, 
 as tliat of Chaucer is to us : and probably the same 
 mistaken theories were suggested as to its real mea- 
 sures, as obtained among us till Mr. Tyrwhitt restored 
 the true theory of reading the nervous lines of that 
 father of the English poetry. 
 
 In the following section this subject will be pur- 
 sued, in shewing the probal)lc influence of the Hebrew 
 poetry upon that of the ancient Greeks and Romans. 
 
 § 2. THE ANALOGY BETWEEN SACRED AND SECULAR 
 METRE. 
 
 It is the remark of that just and elegant, though 
 now neglected critic, Addison, that " if any one 
 would judge of the beauties of poetry that are to be 
 met with in the divine writings, and examine how 
 kindly the Hebrew manners of speech mix and in- 
 corporate with the English language; after having 
 read the Book of Psalms, let him read a literal trans- 
 lation of Horace or Pindar. He will And in these 
 two last such an absurdity and confusion of style, 
 with such a comparative poverty of imagination, as 
 Avill make him very sensible of what I have been here 
 advancing." ^ 
 
 This sentence is worthy of attention on many 
 grounds. First, as to the English version of the 
 Psalms, as well as of the other poetical books of 
 Scripture. It must be evident to every one gifted 
 with a tolerable car, how not only the sentiments, 
 but the rhythm itself of the original is transfused 
 into our version. We feel that we are recitin" 
 
 a 
 
 " Spectator, vol. vi. No. 405. 
 
§ 2.] ANALOGY BETWEEN SACRED AND SECULAR METRE. 
 
 measured prose, which is all but metrical. Take for 
 an example ; — 
 
 Lord, how are they increased that trouble me : 
 Many arc they that rise against mc : 
 Many are there be that say of my soul. 
 There is no help for him in his God. 
 
 Again, the 76tli Psahn, which above all, perhaps, is 
 best adapted for chanting : I do not mean that mo- 
 notonous jerking, which some call chanting, but that 
 deliberate flow, which the Church of England has 
 preserved in her best choirs. 
 
 In Jewry is God known : 
 
 His Name is great in Israel : 
 
 At Salem is his tabernacle : 
 
 And his dwelling in Sion : 
 
 Then brake he the arrows of the bow : 
 
 The shield, the sword, and the battle. 
 
 And the U8th. 
 
 O praise the Lord of heaven : 
 Praise him in the height : 
 Praise all ye angels of his : 
 Praise him, all his host. 
 Praise him, sun and moon ; 
 Praise him, all ye stai's and light. 
 
 Connected with these observations, a remark of 
 Bishop Jebb naturally suggests itself. " I would be 
 understood merely to assert, that sound, and words 
 in subordination to sound, do not in Hebrew, as in 
 classical poetry, enter into the essence of the thing : 
 but it is happily undeniable, that the words of the 
 poetical scriptures are exquisitely fitted to convey the 
 sense ; and it is highly probable, that, in the lifetime 
 of the language, the sounds were sufficiently harmo- 
 nious : when I say sufficiently harmonious, I mean so 
 harmonious, as to render the poetry grateful to the 
 
334 METRICAL STRUCTURE OF THE PSALMS. [Dissert. IV. 
 
 ear in recitation, and suitable to musical accompani- 
 ment : for which purposes, tlie cadence of well mo- 
 dulated prose would fully answer ; a fact, which •will 
 not be controverted by any person with a moderately 
 good ear, that has ever heard a chapter of Isaiah 
 skilfully read from our authorized translation ; that 
 has ever listened to one of Kent's anthems well per- 
 formed, or to a song from the IMessiah of Handel." " 
 
 In illustration of the lUshop's remark, let any 
 one take the whole GOth chapter of Isaiah, and he 
 must perceive what exquisite melody it contains. It 
 would be impossible, one would suppose, for any 
 scholar or divine, gifted with common feeling, to read 
 this chapter with wliat JMr. Southey'' calls a |} rose 
 mouth ; and yet such is the perverse spirit of our ge- 
 neration, that an opinion very generally obtains, 
 that it is wrong to read. Scripture in other than a dull 
 and monotonous, and therefore hardly intelligible 
 tone: in total despite of common sense or real piety. 
 How much more did Handel, to Avliom the IJishop 
 justly refers, contribute to the cause of edification, 
 wlien he set to such an accurate and expressive 
 accompaniment those rh} thmical words wliicli open 
 that glorious prophecy; the last distich especially: — 
 
 And the Gentiles sliall come to thy \\^\t, 
 And kings to the brightness of thy rising. 
 
 " Sacred Literature, pp. 20, 2L Handel's sonjrs are so universally 
 rhythmical, that it would be needless to particularise any. But in one 
 passage, he has accurately illustrated the alternation of (he sacred style : 
 viz. "Since by man came death, by man came also the resurrection from 
 the dead : for as in Adam all die, even so in Christ shall all be made 
 alive." As to Kent the l}isIioi)"s remark is accurate : for though a 
 jilairiarist, and a composer of very secondary character, his attention to 
 rliythm is frequently very happy. Tlie anthem of Michael Wise, "The 
 ways of Sion do mourn," is admirable in this and all other respects, as is 
 that of Jeremiah Clark, " I will love thee, O Lord :" especially in the 
 verse, " The sorrows of death," &c. 
 
 " Trefaee to Thalaba. 
 
§ 2.] ANALOGY BETWEEN SACRED AND SECULAR METRE. 335 
 
 Or that most able and gifted musician, Dr. Boycc, 
 in his adaptation of that sublime and musical pas- 
 sage in Job (xxviii. 12 — 28), 
 
 Where shall wisdom be found ? 
 
 And where is the place of understanding ? 
 
 Especially in these lines : 
 
 For he looketh to the ends of the earth. 
 
 And seeth under the whole heaven. 
 
 To make the weight for the winds, 
 
 And he wcighcth the waters by measure : 
 
 When he made a decree for the rain, 
 
 And a way for the liglitning of the tlumder, 
 
 Then did he see it and declare it, 
 
 He })repared it, yea, and searched it out ; 
 
 And unto man he said. Behold, the fear of the 
 
 Lord, that is wisdom. 
 And to depart from evil is understanding. 
 
 As to that part of Addison's remark, which con- 
 trasts a literal translation of Horace and Pindar with 
 one of the Scriptures, it is perfectly true, that all 
 rhythm is out of the question in such a case. But the 
 mention of Pindar brings us to another topic, namely, 
 the connection and resemblance between the ancient 
 poetry of Greece and that of the Hebrews. 
 
 In Pindar, perhaps, of all other lyric writers, the 
 floAV of the verse is more unlike that of Hebrew poetry 
 than any other. So far from the sentence being con- 
 terminous with the lines, it is a stated characteristic 
 of his poetry to break the sense by continual caesuras, 
 and to continue the sentence not only through con- 
 secutive lines, but stanzas. This, indeed, is more or 
 less the manner of all ancient lyric poets, but far less 
 of Alcreus and Simonides, and even of iEschylus, 
 than of Pindai". In fact, it would require a very 
 peculiar education, for an English ear to appreciate 
 fully or even tolerably the rhythm of his verses. It 
 
336 JIETRICAL STRUCTURE OF THE TSALMS. [Dissert. IV. 
 
 is needless, therefore, to add, that his style is not anti- 
 thetical ; it is not constructed according to the rules 
 of Hebrew parallelism. 
 
 And yet in this great poet, occasional flashes of a 
 more divine sentiment, expressions strongly scriptural, 
 occur, which have an effect almost electrical, so sud- 
 denly are they interposed amongst long mytholo- 
 gical or heroic narrations. In one of these instances, 
 at le.ast, if I am not much mistaken, when he speaks 
 of the future happiness of the blessed, and the " sun 
 that shines by night and by day," {thy sun that shall 
 no more go down, as Isaiah speaks,) his strain has 
 something of an almost scriptural antithesis, and we 
 recognise some difference in the fulness of the rhythm 
 and completeness of the periods. 
 
 laov Se vvKTScraiv alsl, 
 laa S' iv d/xspacs, aXt- 
 
 ov s-^ovTSs, uTTOvicrrspov 
 ia6Xol vsfxovrai (3io- 
 
 rov, ov '^dova rapdaaov- 
 
 rss oKko, '^epcov, 
 
 Ouhs TTOVTIOV v8cop, 
 
 Kstvdv Trapd Biairav' dX- 
 
 Xd Trapd fikv rifxioLS 
 Oawv, o'lTLvss f'x^i- 
 
 pov evopKiai9, 
 clBaKpvv vsfJLovTat 
 aloiva' Toi 8' dirpoaopa- 
 
 TOV 6K')(leOVrL TTUVOV."^ 
 
 Alike l)y night, for ever, 
 
 Alike by day, enlighten'd by the sun, 
 
 A life unknown to pain the rigliteou.s live : 
 
 They with no labouring hands disturb the earth, 
 
 Nor waters of the sea, 
 
 Seeking to gain a meagre sustenance ; 
 
 liut high among the honour'd of the Gods, 
 
 • Olyiiip. B. Struphc iv. 
 
§2.] ANALOGY BETWEEN SACRED AND SECULAR METRE. 337 
 
 All who rejoice in truth and equity, 
 
 Shall pass a tearless age. 
 
 But with the wicked shall be frightful pain." 
 
 Til the passage immediately following, the expres- 
 sions, UTTo TTcifx-n-av a/Hxiov 'e-^siv \|/u;^av, " to keep the 
 soul wholly from injustice," and '^log oolv^ " the way of 
 God," are expressions strikingly scriptural, as is the 
 concluding simile of this ode : 
 
 sirau ^frdfifMOS dptdfxov TrspiTrscpsvysv 
 Like as the sand, which never may be told. 
 
 Pjut a more remarkable coincidence of rhythm with 
 parallelism occurs in the PoUio of Virgil : that most 
 sublime eclogue, the masterpiece of his works, the 
 resemblance of which to Scripture, one of the common- 
 places of criticism, has been fully brought out by 
 Pope, in his poem of the Messiah. It cannot be 
 doubted that the poet derived it directly or indirectly 
 from the prophecies of Isaiah. Let the versification 
 of this be compared with any other of his eclogues, 
 and a marked difference will be seen in this respect ; 
 that at its commencement it divides itself into stanzas ; 
 and that the lines of the first two contain each a com- 
 plete sense, and are in parallelism. 
 
 L 
 
 Sicclides Musfe, panlo majora canamus : 
 
 Non onines arbusta juvant, huinilesqvic myricje; 
 
 Si canimus sylvas, sylvse sint consule dignas. 
 
 2. 
 
 Ultima Cumasi venit jam carminis astas : 
 IMagnus ab intep;ro sreclorum nascitur ordo: 
 
 " The reader, it is hoped, will excuse the rudeness of this and other 
 translations ofiered in these pages ; since their intention is merely to 
 give the sense as literally as is consistent with some attempt at rhythm 
 or metre. The latter is diflicidt to preserve, when proper names occur, 
 as in the subsequent sonjT of Callistratus. 
 
 VOL. II. Z 
 
338 METRICAL STRUCTURE OF THE PSALMS. [Dissert. IV. 
 
 Jam retlit et virgo ; rcdcunt Saturnia rcgna : 
 Jam nova progenies ca?lo dcmittitur alto. 
 
 3. 
 Tu modo nasccnti puero, quo ferrea primum 
 Desinet, ac toto surget gens aurca miindo : 
 Casta, favc, Lucina ; tuus jam regnat Apollo. 
 
 The sequel contains, in its style (unquestionably in 
 its ideas), many resemblances to the lyrics of Scrip- 
 ture : as in the frequent occurrence of the Anaphora, 
 " Teque adeo decus, — Te duce : " " Ipsa; lacte 
 domum ; — ipsa tibi blandi : " — " occidet et serpens, 
 et fallax herba veneni occidet," &c. 
 
 It is, indeed, I believe, impossible to read this most 
 mellifluous and sublime poem without feeling per- 
 suaded that Virgil unconsciously proclaimed the birth 
 of the Messiah. 
 
 To trace the connection of sacred and secular 
 poetry, with any exactness, would be impossible, so 
 wanting is any direct external evidence. We must 
 have recourse to the internal guidance furnished 
 by each : and even these afford but an uncertain 
 light. 
 
 The pastoral poetry of Theocritus, however, 
 adopted, and immeasurably improved, by Virgil, 
 bears all the marks of an oriental origin, as is gene- 
 rally admitted. The alterna) Camoena?, the alternate 
 couplets sung by two shepherds, and continually in 
 exact parallelism, were without question derived from 
 an oriental, and ultimately from a sacred source. 
 And we have in one at least of the popular songs of 
 Greece, attributed to Callistratus, vestiges of the 
 same ancient style, preserved, we may believe, through 
 many ages. This song (interesting from its anti- 
 quity, but detestable, as the expression of democratic 
 wickedness) has been quoted by Bisliop Lowth in his 
 first prolection ; but I make no apology for giving it 
 
§ 2.] ANALOGY BETWEEN SACRED AND SECULAR METRE. 339 
 
 now at lcno;th, as illustrating the subject before us. 
 The parallelism is tolerably exact ; the anaphoras 
 are regular, and we have here (as indeed in Virgil's 
 PoUio also) instances of the assonance, which is so 
 frequently found in oriental poetry. 
 
 'Ev fivprov Kkahl to ^tcpos (popijaa), 
 "ClcriTsp ' ApfjiohLOs K ^ApLaroyslroyVf 
 "Ot£ rov Tvpavvov KTavsrtjv, 
 
 \(Tov6pLOvs t' ^ A.6rjvas iTroi-rjadrrjv. 
 
 ^iXrad 'Apiii6Bt,\ ovTt irov TsOvrjKas, 
 ^yjaois 8' ev /xaKupcov as ^aaiv slvai, 
 "\va TTsp 7ro8(OKr]s 'A^iXeuy, 
 TvSslSrjv Ts (fiaaiv AtofM^Ssa. 
 
 Ej^ fivpTOV K\aBl TO ^{(pos (f>opr}cro), 
 ' na-TTsp 'ApfMoSios K ApiaToyslrcov, 
 "Ot' Wdrjvairjs iv Oualats 
 "AvBpa rvpavvov "linTap'^ov sicaLvirr]v. 
 
 Au (7<poiV kXsos saasrat, Kar alav, 
 ^\>C\.Ta6' 'ApfioSis K WpicrroysiTov, 
 Ore rov rvpavvov Krcivsrov, 
 Icrovofjbovs r AOijvas sTroiijaarov, 
 
 In wreaths of myrtle I my sword will carry. 
 As did Harmodius and Aristogeiton, 
 
 When they erewhile the tyrant slew, 
 
 And equal laws to Athens did renew. 
 
 Belov'd Harmodius, no, thou art not dead ; 
 They say, in islands of the blest art thou, 
 
 Where dwells Achilles, swift of foot. 
 
 And Argive Diomede, as fame doth tell. 
 
 In wreaths of myrtle I my sword will carry. 
 
 As did Harmodius and Aristogeiton, 
 When at the Athenian sacrifice 
 Tyrant Hipparchus by their hands was slain. 
 
 Throughout the land your fame shall live for ever, 
 Belov'd Harmodius and Aristogeiton, 
 
 z 2 
 
340 METRICAL STRUCTURE OF THE PSALMS. [Dissert. IV, 
 
 For yc crcwliilc the tyrant slew, 
 And eciual laws to Athens did renew." 
 
 It may be said, that the same characteristics pre- 
 vail, more or less, in the ballad poetry of Europe. 
 This is freely granted, and, indeed, makes for the 
 theory we are about to advance, that all popular 
 poetry is derived ultimately from a sacred source. 
 
 For let us consider, that a common feature of the 
 lyric poetry of all nations is the frequent recurrence 
 of a certain artificial arrangement, modified in various 
 ways. Now, if it be allowed, as it evidently must, 
 that poetry was foremost among those arts commu- 
 nicated by God to man, which Holy Scripture includes 
 under the comprehensive name of wisdom ; if it holds 
 a rank inferior only to alphabetic writing, then it must 
 be naturally assumed, that poetry, in its original '', 
 that is, in its sacred use, exhibited this character- 
 istic recurrence, this artificial arrangement in the 
 purest and most intellectual form. That it did ap- 
 pear in such a form the experimental examination of 
 Scripture plainly shows. But, in proportion as men 
 receded from the knowledge of the true God, in the 
 same proportion their intellect became sophisticated 
 and debased. The simple, and true, and logical lan- 
 guage of sacred poetry was gradually exchanged for 
 expressions more laboured and fanciful ; epithets were 
 accumulated ; the wayward imagination deserted the 
 exactness of true spiritual thought ; and in the pro- 
 cess of time a totally new style arose, beautiful indeed 
 in itself, but altogether different in feature from the 
 more beautiful original. The quick ears of the Greeks, 
 
 ■■' In the above attempt at a literal translation, the rhyming termi- 
 nation of tlie first and last stanzas is ])roserved. 
 
 '' If it be objected, that Lamcch's speech to his wives (Gen. iv. 23, 
 24.) is the earliest recorded specimen of poetry, we must recollect, that 
 the cfiually poetical propliecy of his contemporary, Enoch, is preserved 
 by St. Jude. 
 
§ -2.] ANALOGY BETWEEN SACRED AND SECULAR METRE. 341 
 
 wliom we take as the foremost of the heathen nations, 
 readily recognised the rhythm of tlie earlier poetry ; 
 but their fastidious nicety became unsatisfied, uidess 
 that organ of sense was indulged by the exact periodical 
 correspondence of line with line, of stanza with stanza. 
 They had abandoned equability of thought, and sub- 
 stituted equability of sound. And thus it fared, as 
 it has with every divine art that has been secularised. 
 The spiritual, the ethereal part, originally constituting 
 its essence, was sacrificed to that which is compara- 
 tively sensual and mechanical ; and the casket was 
 adorned, to the disparagement of the treasure which 
 it contained. The picture was compressed or ex- 
 panded, in order to suit the elaborate and well pro- 
 portioned frame. 
 
 Traces of this corruption are to be found in every 
 nation. The most obvious and well known form of 
 mechanical symmetry is the correspondence of line with 
 line, in syllabic metre. But it must be remembered that 
 this is not an universal form. The Welsh bards, in their 
 triads, give indications of an ancient metre and stanzas 
 of sentiment, like that of the Hebrews. The "* prin- 
 ciple of the Anglo Saxon metre remains yet to be dis- 
 covered, though, probably, it was merely rhythmical. 
 But in the Scandinavian poetry, metre was probably a 
 later and a borrowed adjunct ; the mechanical recur- 
 rence there shows itself in alliteration. The rhyming 
 terminations form another obvious exemplification of 
 the same principle. The burthen of the song is 
 another ; a leading feature in the beautiful and most 
 national poetry of Scotland, though even there gra- 
 dually debased into an intrusive incumbrance, till it 
 is found in its lowest form in the unmeaning choruses 
 
 " See Turner's History of the Anglo-Saxons, book ix,, chapter L, in 
 which he states the opinion of the venerable Bede that it was rhythniical. 
 But he probably contrasts 7-hythvi with quantity. Thus Englisli and all 
 modern verse might be called rhythm. 
 
 z 3 
 
3-42 ^lETRICAL STRUCTURE OF THE PSALMS. [Dissert. IV. 
 
 of ballads. In a more refined and enlarged shape it 
 exists in the regular metrical correspondence of the 
 stanza, irregular when taken singly, but syimnetrical 
 when connected with others ; and above all in the 
 strophes and antistrophes of the lyric poets of Greece. 
 
 Now, in every one of these instances there has been 
 a degeneration from the sacred archetype. For secular 
 verse (considered merely [as verse, not as poetry, pro- 
 perly so called) may be perfect, if only the outward 
 structure be preserved, let the sentiments be what 
 they may. Whereas, though similar artifices un- 
 doubtedly do occur in the Sacred writings, they are 
 mere accidental and occasional accessions ; the senti- 
 ment is perfect without them ; and the essential parts 
 of the poetry of the Hebrews can be translated, with- 
 out any detriment, into the language of every civilized'' 
 nation under heaven. 
 
 But a closer illustration of this theory is afforded 
 in a phenomenon, which doubtless the classical reader 
 has anticipated, the Greek Choral Ode. Compare with 
 these finished productions of ancient art some of the 
 more obviously regular Psalms, the 66th, for instance, 
 or the 107th, and the analogy must be evident. If 
 we substitute the metre of thought for the metre of 
 sound, there is an analogous correspondence between 
 stanza and stanza. We may call the duipsalma of the 
 Hebrews a strophe, or the strophe of the Greeks a 
 diapsalma, and the same idea of responsive resem- 
 blance "vvill be conveyed to the mind. There is, how- 
 ever, this great superiority on the part of the Hebrews, 
 arising from the intellectual character of their metre ; 
 
 " The qualification of civilized is made, since it can hardly be under- 
 stood how monosyllabic and uninflectcd languages can translate the 
 Scriptures otherwise than paraphrastically. The Chinese language does 
 not deserve to be called civilized. With all its spurious refinements, and 
 its gross plagiarism of civilized arts, a more essentially barbarous natiou 
 does not exist. Its language is the mere prattle of infants. 
 
§ 2.J ANALOGY BETWEEN SACRED AND SECULAR METRE. 343 
 
 namely, that whereas the Greek antistrophc corre- 
 sponds accurately in syllabic quantity with the strophe, 
 the recurring stanza is not merely a response, but a 
 moral amplilication. 
 
 The dithyrambics of Pindar are altogether lost. 
 But since the character of these was more peculiarly 
 sacred, as dedicated to Bacchus, we might naturally 
 expect to find in them something more of an archaic 
 character, than in his more factitious odes which still 
 remain. Yet may we not collect from the words of 
 
 Horace, 
 
 Seu per audaces nova dithyrambos 
 Verba devolvit, nuinerisque fertur 
 Lege solutis % 
 
 that they were more purely rhythmical, and less 
 metrical than his other odes, which cannot be said 
 to be altogether unrestrained by law : since, inexpli- 
 cable as may be the system of each strophe, taken by 
 itself, it is bound by the law of correspondence to its 
 anti strophe ? 
 
 However this may be, let us proceed to the Ode of 
 ancient Tragedy. This was at first a hymn, sung in 
 honour of that mysterious deity, Bacchus, whose rites 
 and history afford many distorted indications of the 
 worship of the true God: and was celebrated by a 
 chorus, accompanied with instrumental music, in that 
 solemn and measured movement, of which the word 
 dance gives but a false idea. How early this was in- 
 troduced into Greece cannot now be ascertained. But 
 when we consider all its circumstances, the religious 
 rites, the music, the dance, the alternate strophes of 
 its poetry, all seem to point to the Holy Land. A 
 reference which is confirmed by the fiict universally 
 admitted, that letters were first brought to Greece 
 through Phoenicia, and doubtless ultimately from the 
 
 » Lib. iv. Od. 2. 
 z 4 
 
344 METRICAL STliUCTURE OF THE TSALMS. [Dit^sicux. IV. 
 
 people of Isrtiol. Tlie first rude attempts of tra- 
 gedy, spriugino- ut a comparative^ late period from 
 this ancient Choral Ode, are well known. It con- 
 sisted at first of -a simple dialogue between the inter- 
 locutor and the chorus ; this dialo<i;ue formino; a mere 
 interlude. The dialogue, heretofore used in an un- 
 connected and inartificial way, was made, by Thespis, 
 subservient to a story or plot, and connected with the 
 chorus. The archetype of this most simple form of 
 the drama is found in sacred composition : tlie alter- 
 nation of monologue and chorus being evident, as 
 Bishops Lowth and Horsley have shown, in the 
 Psalms, in Isaiah, and the Song of Solomon.'' 
 
 The further Ave ascend into antiquity, the closer 
 must the resemblance to the sacred original be na- 
 turally expected. And this proves, on examination, 
 to be the case. For in the tragedies of /Eschylus, the 
 father of the regular drama, a character extremely 
 Hebraic, as to the structure of his choruses, is often 
 to be found. The songs of the chorus are more 
 strictly antiphonal. They alternate more regularly, 
 at more stated intervals, with the dialogue, of which 
 there is an accurate example in the scene between 
 Eteocles and the messenger who describes the hos- 
 tile army, in the Seven against Thebes : though 
 this is far from a solitary instance. They abound 
 more in repetitions of the same strain, after the man- 
 ner of the more antiphonal Psalms. Take, for ex- 
 ample, the epistrophe in the Eumenides, stt) 6s rcji ts- 
 Suixivco, x.T.X. (line 324.",) repeated in the antistrophe : 
 and two strophes repeated throughout, UuSso) vsioTSf>oi^ 
 (775.) and £>e ttuQsIv raos. (835.) And the third 
 
 •'' Pra;l. xxx., where be instances Psalm xxiv. and cxxi., and Isaiah 
 Ixiii. Bishop Ilorsley instances many Psahns: but I must confess some 
 of his arranf^ements appear forced. 
 
 ^ The relerences are lo Schiitz's edition. 
 
§ 2.J ANALOGY BETWEEN SACKED AND SECULAR METRE. 34' 
 
 strophe and aiitistrophc of the hast ode (994. and 
 1012.) l)egin jdike with ;^ot/p=r= ;^a/p=r=. Again in 
 tlie Persians, this triplet of the chorus, addressing 
 the ghost of Darius ; 
 
 asf3o[j.ai /xev TrpocriBscrOaL, 
 
 as/SofiaL S" avria Xs^ao 
 
 (TsOsv, dp-^aup TTSpl Tup^si. (691.) 
 
 I dread to look on thee, 
 I dread to speak to thee, 
 From long accustoniVl awe. 
 
 To which their next address is an exact response ; 
 not without a kind of rhyme like the former. 
 
 hiofxat, jAv •yapicracrOat, 
 hiofxat h\ivTia (f)da6ai, 
 Xs^as SvaXsKTa (f)lXoiaiy. 
 
 I fear thee to obey, 
 I fear the truth to say, 
 Telhng a tale of woe. 
 
 The lamentation of Antigone and Ismene over 
 their slain brothers, in the Seven against Thebes, is 
 strictly responsorial in sentiment ; and the ode im- 
 mediately preceding is very remarkable for its ar- 
 chaic form ; and the following lines are surely most 
 scriptural : 
 
 BvaSaifxcov a(f>lp a rsKovaa 
 
 irpo iracrSiv yvvaiKcou, 
 
 oTToaai rsKVoyovat KSKXrivrai. (929.) " 
 
 " Unhappy is she who bore them, above all women, 
 as many as are called mothers." 
 
 But there is one tragedy of iEschylus, Avhich ap- 
 pears far more archaic in its composition than the 
 others : that most beautiful fable of The Suppliants. 
 Though far from desiring to call in question those 
 
346 METEICAL STRUCTURE OF THE PSALMS. [Dissert. IV. 
 
 profound arguments used by Mr. Keble'', whence the 
 priority of Prometheus to the other dramas may be 
 inferred, still I cannot but regard The Supphants, 
 even though composed at a later period, as the best 
 exhibition of the simplicity and religion of infant 
 tragedy. As a drama, it is the most inartificial of 
 all : there is liardly any plot or action. The members 
 of the chorus form the principal personages, and their 
 songs the chief matter of the drama, the dialogues 
 being little better than interludes. For though the 
 catastrophe is brought about by the interlocutors, 
 yet the meagre action of the drama is evidently sub- 
 servient to the copious choral hymns. Then, the 
 morality is most pure : filial innocence, paternal 
 affection, the dignified simplicity of royal hospitality, 
 are exhibited Avith a power of beautiful expression, 
 altogether true to nature ; and the religious senti- 
 ments are so noble, so full of faith, and of a right 
 apprehension of the Divine majesty and justice, as 
 clearly to point out the source whence they are de- 
 rived. Thus the Gods, the parents of mankind, are 
 invoked to hear, as those loho behold the thing that is 
 just : 
 
 aXKu 6 sol ol ysvsTai, 
 
 kXvst £v to hUaiov Ihovrss. . . (80.) 
 
 They are represented as hating pride : 
 
 v/3piv S" sTOLfxcos aTuyovvTSs . . (84.) 
 
 Jove is called the Saviour, and the keeper of the 
 house of holy men : 
 
 Kol Zeuj aoyrrjp rplros oiKoc^vKa^ 
 oaiwv dvBpcov . . . (205.) 
 
 lie is represented as beholding men from his lofty 
 tower, and from thence punisliing that violence of 
 
 " Pra2lectiones, xviii. xix. 
 
§2. J ANALOGY BETWEEN SACKED AND SECULAR METRE. 
 
 wicked men, wliich no one can practise unavenged by 
 the Deity : the Divine Intelligence is seated above on 
 his holy seat, and thence pursues them with ven- 
 geance. 
 
 Idirrsi S" (iTTiScov 
 
 ti^' vyfriTTvpyoiv TravcoXscs 
 
 ^porovs, jBlav 
 
 8' ovns s^ottXi^sc 
 
 Tav diTOLVOv Satfxovicov. 
 
 ■)]/uLevov uvco (ppovrjfia ttcos 
 
 avTodev s^srrpa^ev sfxiras 
 
 sSpdvcou i^' ajLcbv . . . (101.) 
 
 God is invoked as King of kings, most blessed of 
 the blessed, a Power most perfect of the perfect : as 
 He who hateth pride, and will cast iniquity into the 
 purple lake. 
 
 dva^ dvdfCTCov, fiaKapcov 
 
 pLaKuprars, koI tsXscov 
 
 TsXsLoraTov Kpdros, 6X~ 
 
 (3i£ Zeu, irsiOov rs koI ysvsaOco' 
 
 dXevaov dvSpcov v/3ptv sv arvyrjaas, 
 
 XipLva S' sfM^aXs TropcfyvposiBsi 
 
 Tav pieXavofy'y drav .... (540.) 
 
 AVho does not at once recognise some of the most 
 characteristic sentiments and imagery of the Psalms ? 
 And is there not a strong presumption, to say the 
 least, that these odes, so retentive of the original end 
 of tragedy, OAve their sublimity and religious force to 
 the sources of inspiration ? 
 
 It is to be further remarked, that these sentiments 
 and images are most frequent in the first choral ode, 
 Avith which the drama opens ; and that the 6th, 7th, 
 and 8th strophes are responded to, at the termination 
 of each, by their respective antistrophes, in exactly the 
 same -words, the effect of which is singularly beautiful. 
 The choral ode, which praj's for blessings upon the 
 Argive land, in gratitude for benefits conferred, is 
 
 347 
 
348 METEICAL STRUCTURE OF THE PSALMS. [Dissert. IV. 
 
 full of the most graceful and natural imagery, and 
 strongly reminds vis of those passages of Isaiah wliich 
 foretel the peaceful reign of the Messiah, and of the 
 G7th and 65th Psalms. 
 
 fir)8s TL9 dvhpoKfJLrjS 
 
 Xoiyos BTTskdaTW^ 
 
 TuvSs ttoXlv Sat^oiv 
 
 a')(opos, (iKiOapis . . . (()!)2.) 
 
 KapTToreXetv 8s rov 
 
 ZSVS eTTLKpaiVSTO} 
 
 (pipfjuaTL 'yav Travcopo) . . k. r. \. (702.) 
 
 I must leave it to intelligent scholars to fill up for 
 themselves the outline here sketched out, in which an 
 attempt has been made to show the heavenly source 
 of the most magnificent efforts of lyric poetry among 
 the ancients. Such an enquiry will surely not be con- 
 sidered as altogether out of place. Its moral uses are 
 many and obvious. It will tend to show, how the 
 highest and most intellectual arts, communicated that 
 they might advance the cause of virtue and religion, 
 have, when secularised, been so gradually debased, as in 
 the end to be the servants of immorality, or at least, of 
 mere intellectual dissipation. Tluis it has fared with 
 dramatic music, Avhicli in its present most degraded 
 form, the opera, though used in Christian countries, 
 sinks far beneath the level even of the Pagan. Thus 
 with the drama, in the abominable buffooneries of Aris- 
 tophanes'\ in the English plays of Dryden, and others, 
 far less moral than those of the three great authors 
 
 " "Why is this blasphemer of all that is sacred, this corrupter of 
 morals, so much favoured at our universities? The frequent beauty of 
 his poetry makes his abominations but the more dangerous. lie was 
 fitted to the democratic insolence of the Athenian mob. And yet we 
 find that noble drama of ^I'^schylus, just noticed, almost totally neglected, 
 on the miserable ground of the obscurity and mutilation of some passages. 
 Its general scope and argument is clear enough ; nuich more clear than 
 the opening I'ythic ode of Tuidar, the obscurity of wliich Ileyiic freely 
 ucknowled<i;es. 
 
§ 2.] ANALOGY BETWEEN SACRED AND SECULAR METRE. 
 
 of antiquity, who uniformly upheld the tenets of re- 
 ligion, according to the imperfect knowledge permitted 
 to tliem. Our own Shakspeare, indeed, disfigured as 
 his writings frequently are, by the contamination of 
 his age and of his profession, which even his essen- 
 tially pure and religious spirit could not escape, forms 
 a noble contrast to his successors. But even when 
 we read the most religious poetry of uninspired au- 
 thors, whether ancient or modern, the whole circle of 
 critical research will prove the immeasurable superi- 
 ority of their great archetype. Its very structure and 
 mechanism is composed of deeply intellectual and moral 
 elements ; and the Avhole economy of sacred verse 
 reminds us of Him who framed the architecture of the 
 universe. 
 
 The follo"wing Dissertation will pursue a cognate 
 subject, in remarking on some of the peculiarities ob- 
 servable in the poetical imagery of the Psalms, and 
 with a like intention, that of illustrating their moral 
 and spiritual meaning. 
 
 349 
 
350 
 
 NOTE ON DISSERTATION IV. § 1. Page 329. 
 
 The systems of supplying the vocal sounds in Hebrew, recom- 
 mended by Masclef, Parkhurst, and others, who altogether reject 
 the points, are opposed to the whole analogy of Oriental pronun- 
 ciation, and therefore deserve no regard, as approximations to the 
 ancient method, now irrecoverably lost. Still these methods may be 
 practically sufficient for those who merely desire to read Ilebi'ew, 
 and have no occasion to speak it. A middle course may be sug- 
 gested between the utter rejection of the points, as guides, and the 
 scrupulous adherence to the Masoretic system, as an integral part 
 of the written language. That system is most valuable and in- 
 teresting, as showing what was the actual mode of pronunciation 
 bi/ the inventors of the sfjstein, and what was their interpretation of 
 certain words, which, having a latitude of meaning in their un- 
 pointed state, could be explained by the context only, or by the 
 authority of some one versed in the language. The points are, 
 doubtless, a valuable help to those who have occasion to speak the 
 language so as to be understood by modern Jews. But more than 
 this I cannot concede to these laborious and useful critics. The 
 points, which supply many of the vowels (not all, as the Masoretic 
 grammarians erroneously teach), are no part of the Sacred Text ; 
 and it is to be wished that the printed Bible was, like Kennicott's, 
 and like the Synagogue rolls, generally freed from such disfiguring 
 incumbrances, and that pointed Bibles were reserved, like com- 
 mentaries, for reference. The constant use of a pointed text in- 
 sensibly leads the reader to consider the points as integral parts of 
 God's written word, and prejudices him in favour of Masoretic 
 interpretation, as if that were fixed and unquestionable. Whereas 
 their interpretation (the value of which has been much exaggerated) 
 has in reality no more intrinsic weight than those afforded by 
 the Septuagint, Syriac, and Vulgate versions, by which it is often 
 contradicted. 
 
 '.i It has been completely settled by Cappellus, Bishop Walton, 
 and others, that the points are a comparatively modern invention. 
 But the expediency for their use has been magnified far beyond 
 the truth. The alleged obscurity in which their absence would 
 involve the text, from so many unpointed words having various 
 meanings, is really not so great as that which obtains in English, 
 where it is well known that the precise meaning (whether it be the 
 
NOTE ON DISSERTATION IV. 
 
 tense, or number, or else the radical sense of the word) must often bc 
 dctcrniincd, as it is in fact clearly determined, by the context. 
 I'^ven in the more exact languages of Greece and Rome this often 
 happens. The pronunciation of words, spelt in the same way, 
 varies much according to their ditt'erent senses ; yet this variation 
 has never suggested the expediency of disfiguring the pages of our 
 books by the additions of such phonetic marks as are used in 
 Walker's pronouncing dictionary. 
 
 But, allowing the usefulness and convenience of tlie Masoretic 
 pointing, (which, as corks to young swimmers, I am far from de- 
 nying,) even here the necessity for permanently adopting it in the 
 text is very much over-rated. As stated in the section to which 
 this note refers, the system of pronunciation in Hebrew is even 
 now, in its debased state, very regular, and the method of sup- 
 plying the vowels in most of the formatives and inflections, may be 
 reduced to a settled and intelligible system. This has been shown 
 by Dr. Grey, in his "New and Easy Method of Learning Hebrew 
 without Points" (1737), in which he supplies the Masoretic vocaliza- 
 tion, omitting some of its redundancies. The grammar is not so full 
 or scientific as it might easily be made ; and the author was hallu- 
 cinated by the metrical system of Bishop Hare. Still, from his 
 manual may be collected some principles of vocalization, such as 
 the change of vowel in dissyllabic words when these receive the 
 augment ; when, accoi'ding to the usage of most languages, the 
 accent, that is, the long vowel, is removed from the first syllable of 
 the word to the penultimate. Many other observations of this kind, 
 based upon the ordinary laws of pronunciation, are readily sug- 
 gested. The Avriter of this note, however, can speak from expe- 
 rience, of the comparative easiness of Dr. Grey's method ; nor 
 has he felt the want of the points (after the theory had once been 
 mastered), as an index either to the interpretation or the pro- 
 nunciation. 
 
 In fact, most of tlie languages, called Shemitic (the Ethiopic 
 being a remarkable exception), do actually leave a considerable part 
 of their vocalization unwritten. The pointing of Syriac and Arabic 
 is far from universal, and tlie age of its adoption is not primitive. 
 The Rabbinical Hebrew also is unpointed, but not on that account 
 difficult to read. Now, since the vocalization proceeded, in He- 
 brew, on a regular system, (more regular, we may believe, when 
 the language was in its purity,) it is perfectly consistent with the 
 divine economy of means, that a large proportion of tlie vowels 
 should not be expressed, but systematically understood. 
 
 If, however, the points are to be retained as a part of gramma- 
 tical teaching, the cause of divine truth at least requires that the 
 grammar should be purged of those impertinencies with which the 
 
 351 
 
352 NOTE ON DISSERTATION IV. 
 
 •received system abounds. Surely it is most inconsistent with a 
 due respect for the sacred language to sujipose, that certain letters 
 are often redundant, and perfectly useless in pronunciation, or as 
 the grammarians call it, quiescent. Thus, K is represented to be 
 no letter whatever, if a letter means the representation of a sound. 
 Whereas it really is the mark of a variable vowel (this variable- 
 ness being, in all probability, a corruption), or to speak more cor- 
 rectly, the mark of an unaspiratcd vocalization. To call it the 
 spiritus le/iis, is the same tiling as saying that it has no sound 
 whatever. But in fact we find, that in many languages, the letter 
 A is, of all others, the most liable to change and attenuation. 
 Thus, in the Attic dialect of Greek, the broad A was softened into 
 7/ : the modern English gives it the old sound of e, in instances 
 where the vulgar Irish dialect (the representative of the Eliza- 
 bethan pronunciation), and the Lowland Scottish language, retain 
 the broader sound. The same fluctuation is observable in Arabic. 
 And when a forms part of a diphthong, we find it frequently mo- 
 dified by I or u, as in most European languages. Is it not evident 
 tliat IN, to which the sound of a long o is frequently given, is, in 
 fact, a diphthong, the natural sound of 1 being u, and that when 
 the sound o is not expressed, but understood, (as in the active 
 participle, or Benoni,) there is an elision of the u in writing ? 
 Again, i and » are often represented as quiescent, when it is pal- 
 pable that these letters, and not the points accompanying them, 
 express the sound of the long u and i. No points, in fact, are 
 required in these cases. The i and i have powers precisely the 
 same as the u and i in Latin. Sometimes they are consonants or 
 semiconsonants ; in which case they are followed, according to 
 Oriental usage, by a vowel sujiplied in pronunciation (the vowel 
 required by the analogy of the language) ; at other times, they 
 are clearly vowels. Sometimes they are parts of diphthongs, the 
 former letter of the diphthong being understood ; as in the case of 
 the plural termination, ' in regiminc, w^hich is pronounced e; 
 plainly the corruption of ai or ei. The letter n is always the 
 aspirated vowel ; and the Masorites are not to be listened to, who 
 would make it quiescent in several cases. It is not to be believed 
 that the language used by God's prophets, and written by the 
 finger of God himself, should so abound at once with redundancies 
 and defects. 
 
 The points are multiplied to an unnecessary degree, and often 
 used where they are not pronounced, the shcva or short e, for ex- 
 ample. But in this instance, as in many others, we see traces of 
 the ordinary corruption of language. This sheva mai'ks an ancient 
 vowel sound, now dropped. Such is the final E of the French, and 
 of old English, formerly pronounced at the end of words ; still re- 
 
NOTE ON DISSERTATION IV. 
 
 tained in solemn Frencli poetry, and certainly pronounced in the 
 languajjfc of Chaucer, thouj^h now quiescent. We may see like 
 marks in the quiescence of the '' in the final syllable 1\ which re- 
 sembles the modern French elisions of *, eiit, ike, still written, but 
 pronounced in the seventeenth century. Thus also the debasement 
 of the language, in substituting so often a short i for A in the pro- 
 nunciation of a, a corruption observable in the vulgar provincia- 
 lisms of English, and of which there are instances in Arabic, as in 
 Ibrdhhn ^Kiv Ahrdliam. Instances might be multiplied: but this 
 note has already been too prolix. Suffice it to observe, that wo 
 might just as reasonably aflirm that the recitation of Chaucer's 
 poetry was to be regulated by the modern unharmonious system 
 of pronunciation, now naturalised, with all its elisions, abbi'evia- 
 tions, and change of accents, or that the colloquial corruptions of 
 cfiird, hlcss'd, &c. were to be used in reading tlie Scriptures or the 
 Liturgy, as maintain tliat the Masoretic metliod gives the pui-e 
 sound, and exhibits the real rhythmical capabilities, of the Hebrew 
 language. 
 
 VOL. IT. A A 
 
THE 
 
 BOOK OF PSALMS, 
 
 DISSEP.TATION V. 
 
 A A 2 
 
DISSERTATION V. 
 
 ON THE rOETICAL IMAGERY OF THE I'SALMS. 
 
 § 1. THE TWO LEADING PKINCIPLES OF SACRED IMAGERY. 
 
 The object of the preceding essay has been to show 
 the strictly intellectual and moral nature of sacred 
 metre J as it may be justly called. When the external 
 mechanism of Hebrew poetry, and the channels of its 
 ideas, consist of materials so intrinsically valualjle, 
 what must not those thoughts be, for whose reception 
 they were constructed ? It Avill therefore be the en- 
 deavour of the following pages to show the moral 
 superiority of the sacred over secular compositions, in 
 a few particulars respecting the use of imagery in the 
 Psalms ; thus treating poetry as distinguished from 
 its vehicle, verse. 
 
 But first, it is to be observed, that an analogy subsists 
 between secular and sacred compositions, in this re- 
 spect, that it is difficult, if not impossible, to draw a 
 distinct line between mere verse, and poetry properly 
 so called. Poetry, a word which has never yet been 
 accurately defined, is known to be really and essen- 
 tially such, when verse is made the vehicle of exalted 
 thought and diction, and of imagery and sentiments 
 which are far removed from every-day discourse. 
 But in didactic, moral, and dramatic compositions, 
 it often happens that none of its characteristics are to 
 be found, unless we grant that metre is essentially 
 one of these, a question that has never yet been 
 
 A A 3 
 
358 ON THE POETICAL IMAGERY OF THE PSALMS. [Dissebt. V. 
 
 solved. Now as metre is made the vehicle of the 
 senno jx^destris in secular literature, so in the Holy 
 Scriptures the system of moral metre is accommodated 
 to modes of instruction, from -which the sublime 
 imagery of the Prophets and of the Psalms is 
 generally absent. Such is a large portion of the 
 Gospels: such is the introductory naiTative in the 
 Book of Job, which Dr. IMason Goode, in his trans- 
 lation, has rightly arranged in metrical lines, though 
 its sentiments are unquestionably mere prose. 
 
 Yet whatever the confines of real poetry may be, 
 there are two characteristics common to every species 
 of measured composition in the sacred Avritings : The 
 first is, an accurate regard to truth ; the second, a 
 design to exalt our thoughts to heaven. To the 
 former end the measured and logical accuracy of 
 language, the antitheses and appositions of paral- 
 lelism, minister : the latter end is promoted l)y every 
 method of divine instruction, whether this address 
 the heart, the understanding, or the imagination. 
 
 It has been fully shown by Bishop Lowth, not 
 only that all the recognised characteristics of poetry 
 are abundantly found in Holy Scripture, but that in 
 their use and application the secular are immeasurably 
 excelled by the sacred poets. To go over ground so 
 familiarly trodden, since the time of that eminent 
 critic, by every one pretending to sacred scholarsliip, 
 would be altogether superfluous. The following ob- 
 servations must be limited to an exhibition of the 
 moral causes of certain differences observable in the 
 ordinary use of poetical figures by sacred and secular 
 writers. It is by no means intended to exhaust this 
 subject, which an intelligent writer can readily am- 
 plify for himself. 
 
 Tlie causes of these differences therefore, arc to be 
 based upon the two principles asserted above: 
 namely, 1. ii regard for truth; and, 2. the heavenward 
 
§ 2.] THE ACCURACY OF SACRED IMAGERY. 359 
 
 exaltation of our thoughts : tliat characteristic which 
 scriptural critics have termed anagogicaL If these, 
 then, have place, it must be obvious, that })oetical 
 imagery must be used in the sacred writings, not as 
 an end, but as a means, very subordinate to a higher 
 ])urpos('. Tn order to bear out tliis remark, it Avill 
 be necessary to examine each of tliese principles in 
 detail. 
 
 § 2. THE ACCURACY OF SACRED IMAGERY. 
 
 The first principle, the regard to truth, must of 
 course so regulate the use of poetical imagery, as 
 that every description and comparison introduced 
 shall be accurate in itself, and in its application. 
 
 First then, as to description. For reasons which 
 shall be hereafter assigned, detailed descriptions of 
 natural objects or operations in holy Scripture, 
 are by no means fre(|uent, and very seldom purely 
 descriptive, unmingied Avith moral or intellectual 
 ideas. When they do occur, their object is to inform 
 the mind, by leading it either to contemplate the 
 works of God, or to derive a moral lesson from the 
 consideration of certain particulars. But whenever 
 used, they represent things as they actually are, and 
 never introduce unreal objects for the sake of effect, 
 as painters do in their foregrounds. I do not now, 
 of course, allude to language plainly metaphorical, 
 Avhich may be introduced into the description, and 
 which no reader can take in its literal sense ; but I 
 mean that facts which do not exist, are never stated 
 as if they did exist, for the sake of poetical effect ; an 
 error into which secular poets, it is known, frequently 
 flill. 
 
 Two instances from tlie Psalms must sufHce, each 
 descriptive of the visible works and operations of 
 
 A A 4 
 
3G0 ON THE POETICAL BIAGEKY OF THE TSALiMS. [Dissert. V- 
 
 God. We shall have occasion to recur to both pre- 
 sently, for the illustration of another ])art of this 
 subject. The first is the description of the thunder- 
 storm in the 18th Psalm. 
 
 Then did shake and <|uake the earth ; 
 
 And the foundations of the hills trembled, 
 
 And did shake, because wrath was with hiui. 
 
 There went up a smoke from his nostrils. 
 
 And a fire out of his mouth devoui'ed : 
 
 Coals were kindled by it. 
 
 And he bowed the heavens, and came down : 
 
 And there was darkness under his feet. 
 
 And he rode upon the Cherub, and did fly, 
 
 And he came flying upon the wings of the wind. 
 
 lie made darkness his secret place. 
 
 Hound about him were as a pavilion darkness of waters. 
 
 Thick clouds of the skies. 
 
 At the brightness before him the thick clouds passed. 
 
 Hail, and coals of fire. 
 
 And the Lord thundered in the heavens. 
 
 And the Most High gave his voice. 
 
 Hail, and coals of fire. 
 
 And he sent out his arrows, and scattered them. 
 
 And his ll2:htninn;s he showered, and discomfited them. 
 
 Then were seen the channels of the waters ; 
 
 Then were discovered the foundations of the world. 
 
 At thy chiding, O Lord, 
 
 At the blasting of the breath of thy nostrils. 
 
 This describes one of those supernatural tempests 
 and convulsions of nature, recorded more than once 
 in the Scriptures, either when God destroyed the cities 
 of the plain, or made the Israelites to pass through 
 the Red Sea, or appeared on Mount Sinai, in earth- 
 quakes, and thunderiiigs, and disturbance of the very 
 depths of the ocean. In the burning- of the moun- 
 tains, first is described the smoke, and then the 
 flame. Then the dark and lowerin^j; clouds, that 
 precede the tempest ; then the sudden disrui)tion of 
 
§2.] THE ACCURACY OF SACRED IMAGERY. 3G1 
 
 tlie clouds, and t]\v. Imil, (which in the eastern cli- 
 mates accompanies thunder,) and the thunderbolt, 
 described under the expression of coals of fire. Then 
 follows the thunder ; the hail, the thunderbolt, the 
 forked lightnings, described as arrows, are repeated : 
 and lastly the disturbance of the waters consequent 
 upon the storm. 
 
 The second instance is from the 65th Psalm. 
 
 Thou dost visit tlic earth, and moisten it : 
 
 Thou makcst it very plenteous : 
 
 The river of God is full of water. 
 Thou preparest their corn. 
 When thou hast so prepared it. 
 
 Her ridges thou dost saturate : 
 
 Thou scndcst rain into her furrows : 
 AMth showers thou dost soften it. 
 The increase of the earth thou dost bless. 
 Thou crowncst the year with thy goodness. 
 And thy clouds drop fatness. 
 
 First arc described the preliminary rains, both the 
 showers, and the heavy rains, the former moistening 
 the earth, the latter, called "the river of God," adapt- 
 ing it for greater increase, by penetrating to the im- 
 planted seed. The corn is thus put in a state of 
 prejDaration, when God " has so prepared " the earth. 
 Then a more particular description is given of the 
 ground as furrowed by the plough, and a repetition 
 is made of the two kinds of rain, the heavy saturating 
 shoAvers, and those which are more gentle. After 
 this follows the visible increase of the growing corn, 
 and then its maturity, when it decks the earth as it 
 were with a golden crown ; brought to perfection by 
 the genial influence of the skies. 
 
 It must be observed, that in this description the 
 7th, 8th, and Dth lines, are reflections and expansions 
 of the first three, describing a contemporaneous pro- 
 cess : the sentence being what is called an Epauodos.'' 
 
 " Sec this word explained, p. 27. of lliis volume. 
 
362 ON THE rOETIC^L IMAGERY OK THE PSALMS. [Dissert. V. 
 
 The same exactness prevails in comparisons, whether 
 similes or metaphors. AVhcn these are given in 
 detail, every part of the comparison finds its parallel 
 in the thing compared. And here it will be necessary 
 to observe upon a remark of Edmund Burke's, in the 
 Introduction to his Essay on the Sublime and Beau- 
 tiful, lie says that " the most ignorant and bar- 
 barous nations have frequently excelled in similitudes, 
 comparisons, metaphors, and allegories, who have been 
 weak and backward in distinguishing and sorting 
 their ideas. And it is for a reason of this kind, that 
 Homer and the oriental writers, though very fond of 
 similitudes, and though they often strike out such 
 as are truly admirable, seldom take care to have them 
 exact ; that is, they are taken with the general re- 
 semblance, they paint it strongl}^, and take no notice 
 of the diiference which may be found between the 
 things compared." 
 
 As regards Homer, this observation is strictly true. 
 Homer is, indeed, in one respect most accurate, that 
 is, in his choice of the leading feature, the central 
 point of resemblance, which forms, as it were, the 
 focus of the simile. So just is he in this particular, 
 that it may be doubted, whether one of his numerous 
 similes could change places with another, cognate, 
 and even identical as the application of many may 
 seem to a cursory reader. But in general, (there are 
 exceptions) he seeks little or no accordance in the 
 adventitious circumstances of the similitude. These 
 he gives in detail, not for the sake of bringing out and 
 illustrating the truth of the comparison, but in order 
 to finish highly a picture presented to his imagination. 
 As pictures, therefore, his similes are most exact; as 
 comparisons, they are either redundant, or defective. 
 
 Tlie imagery of oriental writers is generally less 
 true to nature, and forms less perfect pictures than 
 the descriptions of Homer. But here I must inter- 
 
§ 2.] THE ACCURACY OF SACRED IMAGERY. 303 
 
 pose a caution against including in tlie vague term of 
 "oriental writers" the inspired vehicles of Divine 
 Truth, the prophets and psalmists of holy writ, as 
 many have irreverently done ; but as the great philo- 
 sopher whose words have been just quoted never 
 intended. An oriental character they certainly do 
 possess; or, to speak more justly, the nations nearest 
 tlie chosen people, those Avho have retained most 
 closely the ancient patriarchal language and man- 
 ners, resemble in many features of their diction and 
 thought, the sacred archetypes. Ikit if exaggeration, 
 hyperbole, and redundancy of false ornament, had in 
 after times become to any extent the characteristics 
 of oriental eloquence and poetry, such defects arose 
 from the abandonment of those primitive restraints, 
 those sacred channels of thought, which made the 
 imagination ever subservient to truth. " This loose 
 and uncertain manner of speaking," to use again the 
 words of Mr. Burke'', "has misled us both in the 
 theory of taste and of morals ; and induced us to 
 remove the science of our duties from their proper 
 basis (our reason, our relations, and our necessities), 
 to rest it upon foundations altogether visionary and 
 unsubstantial." 
 
 In the Scriptural comparisons every circumstance 
 described illustrates the moral application. The 
 images are ornamental onl}^ from their own intrinsic 
 beauty ; but they are not introduced for ornament, 
 but for use. If the imagination is delighted, the 
 reason is informed. Thus, when the righteous man 
 is compared to a tree, planted by the water side "", 
 every part of the comparison has its moral reflection. 
 As the tree is nourished by the river, so is the soul 
 by that river of God, which is full of water, and of 
 which our Saviour speaks." As are the fruits of the 
 
 ^ Essay on the Sublime and Beautiful, ))avt iii.sect. xi. 
 " Tsalm i. 3. <^ St. John, iv. 14. 
 
364 ON THE POETICAL IMAGERY OF THE PSALIMS. [Disseut. V. 
 
 tree, so are the fruits of holiness : in both cases tliey 
 are produced in due season, at God's appointed time, 
 consequent upon that gradual growtli ordained by 
 him. The leaf sliall not wither : the spiritual sap 
 Avhich supported liim sliall nourish him all his days. 
 
 So again in that beautiful image of the vine*'', 
 Avhether it is to be called an allegory, metaphor, or 
 simile, since it partakes of the nature of all. Every 
 circumstance is here accurately liistorical. The vine 
 is brought out of Egypt, it is planted ; room is made 
 for it : it fills the land, as did the Israelites in the 
 days of their prosperity. The hills are covered with 
 her shadow, corresponding to the inhabitation of the 
 fertile hills of Judah by this prosperous nation, which 
 did actually send out her branches unto the sea, and 
 her boughs unto the river, in exact fulfilment of the 
 Divine promise : " I will set thy bounds from the 
 lied Sea even unto the sea of the Philistines, and 
 from the desert unto the river'':" a promise which 
 had its accomplishment in the days of Solomon. The 
 branches and l)oughs are therefore here no adventi- 
 tious ornament, introduced to fill up the picture, but 
 the elucidations of an important truth. 
 
 Now compare with this one of Homer's first simile 
 of the Bees." The focus of the comparison is accu- 
 rately adjusted. The points of resemblance are the 
 swarming of the armed multitudes coming from their 
 tents, and the " busy hum of men." But the circum- 
 stances of the simile have no parallel : tlie spring 
 flowers towards which the bees are flying, the hollow 
 rock from which they issue. These circumstances 
 indeed render the picture perfect in itself, and are as- 
 sisted by the exquisite imitative artifice of the verse, 
 which represents the very hum of the bees, and the 
 irregularity of their flight — 
 
 •• rsalm Ixxx. 8—11. '' Exod. xxiii. ;31. "^ Iliad, B. 87. 
 
§3.] THE ANAGOGICAL PRINCirLE. 3G5 
 
 'HuTf Wvsa slat /isXiaadcov dBivdwv, 
 
 Tl£Tp')]9 EK 'y\a(f>vpfis alsL viov sp')(oiJievd(ov, 
 
 liorpvhov hs TTETOvrac sir dvOsaiv ciapivoiaiv, 
 
 At jjisv r £v6a d\is TrsTrorrjaTai, a'l Bs rs sv6a 
 
 l>ut how different the moral, or even the intellectual 
 ofFcct, of the scriptural and the secular comparison ! 
 
 § 3. THE ANAGOGICAL PRINCIPLE. 
 
 We now come to examine the second principle, 
 namely, the anagogical intention of sacred imagery, 
 that is, the leading the soul upward to heaven. 
 
 The adherence to this principle must imply a settled 
 purpose of detaching the thoughts and affections from 
 any thing earthly, however intrinsically beautiful or 
 sublime, as the final object of contemplation ; though 
 as means to a better end, they are frequently, and yet 
 with a careful economy, presented to our view. 
 
 Hence it is that the image is accompanied with no 
 details, except sucli as are essential towards illustrat- 
 ing the moral end. Thus, in the comparison just 
 cited, of the tree, in the first Psalm, no mention is 
 made of the kind of tree. This is no way necessary ; 
 what is here said is applicable to the whole genus, 
 and to mention any species would have had the effect 
 of diverting the imagination from a moral lesson to a 
 picture. Whereas, when the kind of tree is elsewhere 
 specified, the specific difference is necessary towards 
 the truth of the comparison. The " green olive tree 
 in the house of God"'' represents the permanence of 
 the good man's spiritual happiness : and the wide- 
 spreading cedar in Libanus'', the flourishing palm tree, 
 represent the expansive prosperity and exaltation of 
 those whom God has favoured. 
 
 ••• rsahu lii. 8. " Psalm xcii. 1'2. 
 
'dGG ON THE POETICAL IMAGERY OF THE TSALMS. [Disskrt. V. 
 
 But before proceeding further, it may be well to 
 remark upon another thougli subordinate advantage 
 in the use of simple images, eonsisting of single 
 words, of ideas unaccompanied witli circumstances. 
 Tlie liealthy exercise of the imagination is thus most 
 effectually cherislied. It is not put in leading-strings, 
 and compelled to follow servilely the tracks of an- 
 other, or to listen to those wearying details which its 
 guide importunately points out, and upon the com- 
 parative beauty of which minds the most refined and 
 cultivated may frequently differ ; since the varieties 
 in the intellectual taste are innumerable. Such re- 
 dundant particularity of description is common with 
 secular poets, and from this vice a great genius of 
 our generation, Walter Scott, is not altogether free. 
 But in sacred poetry the imagination is given certain 
 noble and simple images, either sublime or beautiful, 
 "\diich by their very appearance vindicate their own 
 inherent dignity, requiring no satellites to give them 
 a factitious importance. On the one hand we are not 
 diverted from the great features of resemblance in- 
 tended to be shewn, as may frequently happen in 
 dwelling upon the beautiful particulars in the Homeric 
 pictures ; and on the other, the mind is led to asso- 
 ciate moral truths Avitli the simple and magnificent 
 o])jects of nature in such a way, as to promote pure 
 and unsopliisticated contemplation. 
 
 Thus, the sun and the moon, whenever introduced in 
 Scripture, are unaccompanied witli c[)ithets, but create 
 as great an impression on the mind as if the poet had 
 souglit to rival, ])y his ample details, the colours of 
 Claude or Wilson. And hence it is that there is 
 something so exquisitely l)eauliful in Homer's com- 
 parison of the child in his mother's arms, " like to a 
 fair star," ahiyxiov aa-rspi xaXw"*, whatever be the exact 
 
 " Hind, Z. 401. 
 
§ 3.] THE ANAGOGICAL rillNCirLE. 3G7 
 
 point of resemblance, — whether it be the l)i'ight 
 eye, or the smile of infancy, or a general notion of some- 
 thing pure and joyous, certainly this simile has the 
 effect of exalting and purifying the imagination, by 
 associating the most delightful object in this lower 
 world, a beautiful and iiniocent infant, Avith the 
 glories of the heaven above. But surely here the 
 very generality of the image is more expressive to 
 the understanding than the most laboured descrip- 
 tion could be. 
 
 Of a like kind are two passages in Wordsworth, 
 where the same simple image is employed. 
 
 And like a star, that from a sombre cloud 
 Of pine tree foliage, pois'd in air, forth darts. 
 When a soft summer gale at evening parts 
 The cloud that did its loveliness enshroud. 
 She amiled. * 
 
 Again, 
 
 A violet by a mossy stone, half hidden from the eye. 
 Fair as a star, when only one is shining in the sky. '^ 
 
 The mention of the points of the compass is always 
 poetical. " Thou hast made the north and the south." 
 How beautifully this is associated with Tabor and 
 Hermon, which follow ! And this circumstance it is 
 which gives so much additional force to one of the 
 most imaginative passages of Shakspearc, where he 
 speaks of " a fair vestal throned by the west," and 
 "it fell upon a little western flower." ° Again, — 
 " Then yon same star, that's westward of the pole."'' 
 
 But to return to Scriptural imagery. AVhere de- 
 
 " Sonnet on Mary Queen of Scots landing at the Derwent. 
 
 " Poem ix., of tliose founded on the Airections. 
 
 <" IMids. Night's Dream, Act ii. sc. 2. 
 
 ' Ilamlot, Act i. sc. 1. 
 
368 
 
 ON THE POETICAL IMAGERY OF THE PSALMS. [Dissert. V. 
 
 scriptions or similes are sliort, the circumstances are 
 few and simple, so tliat the mind is not led to dwell 
 on them too long. Perhaps there is no more striking 
 instance, in secular poetry, of the effect produced by 
 tliis simplicity, than in the Paradise Regained of 
 Milton, where a few master touches, impregnated 
 with the spirit of Scriptural poetry, represent to us 
 the close of evening : 
 
 For now Ijcffan 
 Night with her sullen wings to double sliaclc 
 The desert ; fowls in tlieir clay nests were couch'd ; 
 And now wild beasts came forth the woods to roam. * 
 
 When, however, they are long or circumstantial, 
 there is ample provision made for preventing a mere 
 sensuous use of them. These will require a somewhat 
 more detailed examination. 
 
 The moral, then, is either intimately and insepar- 
 ably associated with the physical, the visible with the 
 invisible, the objects of sight or sound with those of 
 the intellect ; or else, secondly, the simile and com- 
 parison rarely stand distinct, but are intermingled, 
 after the manner of metaphors, and yet so as to be 
 neither pure metaphors, nor pure similes ; or, thirdly, 
 some word or circumstance is continually introduced 
 to remind us of the invisible world, or of the Creator. 
 
 (1.) The intermixture of the moral and the phy- 
 sical does indeed ol)tain occasionally in secular poetry. 
 It is an oljservation of Dr. Warton's, in his Essay 
 on Pope, that " it is one of the greatest and most 
 pleasing arts of descriptive poetry to introduce moral 
 sentences and instructions, in an oblicjue and indirect 
 manner, in places where we naturally expect oidy 
 painting and amusement. We liave Virtue, as Pope 
 remarks, put upon us by surprise, and are pleased to 
 
 " JJook i., coiiclinrni'.' liia's. 
 
§ 3.] THE ANAGOGICAL IMaNCIl'LE. 369 
 
 find a tliiiip; wlicrc we sliould never have looked to 
 meet with it." To the same purpose are the excellent 
 remarks of a livinjj; writer, in his critique on the 
 poetry of Wordsworth.*'' " His sense of the beauty 
 of external nature is seldom merely passive ; the ac- 
 tivities of his intellect are excited by it rather than 
 merged in it, and liis poetry is not often purely 
 descriptive." lie quotes his sonnet descriptive of the 
 plain between Namur and Liege, in which " the eiFect 
 of nature's tranquillity is heightened by allusions to 
 the frequent warfare of which that plain has been the 
 theatre;" adding, " This seems pure description, yet 
 what a serious satire is expressed in one word, — 
 ' War's favourite plai/groimd.^ " In this, however, 
 and other passages, the moral is not blended with 
 the descriptive by the same close intertexture which 
 characterises sacred poetry. These rare and occa- 
 sional excellences of secidar composition are an essen- 
 tial feature of that which is inspired. A'irtue is not 
 " put upon us" now and then " by surprise;" she is 
 always present ; and at every step we take she is at 
 liand to remind us that the place Avhereon we stand 
 is holy ground. 
 
 The ends, indeed, of religion, might apparently have 
 been answered, had the ornamental parts, although 
 illustrative of moral truth, been yet kept a little apart 
 from it, in order that the image might be distinctly 
 j)resented in its full and proper features. But were 
 such a separation allowed, a risk would be incurred 
 of the wayward mind of man dwelling on the illus- 
 tration to the exclusion of the truth; and in exploring 
 the world of nature, even though it be the handi- 
 Avork of God, we might be led to forget the world of 
 spirits, and Him in whom all live and move, and 
 have their being. 
 
 " Quarterly Kovicw, No. 137., Dec. 1841. 
 VOL. TI. 1? R 
 
370 ON THE rOETICAL IMAGEKV OF THE PSALMS. [Dissert. V. 
 
 Thus ill the 8th Psalm, the moon and the stars, 
 and the whole creation, which fill that extensive can- 
 vass, arc associated Avith religious sentiments of the 
 deepest kind. " I will conmler them:" the moon and 
 the stars, " which thou hast ordained." " Lord, what is 
 man, that thou art mindful of him." So the personifi- 
 cations in the 18th Psalin, upon which observations 
 will presently be made. In the 23rd, the green pas- 
 tures are associated with the moral thought implied 
 in the waters of comfort : and mere physical im- 
 pressions are hindered by the mention of the con- 
 version of the soul and the paths of righteousness. 
 Such also is the " wine of astonishment " in the 60th 
 l*salm, and the description of the vale of misery in 
 the 84th, and of the reapers and mowers, and the 
 other pastoral images, in the 126th and 129th. 
 
 Now in this respect the general method of Homer 
 (whom I of course select as the most genuine type of 
 original secular poetry) is completely different. His 
 pictures, (and all his similes and descriptions are 
 such,) are painted with the most vivid accuracy, but 
 stand distinct from the objects of their comparison. 
 And the consequence is, that while we continually 
 recur to the simile, we forget altogether, or do not care 
 to remember, the reality thus symbolized. This would 
 be sufficient to shew the wisdom of the Scriptural 
 inetliod, in which it is impossible to retain the image, 
 without retaining the moral truth besides. There are 
 instances, indeed, even in Homer, of such blending ; 
 but these are so occasional as to form exceptions to 
 the rule. Thus in the celebrated description of Jupi- 
 ter, the most sublime passage in the Iliad', 
 
 'II, Kol KvavEi](xiv £7r' 6<ppvcn vsvcre Kpovicoi^, 
 ^Afx^poaiat, S' apa ■^alruL ETrsppcoaavTO (ivaKTos 
 Kparbs (ITT (Wai'aTOio' /xsyav S" iXsXt^sv "OXv/xttov' 
 
 ■■" A. 5-2H. 
 
§ :i.] Tin-: vVNACIOfilCAL I'KINCll'LK. 
 
 Thus; and the Thunderer bent, his sable brows: 
 The ambrosial curls were niov'd upon the King's 
 Immortal head ; and great Olympus shook, — 
 
 it may ut first appear that tliis is pure description of 
 the most perfect kind. And certainly so it is : the 
 poet has given both outline and colouring in these 
 few words. The dark eyebrows, reflecting the vari- 
 able light (which the word x'javsog would seem to 
 express), and the Avaving line of beauty expressed by 
 the movement of his locks, &c. But a moral epithet 
 is interposed, which no painting could express, and 
 yet which immeasurably heightens the effect on the 
 mind : " his immorUd head." 
 
 An instance somewhat similar may be found in the 
 address of iEneas to Pandarus*": 
 
 T\dvhapS, TTOU TOL TO^OV, 18s TTTSpOEVTSS 6l(TToI, 
 
 Kat K\eo9 ; 
 
 " Pandarus, where is thy bow, and thy Avinged arrows, 
 and thy (jlori/ ? " 
 
 l>ut in the great poet of our nation, Shakspeare, 
 this intermixture is very common, not indeed to the 
 same extent as in the sacred poets, but still beyond 
 that of any other secular writer. He has few similes, 
 speaking mostly in metaphors, and hardly any purely 
 descriptive passages. The moral, or intellectual, or 
 invisible, continually breaks in, and he always makes 
 his imagery subservient to religion or philosophy. 
 The mixture and redundancy of his metaphors were 
 doubtless encouraged by the spirit of his age, in which 
 a figurative and artificial style prevailed : and hence 
 he is frequently betrayed into turgidity and forced 
 language. But T am sure that the prevalence of this 
 apparent indistinctness is more owing to the philo- 
 sophical constitution of his mind, AVhat Dr. Johnson 
 
 " lliiiil, K. 171. 
 u II 2 
 
 371 
 
372 ON THE POETICAL IMAGERY OF TIIK PSALMS. [Dissert. V. 
 
 has remarked of his imagery, with apparent censure, 
 is real praise. " You can show no passage Avhere 
 there is simply a description of material objects, 
 without any intermixture of moral motives, which 
 produced such an effect."* 
 
 Thus in his celebrated accumulation of metaphors : 
 
 ISIiiking it momentary as a sound, 
 Swift as a shadow, short as any dream, 
 Brief as the hghtning in the collied night, 
 That, in a spleen, unfolds both earth and heaven. 
 And ere a man hath power to say, Behold ! 
 The jaivs of darkness do devour it uj)^ 
 
 Here personality and feelings are attributed to the 
 night and to darkness, that disturb the integrity of 
 the picture. And here too, l)y the way, we may 
 remark on the anagogical tendency of Shakspeare's 
 imagery. lie forms a climax to his impassioned 
 metaphors by bringing the mind upward to heaven, 
 as he does yet more remarkably in his exquisite night 
 scene, where he introduces the music of the angels, 
 and draws a moral lesson from every observation of 
 nature which is made.*" But that I may not dwell 
 too long on a very enticing digression, in his historical 
 play of Henry V., Avhich abounds more than others 
 with descriptions, not one of them is purely artistical. 
 The most striking is that of tlie eve before the battle : 
 when in the midst of minute description m'c are told 
 of tlie soldiers, who. 
 
 Like sacrifices, by tluir wiilchrul lircs 
 Sit jKitienthj, and inhj ruminate 
 The ntorniiiffs danfjrr.'-^ 
 
 (2.) The next i)oint to be considci'cd is tlio fivquejit 
 intermixture of the comparison witli tlie tiling com- 
 
 ° Boswcll's Life, Croker's cMlition, ii. S?. 
 
 •* Midn. Night's Dream, act i. sc. L 
 
 '■ Merdiaut of Venice, act v. sc. I. 
 
 ■^ ClK.nis lo Act iv. 
 
§ 3.J THE ANAGOGICAL rUINCIl'Li:. 373 
 
 pared. In critical language we call that a simile, 
 which introduces an image distinct from the object 
 brouglit into comparison ; a metaphor, when the object 
 is identihed witli the image : tlius, if a man is com- 
 pared to a pillar, that is a simile ; it is a metaphor, if 
 he is called a pillai*. The scri[)tural comparisons fre- 
 quently partake of the nature of both; so that though 
 both object and comparison are distinctly presented 
 to the mind, yet in the expression they are con- 
 founded. 
 
 Thus in the 7th Psalm — 
 
 Lest he devour, like ii lion, my soul. 
 Rending it, and there he none to help. 
 
 Here is a distinct idea of a lion in a solitary place 
 devouring and rending a carcase. But what is the 
 expression of the Psalm ? lest he devour — what ? 
 my soul. The lion rends the soul ; the whole action 
 is a physical one, the object being a thing that is 
 incorporeal. It is therefore impossible to dissociate 
 in this instance the image of brutal violence from that 
 of moral persecution. How different from the disso- 
 ciated images of the lion attacking his prey, Avhich are 
 presented so frecpientl}', and in such ^'arious circum- 
 stances, by Homer, but ahvays distinctly. Here, hoAv^- 
 ever again, we have in Shakspeare a nearer approach 
 to the Scriptural method. In the following simile, 
 this metaphorical form is observed with a large infu- 
 sion of the moral : — 
 
 This is the state of man ; to-day he puts forth 
 The tender leaves of liope, to-morrow blossoms, 
 And bears his blushing honours thick upon him ; 
 Tiie third day comes a frost, a killing frost. 
 And, when he thinks, good easy man, full surely 
 His greatness is a ripening, nips his root. 
 And then he falls, as I do." 
 
 '■^ Henry VIII., act iii. sc. 2. 
 
 1> B 3 
 
374 ON THE POETICAL IMAGERY OF THE I'SALMS. [Dissert. V. 
 
 (3.) But in other instances, where the description 
 or image is sufficiently distinct and objective, the 
 same moral end is obtained by the insertion of some 
 word or expression which prevents a forgetfulness of 
 the religious end of the parable. 
 
 Thus, in the description of the storm in the 18th 
 Psalm, the physical phenomena are, as before re- 
 marked, accurately described. But it owes its chief 
 effect to the continual recurrence to the Almighty, 
 whom we feel to be present in the whirlwind and the 
 tempest. Now let us, for the sake of illustration, 
 modify this passage as a secular poet might have done. 
 Let us present it as follows, every religious and moral 
 notion being carefully excluded. 
 
 Then did shake and quake the earth : 
 
 And the foundations of the hills trembled, and did shake. 
 
 And a smoke went up, and a fire devoured, 
 
 Coals were kindled at it. 
 
 There was darkness round about, 
 
 Dark waters, and thick clouds of the skies. 
 
 At the brightness the clouds passed. 
 
 Hail, and coals of fire. 
 
 The air also thundered, 
 
 And the thunder gave its voice. 
 
 Hail stones and coals of fire. 
 
 The arrows went forth, and scattered them, 
 
 The lightnings shot out, and destroyed them. 
 
 Then the channels of waters were seen. 
 
 And the foundations of the world were discovered. 
 
 Let this be compared with the passage in its uiimu- 
 tilated state. To the most careless reader the supe- 
 riority of the latter nuist be evident. ]>ut why? 
 Because of the recognition of God's power and pre- 
 sence. Another poet might indeed have reserved 
 such reflections for a climax, which no doubt Avould 
 have been m:igni(iccnt. For example : 
 
§ 3.] THE ANAGOGK^AL VKIN'CIl'LK. 375 
 
 For thou, O God, wert wrath. 
 
 'I'hoii (Hdst how tlic lieavcns and come down, 
 
 Thou didst ride upon the wings of the wind. 
 
 It was thy rebuke, O Lord, 
 
 It was the blast of the breath of thy nostrils. 
 
 But let VIS hear itlie l^salmist. The cartli trembles 
 and quakes ; the hills are moved — what is the cUmax? 
 " because He is wroth." The channels of the waters 
 are seen ; the foundations of the world are discovered, 
 "at thy rebuke, Lord, at the blasting of the breath 
 of thy displeasure." Again, " the Lord also thun- 
 dered out of heaven," — thus Ave hear, as it were, the 
 thunder- clap repeated, but how repeated ? " The 
 Highest gave his voice." Tirst the atmospheric thun- 
 der ; then the voice of God. 
 
 For the sake of comparison let me quote the famous 
 description of a storm in the Prometheus of iEschylus, 
 a description magnificent indeed in itself, but far in- 
 ferior to the inspired passage, both from its compara- 
 tive want of simplicity, and from its defectiveness in 
 moral or religious sentiment. The sentiment that is 
 introduced is altogether distinct from the description : 
 the slight recognition of a superior power that does 
 occur cannot be called religious; it partakes of that 
 belief and fear which devils have ; and what a con- 
 trast do the three concluding lines form to the passage 
 of the Psalmist, " In my trouble I will call upon the 
 Lord, and unto God will I cr}^ ! " 
 
 Kat fii]v sp'yM, KovKeri, fxvdw 
 
 ')(9u>v ascrdXsvTat' ^ 
 
 l3pv')(^La 8' •^%w TrapafivKctTai 
 (SpovTrjS, sXlkss 8' eKXdfjLTrovat 
 a-rspOTrrjs ^dnrvpoi, aTpo/ju^ot Ss kovlu 
 slXiaaovai' aKipia S" dvifxwv 
 TTvevfiuTa TTuvTOiv, sis dXXijXa 
 (TTcicriv avTiTTVovv a7ro8eiKvv/j,£va' 
 (TUVTSTiipaKTai, S' aldrjp ttovtm. 
 n B 4 
 
376 ON THE POETICAL IMAGERY OF THE I'SALMS. [DissiiKT. V. 
 
 TO I A' A' ETT e/xoi piiri] Awdtv 
 rsv)(ov(Ta ^o^ov arsi-^si (f)ay£po)9. 
 M fJ,r]Tpos i/jL7]9 asfSas, o) ttcivtcov 
 al0i]p KOLVov if)do9 slXlaaoiv 
 slaopas fji cos mhiKa Trda'^o). 
 
 And now, in very deed — no fiible this — 
 
 The earth is rocking ; 
 
 The grating voice of tliundcr bellows round ; 
 
 In fiery wreaths the lightnings gleam ; the dust 
 
 In whirlwind rolls ; the spii'its of all the winds 
 
 Rush forth, and war in mutual counterblasts ; 
 
 And sky with sea is mingled. — 
 
 This storm, so full of terror, from the hand 
 
 Of Jove 'gainst me is launch'd, I plainly sec. 
 
 venerable mother, O thou Air, 
 
 Through Avhom doth float the Sun's pervading light, 
 Behold what wrongs I suffer ! 
 
 In the 42nd Psalm, the waters of heaven and of 
 earth are particularised with a graphic solemnity, 
 unequalled even in holy writ. But observe that the 
 epithet thi/, in each instance, reminds us of the 
 Almighty's presence : 
 
 Deep unto deep calleth, at the voice of thy water-spouts. 
 All thy breakers and thy billows over me have gone."^ 
 
 Resembling this is a passage in the 88tli Psalm, 
 which, however, is less abstracted from the moral 
 imagery, with which it is partly blended : 
 
 Thou hast laid me in the lowest pit. 
 
 In thick darkness, in the deep, 
 
 Qjj me lieth hard thy Mrath, 
 
 And with all thy waves thou hast afllicted me . , . . 
 
 1 am shut, and I cannot get forth .... 
 
 " See vol. i. p. 8-1. note ''. This expression is lieautifnlly iidojitcd by 
 Wordswortli : 
 
 An idle voice the sabbath region fills, 
 Of deep tliat calls to deep across the liills. 
 
 Descriptive Sketches, iii. Juvenile Pieces. 
 See also Joiiali, ii. ;3. 
 
§ li.] THE ANAGOGICAL nilNCirLE. 377 
 
 From my youth I suffer thy terrors, I aiu troubled : 
 
 Over me gocth thy fierce wrath : 
 
 Thy terrors have cut me off: 
 
 They cauie about me like waters, all day, 
 
 They compassed me on every side. 
 
 Here the sufferer compares his state to that of one 
 immersed in deep and stormy waters, confined in 
 some crazy vessel, which is at the mercy of the ele- 
 ments. There is no way of escape, and the storm is 
 the more terrible, l)ecause so much is left to the ima- 
 gination. The darkness of the night, and the impo- 
 tence of the sufferer, prevent him from seeing the 
 extent of his danger, or the exact circumstances of 
 liis condition. In this respect the picture is like that 
 presented in one of the most exquisite fragments of 
 antiquity, the Danae of Simonides. 
 
 XapvaKL iv SaiSaXsa avs/xos 
 ^psfj^j) TTVsoiv, KLvrjOslaa hs Xlfj^va 
 
 Ssifiari spsLTTSv 
 
 £V drspTTSc Scofiari, 
 
 '^aXKSoyofjLcfxp Bs, vvKrcXa/uLTrsl, 
 Kvav£(p TS Svoifxp. TV S" avoklav 
 vTTspOe Tsav KOjjiav ^aOslav 
 irapcovTos Kvp^aros ovk aXsysis, 
 ou8' avsfiov ^doyywv 
 
 The rough night wind roar'd gustily 
 
 Full on the close-wrought ark : 
 The swelling surge broke fearfully 
 
 Against that hel])less bai'k. 
 
 The mother spoke. Ah me ! my child, 
 
 AYhat woe is mine to bear, 
 J Jut thou, thy little bosom mild 
 
 Calm heaving, know'st no cai'e. 
 
 Sweetly thou slcepcst, baby mine, 
 
 Tn tills drear dungeon room, 
 All dark, save where the brass studs shine 
 
 Dimly, in night's deep gloom. 
 
378 ON THE rOKTICAL IMAGEItY OF THE I'SALMS, [Dissicur. V. 
 
 The waves above, that dashing by 
 
 Wet not thy thick soft hair, 
 The winds' wild voices, fierce and high, 
 
 Thou dost not heed nor hear. " 
 
 In many respects this fragment is far superior to tlie 
 general style of secular poetry. It resembles the 
 Psalm in the awfulness of its imagery ; the undefined 
 liorrors of darkness, and of a wintry sea, seen but 
 partially, if seen at all. Nor is the poem wanting 
 in moral beauty, which is intermingled with graphic 
 description, nor in religious sentiment. Still every 
 image of the Psalm is indissolubly connected with 
 the present sense of the Almighty's power, and creates 
 feelino-s of a far higher kind than mere human 
 sympatliy. 
 
 In the allegory of the vine, in like manner, the 
 Almighty agent is mentioned in every period : " Thou 
 hast brought a vine out of Egypt — thou hast cast 
 out the heathen, and planted it." So also in the 
 
 " This accurate and elegant translation, the whole of which is to be 
 found in Blackwood's Edinburgh IVIagazine for Sept. 1833, is from the 
 pen of Dudley M. Perceval, Esq., from whose critical taste and judg- 
 ment the writer of these pages has derived great advantage in the pro- 
 gress of this work. Mr. Perceval's accompanying observations are well 
 worth attention. " The fragment of Simonides is like a series of ex- 
 quisite sketches, telling the tale of Danae's fearful night voyage ; in 
 which tlie eye is caught at one time most by the mother, at another by 
 the child; now by the ark within, now by the storm without; and its 
 close, that noblest effort at composure, from the highest and holiest 
 soiu'ce, trust in divine mercy and justice, though less a fiction than the 
 rest, the more fitly serves to leave the imagination free, to follow the sad 
 and lovely voyagers to their distant harbour of safety." He also justly 
 takes vmcTi\a)xirf7 as well as x"^'^f07''^M<f>V5 '" connection with Sw/xaTt, a 
 mode of intcrpretati(jn which greatly heightens the ])icture. In fact, 
 these two epithets, unmeaning and out of place if taken separately, con- 
 jointly explain one another, as frctpiently happens in sacred poetry. The 
 brass studs are introduced in order to afford that gleam of light which 
 makes the dark chest i)artialiy discernible on the bosom of the black 
 waves, reflecting as they do the fitful gleams of the half-obscured moon. 
 
§3.] THE ANAGOGICAL TKINCirLE. 379 
 
 ()5th Psalm, "Thou visitest the earth — thou wa- 
 terest her furrows," &c. 
 
 The description in the 107th Psahn of the storm 
 at sea is less blended with moral sentiment than most 
 others. But compare it with a similar one in 
 1 lomer : — 
 
 0)9 ors KVfjia Sofj iv vr]i irscrrjcn 
 Ad/3pou viral vscpscop avsfiorpscpss, r) 8s ts iraaa 
 "\j(yr) v7r£Kpv(f>6r), dvifXOLO 8e hetvos (Wjttjs 
 'laTiM ifil3p£/j,£Tai' rpojxsovai Ss re cppeva vavrat 
 AslBlotss' tutOov yap vtt ek ^avdroio ^spovrai''^ 
 
 As when a wave 'gainst a swift ship doth dash, 
 Fierce, nourish'd by the winds : and all her deck 
 Is cover'd by the foam ; the wind's dread blast 
 Against the mast is roaring ; terror-struck 
 The sailors quake : for scarce from death they 'scape. 
 
 Both have the image of peril of death : but observe 
 how infinitely more sublime are the circumstances 
 selected T)y the prophet : *' There riseth the Avind 
 of storm — they mount up to the heavens — they 
 go down to the depths — their soul melteth mraij.^' 
 The whole is at once graphical, and yet not devoid 
 of moral ingredients : while the description would be 
 utterly mutilated were the concurring mention of 
 the Divine power which causes this tempest omitted. 
 " For he speakefh, and there riseth the wind of storm, 
 and it lifteth up the waves thereof." 
 
 The descriptions of Homer not onlv stand distinct 
 from their antitype, but rarely admit a religious sen- 
 timent as part of their texture. It is true, that when 
 he speaks of storms, and showers and thunders, he 
 frerpiently adds that these proceed from Jove'', but 
 this is in such a passing manner, as rather to imply 
 
 ^ II. o. ()-25. 
 
 '' See Iliad, E. 87. 520. ; H. 7. ; A. 41)1. ; N. 700. &c. In oue pa.ssage, 
 K. 10., the myihologieal allusiuii, 7r(Jiris"Hpjj? vjuko'/hoio, mars the whole. 
 
380 ON THE POETICAL IMAGEUY OF THE I'SALMS. [Dissert. V. 
 
 a form of speech, than the depth of any religious 
 sentiment. There are, indeed, some exceptions. 
 Thus, 
 
 'fly 5' vTTo XalXaiTL iraaa KsXaivi] /3s/3pids -^Ooiv 
 
 "I I/Liar' oTTcopcvaJ, ore Xa^porarov ^^sc vScop 
 
 Zsiis, OTS St] p avhpB(T(Ti KOTsaadpusvos '^aXsTr/jin/, 
 
 O'l /3ly slv itjopf/ aKoXuis Kpcpwac ^}spLiaras, 
 
 'E/c OS BiKi]V sXcurcoai, S^swv ottiv ovic dXsyoi^TcS, k. t. X.'' 
 
 As when beneath a storm the darkcn'J earth 
 
 Is all oppress'd, on some autumnal day, 
 
 AVhcn Jove pours down his fleetest water-spouts, 
 
 In anger fierce towai'ds men, who rule by force. 
 
 Perverting justice on the judgment-scat, 
 
 And banish equit}', and disregard 
 
 The vengeance of the Gods, &c. 
 
 It is unnecessary to shew how strikingly scriptural 
 are all these sentiments. The supreme Being is re- 
 cognized as sending these visitations on the earth, 
 " for the wickedness of them that dwell therein ; " 
 and violence and wrono- judixment are the sins aixainst 
 Avhich vengeance is most frecpiently denoimced in 
 Scripture. It is by no means intended to insinuate 
 that Homer *" is nut a religious poet : far from this: 
 my object has been to shew, that the moral and 
 the physical are not blended, as in holy Scripture; 
 and even in the last-cited passage, the religious sen- 
 timent rather comes in as a parenthesis, which miglit 
 
 " Iliad, n. 384. 
 
 '' Besides the general religious lone of his i)Ocms, the following pas- 
 sages, e. g., are wonderfully scriptural : «VCa cnSijpetai re ttuAoj ku\ xo^^xfos 
 ovVus. (0. 15.) ; like " the gates of brass, and bars of iron." yvdaer' twtiO^ 
 offov fljA QfSiv K<ipTi(rros airavroiv . " Know that I am God," &c. rSfftrov 
 ti'epO' di'Seo), (ia-ou ovpavus icrr' ajro 7airjs. " As high as heaven is in com- 
 parison of the earth." iVnd in the use of fl/j} in this passage : r6(r(rov 
 ^7« irepi r «i;ul OetSi', 7r€pi t' (Ifx dvOpJnrwv. But, as usual, these coinci- 
 dences arc more forcible, when considered in connection with the con- 
 text. They shew a mind imbued to a degree with scriptural images, 
 whence derived, or by how many intermediate channels, it is impossible 
 to say : but I suspect, through Phtrnicia. 
 
§3.] THE ANAGOGICAL PRlNCirLE. 381 
 
 be easily dissociated from tlie magnificent descriptiuii 
 that follows." 
 
 It may be said that in Scriptui'c exceptions occur 
 to the above rules, of descriptions which have no moral 
 ima^^es intermixed, and are of considerable length, 
 so that the physical image is impressed upon the 
 mind, to the exclusion, or at least tlie depression, 
 of the religious feeling. Of such a kind are the sub- 
 lime passages in the Almighty's j)arable in Job ; as of 
 tlie war-horse, the behemoth, and leviathan.'' Now, in 
 the first place, it must be remembered tliat the very 
 force of the moral lesson here conveyed, the recogni- 
 tion of God's power, depends upon the detail of par- 
 ticulars. But, in the next, there is in almost every 
 sentence an appeal to human w^eakness, as contrasted 
 Avitli the Almighty's wisdom and strength : 
 
 Hast thou Q-iven the horse stren<>'th ? 
 
 Hast tliou clothed his neck with thunder ? 
 
 Canst thou make him afraid as a grasshopper ? &c. 
 
 Behold now behemoth, irhich I made with thee . . . 
 He is the chief of all the wat/s of God, &c. 
 
 Another exception may be pleaded in the Mosaic 
 
 " I regret that neither the space nor the occasion of this work will 
 allow any detailed observations on one of the most beautiful poems in our 
 laujjuaue, (now little read, and underrated,) the Grongar Hill of Dyer, in 
 Aviiieh the physical images are singularly just, and intermingled with the 
 moral to a degree une(iualled in modern times. It was the good fortune 
 of the present writer to escape the hackneyed recitation of this poem in 
 his school-boy days, and in fact, he never read it through, (he is ashamed 
 to confess,) till a very few years since; but he never knew a poem which 
 more vividly impressed him with its genuine power of just poetical 
 colouring, imaginative thought, and moral feeling. A few most unac- 
 countable solecisms in grannnar are observable ; these however seem to 
 have proceeded from the blunders of transcribers or printers, still un- 
 corrected. But it is one of those poems to whieh it is impossible to do 
 justice by nuikiug extracts. It is strange that Mr. "NA'ordsworth makes 
 no mention of this poem, nor of Dyer, (except passingly in merely 
 naming a very inferior ])roduction, the Golden Fleece) either in his Prc- 
 fixce, or Supplemental Essay. 
 
 •' Job, xxxix. 19—20. xl. IJ— 24. xli. throughout. 
 
3S2 ON THE POETICAL IMA(iEKV OF THE PSALMS. [Disskht. V. 
 
 simile of tlie eagle'', wliicli certainly more resembles, 
 ill tlie method of its expression, un Homeric simile 
 than most others in the Scripture : 
 
 As an eagle stlrreth up her nest, 
 
 Fluttereth over her young, 
 
 Spreadcth abroad lier wings, 
 
 Takcth them, bearcth thera on her wings, &c. 
 
 But here the whole image is so full of tenderness, 
 as to excite, not the mere imagination, but the best 
 feelings of human nature. This is one of those pas- 
 sao:es in which the sublime and the beautiful are most 
 harmoniously blended. 
 
 Again, in the prophecies of Ezekiel, similitudes of 
 considerable length occur, purely physical. For ex- 
 ample, that of the two eagles, the cedar and the vine, 
 in his seventeenth chapter. But here it must be re- 
 membered, that the prophet speaks in vision, and 
 that this comparison is in fact an allegory. Taken 
 by itself, sublime though it be, it has no coherence, 
 and presents no consistent image to the mind. The 
 reader at once perceives its parabolic nature. The 
 eagle comes to Mount Lebanon, and takes off the 
 highest branch of the cedar, and sets it in a city of 
 merchants^ and there plants the seed of the land, and 
 it becomes a spreading vine. It is evident that the 
 eagle here signifies some great intelligent being, and 
 that some great revolution in luiman affairs is 
 shadowed forth. 
 
 These remarks might be enlarged : but enough, I 
 hope, has been said to vindicate the general principles 
 that have been put foi'ward. Bcmarks have been 
 made upon the imagery of other sacred writers 
 besides the Psalmists, since it is plain, tliat if the 
 principles asserted are sound, and founded on a reli- 
 gious basis, they must have place in everv poetical 
 portion of lh)ly Scripture. 
 
 " Doiit. xxxii. 1 1. 
 
4.] Till-: I'U'TOKIAL El-FKCT IN SACKED rOETllY. 383 
 
 § 4. THE nCTORIAL EFFECT IN SACKED POETRY. 
 
 There arc two passages in ]\Ir. Jkirke's celebrated 
 Enquiry into the Sublime and ]>eautiful, whieli 
 may fitly connect the observations that have been 
 made with those about to be offered. He remarks 
 of JMilton's description of Satan, that "we do not 
 any where meet with a more sublime image than this 
 justly celebrated one of Milton, wherein he gives the 
 portrait of Satan witli a dignity so suitable to the 
 subject : 
 
 He above the rest 
 In shape and gesture proudly eminent 
 Stood like a tower ; his form had not yet lost 
 All her original brightness, nor appcar'd 
 Less than archangel ruin'd, and th' excess 
 Of glory obscur'd : as when the sun new risen 
 Looks through the horizontal misty air 
 Shorn of his beams ; or from behind the moon 
 In dim eclipse disastrous twilight sheds 
 On half the nations ; and with fear of change 
 Perplexes monarchs. 
 
 " Here is a very noble picture : and in what does 
 this poetical picture consist? in images of a tower, an 
 archangel, the sun rising through mists, or in an 
 eclipse, the ruin of monarchs, and the revolutions of 
 kingdoms. The mind is hurried out of itself, by a 
 cro"\vd of great and confused images ; which affect, 
 because they are crowded and confused. For separate 
 them, and you lose much of their greatness ; and 
 join them, and you infallibly lose the clearness. 
 The images raised by poetry are always of this 
 obscure kind .... Hardly any thing can strike the 
 mind with its greatness, Avhich does not make some 
 sort of aj^proach towards infinity, which nothing can 
 do Avhilst we are able to perceive its bounds ; but to see 
 
384 ON THE rOETICAL IMAGEKY OF THE PSALMS. [Dissert. V. 
 
 an object distinctly, and to perceive its bounds, is one 
 and the same thinr;;'. A clear idea is therefore another 
 name for a little idea."" He then instances, with his 
 accustomed eloquence, the image of the Spirit in Job.'' 
 To somewhat tlie same effect are his observations on 
 the frightful ])icture of religion drawn by Luci'etius." 
 " What idea do you derive from so excellent a pic- 
 ture ? none at all, most certainly ; neither has the poet 
 said a single word which might in the least serve to 
 mark a single limb or feature of the phantom, which 
 he intended to represent in all the horrors imagination 
 can conceive. In reality, poetry and rhetoric do not 
 succeed in exact description so well as painting does: 
 their business is, to affect rather by sympathy than 
 imitation ; to display rather the effect of things on the 
 mind of the speaker, or of others, than to present 
 a clear idea of the things themselves. "'^ 
 
 Perhaps this profound thinker is not quite accurate 
 in saying, that " a clear idea is another name for a 
 little idea." For surely, the pictures of Homer are 
 generally most clear, and are painted as accurately as 
 words could give outline, shadow, and colour. It 
 may indeed be conceded, that words are from their 
 nature less definite than the strokes of the pencil, and 
 that verbal expressions often convey an idea of 
 infinity, or at least of indefiniteness, when discoursing 
 on objects to which the pjiinter would assign deter- 
 minate bounds. But to the highest style of poetry, 
 that especially found in Holy Scripture, Mr. Burke's 
 observations do accurately apply. Not that the 
 lessons taught through the medium of scriptural 
 imagery are indefinite, or that even any attempt is made 
 to give a false and confused idea of external nature: 
 l)ut the mind is advisedl}' diverted from circumscribing 
 oi- lowering its religious functions 1)}' dwelling too 
 
 •■' Tart ii. scot. 4. i* Jol., iv. l.l, IG. -^^ See ante, p. 41. ' Tart v. sect. .'5. 
 
§4.] THE riCTOUIAL EFFECT IN SACRED lOETKY. 885 
 
 fixedly upon the definite and limited objects of this 
 lower Av^orld : and it is taught to associate itself -svith 
 that which is infinite and eternal, and to connect the 
 thinirs which are seen with those which are not seen : 
 the knowledge which Ave now have in part, with that 
 perfect knoAvledge when we shall know even as also 
 Ave are knoAvn. 
 
 It is for this reason, perhaps, that there is hardly 
 such a tiling in Holy Scripture, as a perfect descrip- 
 tion, unmixed Avith moral objects: or even one Avhich 
 could be artistically transferred to the canvass. The 
 descriptions of th<i sacred poets ai^ like panoramas, 
 comprising more than the eye can take in at one 
 glance : or rather like the paintings of the middle 
 a2:es, Avhere events and circumstances Avhich could not 
 be contemporaneous, are represented in the same 
 composition. 
 
 But it is to be further observed, that a scriptural 
 passage often conveys to the mind the impression of 
 a description, the same idea that a painting Avill 
 produce, Avhich AA'hen examined will be found to 
 contain very little, or perhaps nothing, of direct 
 description. 
 
 Thus the 8th Psalm presents to the mind the idea 
 of a solitary shepherd gazing on the heavens, during 
 a starry and moonlight night ; Avith the cattle re- 
 posing upon the hills around him. The effect is 
 very like that of the famous night-scene of Homer, 
 which, though so familiarly knoAvn, and so often 
 quoted, I shall here venture to repeat, as its exhibi- 
 tion may serve to illustrate, in more Avays than one, 
 the vicAvs hitherto advanced. 
 
 'fls S" 6t sv ovpavip aarpa (pastvijv d^(f)l a£\i^in]v 
 ^Vaivsr dpLTrpsTTea, ore r sttXsto vy']V£fjios aiOt]p^ 
 E« T £(f)avov Trderai aKOTrial, Kal irpcoovss ciKpoi, 
 Kat vaTrar oupavoOsv S" lip virsppdyij dairsTOS alOijpf 
 VOL. II. C 
 
386 ON THE rOETICAL IJIAGEKY OY the psalms. [Disskrt. v. 
 
 TldvTa Be T siSsTai dcrTpa' ysyijde be t£ (ppeva Troifn^v 
 Tocrcra, /xs<n]'yv vstov, ijhe 'p,uv6oio podcov, 
 Tpcooov Kalovroiv, irvpd ^alvaro '\\lo9l irpo. 
 Xi'Xt' «'p' fJ-" TTsSiw TTvpd KaiETO' TTup hs sKcicrrci) 
 EtttTO Trevr/jKovTa, aeXa irvpos alOo/xevoLo. 
 "AiTTToi he Kpl XsvKov ipeTTTo/xevoi Koi 6Xvpa9, 
 'KaTUOTSs Trap" o)(^£cr<piv, evi^povov ?)<« pbifxvov. 
 
 As when in heaven the stars round the clear moon 
 Shine beautiful, when tranquil is the air, 
 And every cliif and mountain top appears, 
 And every lawn : from deepest heaven the air 
 Is wide unveil'd, and all the stars are seen : 
 And at the sight the shepherd's heart is glad : 
 So, 'mid Scamander's flowings, and the ships, 
 The numerous fires in front of Ilium shone. 
 A thousand fires were lit ; by each a band 
 Of fifty sat, and kept the blazing pile. 
 Meanwhile the feeding horses by their cars 
 Fast standing, waited for the fair-thron'd morn. 
 
 Now in this passage we see the distinctness of the 
 comparison from the object: each forms a separate 
 and well-defined picture. Here, too, there is a want 
 of exactness between the simile and its object in 
 the particulars of the comparison, which are in- 
 troduced merely to heighten the vivid image. And 
 here there is an absence of any thing strictly religious, 
 or even intellectual. There is not indeed, an absence 
 of human sympathies ; the gladness of the she^^herd's 
 heart is an exquisite incident : still this may be sepa- 
 rated from the rest of the picture, to which it is only 
 an adjunct. I do not deny that there is an anago- 
 gical eflfect in that magnificent line to which no 
 translation has ever done or can do justice, o'joavo^isv 
 ^icif u7r£f>f>dyYj acTTrsTog aiSv^p, And this praise nmst 
 also be given to this, the most sublime descrip- 
 tion perliaps ever given by any secular poet, that he 
 produces the ctt'crt l)y the simple collocntinn of objects 
 
 ' Hiad, w. .5;Jo. 
 
§ 4.] THE PICTORIAL EFFECT IN SACRED POETRY. 387 
 
 magnificent in themselves, no epithets being added 
 except Avhat are plainly necessary. But let us now 
 revert to the 8tli Psahn, and will it not be allowed 
 tliat the same ideas are producetl V And yet there is 
 here no positive description. We know the shepherd to 
 be present, for he says, " 1 will consider the lieavens;" 
 and tliere is joy in his heart at the sight, but a re- 
 ligious joy tempered with awe, expressed in that deej) 
 reflection, " Lord, what is man, that thou art mindful 
 of him, and the son of man, that thou visitest him." 
 The prospect of tlie heavens is bi'ightened and made 
 immeasurably sublime by the adjuncts, " the work of 
 tl ly fingers, the moon and the stars, which thou liiist 
 ordained." In the landscape below, Ave see the oxen 
 and the fowls of the air, now at rest ; but the allusion 
 to these is dignified by the reflection, that by the 
 divine ordinance they are made subject to man. ^'et 
 tlie prophet goes beyond the limits of his present 
 view; for he introduces "the fishes of the sea, niid 
 whatsoever walketh througli tlie paths of the seas," 
 the awful wonders of the great deep : and ends with 
 impressing a notion of this illimitable universe, and 
 of the universal dominion of its Creator ; "0 Lord, 
 our Governor, how excellent is thy Name in all the 
 world!" 
 
 As the most detailed example of this peculiar efi'ect, 
 I would now call attention to the general impression 
 produced by the opening of the 18th Psalm. 
 
 Here, if I mistake not, a magnificent picture is 
 presented to the imagination. Not that every par- 
 ticular is accurately depicted; this would be impossible^ 
 from the mixture of material with abstract ideas in 
 the passage ; but there is a general picturesque notion, 
 a great outline suggested, comprising the same effect 
 of light and shade, of contrast and of appropriate 
 keeping, as is observable in the best works of art, 
 Avhethor of poetry or of painting. 
 
 c c 2 
 
388 ON THE rOKTICAL IMAGERY OF THE TSALMS. [Dissert. V. 
 
 The poem opens with the description of the Al- 
 mighty's power. The general idea suggested by the 
 mefaphors employed in this exordium is that of a 
 fortress provided with every means of defence. Here, 
 then, an impregnable and glorious fortress, the hal)i- 
 tation of God himself, presents itself to view, as the 
 most prominent object, occupying some commanding 
 height, its summit reaching to heaven. In the plain 
 below, we see the servant of God assailed by the floods 
 of destruction, from which he is endeavouring to 
 escape, and in his distress is looking towards that 
 heavenly place of defence for rescue. Tlien, in the 
 air above, issue forth the tliuuders and lightnings, all 
 tlie terrors of the Almighty, so magnificently de- 
 scril)ed in tlie verses already observed upon, b}' which 
 his enemies are discomfited and destroyed. In the 
 midst of all this confusion the angel of God descends, 
 and rescues the suiferer from the many waters that 
 were overwhelming him. 
 
 Now in examining tliis passage we shall find that 
 there is a systematic and uniform usage of blending 
 the moral witli the physical, the ideal witli tlie sensible, 
 the spiritual with the natural. 
 
 For, first, the liabitation of God is found not to 
 be described. The impression on the mind is pro- 
 duced by a combination of cognate metaphors, wliich 
 conjointly make up the idea of a place of defence — 
 a rock, a fortress, a buckler, a high tower, — and are 
 intermino^led with the religious notions of a deliverer, 
 and of salvation. 
 
 The imagery that is subsequently employed, though 
 terribly expressive, and significant, is found in itself 
 to be composed of discordant materials : 
 
 They coiiiparJsed me, the sorrows of denth, 
 And the floods of ]>elial affrighted mo, 
 The sorrows of hell came ahout me, 
 
 Thoy overtook nio, the snares of deatli. 
 
§ 1.] THE nCTOKlAL EFFECT IN SACRKJ) I'OI/iliY. 380 
 
 Sntires, floods, sorrows, death, Belial, or wickedness, 
 and hell, are all, in the same sentence, personified. 
 Here, too, is an intermixture of abstract notions with 
 visible images ; floods of ungodliness, sorrows of death, 
 and of hell. The Psalmist is speaking of some calami- 
 ties or temptations of the most terrible and appalling 
 nature. Death, Hell, and Belial are employed to 
 intimate them. And the manner of their aggression is 
 expressed under the similitude of a flood ; either the 
 ontbreakings of a great wintry torrent, or the Avliirl- 
 pools of a tempestuous sea. 
 
 NoAV the tendency of this great example of the 
 sublime is not the mere appalling or elevating of the 
 soul, but the giving a deep and salutary lesson. 
 Wickedness is here associated with the most dreadful 
 ideas that we can imagine, and with one of the most 
 np[)alling de\'astations that can be witnessed. Thus 
 an association of images, which secular poets might 
 think incongruous, here serves the sacred purpose of 
 marking the analog}'' between all that is dreadful and 
 detestable in the visible and invisible worlds, and the 
 rebellion against the majesty and word of God. 
 
 Here voluntary and systematic motion are attri- 
 buted to the mysterious powers that assail the righ- 
 teous man. Now Ave see them, like demons, circling 
 round, drawing nearer, encompassing, pursuing: we 
 pause on the scene, and the assailing power changes 
 to a rapid flood about to overwhelm the spot on 
 which the victim stands, and overtaking him with its 
 waves ; waves that issue from some deadly and in- 
 fernal source. The imagery is confused, the com- 
 ponent parts change, as in a disturbed dream, their 
 character and appearance ; an<l, as in a dream, per- 
 sonilication is attributed to notions utterly undeflned 
 and inexplicable. Yet is there not a sensible impres- 
 sion produced, and does not a feeling remain on the 
 mind as if a description had been actually given? 
 
 c c 3 
 
390 ON THE POETICAL IMAGERY OF THE PSALMS. [Dissert. V- 
 
 Omitting similar instances, which abound, thougli 
 perhaps not in so remarkable a manner, in the Psalms, 
 I shall close the present section with a parting" allusion 
 to Homer, in order to shew ho^/ sublimity of effect is 
 marred by an attempt to describe accurately things 
 above description. A'o part of Milton's Paradise Lost 
 gives more general dissatisfaction among persons of 
 real taste, than the attempt to detail the artillery and 
 wars of heaven, and to describe the overthrow of the 
 evil angels by the Messiah. The anthropomorphism 
 indeed of the Paradise Lost reminds us of the mytho- 
 logical parts of the Iliad, Avhich are confessedly its 
 greatest blots. The instance to which I would now 
 allude (too long for quotation) is the passage where 
 Keptune is described as beholding, from the summit 
 of a distant mountain, the discomfiture of the Trojans, 
 and then descending and coming to their rescue, 
 and driving his chariot and his horses through the 
 depths of the sea."* The outline of this is magniiiccnt, 
 and some particulars are truly sublime ; as where 
 the mountain trembles beneath his feet, and the sea 
 is represented as parting asunder with joy : 
 
 yrjOoavvT] Bs BaXacraa Suararo. 
 
 But the whole is injured by the minute details of 
 the harness and furniture of his chariot and horses ; 
 his loosing them from the yoke, and giving them 
 their provender, even though that is called ambrosia. 
 How inexpressibly greater in sublimity are those 
 passages Avhich represent the Almighty as having his 
 throne in heaven, and thence beholding the children 
 of men, of his descending from above, so that when 
 he touches the hills they smoke : when he is said to 
 ride upon the cherubim and the wings of the wind, 
 and when his chariots are spoken of as thousands, 
 
 " Uiii.l, N. 10. 
 
§ 5.] ON THE ACCUMULATION OV METAniORS. 
 
 and thousands upon thousands ? Compare any one 
 of these passages with the following one in the ode 
 of JIabakkuk, which resembles in its general outline 
 the latter part of Homer's description, and the effect 
 will be so perceptible as to need no further comment. 
 
 Against the rivers is the Lord displeased? 
 
 Is thine anger against the rivers ? 
 
 Is thy wrath against the sea, 
 
 That thou dost ride upon thine horses, 
 
 Thy chariots of salvation : * 
 
 Thou didst walk though the sea with thine horses, 
 Through the heap of mighty waters."^ 
 
 Or this : 
 
 In the sea is thy way. 
 
 And thy paths in the great waters. 
 
 And thy footsteps aiie not known ! *^ 
 
 § 5. on THE ACCUMULATION OF METATIIORS. 
 
 In order to introduce the remarks about to be 
 offered in this section, let us recur to tlie 18th Psalm, 
 that great storehouse of poetical imagery, and ex- 
 amine its opening sentence. 
 
 I will love thee, O Lord, ray strength, 
 The Lord is my strong rock, and my fortress, and my de- 
 liverer. 
 My God, my Ilock ; I will take refuge in him ; 
 My shield, and tlic horn of my salvation ; my high tower. 
 
 Here is accumulation of varied metapliors. The 
 armoury, the fortress, tlie sanctuary, the natural 
 world, are all resorted to for illustrations of the 
 Almighty's saving poAver. 
 
 It would be diiticult to account for such Aaried 
 imagery by the ordinary laws of poetical composition. 
 
 " Ilab. iii. 8. ^ Ilab. iii. lo. "= rsalm Ixxvii. 19. 
 
 c c 4 
 
392 ON THE POETICAL IMAGERY OF THE PSALMS. [Dismckt. V. 
 
 It is a principle practically recognised in the poetry 
 of all nations, that the mind, when strongly moved, 
 will endeavour, by the use of frequently recurring 
 comparisons or metaphors, to illustrate sentiments 
 which it cannot define by language, or which, at 
 least, in the ardour of its passion, it Avill not stop to 
 define. And therefore where graphic or logical accu- 
 racy is impossible, or out of place, the fancy will have 
 recourse to image after image, will multiply them, 
 and seek for them from sources the most diversified, 
 as if casting an eager glance on every side lor some 
 vivid symbol of the feeling which entirely possesses it. 
 
 In the magnificent exordium before us, this prin- 
 ciple may certainly be considered as having place. 
 The subject of illustration is Almighty God ; a Being 
 indescribable by words, whose essence and attributes 
 are incomprehensible, whom the eye has not seen, and 
 whom the reason apprehends but in j^art, and that 
 but mediately, tlu^ough his works, and through his 
 own revelation. The ardour, therefore, of grateful 
 love, when celebrating such a Being, must necessarily 
 have recourse to symbols ; and in a kind of despair of 
 even faintly shadowing forth his attributes, will, in 
 search of diversified images, explore every attainable 
 part of the world, whether visible or spiritual. 
 
 So far a similar principle regulates sacred and 
 secular poetry. There is, liowever, a difference to be 
 observed in their respective modes of application. The 
 accumulation of metaphors is employed by secular 
 poets chiefly, if not exclusively, in those instances 
 where either the feelings or the fancy of the speaker 
 arc excited or highly wrought. The frequent use of 
 metai)hors by Shakspeare is well known ; but tliey 
 are accumulated under those circumstances only." 
 
 ° Sec particuhiily 1 Ilonry IV., act iv. sc. 2., the description of Prince 
 Henry and his army ; and those already nientir)ned in Midsinn. Niglit's 
 Dream, act i. sc. 1.; and Cleopatra's description of Antony, Ant. and 
 CIcop., act V. so. 2. &c. &c. 
 
§ o.] ON TIIK ACCUMULATION OF METAl'IIOES. 3'J3 
 
 The same end is attained by Homer, who docs not, 
 indeed, chister together metaphors, but in the more 
 impassioned jxart of his poem, when describing the 
 heat of action, or some great and stirring movement, 
 simile follows simile in rapid succession, and the same 
 image, at first imperfectly worked out, is repeated 
 and expanded in more than one which follows.'' In 
 the still life of the Odyssey, there are but few similes ; 
 and in the calmer parts of the Iliad, they are used 
 more sparingly, and are not found grouped together. 
 J3ut the great object of sacred imagery not being 
 mere painting, mere imitation, the mere expression of 
 the passions or the feelings, the accumulation of 
 metaphors may have place in the inspired songs, not 
 only when the feelings are excited, but when they are 
 most cahu and meditative. Its object is the exhibi- 
 tion of what is good, and true, and beautiful, in close 
 connection : not of either the one or the other sepa- 
 
 * For example, towards the end of B. and O. 483. et scg., P. 53., and 
 737. et scq. I think, independently of other suflieiently aljundant 
 proofs, whit;!! may confute the notion, first broached by "Wolf, and 
 strangely adopted by Mr. Coleridge, of tlie Homeric poems being a com- 
 pilation of ballads by various hands, several most satisfactory arguments 
 may be collected from his use of images, clearly shewing an identity of 
 imagination and of execution. 1. He accumulates them Avhen excited, as 
 asserted in the text. 2. He improves upon an old idea, or rings the changes 
 upon the same associations; just as writers of genius are always prone to 
 Tun vpon a word, or thought*, e.g., the same expression in two siniiles in 
 the second book respecting bees andjlies ; aSwdcov tOvea ttSwu : the frequent 
 images of waves and winds, and of flames and fire in the 2nd and be- 
 ginning of the 3d book. 'Jlie dogs in the 10th: two similes of s7ioio m 
 tlic r2th, and three similes from humble life in the same book : two, of 
 felling timl)er, in the 13th ; the roaring of the sea, the wind, and the fu'e, 
 in the 14th ; three of lions in the 17th ; in the 4th, two adjoining similes of 
 women in humble life ; two tender images at the beginning of the IGlh, 
 &c. &c.* I make no apology for this note : the vindication of the identity 
 of Homer is an important feature in the history of the human mind, and 
 one which has not yet been sufficiently expanded. 
 
 * Of this toiuii'ncy in St. Paul, instances are •^ivi-n tlirouf^lioiit ]Mr. Fmsfcr's 
 exhaustive and deniuiistrative work, tlic " .Vposlolical Aulhorllv iiftlic I'ipistle 
 to the Ilehrcws." 
 
394: ON THE POETICAL IMAGERY OF THE PSALMS. [Dissert. V. 
 
 rately, but of botli necessarily combined. The good 
 tliat is presented to us is always beautiful; either 
 intrinsically so, or made attractive by the graces of 
 sldlful versification, of harmonious collocation, of 
 beautiful imagery, or of all these coml/nied. The 
 beautiful, in like manner, is either obviously good in 
 itself, or illustrative of good. 
 
 Xow, supposing the above passage to be unimpas- 
 sioned : supposing it to be conceived not in the hasty 
 ardour, but in the settled and deep composure of a 
 grateful heart, still the principle just advanced will 
 render these varied metaphors not only allowable, but 
 altogether appropriate. The Psalmist does not seek 
 to represent the Almighty by one exact metaphor as 
 the symbol, or one consistent and harmonious com- 
 parison as the allegory, of his perfections. It would 
 be the obvious course of an ordinary poet, were a 
 simile intended, to select some one or other of these 
 images, to dilate upon that, or paint it at full length ; 
 for instance, he would describe the shield, or the 
 fortress, or the rock, or the sanctuary ; or else, if a 
 passing metaphor Avere sought, he Avould be careful 
 not to mar the unity of his comparison l)y the intro- 
 duction of dissimilar images. But the design of the 
 Psalmist is to connect the idea of the Almighty's 
 merciful power with the idea of all tl.iat is defensively 
 strong in art or in nature, lie therefore brings to 
 our notice the natural strength of the rock, the arti- 
 ficial streno;th of tlic fortress, the defensive stren2:tli 
 of the shield, the protection afforded by the prescrip- 
 tive sanctity of the altar, and the deliverance ensured 
 by the salutary sympathy of the living auxiliary. 
 The moral notion of Ood's power, as inherent in him- 
 self, as efrcctiijilly exerted for liis crentures, as lioly, 
 and as sympathising in liuiniiii wriikncss, being thus 
 variously illustrated, the Psalmist does not indulge in 
 a dilation of any one particular metaphor. The great 
 
§ G.] CONCLUSION. 395 
 
 rcscmbkincc sought for being thus effectually exhi- 
 bited, it matters not whether the objects employed be 
 in every point strictly congruous among themselves 
 or not. One point of resemblance they all possess : 
 and thus, like the varied denominations given to the 
 law of God in the 118th Psalm, they have the effect 
 of placing that one glorious object in the several as- 
 pects which are open to the apprehension of the 
 human mind. 
 
 Such a juxtaposition of things natural with things 
 spiritual, while illustrative of great truths, is also 
 salutary to the understanding. The habitual com- 
 parison of things that are seen with those that are 
 invisible, conduces to the purification, to the sanctifi- 
 cation, of the intellectual taste. In the sacred writings 
 God has placed no great gulph between his outward 
 and his spiritual creation. Natural images so blend 
 themselves with spiritual truths, that they all arc 
 taught to maintain a delightful and holy companion- 
 ship in our souls, and to vindicate their origin, as 
 alike proceeding from the same heavenly wisdom. 
 
 § 6. CONCLUSION. 
 
 In concluding this essay, and the work of which it 
 foi-ms a part, a hope must be expressed, that those 
 who have so far accompanied its writer Avill not 
 regard poetry merely in a subordinate and grovelling 
 sense, as the plaything of the fancy, the recreation 
 of idle hours. The poetry of Holy Scripture is divine 
 Truth, arrayed in her most glorious apparel, the 
 Oracle of God, speaking with the voice of angels. It 
 is the highest exercise of the illuminated Eeason, but 
 not on that account dissociated from the Imagination : 
 for the Imagination, when taught of God, is that which 
 apprehends most vividly the things which belong to 
 
39G ON THE rOETICAL liMAGKKY OF TllK I'SALMS. [Disskrt. V. 
 
 the unseen world. Yet, if such l^e the high estimate 
 claimed by the poetry of Scripture, let it not be 
 thought profane to luive l)rought into comparison with 
 it the efforts of mere liunian genius. Tliose celebrated 
 men, to whom the most frccpient allusion haS been 
 made, have been, doubtless under the direction of 
 God's Providence, the master minds who have go- 
 verned the intellect and the imagination not only 
 of their own, but of all successive generations, in 
 every part of the world where their language has 
 been attainable : they have exercised a salutary moral 
 influence ; and to each of them may be applied what is 
 so justly attributed to the most ancient secular poet 
 of antiquity, 
 
 Qui, quid sit jmlcliruin, (lukl turjte, quid utile, ([u'ld iioii, 
 Plcnius ct mcHus Chryslppo ct Crantorc dicit. "^ 
 
 Yet it is not on account of their intrinsic excellence 
 that they have been mentioned. This has been done 
 in order to shew how innneasurably distant are even 
 these stars of the first magnitude in tlie secular firma- 
 ment from that Sun Avhich illuminates the sky of 
 heaven, and dims them all when he appears. In 
 every respect the teaching of Holy Scripture, both in 
 its fundamental principles, in the manner of its appli- 
 cation of them, and in the matter of its divine instruc- 
 tion, excels beyond all computation the teaching of 
 mere men, liowever gifted they may be by a kind 
 oi' minor inspii-ation, or endued witli that wisdom 
 which proceeds from the j\Iost High alone. 
 
 AVhatever success may attend his endeavoui's, the 
 sincere object of the writer of tliese pages has been 
 to administer to a religious and moral purpose, in 
 throwing some elucidation upon the direct meaning 
 and innnediate object of tlie chief lyrics of sacred writ, 
 
 " llor. Eiiist. Lib. ii. 3. 
 
§ G ] CONCLUSION. 397 
 
 the Book of Psalms. And in conclusion lie must re- 
 peat, that lie has been urged to it by the keen sense 
 of the unwholesome influence to which the imnirina- 
 tion, the reason, and the devotion of the present and 
 rising generations have of late years been subjected. 
 Whatever may have been the improvements in the 
 moral and religious condition of our countiy, (and to 
 tliese no right-minded man can be insensible) tliere 
 is unquestionably one great evil which has been 
 ST)reading wide, and requires to be as strenuously ar- 
 rested : namely, a vacillation and uncertainty of 
 thought, which manifests itself in a want of iirmness, 
 of principle, and too often of integrity ; so that the 
 ancient foundations of temporal policy, of morals and 
 religion, are shaken on every side. The ancient na- 
 tional character seems to be underofoinof a ereat 
 change ; and the honest and clear-sighted integrity of 
 the British mind is now more rarely to be found. 
 This evident deterioration may be accounted for in 
 various ways : but assuredly one element of our en- 
 feebled condition is to be found in the disregard of 
 the ancient habits of regular thought, and systematic 
 devotion, and solid learning, which united a classical 
 taste and elasticity with the resources of catholic scho- 
 larship, and enliglitened religious philosophy. Till 
 the old paths are again trodden ; till the fiithers of 
 the English church are again associated -with tliose of 
 more ancient times; till men again learn to think and 
 to feel as Englishmen, and to believe that they do 
 possess witliin the pale of their church the strono-- 
 hold of catholicity, if they would but resort to its 
 defences in these times of trouble ; till the Avayward 
 will be resisted, and the mind again subjected to the 
 real teaching of the Holy Spirit in the Scriptures ; no 
 hope can be entertained for this church and nation. 
 Still the inherent honesty and uprightness of this fa- 
 voured people Ims not yet been undermined : there is 
 
)98 ON THE POETICAL IMAGERY OF THE TSALMS. [Disskkt. V. 
 
 yet a love of truth and soberness largely prevalent : 
 and therefore there is yet a hope, a strong and lervent 
 hope, that our venerable cathedrals, and our glorious 
 universities, may continue to be the strongholds of 
 godliness, good learning, sound Christian doctrine 
 and lioly living : that God's blessing may return in 
 more abundant measure to this favoured land, so that 
 Truth may spring out of the earth, and liighteousness 
 may look down from heaven. 
 
APPENDIX. 
 
A r P E N I) I X. 
 
 TUE rSALM OF DAVID, RECORDED IN 1 CHRON. xvi. 
 
 7—36. 
 
 Then on that day David delivered first tliis psalm 
 for the praise of the Lord into the hand of Asaph 
 and his brethren. 
 
 I. (A) 
 
 O give thanks unto the Lord, 
 Call upon his Name ; 
 
 ISIake known amono; the nations his doinss : 
 
 Sing yc to him, make a psalm to him. 
 
 Talk ye of all his marvels. 
 
 Praise him in the Name of his holiness ; 
 
 (*)Let there be gladness in the heart of them tliat seek 
 
 the Lord. 
 * Search for the Lord and his strength : 
 Seek his face continually. 
 
 (•^) The first part, down to "and among my prophets do no evil," 
 corresponds to Vs. cv. 1 — 15. The variations are subjoined. 
 
 Ps. cv. I 1 Citron, xvi. 
 
 * Abraham . . . . | Israel. 
 ^ He hath remembered ' Remember ye . 
 
 they . . 
 
 to 
 
 ye 
 
 among. 
 
 The LXX. reads ^im)- 
 fiovevwv, with Psahu 
 cv. 
 
 The LXX. I'cads av' 
 Tohs, with Psabji cv. 
 
 VOL. II. 
 
 (') Ileb. be ghul the heart. 
 D D 
 
402 APPENDIX. 
 
 Remember his marvels that he hath done, 
 His wonders, and the judgments of his mouth. 
 
 O seed of Israel," his servant, 
 O children of Jacob, his chosen ; 
 He is the Lord our God : 
 In all the earth are his judgments. 
 
 Kcmember^ ye for ever his covenant. 
 
 The word Avhich he connuandcd to a thousand generations, 
 
 AVhich he covenanted with Abraham ; 
 
 And his oath unto Isaac ; 
 
 And he confirmed it to Jacob for a * statute. 
 
 And to Israel as a covenant for everlasting. 
 
 Saying, To thee will I give the '"land of Canaan, 
 
 The lot of your inheritance. 
 
 AVhen ye'^ were small in number. 
 
 Yea, very few, and strangers therein ; 
 
 And they were going from people to people. 
 
 From one kingdom to another nation. (') 
 
 He suffered not man*^ to oppress them ; 
 
 And he reproved for their sakes cvc7i kings ; sat/inr/, 
 
 Touch not mine Anointed, 
 
 And ^among my prophets do no * evil. 
 
 II. n 
 
 * Sing unto the Lord, all the earth, ^ 
 
 Shew forth from day "^ unto day his salvation. 
 
 * Tell among the heathen his glory, ^ 
 Among all the nations his marvels. 
 
 C^) The second part, down " to judge the earth," corresponds to Psalm 
 xcvi. to the uiiddlc of the last verse. The variations follow. 
 
 Ps. xcvi. 
 
 (The Psalm begins with) O sing 
 
 imtothe Lord a song that is new. 
 
 Sing unto the Lord, bless ye his 
 
 Name ----- 
 
 avh 
 
 ni3D 
 
 To be feared - - - - 
 
 1 CiiRON. xvi 
 Omitted. 
 
 Omitted. 
 
 And to be feared. "And," is omit- 
 ted by the LXX. 
 
 (') Nation other. 
 
APPENDIX. 
 
 403 
 
 For great in the Lord, and to be praised liiglily, 
 
 ^And to be feared is lie above all Gods. 
 
 For the Gods of the * nations arc idols, 
 
 But the Lord the heavens hath made. 
 
 * Honour and * majesty arc before his face, 
 
 Power and * joyfulness ^ are in his place. ^ 
 
 Ascribe unto the Lord, O yc kindveds of the people, 
 
 Ascribe unto the Loud jjjlory and i)o\ver. 
 
 Ascribe unto the Lord the glory of his Name. 
 
 Bring a present, and go before his face.'^ 
 
 O worship the Lord in the majesty of holiness, 
 
 Stand in awe of him, all the earth. 
 
 * Truly the world (') is established, it shall not be moved. 
 
 Let the ('-) heavens be glad, and let the earth rejoice, 
 
 JAnd let them say among the heathen, the Lord is 
 Kino;. 
 
 Let the sea roar, and the fulness thereof. 
 
 Let the ''field be joyful, and all that is in it ; 
 
 Then shall sing for joy the 'trees of the ""wood "before 
 the Lord, 
 
 For he "cometh to judge the earth. 
 
 Ps. xcvi. 
 
 
 
 1 CiiRON, xvi. 
 
 Beauty - 
 
 - 
 
 - 
 
 Joyfulness. 
 
 Sanctuary 
 
 - 
 
 - 
 
 Place. 
 
 His courts 
 
 - 
 
 - 
 
 His face. 
 
 (The arrangement of these lines 
 
 
 is diirercnt : viz.) 
 
 
 
 
 Say among, &c. 
 
 - 
 
 - 
 
 Truly the world. 
 
 Truly the world, &c. 
 
 - 
 
 - 
 
 Let the heavens. 
 
 He shall judge, &c. - 
 
 - 
 
 - 
 
 Omitted. 
 
 Let the heavens, &c. 
 
 - 
 
 - 
 
 And let them say. 
 
 Say - - - 
 
 - 
 
 - 
 
 And let them say. 
 
 Fields - 
 
 - 
 
 - 
 
 Field. The word in the Psalm is 
 joined to a singular verb. 
 
 All the trees 
 
 - 
 
 - 
 
 The trees. 
 
 -ly; - - - 
 
 - 
 
 - 
 
 -iy;n. 
 
 "^zh 
 
 - 
 
 - 
 
 3D bD. 
 
 For he cometh, for he cometh 
 
 - 
 
 For he cometh . 
 
 (i) Heb. is established the world. 
 (-) Ileb. let be glad the heavens, - 
 be joyful the field. 
 
 ■rejoice the earth — roar the sea — 
 
 n D 2 
 
404 
 
 APPENDIX. 
 
 III. (-) 
 
 O give thanks unto the LoPvD, for he is good, 
 For everlasting is his mercy. 
 
 (°) AndP say ye, Save us, O God of our salvation''. 
 
 And gather us, ^ and deliver us from among the heathen. 
 That we may give tlianks to the Name of thy holiness. 
 That we may triumph in thy praise. 
 Blessed be the Lord God of Israel from everlasting to 
 
 everlasting. 
 And let * all the people (') say Amen, 
 * And praise be to the Lord. 
 
 (f") This distich is from Psalm cvi. 1. 
 
 (1^) The remainder is from Psahn cvi. 47, 48. The variations 
 follow. 
 
 Ps. cvi, 
 p Save us - 
 '' O Lord our God 
 "■ And gather us from 
 
 * Praise ye the Lord, n^ I^^H- 
 
 1 CiiEON. xvi. 
 
 And say ye, Save us. 
 
 O God of our salvation. 
 
 And gather us, and deliver us from. 
 
 IIJDXV which is here rendered " let 
 them say." LXX. ipu, in the 
 same manner as the same word 
 was rendered before; according 
 to Mr. Granville Sharp's third 
 rule, as to the conversive vau. It 
 forms, I apprehend, part of the 
 Psalm. 
 
 And praise be to the Lord. ^\>n) 
 piTIv- Kai i)vecrav. LXX. 
 
 (') Let say all the people. 
 
I N 1) E X. 
 
 Abcn Ezra, ii. 20. 28. 127. 202. 256. 
 
 395. 
 Abraham, said by the Rabbins to be 
 
 one of the authors of the Psalms, ii. 
 
 223. 
 Abraham Jacob Rabbi, ii. 270. 
 Abu Walid, i. 83. 
 Adam said by the Rabbins to be one 
 
 of the authors of the Psalms, ii. 
 
 223. 257. 
 Addison, ii. .332. 335. 
 iEschylus, i. 292. ii. 335. 344—348. 
 Ahaz, desolations of Jiidah under, ii. 
 
 177. 183. 186. 188, 189. 195. 226. 
 
 244. 25 •.. 255. 
 AijeLth-li'-shahar, a title of a Psalm, 
 
 ii. 1 .'.', 151. 
 Aijalon, a Levitical city, ii. 151. 
 Al Taschith, a title of certain Psalms, 
 
 i. 118. ii. 151. 
 Alamoth explained, ii. 149, 150. 
 Alcajus, ii. 335. 
 
 Alemeth, a Levitical city, ii. 151. 
 Alexandrian Codex, ii. 224. 
 Allegories, i. xv. 
 Alliteration, a feature of poetry, ii. 
 
 341. 
 Almon, a Levitical city, ii. 151. 
 Alphabetical Psalms, ii. 7. 237. 242. 
 
 273. 
 arrangement in the Book 
 
 of Lamentations, ii. 324. 
 Ambrose, St., ii. 224. 
 Amnion, invasion by, in Jehoshaphat's 
 
 reign, ii. 185. 191. 
 Anagogical explained, i. xv. 
 ))ruicii)lc of sacred poetry, 
 
 ii. 359. 365 — 382. 
 Anagram, instances of, ii. 150. 
 Analogy between sacred and secular 
 
 metre, II. 332 — 349. 
 Anaphora explained, ii. 43. 
 Andrews, Bishop, ii. 41. 296. 
 Angel spoken of in the Psalms, ii. 
 
 241, 242. 
 Anglo-Irish dialect, ii. 352. 
 
 Anglo-Saxon metre, ii. 341. 
 Anthropomorphism, a defect in Mil- 
 ton and Homer, ii. 390. 
 Anthems, English, ii. 109. verse, not 
 
 modern inventions, ii. 145. 
 Aquila, ii. 127. 299. 
 Arabic language, Ii. 351. 353. 
 version of the Scriptures, i. 87. 
 
 127. 135. 
 Aristophanes, a profane buflbon, ii. 
 
 348. 
 Artifices of poetical construction, ii. 
 
 27.3. 340. 
 Asaph, Psalms of, ii. 6. 253.; analysed, 
 
 ii. 168—186.; character of, 171, 172. 
 
 256. 306. 
 
 choir of, ii. 171. 
 
 Ascension of our Lord foretold, ii. 27. 
 
 236. 
 Aschmuneim, an Egyptian city, i. 137. 
 Assonance, instances of, ii. 322. 339. 
 Assur, or Assyria, alluded to, Ii. 185. 
 Athanaslus, St. ii. 225. 296. 
 Attic dialect, ii. 352. 
 Augustine, St.,i. xxiii. ; ii. 127, 128. 
 
 135. 147. 149, 150. 153. 
 
 Bacchus, worship of, ii. 343. 
 
 Bacon, Lord, ii. 267. 273. 
 
 Balaam's prophecy, ii. 106. 
 
 Ballad poetry, ancient, ii. 340. 
 
 Barrow, ii. 275. 
 
 Bartolocci, Bibliotheca Rabbinica, ii. 
 
 127. 
 Bate Julius, i. 149. 
 Becmannus, ii. 127. 
 Bede, Venerable, ii. 296. 320. 341. 
 Bedford's Temple Service, ii. 124. 
 Bellerman, ii. 296. 
 Bengi'l, i. xiii. xiv. 
 Bcni Kclb, ii. 52. 
 Bocliart, ii. 299. 
 Bodinus, ii. li.'8. 
 Book, dirterent senses of the word, ii. 
 
 225. 
 Boyce, Dr., ii. '335, 
 
 3 
 
406 
 
 INDEX. 
 
 Burke, Eilimiiul, ii. :36i>, 36:J. :583, 
 
 384. 
 ISurkius, i. xiii. ii. 130. 
 Burncy, Dr. Charles, ii. 11. SIC. 
 Burton, Rev. Cliarles, LL. D. ii. ^65. 
 Burtlicn in the Psahns, 1. 275. 282. 
 
 ii. '13. 247. 
 
 in secular poetry, ii- 341. 
 
 Butler, Bishop, i. xxix. 
 
 Buxtorf, ii. 128. 320. 
 
 Bythner, i. 136.; ii. 128. 150. 153. 157. 
 
 Bytmeister, ii. 128. 
 
 Cabalists, i. xvii. 
 
 Calcol, ii. 198. 
 
 Callistratus, ii. 338—340. 
 
 Calmet, ii. 129. 147. 220\ 279. 295. 
 298. 
 
 Calovius, ii. 128. 
 
 Calvin, ii. 12g. 
 
 Canioens, ii. 1G3. 
 
 Cappellus, i. 71. 315 ; ii. 350. 
 
 Captivity of l>abylon. Psalms com- 
 posed 'ilurin-j:, i).'232. 2(;3. 
 
 '■ after, ii. 7. 
 
 268.270, 271,272. 296. 301. 304, 
 S05. .309. 
 
 Captivities in the times of the Judges, 
 ii. 268. 
 
 Cardinal truth in tlie centre of the 
 I'sahns, ii. 66. 
 
 Carpzov, ii. 225. 
 
 Cassiodorus, ii. 129. 
 
 Chaldaisms in the Psalms, i. 270. 289. 
 291. 293.; ii. .300. 306. 
 
 Chaldee Paraphrase, i. 97. 107. 110. 
 134. 149. 161. 289. ; ii. 202. 299. 
 
 Chandler, i. 1 33. 
 
 Chanting, observations on, ii. 124. 
 
 Chapel Royal of England, ii. 216. 
 
 Chaucer, ii. 3.32. 353. 
 
 Chief musician, in titles of the Psalms, 
 ii. 13.5. explained, 143,144. 
 
 Chinese language and civilization, ii. 
 342. 
 
 Choir, the tlirce divisions of the .Jew- 
 ish, ii. 11. 149.; analogy between 
 the Jewish and English Cathedral, 
 ii. 216. 
 
 Choral service, remarks on perform- 
 ance of, ii. 124 — 126. 
 
 Chrysostom, St., i. xxiii.; ii. 127. 296. 
 
 Church Christian, prefigured, ii. 190. 
 
 Clarius, ii. 128. 
 
 Clark, Jeremiah, ii. 334. 
 
 Clarke, Dr. Adam, ii. 157. 
 
 Clarke, Dr. Somers, ii. 323. 
 
 Coleridge, ii. 160. 39.3. 
 
 Collectio Nova Patrum, ii. 1 29. 
 
 Commandments in P.salm 119. ex- 
 plained, ii. 287 — 289. 
 
 Comparisons, scriptural, ii. 363,364. 
 Conscience, modern false notions as 
 
 to, ii. 394, 
 Context of Scripture neglected, ii. 
 
 xviii. 
 Copleston, Bishop, i. x xviii. 
 Coppcn, ii. 226. 
 Cosnias Indicopleustes, ii. 129. 
 Crucifixion of our Lord foretold, ii. 
 
 236. 250. 
 Cymbals, ii. 212. 
 
 Daniel, supposed author of 119tli 
 
 Psalm, ii. 274. 
 D'Anville, i. 137. 
 Darda, ii. 198. 
 Dathe, i. 15. 47. 66. 71. 94, 95. 107. 
 
 110. 124. 129. 133. 134. 136, 137. 
 
 156. 289. 296. ; ii. 128. 193. 
 David, Psalms attributed to, ii. 6. 
 
 159 — 168.; last words of, 166, 167. ; 
 
 author of 51st Psahn, 17.3 — 175.; 
 
 style of, 227 — 229. 240. ; insfitutor 
 
 of regular choral service, ii. 226.; 
 
 remarks on his playing before Saul, 
 
 232.; events of life of, 245, 246. 250. 
 
 252. 257. 261, 262. 307. 
 David Rabbi, ii. 1 28. 1 57. 395. 
 De Dieu, i. 156. 224. 289.; ii. 129. 
 De Muis, ii. 224. 279. 
 Deborah, song of, i. 317.; ii. 100 — 
 
 105. 250. 
 Dedication of the temi)le, ii. 297. 303. 
 
 305. 
 Deluge alluded to, ii. 26.1. 
 Descent into hell of our Lord foretold, 
 
 ii. 236. 
 Descriptions, poetical in Scripture, il. 
 
 359. 367, 368.; compared with those 
 
 of secular poets, 374 — 382. 
 Desiderium, an essential ingredient in 
 
 poetry, ii. 163. 188. 
 Deutschmannus, ii. 128. 
 Diapsalma explained, ii. 4. 
 Diniock, ii. 31. 
 Dithyrambics. ii. S43. 
 Doederlcin, i. 118. 
 Dogs, an Arabian nom de guerre, ii. 
 
 62. 
 Doxologics in the Psalms, ii. 228. 
 Dragons, an image employed by Isaiah, 
 
 ii. 178. 199. 
 Dram:i, origin of, ii. 344.; dcl)ased 
 
 .st.-ite of, i). 348. 
 Druslus, ii. 128. 
 Dryden, ii. 348. 
 Durell, Dr., ii. 31. 
 Dyer, ii. 381. 
 
 Elicrtus, ii. 32>>. 326. 
 Eichhorn, ii. 296. 
 
INDEX. 
 
 407 
 
 Elizabethan pronunciation of English, 
 
 ii. 35'i. 
 English, Old, pronunciation of, ii. 352. 
 Enoch's j)ro])hecy, ii. .'540. 
 Epana])hora, ii. 298. 
 Ei)anodos cx|)laincd, ii. 27. ; instances 
 
 of, i. lO.T. ; ii. 182. SG\. 
 Epigrammatic compositions, ii. 298. 
 Epiphanius, St., ii. 224. 
 Episode ejjic, instance of, in the 
 
 Psalms, i. 166.; ii. 182. 
 ■ tragic, derived from Hebrews, 
 
 ii. 8. 
 Epistrophe explained, ii. 43. 
 Ethan, I'salms attributed to, ii. 4. 
 
 1<)7 — 200. 
 
 choir of, ii. 171. 227. 
 
 Ethiopic version, i. 127.; alphabet, ii. 
 
 Euscbius, ii. 128. I;i0. 224. 
 Euthymius Zigabeniis, ii. 128, 129. 
 
 296. 
 Executive functions of the sovereign, 
 
 ii. 2S9. 
 Exode of tlic Israelites, ii. 9. 240. 
 
 270, 271. 
 Ex])rcssion, musical, ii. 124. 
 Ezra, or Zerah, ii. 198. 
 Ezrahite, conjecture as to meaning of, 
 
 ii. 198. 
 
 Figurative sense of Scripture, i. xv. 
 Forster, Ven. Archdeacon, ii. 254. 
 
 312. 
 Forster, Rev. Charles, ii. 52. 141. 
 
 264. 393. 
 Forster, John, ii. 128. 
 French language, ii. 352, 353. 
 
 Gad, one of the directors of the Jew- 
 ish choral service, ii. 170. 
 
 Gath Klmmon, a Levitical city, ii. 
 151. 
 
 Geierus, ii. 11. 128, 129. 
 
 Gemara, ii. 270. 
 
 Genebrard, ii. 172. 221. 224. 296. 
 
 Germany, theology of modern, ii. xxvi. 
 — xxviii. 
 
 Gershomitcs, genealogy of, ii. 212. 
 
 Gescnius, ii. 143. 
 
 Gibbons, Orlando, ii. 109. 
 
 Gittith, conjectures as to meaning of, 
 ii. 151. 
 
 Glassius, i. 83. 
 
 Glorification of our Lord foretold, ii. 
 236. 269. 
 
 Gog and ^lagog, ii. 299. 
 
 Gomar, ii 321 . 
 
 Goode, Dr. Mason, ii. 358. 
 
 Grabe, ii. 224. 
 
 D D 
 
 Greek choral ode, ii. 342. 
 
 instruments of niusic, ii. 154, 
 
 155. 
 Gregorian chant, ii. 125. 
 Gregory Nyssen, St., ii. 128. 221.224. 
 Greve, i. xiv. ; ii. 331. 
 Grey, Dr. Richard, ii. 351. 
 Grotius, ii. 128. 
 Guitar, ancient Egyptian, ii. 148. 
 
 Ilabakkuk, prayer of, i. 313—317. 
 
 ii. 1. 7. 99. 157. 391. 
 Ilaggai, a reputed author of certain 
 
 Psalms, ii. 209. 309. 
 Hales, Dr. William,!. 135.; ii. 214. 
 Ilallel, greater, explained, ii. 270 — 
 
 272, 273. 
 Hallelujah, prefixed or subjoined to 
 
 certain Psalms, ii. 270. 
 Hallil, ii. 1.56. 
 Hammond, Dr., i. 83. 93.; ii. 128. 
 
 147. 156. 224. 256. 262. 269. 295, 
 
 296. 299. 301. 
 Handel, ii. 109. 334. 
 Harcourt, Mr. Vernon, i. 84. 
 Hare, Bishop, ii. 31. 224, 225, 226. 
 
 256. 321. 331. 351. 
 Harp, see Kinnor. 
 Ileman, Psalm attributed to, ii, 6. 
 
 197. 199, 200. 
 Herder, ii. 7. 
 
 Hermon, allusion to, explained, i. 84. 
 Hesycliius, ii. 129. 
 Heilmannus, ii. 4. 9. 128, 129. 
 Hezekiah, events alluded to in the 
 
 reign of, ii. 169, 170. 176. 184. 
 
 189. 191. 193. 244, 245. 253. 255.; 
 
 a restorer of the temple service, ii. 
 
 173. 175. 180. 186. 188. 226.; a 
 
 restorer of justice, ii. 179. ; portions 
 
 of Holy Scripture collected in 
 
 reign of, ii. 186, 187.; song of, ii. 
 
 141. 197. 
 Hexameters alleged to exist in He- 
 
 bi'ew poetry, ii. 331. 
 Ileyne, ii. 348. 
 Higgaion, i. 199.; conjectures as to 
 
 meaning of, ii. 157, 158. 
 Hilary, St., i. xiii. xiv.; ii. 129. 224, 
 
 225. 
 History of Providence, ii. 267. 
 Homer, ii. 182. 323. 362, 363, 364, 
 
 365, 366, 367. 370. 371. 37.3. 379, 
 
 380. 384, 385, 386. 390. 393. 
 Hooker, i. xiv. 
 
 Horace, ii. 332. 335. 343. 396. 
 Home. Bishop, i. 96. 133. 136, 137. 
 
 296. 307. 
 Ilorsley, Bishop, i. 44. 47. 8.3, S4. 93. 
 
 185. 188. 314, 31.5.; ii. 103. 143. 
 
408 
 
 INDEX. 
 
 151. 157. 190. 19'2. '20'J. 258. 265. 
 
 344, 
 Iluillus, ii. S(>5. 
 Iliiniiliation of our Lord foretold, ii. 
 
 2C9. 
 
 Inscriptions on the rocks in tlie East, 
 ii. 140. 
 
 Isiiiah, ii. 170, 253. ; probably the au- 
 thor of some Psalms, ii. 170. '255.; 
 stvle of, ii. 178. 184, 189, 194, 196, 
 199, 
 
 Isocrates, ii. 275. 
 
 Jacob's benediction, ii, 66. 108, 
 
 Jarchi, i. 49. ; ii. 127, 
 
 Jcbh, Bishop, ii. 19. 27. GO, 61, 64. 
 
 123. 319. 3 53, 334. 
 Jeduthun, ii. 135. 200.; choir of, ii. 
 
 1 80. See Et/i,i>i. 
 Jehoshaphat, events alluded to in the 
 
 reign of, ii, 176. 185. 191. 193. 25.3.; 
 
 a restorer of religion and justice, 
 
 ii. 179. 226, 
 •Teremiah, a reputed author of Psalms, 
 
 ii. 257. 262. 273. 305, 
 Jerome, St., ii. 127, 128. 130. 224. 
 
 305. 320. 
 Job's Parable, ii. 60. 
 Jt)chanan, Kabbi, ii. 270. 
 Johnson, Dr., ii. 372, 373. 
 Jonath elem rcchokim, conjectures 
 
 as to meaning of, ii. 153. 
 Jonathan Ben Uzziel, ii. 127. 
 Jones of Nayland, i. xv, 
 Joseph Par;q)lirastes, ii. 127. 
 Josephus, ii, 14G. 331. 
 Josiali, ii. 99. ; parts of Holy Scripture 
 
 collected in reign of, ii. 187. 226, 
 
 227, 228. 257. 
 Jubal, ii. 111,112. 
 Jubilee trumpet, ii. 111. 
 Judah, llMbhi, ii. 270. 
 Judgments in Psalm 119. exjjlaincd, 
 
 ii. 2S9— 291. 
 Judicial functions of the sovereign, ii. 
 
 2S9. 
 Junius, ii. 127. 157. 395. 
 Justin IMartyr, ii. 5. 42. 45. 128, 
 Justiniani, Augustine, ii, 127. 
 
 Keble, i. xxviii. ; ii. 163. 209. 346. 
 
 Kedar, tents of, in P.salm 120. ex- 
 plained, ii. 299. 
 
 Kinnicott, i. xxviii. 43. 44. 71. 77. 
 96,97. 121, 127. 135. 270.; ii. 9. 
 31. 63. 112. 214, 215. 350. 
 
 Kennicott's Codices referred to, i. 15, 
 16. 22, 23. 26. 41. 46. 4 9, 66. 68, 
 72. 83. h7. 98. 107, 108, 109. 114. 
 117, 118. 120. 122. 140. 142. 150. 
 
 154. 160. 172. 174. 184. 188, 216, 
 
 230. 237, 238. 242. 275, 285, 290, 
 
 300. 302, 304, 
 Kent, ii. 334. 
 Kimchi, ii. 9. 28. 128. 150. 225. 257. 
 
 279. 295. 299. 
 Kinnor, or harp, ii. 145, 146. 211, 
 
 212. 
 Kircher, ii. 321, 
 Knap]), i, 107. 
 Koeider, i. 107. 1 18. 
 Kohathites ii. 171. ; genealogy of, ii 
 
 213, 21 1. 
 Korah, Pvalms of the sons of, ii. 6. 
 
 186—197. 253. 255, 256. 306. 
 Korah, or Korhitcs, choir of, ii. 171. 
 
 194. 197. 
 
 I>amecli's speech, ii. 340. 
 
 Law, in Psalm 119. cxi)lained, ii. 
 
 279 — 282, 
 Law, Mosaic, ii. 280. ; of nature, ii. 
 
 280. 
 Legislative functions of the sovereign, 
 
 ii. 289. 
 Leigh, Edward, ii. 1 28, 
 Leighton, .\rchbishop, i, xxii. ; ii, 140, 
 I.,evites, genealogy of, ii. 212, 21S. ; 
 
 tvpcnty-four courses of, ii. 215, 
 Lightfoot, i. 84. 1 35. 280. ; ii. 9. 28. 
 
 156. 216. 270. 
 Literal sense of Scripture, i. xiv, xv. 
 
 xvii. 
 Logical structure of sacred metre, ii. 
 
 323, 
 Lowtli, Bishop, i. xxviii. 96. 121, 1.S3, 
 
 136. ; ii. 156. 296. 319. 331. 338. 
 
 344. 358. 
 Lucretius, ii. 41. 334, 
 Lyranus, ii. 28. 395, 
 
 IVI'Cormick, Rev. .Joseph, ii. 251. 
 
 iMuhalath ex|dained, ii. 155.; le-an- 
 noth, explained, ii. 156. 
 
 :Mahol,ii. 198. 
 
 :\Ia;dochi Natlian. ii. 127. 
 
 Mariana, ii. 128. 
 
 IMarsh, Bisliop, i. xv. x\ii. 
 
 ^lascliil, i. 93. ; ii. 223. explained, ii. 
 139, 140, 
 
 Masclef, ii. 350, 
 
 .Alasoritcs, ii. 329. 350. 
 
 IMede, Josei)h, ii. 214. 
 
 INIedit.iiion, modern fal>e notions 
 about, ii. 291. 
 
 Moibomius, ii. 129. 
 
 ^leiremhurgius, ii, 128. 
 I Melchizedek. considered by the Rab- 
 bins as one of the authors of the 
 Psalms, ii. 223. 
 
 Menocnius, i. xiv. 
 
INDEX. 
 
 409 
 
 Merari, descendants of, ii. 171. Ge- 
 
 nealofjy of, ii. 215. 
 Merrick, i. iri:5. 13G. 
 3Iesech, in I'salm I'JO. explained, ii. 
 
 IMessiah, reif^ii of foretold, ii. 255. 
 Metaphors, accumulation of, ii. 391 — 
 
 395. 
 Metre, nature of sacred, ii. 5. 11.; 
 
 aicidental syllahic, ii. S'JG". :i'J8. 
 IMetrieal construction of the I'salins, 
 
 ii. 319—332. 
 Michaelis, i. xv. 44. 118. 134.137. 2.52. 
 Michtain, ii. 153. 223. 245.; cx- 
 
 I)lained, ii. 140. 141, 
 ISIicrailius, ii. 129. 
 Rlidillcton, liishoj), i. xxviii. 
 Milton, ii. 330. 3(i7. 383. 390. 
 Minniin, a musical instrument, ii. 
 
 211, 212. 
 Mizar, in psalm 42. explained, i. 84. 
 Mizmor or I'salm, explained, ii. 138, 
 
 139. 141. 
 Moab, invasion of Judah by, in Je- 
 
 hoshaphat's reign, ii. 185. 191. 
 IMolicrus, ii. 128. 395. 
 Moses, song and blessing of, i.317. ; 
 
 ii. 100. 105. 168. 203, 204, 205.; 
 
 style of, i. 200. 204. 241. 250. ; 
 
 ii. 240 ; Psalm attributed to, 201 — 
 
 203. 256. 259. 261. 
 Mudge, ii. 9. 
 
 IVIusic, ancient Jewish, ii. II. 
 Alusical instruments of Jews, ii. 211, 
 
 212. 
 IVIuthlabben explained, ii. 150. 
 Mysterious, meaning of, i. xvi. 
 Mystic, meaning of, i. xvi. 
 3Iys!ical interpretation, theory of, ii. 
 
 135. ; i. xiv. — xxv. 
 oNJythology of Homer, ii. 390. 
 
 Nahal, or rsaltery, ii. 145. 149,150. 
 211, 212. 
 
 Nathan, one of the directors of the 
 Jewish choral service, ii. 170. 
 
 Nebuchadnezzar's dedication feast, ii. 
 15.). Desolations under, ii. 253. 
 
 NegiTiiith explained, ii. 144, 14,5. 
 
 Nehemiah, a reviser of Holy Scrip- 
 ture, ii. 225. 227. 269. 306. 
 
 Nehiloth, ii. 135. ; explained, ii. 156. 
 
 Newcome, Archbishop, i. 313. 315^ 
 316. 
 
 Nominative absolute, instance of, i. 314. 
 
 Olearius, ii. 128. 
 
 Opera, Italian, most degraded form of 
 
 drama, ii. 348. 
 Optatus, ii. 5. 128. 
 Organ, or luiggab, ii. 211. 
 
 Origen, i. 71. ; li. 128. .305. 309. 
 Osiander, ii. 127. 
 
 Parable of 78th Psalm exjilained, ii. 
 181. 
 
 Parallelism, instances of in secular 
 authors, ii. 326. ; cognate, ii. 19 
 
 Parkhurst, i. 96. 136, 137. 149. 154. 
 296. ; ii. 143, 144. 157. 350. 
 
 Paschius, ii. 127, 128. 
 
 Passion of our Lord foretold, ii. 250. 
 255. 
 
 Passover, hymn sung at the, ii. 270. 
 
 I'astoral imagery, ii. 254. 261. 301. 
 
 Patrick, IJisliop, i. 296. ; ii. 28. 5S. 
 90. 128. 170. 201,202. 228. 26P. 
 296. 299. 
 
 Perceval, Dudley M., Esq., ii. 378. 
 
 Peripeteia, instance of, ii. 181. 
 
 PfeiH'er, ii. 128. 
 
 Phoenicia, the immediate source of 
 Grecian letters, ii. 343. ; and of cho- 
 ral poetry, ii. 
 
 Pictorial etlect in .sacred poetry, ii. 
 383—391. 
 
 Pindar, ii. 320. 33'.^. 335, 336, 337. 
 343. 348. 
 
 Pipe, one of the Jewish musical in- 
 struments, ii. 21 1. 
 
 Play upon words, instances of, i. 165. 
 235. 270. 274. 293. 296. 305. ; ii. 
 298. 
 
 Poetical imagery of Scripture, ii. 357 
 — 397; two leading principles of, 
 357 — 359. ; accuracy of, 359. 
 
 Poetical imagery of Homer and ori- 
 ental writers, ii. 362, 363. 
 
 Points, Masoretic, ii. 351, 352. 
 
 Pope, 337. 
 
 Precepts, in Psalm 1 19. explained, ii. 
 284, 285. 
 
 Priesthood of our Lord declared, ii. 
 269. 
 
 Prologue of Greek tragedy, ii. 8. 
 
 Prometheus of -Eschyl us, ii. 375,376. 
 
 Pronunciation of Hebrew, ii. 329, 
 330. 
 
 Prophetical sense of Scripture, i. xiv. 
 xvi. 
 
 Prosody, Hebrew, ii. 329. 
 
 Providence, God's particular, calL'd 
 history, ii. 269. 
 
 [• Piirticidiir te.rts or passages of the 
 Vi'thns are rfferrvd to in the sub- 
 sequent list of " jmssaffes of Scripture 
 fptoleil."^ 
 
 *l'salins analvsed or explained at 
 length (all "in vol. ii.). The 1st, 
 
 220, 221. 229. The 2nd. 118. 220, 
 
 221. 229, 230. 235. The 3d, 56, 
 
410 
 
 IXDKX 
 
 57. '230. 249. The 4tli, 57— 5<). 
 2:50. 2-19. The 5tli, 2:50. Theotl), 
 IIG. 2f50, 2;$1. The 7th, 17, 18. 
 2:JI. The 8th, 164. 232. The 
 9tli, 6G—GS. Tlje 10th, 67. The 
 nth, 16. 232. The 12th, 13th, 
 and 14th, 232, The 15th, 233. 
 The 16th, 23.3, 234. The 17th, 
 2.34, 235. The 18th, 235. The 
 19th, 116. 235. 307. The 20th, 
 37. 236. The 21st, 38, 39. 23G. 
 The 22nd, 116. 236. 250, 251. The 
 23d, 236. The 2'ltli, 19, 20. 110. 
 236, 237. Tlie 25th, 237. The 
 26th, 237, 238. The 27th, 238, 
 239. The 28th, 116. 238. The 
 29tli, 928, 239. The 30th, 239. 
 The 31st, 118, 239. The 32nd, 
 84 — 86. 239, 240, 241. Tlie 33d, 
 119. 240, 241. The 34th, 112. 
 
 241, 24 2. The 35tli and 36th, 
 
 242. The S7th, 242, 24.3. The 
 38th, 243. The .39th, 43—49. 24.3. 
 The 40th, 49. 243, 24-4. The 
 41st, 244. The 42nd, 121. 188. 
 
 244. The 43d, 121, 122. 188.244. 
 Tlie 44tli, 21, 22. 189. 244. The 
 45th, 116. 189, 190. 209. 244. 
 The 46tli, 49—51. 111. 191. 244. 
 The 47ih, 26, 27. 191- 244. The 
 48th, 27 — 29.191 — 194.245. The 
 49th, 68—72. 194, 195. 245. 
 Tlie 50th, 13—15. 172, 173. 245. 
 The 51st, 116. 173. 245. The 
 52nd, 72, 73. 245, 246. The 53d, 
 24,5, 246, 247. The 54th, 25. 245, 
 146, 247. The 55th, 73—76. 245, 
 246, 247. The 56th, 122, 207. 
 
 245, 246, 247. The 57th, 77, 78, 
 245, 246, 247. The 5Sth, 119. 
 245, 246, 247. The 59th, 51—5.3. 
 207. 245, 246, 247. The 60th, 22, 
 
 23. 207. 245, 246, 247. The 61st, 
 
 24, 25. 245. 247. The 62nd, 5.3— 
 55. 245. 247. The 63rd, 207, 208. 
 245, 248. Tlie 64t!i, 1 16. 245. 249. 
 The 65th, 245, 249, The 66th, 
 86 — 88, 245. 249. The 67th, 
 60,61. 245, 249. Tlic 68th, 88 — 
 92. 245, 249, 250. Tlie fi9th, 
 119. 250, 251, The 70ih, 116. 
 25 1 , 252. The 7 1 st 166, 167. 245. 
 251, 252. The 72nd, 166, 167, 
 168, 245. 251. The 73d, 119. 176, 
 1 77. 253, 254. The 74tli, 1 77, 1 78. 
 183. 253,254. The 75lli. 15—17. 
 
 178, 253, 254. The 76tli, 78—80. 
 
 179. 253. The 77th, 92 — 94, 179. 
 254, 312 Tlic 78th, 181, 254. 
 The 79th, 180. 183. 254. The SOtli, 
 114, 180. 184. 185. 2,14. 'Jhc 
 
 8 1st, 29— 35, IS.-;, 254, The 82na, 
 179. 185. 254, The 83d, 25, 26, 
 185, The 84tli, 80 — 82. 254, 255. 
 The 85lli, 40 — 42. 195, 196. 255. 
 Tlie 86tl), 255. Tlie 87tli, 82 — 84. 
 196. 255, The 88th, 61— 66, 195, 
 196, 197. 199. 255. The 89th, 95 
 —99, 187. 199, The 90th, 123. 
 201—203. 257, 'i'lie 91st, 203— 
 205, 257. The 92nd, 257, The 
 93d, 256, 257—259, 260. The 
 94th, 256, 257. The 95th, 256— 
 259. 261. Tlie 96th and 97th, 
 256 — 260, 261. The 98t]i and 99th, 
 256, 258, 260, 261. The 100th, 
 256. 261, The 101st, 256, 257. 
 262, The 102nd, 256. 262, The 
 103d, 256, 263, 264, Tlie 104th, 
 264—267, The 105th, 267, 268. 
 The 106th, 268, 269. The 1 07th, 
 122, 12.3, 268, The 108th, 109. 
 269. The 109th and 110th, 
 
 269, The 111th and 112th, 269. 
 271, The 113th and 114th, 269, 
 
 270, 271. The 115th, 116th, and 
 ]17tli, 269, 271. The 118th, 269. 
 
 271, 272, The 119th, 272—294. 
 The 120th, 297. 299, Tiie 121st, 
 299. The 122nd, 299, .300, The 
 1 23d and 124th, .300. Tlie 125th 
 aiid 126th, 301. The 127th, 301, 
 
 302, The 128th, 129th, 130th, 
 and 131st, 303. Tlie 132nd, 120. 
 
 303. The 133d and 134th, 303. 
 Tiie 135th and 13Gth, .304, 305. 
 The 137tli, 270. 305. The 138th 
 and 139th, 306. The 140th and 
 The 141st, 94. 307. The 142iid, 208. 
 307,308. The 143d, 208, 308. The 
 144th, 164, 165. 308. The 145lh, 
 209. 224. 310. The 146th, ,309, 
 310. Tiie 147th, 121. 309, 310, 
 The 148th, 116—118. 309, 310, 
 liie 149th, 310. The 150th, 221. 
 311. 
 
 P.salms, in which Selah is found, of 
 two divisions, ii. 1 .3 — 43 ; of three, 
 66 — 84. ; of more than three, 84 — 99. 
 
 , order and connection of, ii. 
 
 219 — 311. ; divided into five parts, 
 223.; first part, 187. 228 — 244.; 
 second part, 186, 244 — 253. ; third 
 part, 186. 25;! — 255.; fourth part, 
 256 — 268. ; fifth part, 268—311. 
 -, collectors of, insjiired, 220. ; 
 
 authorship of frequently evident, 
 159.; have a three-fold history, 
 221.; sefpience of jireserved in 
 Church of England, 222. 
 
 , untitled', 223. 256. 305. ; 
 
 jirovidential, 263 — 269. 
 
INDEX. 
 
 411 
 
 I'salins, titles of. Sec Titles. 
 
 I'salin of praise, David's, ii. '221. 009. 
 
 of David's, record in 1 Chroni- 
 cles, xvi ; ii. 110. 2(i7. ; trans- 
 lated, ii. '101 — 404. 
 
 Psaltery. See I^Mbal. 
 
 Psanterin, or Psaltery, a Babylonish 
 instrument, ii. 155. 
 
 Pseudo-ChryBostom, i. xiii.; ii. 95. 129. 
 
 Quarterly llcvicw, ii. ;5G9. 
 
 Rabbinical Hebrew, ii. H.vl. 
 
 Rabbins, critical character of, ii. 4. 
 
 Rahab, a name for Egypt, ii. 199. 
 
 Ravenellus, ii. 127. 
 
 Recensions of the Psalms, ii. 153. 
 
 Rejection of our Lord by the Jews 
 foretold, ii. 2G9. 
 
 Reinc Clottlieb, ii. 128. 
 
 Restoration future of the Jews, ii. 
 2««. 
 
 Resurrection of our Lord foretold, ii. 
 197. 2.'3:5. 
 
 Rhyme, ii. .122. ,341.; instances of, 
 accidental, .'522, 3'23. 326". 
 
 Rhyllnn in the Psalms and in secular 
 poetry, ii. 319. 325 — 327.; does 
 exist in Hebrew poetry, 331 — 333. ; 
 instances of in the English ver- 
 sion of the Scriptures, 332 — 335. 
 
 Rock, a ]Mosaical image, ii. 204. 
 
 Romanesque languages, ii. 322. 
 
 Rose, Rev. 'Hugh, i. xxviii. 
 
 Rosenmiiller, i.'71. 149. 224. ; ii. 140. 
 141. 202. 296. 
 
 Routli, Rev. Dr.,i. xxviii. 
 
 Sacramental nature of Psalm 116. ; ii. 
 27J. 
 
 Sacrifice of our Lord foretold, ii. 243. 
 
 Salmon, in Psalm 68. explained, i. 
 135.; ii. 90. 
 
 Salomon Ren Melee, or Rabbi Solo- 
 mon, ii. 127. 202. 
 
 Samuel, mentioned in Psalm 99. ii. 
 256. 261. 
 
 Santes Pagninus, ii. 127. 
 
 Saying in Psalm 119 explained, ii. 
 293, 294. 
 
 Scaliger, ii. 320, 321. 
 
 Scandinavian poetry, ii. 341. 
 
 Scott, Sir Walter, ii. 366. 
 
 Scottish poetry, ii. 341. ; Lowland 
 language, ii. 352. 
 
 Scbleusner, i. 168.; ii. 9. 149. 
 
 Schnurrcr, i. 94. 134. 
 
 Schultcns, i. 156. 
 
 Schiitz, ii. 344. 
 
 Seeker, Archbi.sbop, i. 47. 121. 
 
 Sclah explained, ii. 1—130.; docs not 
 
 occur in the 4lh part of the book of 
 
 Psalm<;, ii. 256. 
 Sclneccerus, ii. 1 28. 
 .Sennacherib's invasion of Judca, ii. 
 
 176. 179. 189. 194. 
 Scptuagint translators, fidelity of, i. 
 
 158. ; Version referred to, i. 15. 19. 
 
 21, 22. 24. 26. 34. 37. 41, 42. 44. 
 
 47. 49. 61. 68. 71, 72. 77. 83, 84, 
 
 85, 86. 90. 93. 96, 97. 99, 100. 
 
 104. 109. 110, 111. 113. 1 15. 117, 
 
 118. 120. 123. 125. 127. 133, 134. 
 
 135, 136, L37. 140. 142. 145. 149, 
 
 150. 152, 15.3, 154. 156. 158, 159. 
 
 160, 161. 166. 169. 171, 172. 
 
 174, 175. 178. 180. 187, 188, 189. 
 
 195, 196. 205. 216. 225. 230. 237, 
 
 238. 242, 243, 244. 246. 249. 264. 
 
 269, 270. 274, 275. 279. 285. 288. 
 
 290, 291 . 293. 296. 298, 299, 300, 
 
 301,302. .304. 312, 31.3,314, 315, 
 
 316.; ii. 112. 115. 209. 211. 214. 
 
 279. 3.)0. 
 Shakspeare, i. 291.; ii. 326, 327. 349. 
 
 367. 371, 372, 373. 392, 393. 
 Shar]), Granville, i. xxxi. 
 Sheminith explained, ii. 146 — 148. 
 Shemitic languages, ii. 351. 
 Shiggaion, ii. 99. 158. ; explained, 
 
 ii. 18. 156, 157. 
 Shigionoth. See Shiggaion. 
 Shir, or Song, explained, ii. 142. 
 Shoshaiinini, Shushan, Shushan Eduth, 
 
 explained, ii. 148, 149. 
 Similes, ii. 362. 
 Simonides, ii. 335. 377. 
 Sistnims, ii. 212. 
 Solomon, dedication prayer of, ii. 1 54. ; 
 
 wisdom of, 198. ; marriage of, 190. ; 
 
 Divine jiromise to, 246. ; author 
 
 of Psalm 132., 30.5. 
 Song of the three children, ii. 118. 
 
 273. 305. 
 Songs of degrees, ii. 7. 224. 272, 273. 
 
 305, 306. ; explained, 294 — 304. 
 Songs of Sion, ii. .306. 
 Sonntag, ii. 133. 
 Southey, ii. 330. 334. 
 Spenser, ii. 330. 
 
 Spiritual sense of Scripture, i. xvi. 
 Statutes, in Psalm 1 19. explained, ii. 
 
 28.5—287. 
 Stephanus, ii. 128. 
 Stcucus Eugubinus, ii. 127. 
 Subjective character of David's psalms, 
 
 ii. KJO. 
 SufVetcs, or supreme magistrates of 
 
 Carthage, ii. 289. 
 Suida.s, ii. 129 
 Sup)>liants of yEsclivlus, ii. 346 — 
 
 34S. 
 
112 
 
 INDEX. 
 
 Syinmachus, i. Tl.'JSO. ; ii- 12", I'JK. 
 
 '-'9'.). 
 Sj'ni|;l)onia, a IJabylomsli instrument 
 
 ot" music, ii. lH'). 
 Synagogue rolls, ii. 3.50. 
 Syriac version letbrred to, i. 5. 22, 2.*?, 
 
 24. 34. 36. 47. 66. 77. 84. 97 100. 
 
 109. lis. 120. 127. 133 152. 1.56. 
 
 160, 161. 175. 1?6. 196. 237, 238. 
 
 291. 296. 298. .304. ; ii. 224. 296. 
 
 350. ; language, ii. 351. 
 
 Tabernacle and temple, furniture of, 
 ii. 190. 
 
 Tabernacles, feast of, ii. 59. 
 
 Talmuil, i. 23. ; ii. 223. 
 
 Tanclium, Rabbi, i. 83. 
 
 Targum, ii. 152. 
 
 Targuniists, critical character of, ii. 4. 
 
 Tarnovius, ii. 128. 
 
 Tarshish, breaking of ships of, ii. 193. 
 
 Tehillah, or Psalm of ])raise, ii. 142. 
 
 Ten-stringed lute, ii. 147. 
 
 Tephillah, or Prayer, ii. 142. 
 
 Testimonies in Psalm 1 1 9. explained, 
 ii. 282, 283. 
 
 Textuaries, ii. xx. 
 
 nieocritus, ii. 338. 
 
 Theodoret, ii. 30. 129. 225. 296. 301. 
 
 Theodotion, ii. 128. 
 
 'J'hespis, ii. 344. 
 
 Three-stringed lute, ii. 147. 
 
 Tiglath Pilneser, invasion by, ii. 183. 
 
 Timbrel or tabret, ii. 155. 211. 
 
 Titles of the Psalms examined, ii. 
 133-210. Of the 4th Psalm, 
 144, 145. Of the 6th, 145, 146. 
 Of the 7th, 158, 159. 206. Of the 
 16th, 140. Of the 18ih, 142. 207. 
 Of the 22nd, 152. Of the 30th, 
 142.207. Of the 32nd, 140. Of 
 the 34th, 207. Of the 38th, 208. 
 Of the 39th, 200. Of the 44th, 
 140. Of the 45lh, 140. 142. 148. 
 Of the 46th, 142. 149. Of the 
 48th, 142. Of the 51st, 207. Of 
 the 52nd, 140. 207. Of the 53rd, 
 140. 155. Of' the 51th, 140. 207. 
 or the 55th, 140. 145. Of the 
 .56th, 140. 1.50. Of the 57th, 140. 
 207. Of the 58th, 140. 15.3. Of 
 the 60th, MO. Of the 61st, 145. 
 Of the 62nd, 200. Of the 65th, 
 142 Of the 66th, 142. 186. 342. 
 Of the 67th, 142. 145. Of the 
 68ih. 142. Of the 69th. 148. Of 
 the 70th, 208. Of the 74th, 140. 
 Of the 75lh, 142. 153. Of the 
 76th, 142. 145. Of the 77th, 200. 
 Of the 78th, 140. Of the 80th. 
 148. Of the 83d and 87th, 142. Of 
 the 88th, 140. 142. 155. Of the 
 
 H9lli, 140. Of the 92nd, 142. 20!T. 
 
 Of the 102nd, 209, 142. Of the 
 
 lOSth, 142. Of the 142nd, 140, 
 
 Of the 145th, 142. 
 Titles not mystical, ii. 134. ; histo- 
 
 rical, 205 — 208. 246. ; sentimental, 
 
 208. , musical or choral, ii. 143. 
 Tosaphta Taanith, or supplement to 
 
 the treatise on fasts in the Gemara, 
 
 ii. 270. 
 Townson, Dr., ii. 174. 
 Tragedy, ancient Greek, ii. 24,3 — 248. 
 Tremeliius, ii. 127. 157.395. 
 Tropological, explained, i. xv. xix. 
 Trumpets, two kinds of, ii. 211, 212. 
 
 , feast of, ii. 11. 30. 
 
 Trutli, one of the principles of sacred 
 
 composition, ii. 3.5 9- 
 Tubal, ii. 299. 
 Turner, Sharon, ii. 341. 
 Ty]jes, i. xv, 
 Tyrwhitt, ii, 332. 
 
 Ugolini's Thesaurus, ii. 127, 128. 
 270. 320. 
 
 Van IMildert, Bishop, i. xv, xvi. xxviii 
 
 Van Til, Solomon, ii. 9. 
 
 Vatablus, ii. 147. 296. 
 
 Versicles in the Church Service, ii. 
 
 109. 
 Victories of our Lord foretold, ii. 
 
 236. 269. 
 Virgil, ii. 32.3. 325. 337 — 339. 
 Visitation of the sick quoted, ii. 48. 
 Vitringa, i. xxiv, xxv. 
 A'riemoet, ii. 128. 
 Vulgate referred to, i. 47. 71. 97. 127. 
 
 249. 350. 
 
 Walker's pronouncing dictionary, ii. 
 
 351. 
 Walton, Bishop,!, xxviii. ; ii. 350. 
 Warton, Dr. ii., 368. 
 Watson, Bishop, i. xxvii. 
 Way, a characteristic word in Psalm 
 
 ri9., ii. 293. 
 Welsh Trials, ii. 341. 
 Wheeler, i. 315. 
 Wilkinson, Sir J. G., ii. 148. 
 Williams, llev. Geo. ii. 28. 
 Wise, Michael, ii. 334. 
 Wolf, ii. 393. 
 Word, meaning of, in Psalm 119., ii. 
 
 291, 292. 
 Wordsworth, ii. 367. 369. 
 
 Zechariah, a reputed author of cer- 
 tain Psalms, ii. 209.309, 310. 
 Zeiroldus, ii. 128. 
 Zorali or Kzra. ii. 198. 
 
PASSAGES OF SCRIPTURE QUOTED. 
 
 
 
 G 
 
 ENESI.S. 
 
 
 
 NUMUERS 
 
 
 Chap. 
 i. 
 
 Verse. 
 1. 
 
 . 
 
 Vol. 
 - ii. 
 
 l'<ige. 
 204. 
 
 Chap, 
 xiv. 
 
 Verse. 
 29. 30. 
 
 Vol. 
 
 r 
 
 201. 
 
 
 o. 
 
 - 
 
 - 
 
 ii. 
 
 26.5. 
 
 xvi. 
 
 .30. - 
 
 - ii. 
 
 100. 
 
 
 9. 
 
 - 
 
 - 
 
 ii. 
 
 240. 
 
 xxvi. 
 
 40. - 
 
 - ii. 
 
 151. 
 
 iii. 
 
 11. 
 
 - 
 
 - 
 
 ii. 
 
 287. 
 
 xxix. 
 
 1. 
 
 - ii. 
 
 30. 
 
 
 19. 
 
 - 
 
 - 
 
 ii. 
 
 203. 
 
 xxxi. 
 
 6. 
 
 - ii. 
 
 212. 
 
 iv. 
 
 23. 
 
 - 
 
 - 
 
 ii. 
 
 340. 
 
 xxxiii. 
 
 41. - 
 
 _ i. 
 
 1.35. 
 
 vi. 
 
 22. 
 
 - 
 
 . 
 
 ii. 
 
 287. 
 
 
 
 
 
 vii. 
 viii. 
 
 11. 
 2. 
 
 - 
 
 - 
 
 ii. 
 ii. 
 
 240. 
 240. 
 
 
 Deuteronomy. 
 
 ix. 
 
 11 — 
 
 17. 
 
 . 
 
 ii. 
 
 266. 
 
 i. 
 
 .35. - 
 
 - ii. 
 
 201. 
 
 X. 
 
 2. 
 
 . 
 
 - 
 
 ii. 
 
 299. 
 
 X. 
 
 14, 15. 
 
 - ii. 
 
 19. 
 
 
 14. 
 
 _ 
 
 . 
 
 i. 
 
 137. 
 
 xi. 
 
 6. 
 
 - ii. 
 
 100. 
 
 xlvii. 
 
 26. 
 
 . 
 
 . 
 
 ii. 
 
 285. 
 
 xvi. 
 
 13. - 
 
 - ii. 
 
 59. 
 
 xlix. 
 
 18. 
 
 . 
 
 . 
 
 ii. 
 
 66. 
 
 xxxii. 
 
 11, 12. 
 
 - ii. 
 
 204. 
 
 
 26. 
 
 - 
 
 - 
 
 ii. 
 
 102. 
 
 
 13.22,23 
 24. 34. 
 
 1. 
 
 100. 
 
 
 
 E 
 
 XOIJUS. 
 
 
 
 39. 41. J 
 13. 22. 40. ii. 
 
 101. 
 
 iv. 
 
 M. 
 
 . 
 
 - 
 
 ii. 
 
 285. 
 
 
 11. - 
 
 - ii. 
 
 38-.'. 
 
 vi. 
 
 24. 
 
 - 
 
 - 
 
 ii. 
 
 214. 
 
 
 22. - 
 
 - i. 
 
 31.5. 
 
 viii. 
 
 17. 
 
 . 
 
 - 
 
 i. 
 
 225. 
 
 xxxiii. 
 
 2. 
 
 - ii. 
 
 101. 
 
 xiv. 
 
 24. 
 
 - 
 
 - 
 
 ii. 
 
 241. 
 
 
 13—16. 
 
 ' 
 
 
 XV. 
 
 2. 
 
 - 
 
 - 
 
 ii. 
 
 100. 
 
 
 26. 28, 
 
 ■ ii. 
 
 102. 
 
 
 8. 
 
 _ 
 
 - 
 
 ii. 
 
 240. 
 
 
 29. 
 
 
 
 
 20. 
 
 . 
 
 - 
 
 ii. 
 
 154. 
 
 
 15. - 
 
 - ii. 
 
 203. 
 
 xvi. 
 
 34. 
 
 . 
 
 - 
 
 ii. 
 
 282. 
 
 
 16. - 
 
 - i. 
 
 133. 
 
 xix. 
 
 1.5. 
 IC. 
 
 19. 
 
 : 
 
 ii. 
 ii. 
 
 30. 
 211. 
 
 
 29. - 
 
 - ii. 
 
 204. 
 
 XX. 
 
 xxiii. 
 
 XXX. 
 
 xxxi. 
 
 3. 
 
 23. 
 
 17. 
 
 - 
 
 - 
 
 ii. 
 ii. 
 i. 
 ii. 
 
 289. 
 364. 
 296. 
 282. 
 
 vi. 
 xxi. 
 
 •TOSUIA. 
 
 4. - . ii. 
 18. - - ii. 
 
 211. 
 152. 
 
 xxxiii. 
 
 23. 
 
 - 
 
 - 
 
 ii. 
 
 102. 
 
 
 
 
 
 
 
 
 
 
 
 
 Judges. 
 
 
 xxiii. 
 xxiv. 
 
 XXV. 
 
 2. 
 
 3. 
 
 9. 
 
 Leviticus 
 
 - ii. 
 
 - ii. 
 
 - (ii. 
 
 30. 
 282. 
 188. 
 211. 
 
 iii. 
 v. 
 
 vi. 
 
 27. - 
 3. 
 7. 
 
 48. - 
 17. - 
 .32. - 
 
 - ii. 
 
 - ii. 
 
 - ii. 
 
 - ii. 
 
 211. 
 139. 
 300. 
 135. 
 300. 
 211. 
 
 
 
 - 
 
 N 
 
 [JSIBERS 
 
 
 vii. 
 viii. 
 
 12. - 
 26. - 
 
 - ii. 
 
 - ii. 
 
 300. 
 300. 
 
 i. 
 
 X. 
 
 32. 
 2. 
 
 - 
 
 - 
 
 
 201. 
 211.212. 
 
 
 R 
 
 irxH. 
 
 
 
 10. 
 
 - 
 
 - 
 
 
 10. 
 
 iv. 
 
 20. - 
 
 - ii 
 
 1.52. 
 
 Page. 
 
414 
 
 PASSAGES OF .'SCRIPTURE QUOTED. 
 
 
 
 1 
 
 Sasiuei.. 
 
 Cliap. 
 
 Verse. 
 
 
 Vol. Page. 
 
 vii. 
 
 1. 
 
 - 
 
 - i. 280. 
 
 viii. 
 
 2. 
 
 - 
 
 - ii. 214. 
 
 xiii. 
 
 3. 
 
 - 
 
 - ii. 211. 
 
 xvi. 
 
 17, 
 
 18 
 
 - ii. 145. 257. 
 
 
 22. 
 
 - 
 
 - ii. 232. 
 
 xviii. 
 
 6. 
 
 - 
 
 - ii. 147. 
 
 
 10. 
 
 - 
 
 - ii. 145. 232. 
 
 
 14. 
 
 30. 
 
 - ii. 140. 
 
 >ix. 
 
 9. 
 
 - 
 
 - ii 145. 
 
 xxii. 
 
 - 
 
 - 
 
 - ii. 208. 
 
 
 3. 
 
 - 
 
 - i. 84. 
 
 XX iv. 
 
 . 
 
 - 
 
 - ii. 207. 
 
 
 2, 3 
 
 
 - ii. 307, 308. 
 
 
 16. 
 
 - 
 
 - ii. 308. 
 
 xxvi. 
 
 - 
 
 - 
 
 - i. 296. 
 
 
 
 2 
 
 Samuel. 
 
 ii. 
 
 8. 
 
 . 
 
 - ii. 23. 
 
 
 28. 
 
 . 
 
 - ii. 211, 
 
 V. 
 
 3. 
 
 - 
 
 - ii. 23. 
 
 vi. 
 
 5. 
 
 - 
 
 - ii. 212. 
 
 vii. 
 
 8. 16. 
 
 - ii. 200. 
 
 
 18. 
 
 29. 
 
 - ii. 302. 
 
 viii. 
 
 . 
 
 . 
 
 - ii. 23. 207. 
 
 
 8. 
 
 - 
 
 - ii. 151. 
 
 xvi. 
 
 5. 
 
 - 
 
 - ii. 207. 
 
 xviii. 
 
 16. 
 
 - 
 
 - ii. 211. 
 
 XX. 
 
 22. 
 
 . 
 
 - ii. 211. 
 
 xxii. 
 
 1. 
 
 - 
 
 - ii. 207. 
 
 
 50. 
 
 - 
 
 - ii. 139. 
 
 xxxiii. 
 
 4. 
 
 - 
 
 - ii. 167. 
 
 
 6, 7 
 
 1 
 
 - ii. 166. 
 Kings. 
 
 X. 
 
 11. 
 
 . 
 
 - ii. 151. 
 
 XV. 
 
 5. 
 
 - 
 
 - ii. 231. 
 
 1 ClIKONICLKS. 
 
 2 Kings. 
 
 iii. 
 
 15. - 
 
 - ii. 
 
 145. 
 
 ix. 
 
 13. - 
 
 - ii. 
 
 211. 
 
 xi. 
 
 14. - 
 
 - ii. 
 
 212. 
 
 xii. 
 
 13. - 
 
 - ii. 
 
 212. 
 
 xviii. 
 
 xix. - 
 
 - ii. 
 
 176. 
 
 xix. 
 
 7. 
 
 - i. 
 
 313. 
 
 
 14. - 
 
 - ii. 
 
 119. 
 
 
 18. - 
 
 - ii. 
 
 169. 
 
 XX. 
 
 16—18 
 
 - ii. 
 
 253. 
 
 
 1 Chronicles. 
 
 ii. 
 
 6. 
 
 - ii. 
 
 198. 
 
 
 11. - 
 
 - ii. 
 
 152. 
 
 vi. 
 
 . 
 
 - ii. 
 
 212. 
 
 
 17.22.33 
 39. 
 
 ]':• 
 
 214. 
 
 
 29. - 
 
 - ii. 
 
 215. 
 
 
 44. - 
 
 - ii. 
 
 197. 21 
 
 Chap. 
 
 Verse 
 
 
 
 \'u\ 
 
 
 I';igC. 
 
 vi. 
 
 60. 
 
 69. 
 
 - 
 
 ii. 
 
 1 52. 
 
 
 viii. 
 
 3. 
 
 . 
 
 - 
 
 ii. 
 
 151. 
 
 
 ix. 
 
 16. 
 
 . 
 
 - 
 
 ii. 
 
 197. 
 
 
 xiii. 
 
 7. 
 
 - 
 
 - 
 
 ii. 
 
 297. 
 
 
 
 8. 
 
 - 
 
 - 
 
 ii. 
 
 212. 
 
 
 XV. 
 
 14. 
 
 - 
 
 . 
 
 ii. 
 
 297. 
 
 
 
 18. 
 
 . 
 
 . 
 
 ii. 
 
 151. 
 
 
 
 20. 
 
 - 
 
 - 
 
 ii. 
 
 149. 
 
 216. 
 
 
 21. 
 
 - 
 
 - 
 
 ii. 
 
 144. 
 
 146. 216 
 
 
 24. 
 
 - 
 
 - 
 
 ii. 
 
 212. 
 
 
 
 28. 
 
 - 
 
 . 
 
 ii. 
 
 211, 
 
 212. 
 
 xvi. 
 
 6. 
 
 . 
 
 . 
 
 ii. 
 
 212. 
 
 
 
 7— 
 
 36. 
 
 . 
 
 ii. 
 
 228. 
 
 305. 
 
 
 8. 
 
 - 
 
 - 
 
 ii. 
 
 110. 
 
 267. 
 
 
 9. 
 
 - 
 
 . 
 
 ii. 
 
 139. 
 
 
 
 16- 
 
 -27 
 
 . 
 
 ii. 
 
 302. 
 
 
 
 35. 
 
 - 
 
 _ 
 
 ii. 
 
 269. 
 
 
 
 37. 
 
 - 
 
 - 
 
 ii. 
 
 175. 
 
 
 
 37. 
 
 42. 
 
 - 
 
 ii. 
 
 149. 
 
 
 xvii. 
 
 8. 
 
 - 
 
 - 
 
 ii. 
 
 151. 
 
 
 
 11. 
 
 _ 
 
 - 
 
 ii. 
 
 301. 
 
 
 xxii. 
 
 9.- 
 
 -11. 
 
 - 
 
 ii. 
 
 302. 
 
 
 XX iii. 
 
 7. 
 
 . 
 
 - 
 
 ii. 
 
 21.3. 
 
 
 
 21. 
 
 . 
 
 - 
 
 ii. 
 
 21.5. 
 
 
 XXV. 
 
 - 
 
 . 
 
 . 
 
 ii. 
 
 215, 
 
 216. 
 
 
 1. a 
 
 . 6. 
 
 - 
 
 ii. 
 
 197. 
 
 
 
 2. 
 
 . 
 
 . 
 
 ii. 
 
 200. 
 
 
 XXX. 
 
 25, 
 
 . 
 
 - 
 
 ii. 
 
 154 
 
 
 2 Chronicles. 
 
 ii. 
 
 1. 18. 
 
 - 
 
 ii. 
 
 144. 
 
 
 8. 
 
 - 
 
 ii. 
 
 151. 
 
 v. 
 
 12. - 
 
 - 
 
 ii. 
 
 212. 
 
 
 13. - 
 
 - 
 
 ii. 
 
 142. .S05 
 
 vi. 
 
 . 
 
 . 
 
 ii. 
 
 303. 
 
 
 32. - 
 
 - 
 
 ii. 
 
 154. 
 
 xiii. 
 
 12—14. 
 
 - 
 
 ii. 
 
 212 
 
 XV. 
 
 14. - 
 
 - 
 
 ii. 
 
 211,212. 
 
 
 19. - 
 
 _ 
 
 ii. 
 
 212. 
 
 xix. 
 
 6,7. - 
 
 - 
 
 ii. 
 
 179. 
 
 XX. 
 
 - 
 
 - 
 
 ii. 
 
 191. 
 
 
 1,2. - 
 
 - 
 
 ii. 
 
 28. 
 
 
 5—18. 
 
 _ 
 
 ii. 
 
 177. 
 
 
 28. - 
 
 - 
 
 ii. 
 
 112. 
 
 
 37. - 
 
 - 
 
 ii 
 
 28. 
 
 xxii. 
 
 7,8. - 
 
 - 
 
 i. 
 
 110. 
 
 xxviii. 
 
 16—25. 
 
 - 
 
 ii. 
 
 177. 183. 
 
 xxix. 
 
 25. - 
 
 - 
 
 ii. 
 
 6. 
 
 
 26—28. 
 
 - 
 
 ii. 
 
 10. 212. 
 
 
 30. - 
 
 . 
 
 ii. 
 
 169. 
 
 XXX. 
 
 26. - 
 
 - 
 
 ii. 
 
 176. 
 
 xxxiii. 
 
 13. - 
 
 . 
 
 ii. 
 
 212. 
 
 xxxiv. 
 
 12. - 
 
 - 
 
 ii. 
 
 100. 144. 
 
 
 15. 31 
 
 - 
 
 ii. 
 
 187. 
 
 XXXV. 
 
 1.5—18. 
 
 - 
 
 ii. 
 
 7. 
 
 
 15. - 
 
 - 
 
 ii. 
 
 100. 
 
PASSAGES OF SCRIPTURE QUOTED. 
 
 41.5 
 
 C'liap. 
 
 
 Ezra. 
 
 
 Verse. 
 4. 
 
 Vol 
 - ii. 
 
 Page. 
 11. 
 
 10. 
 
 - ii. 
 
 212. 
 
 9. 
 
 - ii. 
 Nkiiemiaii 
 
 29G. 
 
 18. 
 
 - ii. 
 
 211. 
 
 41. 
 
 - ii. 
 
 172. 
 
 4. 
 
 - ii. 
 
 395. 
 
 35. 
 
 - ii. 
 
 21 2. 
 
 46. 
 
 - ii. 
 
 10'9. 
 
 Job. 
 
 Book of 
 
 . 
 
 iv. 
 
 15, IG. 
 
 vi. 
 
 18. - 
 
 XV. 
 
 30. - 
 
 xix. 
 
 25—27 
 
 
 29. - 
 
 xxviii. 
 
 1 2—28 
 
 xxxix. 
 
 25, 26. 
 
 
 19—25 
 
 xl. 
 
 15—24 
 
 xii. 
 
 - 
 
 XIV. 
 XV. 
 
 XXI. 
 
 xxii. 
 
 87. 
 
 384. 
 
 28. 
 
 300. 
 
 66. 
 
 300. 
 
 335. 
 
 211. 
 
 381. 
 
 381. 
 
 .381. 
 
 Psalms." 
 
 16. 
 
 1. 
 
 1. 
 
 1, 2. - 
 
 4—5. 
 
 7—15. 
 
 14. - 
 13. - 
 20, 22. 
 
 ■ ii. 228. 243. 
 
 ■ ii. 363. 334. 
 
 ■ ii. 165.228. 
 
 ■ ii. 112. 
 ii. 333. 
 ii. 9. 
 ii. 108. 
 
 ii. 1 10. 243. 
 
 ii. 373. 
 
 ii. 110.220. 235. 
 
 385. 387. 
 ii. 370, 
 ii. 308. 370 
 • ii. 108. 158. 233. 
 ii. 9. 157. 
 ii. 108. 228. 232. 
 ii. 110. 246. 
 ii. 110. 
 ii. 234. 
 ii. 161. 308. 
 ii. 391—395. 
 ii. 370. 
 
 ii. 360. 374,375. 
 ii. 220. 
 ii. 158. 
 ii. 139. 
 ii. 242. 
 
 « .See the Index, for " Psalms analysed or 
 explained at length," and for the " Titles of 
 the Psalms." 
 
 1) Misquoted the 14th in the te.\t. 
 
 
 1 
 
 .SAI.M.S. 
 
 Ch.ip. 
 
 Verse. 
 
 Vol. Page. 
 
 xxiii. 
 
 - 
 
 - ii. 264. 
 
 
 2,3. - 
 
 - ii. 370. 
 
 xxiv. 
 
 10. - 
 
 - ii. 10.^. no. 
 
 xxvi. 
 
 5. 
 
 - ii. 229. 
 
 xxvii. 
 
 6. " - 
 
 - ii. 139. 
 
 xxxi. 
 
 - 
 
 - ii. 212. 
 
 xxxii. 
 
 - 
 
 - ii. 228. 
 
 xxxiii. 
 
 - 
 
 - ii. 228. 
 
 
 2. 
 
 - ii. 139. 145. 146. 
 150. 
 
 xxxiv. 
 
 - 
 
 - ii. 252. 
 
 XXXV. 
 
 5. 
 
 - ii. 229. 
 
 X xxviii. 
 
 - 
 
 - ii. 110. 
 
 xl. 
 
 13. 17. 
 
 - ii. 10.9. 
 
 xiii. 
 
 7. 
 
 - ii. 376. 
 
 xlvi. 
 
 11. - 
 
 - ii. 108. 
 
 xlvii. 
 
 - 
 
 - ii. 111. 190.195. 
 
 
 5. - 
 
 - ii. 5. 211 
 
 
 7. b - 
 
 - ii. 140. 
 
 xlviii. 
 
 - 
 
 '- ii. 10. 195. 
 
 xlix. 
 
 - 
 
 - ii. 143. 
 
 1. 
 
 15. - 
 
 - ii. 113. 
 
 lii. 
 
 5,8. - 
 
 - ii. 229. 
 
 
 8. 
 
 - ii. 365. 
 
 liii. 
 
 - 
 
 - ii. 110. 
 
 Iv. 
 
 1. 7. - 
 
 - ii. 154. 
 
 
 4,5. - 
 
 - ii. 322. 
 
 Ivii. 
 
 - 
 
 - ii. 269. 
 
 
 3. '^ - 
 
 - ii. 113. 
 
 
 7—11 
 
 - ii. 109. 
 
 
 10. - 
 
 - ii. 139. 
 
 lix. 
 
 17.''- 
 
 - ii. 139. 
 
 Ix. 
 
 3. 
 
 - ii. 370. 
 
 
 5—12 
 
 - ii. 109. 269. 
 
 Ixv. 
 
 9—11 
 
 - ii. 361. 379 
 
 Ixviii. 
 
 - 
 
 - ii. 103. 
 
 
 4. 
 
 - ii. 139. 
 
 
 25. - 
 
 - ii. 149. 
 
 Ixx. 
 
 - 
 
 - ii. 109. 
 
 Ixxi. 
 
 22. - 
 
 - ii. 139. 
 
 Ixxii. 
 
 - 
 
 - ii. 228. 
 
 Ixxiii. 
 
 25. - 
 
 - ii. 162. 
 
 Ixxiv. 
 
 1.3. - 
 
 - ii. 199. 
 
 Ixxvi. 
 
 - 
 
 - ii. 191. 
 
 
 1— ,3. 
 
 - ii. 333. 
 
 Ixxvii. 
 
 1 3. >-• : 
 
 - ii. 60. 
 
 
 16—20 
 
 - ii. 10.3. 
 
 
 19. - 
 
 - ii. 391. 
 
 
 20. - 
 
 - ii. 253. 
 
 Ixxviii. 
 
 52. - 
 
 - ii. 253. 
 
 Ixxix. 
 
 13. - 
 
 - ii. 178. 2.53. 
 
 Ixxx. 
 
 1. 
 
 - ii. 178. 25.3. 
 
 
 8—11. 
 
 - ii. 36-i. 378. 
 
 n Mi.squofed the Ufh in the text. 
 » Misquoted the 6th in the text 
 c Misquoted the 4th in the te«t 
 '" Misquoted the '.'Cth in the text, 
 te'^t^ ''* ''•"''•'"' '* misquoted the Iviiith in the 
 
41G 
 
 PASSAGES OF SCRirTUliK QUOTED. 
 
 fhnp. 
 Ixxxi. 
 
 Ixxxii. 
 Ixxxiv. 
 Ixxxv. 
 Ixxxvi. 
 
 PsAI.Ms. 
 
 Vol. 
 
 G. 
 
 10, 11. 
 
 r6,7, 8. 15, 
 I 16, 17. 
 12. - 
 
 i. xciii. ) 
 
 sciv. \ 
 
 Ixxxviii 
 Ixxxix. 
 
 }"■ 
 
 I'jgc. 
 10. 
 139. 
 211. 
 10. 16. 
 370. 
 200. 
 187. 
 
 376,377, 378- 
 
 3G7. 
 
 xcii 
 xciv 
 
 xciv. 
 xcvi. 
 xcviii. 
 
 Cll. 
 
 civ. 
 cv. 
 
 cvi. 
 cvii. 
 
 3.-' 
 12. 
 15. 
 
 7. 
 
 1." - 
 
 33. "^ - 
 
 1—15. 
 
 2. 
 
 47. 48. 
 
 25—30 
 6—13. 
 9. 
 
 ex. 
 
 cxi. cxii. 
 
 cxv. 
 
 cxx. 
 
 - 
 
 cxxi. 
 
 • 
 
 cxxvi. 
 
 5,6. 
 
 cxxix. 
 
 3. G, 
 
 cxxxiv. 
 
 \ 
 
 cxxxv. 
 
 J 
 
 cxxxvi. 
 
 
 cxxxviii. 
 
 1 
 
 cxxxix. 
 
 / 
 
 cxl. 
 
 - 
 
 cxUv. 
 
 - 
 
 
 9." 
 
 cxlvii. 
 
 7. 
 
 cxlix. 
 
 3. 
 
 cl. 
 
 3. 
 
 
 4. 
 
 ii. 10. 
 
 157, 158. 
 
 365. 
 
 115. 
 
 110. 
 
 110. 
 
 139. 211. 
 
 227. 
 
 139. 
 
 227. 
 
 139. 
 
 181. 
 
 110. 
 
 139. 
 
 110. 228. 2G7. 
 
 342. 
 
 379. 
 
 78. 
 
 23. 
 
 165. 189. 
 
 310. 
 
 109. 
 
 304. 
 
 221. 224.270. 
 
 305. 395. 
 294. 
 344. 
 170. 
 170. 
 
 109. 
 
 109. 273. 
 
 309. 
 
 222. 
 
 110. 
 
 139. 150. 
 
 140. 
 
 1.39. 150. 
 
 211. 
 
 155. 
 
 • Misquoted the 4tb in the text. 
 l> Misquotc<l the 2(1 in the text. 
 <-• Misqunteri the G4tli in the text. 
 <l Misqtinte<l the lOth in the text. 
 
 Ch.ip. Verse. 
 XV. 6. 
 
 XXV. 1. 
 
 Pkoverhs. 
 
 Vol. 
 - i. 
 
 •'.ige. 
 
 187. 
 
 IV. 
 
 XV. 
 
 The Book ■ 
 
 EcCLESlASTES. 
 
 9. - - ii. 300. 
 18, 19. 24. ii. 300. 
 14. - - ii. 300. 
 
 10. - - ii. 300. 
 - - i. 75. 
 
 Song of Solomon. 
 
 - ii. 344. 
 7. - - ii. 300. 
 17. - - ii. 300. 
 14. - - i. 296. 
 
 Isaiah. 
 
 Book of 
 
 xvii. 
 
 xviii. 
 
 xxvi. 
 
 xxvii. 
 
 xxxii. 
 
 xxxviii. 
 
 xl. 
 
 xlv. 
 
 Ii. 
 
 Iviii. 
 
 19. ■ 
 1 —7. 9 
 13. - 
 13, 14. 
 3. 
 
 19. - 
 13. - 
 15—18. 
 9—20. 
 19. - 
 18, 19. 
 1,2. - 
 18. - 
 9, 10. 13. 
 1. 
 6. 
 8. 
 
 Ix. 
 
 3. 
 
 20. 
 Ixiii. Ixiv. - 
 Ixiii. 9. 
 
 Ixiv. 
 
 . i. 87. 
 
 - ii. 155. 
 12. ii. 184. 
 
 - ii. 185. 
 
 - i. 177. 
 
 - ii. 211. 
 
 - ii. 63. 
 
 - ii. 211. 
 
 - ii. 196. 
 
 - ii. 141. 
 
 - ii. 63. 
 
 - ii. 194. 
 
 - ii 196. 
 
 - ii. 196. 
 ii. 178. 
 ii. 211. 
 i. 149. 
 ii. 177. 
 ii. 335. 
 ii. 335. 
 ii. 336. 
 ii. 199. 344. 
 ii. 241. 
 ii. 183. 
 
 Jeremiait. 
 
 Book of 
 
 19. 21. 
 17. - 
 12. - 
 4. 13. 
 33. - 
 14. - 
 
 {ii. 
 
 87. 
 
 98. 
 
 211. 
 
 211. 
 
 236. 
 
 155. 
 
 285. 
 
 211. 
 
 211. 
 
PASSAGES OF SCRIPTURE QUOTED. 
 
 417 
 
 Lamentations. 
 
 Cliap. 
 
 Verse. 
 1, 2, 3. 
 
 Vol. 
 
 • ii. 
 
 324. 
 
 'age 
 
 iL. 1 
 
 r 
 
 - ii. 
 
 273. 
 
 
 J 
 
 12. - 
 62. - 
 
 - ii. 
 
 - ii. 
 
 298. 
 158. 
 
 
 EZEUEL. 
 
 Book of 
 
 - 
 
 - ii. 
 
 96. 
 
 xvii. 
 
 3—8. 
 
 - ii. 
 
 382. 
 
 XX ii. 
 
 3. 
 
 - i. 
 
 115. 
 
 xxvii. 
 
 13. - 
 
 - ii. 
 
 299 
 
 xx.\ii. 
 
 21—27. 
 
 - ii. 
 
 62. 
 
 
 20-. - 
 
 - ii. 
 
 299 
 
 xxxiii. 
 
 3—6. 
 
 - ii. 
 
 211 
 
 xxxviii. 
 
 2,3. - 
 
 - ii. 
 
 299 
 
 
 D 
 
 \NIEI.. 
 
 
 iii. 
 
 5. 
 
 - ii. 
 
 155. 
 
 He 
 
 V. 
 
 8. 
 
 - ii. 212 
 
 viii. 
 
 1. 
 
 - - ii. 211 
 
 xiv. 
 
 9. 
 
 - - i. 236 
 
 Joel. 
 
 fi. 313. 
 \'u. 211. 
 
 Amos. 
 
 ii. 
 
 2. 
 
 - - ii. 211. 
 
 V. 
 
 23. 
 
 - - ii. 139. 
 
 viii. 
 
 6. 
 
 - - ii. 211. 
 
 ix. 
 
 14, 
 
 15. - ii. 91. 
 Obadiah. 
 
 
 19. 
 
 - - ii. 91. 
 Jonah. 
 
 ii. 
 
 3. 
 
 - - ii. 376. 
 IIabakkuk. 
 
 iii. 
 
 
 r i. 313—317. 
 1 ii. 1.7.99—108 
 
 
 8. 15. - - ii. 391. 
 
 Zephaniah. 
 
 16. - - ii. 211. 
 
 2 Maccabees. 
 Chap. Vcric. Vol. I'age. 
 
 ii. 13. - - ii. 225. 
 
 Sr. Matthew. 
 
 V. 
 
 8. 
 
 - 
 
 - ii. 
 
 235. 
 
 xiii. 
 
 35. 
 
 - 
 
 - ii. 
 
 181. 
 
 xxi, 
 
 16. 
 
 - 
 
 - i. 
 
 12. 
 
 
 42. 
 
 - 
 
 - ii. 
 
 272. 
 
 xxii. 
 
 43, 
 
 44. 
 
 - ii. 
 
 269. 
 
 xxvi. 
 
 30. 
 
 . 
 
 - ii. 
 
 270, 
 
 St. Luke. 
 
 7. - - ii. 326. 
 31,32. - i. 73, 
 
 St. John. 
 14. - - ii. 363. 
 20. 23. - i. 61. 
 
 Acts. 
 
 20. - - ii. 225. 
 
 25—31. - ii. 233. 
 
 25. - - ii. 228, 229. 
 
 38. - - ii. 241. 
 
 Romans. 
 14, 15. - ii. 282. 
 
 2 Corinthians. 
 3. - - ii. 285. 
 
 Ephesians. 
 
 8. - - i. 135. 
 
 Hebrews. 
 12. - - ii. 16 
 5. - - i. 205. 
 
 77. 
 
 243. 
 1 9. - -" ii. 30. 
 
 {:i. 
 
 2 St. Peter. 
 
 4. 
 3, 4. 
 
 ii. 235. 
 ii. 76. 
 
 St. Jude. 
 14—15. - ii. . 
 
 Revelation. 
 10. - - ii. 310. 
 
 VOL. II. 
 
 E E 
 
London : 
 
 Printed by A. Spottiswoode, 
 
 New- Street- Square. 
 
ERRATA. 
 
 I'he Author rKjuoMs the reader to notice, that he alone is res])onsihle for the 
 following Errata. 
 
 VOL. I. 
 
 Page 15. line 9., for " God he contcmnet/i" read "he contemneth the Loan." 
 „ 303., insert the Title of the 145th Psalm . " A Psalm of Praise of 
 David." 
 
 139. line 2. of note ^ 
 
 VOL. n. 
 
 CO. line 2. of note •, for "Iviii." read " Ixxvii." 
 
 100. lines 9, 10. of note '^, dele the following words : "the same juxta- 
 position of both words occurs in v. 13. of Moses's song, Deut. xxxii." 
 113. line 2. from bottom, for "fourtit," read "third." 
 last line, for '■^ third" read "second." 
 
 127. line 11. from top, for " Sal," read "Salomon." 
 
 for " xxi. 14," read "xxi. 13." 
 ■' xsvii. 11," read " xxvii. 6." 
 'lix. 20." read " lix. 17." 
 ' ci. 2." read ' ci. 1." 
 ' 34," read "33." 
 ' xcviii. 7." read " xcviii. 5." 
 ' cxliv. 10." read "cxliv. 9." 
 'sixth," read "seventh." 
 17," read " 16." 
 for "4," read " 3." 
 for " 5," read " 14." 
 
 ■thirteen," read "fourteen." 
 
 In the beginning of the last paragraph of page 206., it is stated that the first 
 Psalm with an historical notice is the seventh. The author has inadvertently 
 omitted noticing the historical part of the title of the third, to which title the 
 same general remarks apply as to those of the other Psalms. 
 
 ,, 
 
 „ 
 
 
 for 
 
 ,^ 
 
 ^, 
 
 
 for 
 
 JJ 
 
 » 
 
 
 for 
 
 
 line 3., 
 
 note '', 
 
 for 
 
 ,1 
 
 1. 
 
 , note •=, 
 
 for 
 
 „ 
 
 „ 
 
 
 for 
 
 140. 
 
 line 15., 
 
 , from top. 
 
 for 
 
 157. 
 
 note *>, 
 
 
 for 
 for 
 
 158. 
 
 line 1 1" 
 
 , „ 
 
 for 
 
 205. 
 
 line 25. 
 
 „ 
 
 for 
 
^;^iih^iiiS^iiii!ii!|i^!JJ!S{ill)Jilili!^^^^