calm and discord of outer nature found their response in his own chequered experiences. Nature's Æolian harp—its invisible strings composed of rustling leaves and foaming brooks, or the harsher tones of tempest and thunder, flood and waterfall—awoke the latent harmonies of his soul. They furnished him with a key-note to discourse higher melodies, and embody struggling thoughts in inspired numbers. In reading this Psalm we at once feel that we are with the Minstrel King, not in the Tabernacle of Zion, but in some glorious "House not made with hands,"—some Cathedral whose aisles are rocky cliffs and tangled branches, and its roof the canopy of Heaven!

Let us picture him seated in one of those deep glens listening to the murmur of the rivulet and the wail of the forest. Suddenly the sky is overcast Dark clouds roll their masses along the purple peaks. The lightning flashes; and the old oaks and terebinths of Bashan bend under the tumult of the storm. The higher rivulets have swelled the channel of Jordan,—"deep calls to deep"—the waves chafe and riot along the narrow gorges. Suddenly a struggling ray of sunshine steals amid the strife, and a stray note from some bird answers joyously to its gleam. It is, however, but a gleam. The sky again threatens, fresh bolts wake the mountain echoes. The river rolls on in augmented volume, and the wind wrestles fiercely as ever with the denizens of the forest. At last the contest is at an end. The sky is calm—the air refreshed—the woods are vocal with song—ten thousand dripping boughs sparkle in the sunlight; the meadows wear a lovelier emerald; and rock, and branch, and floweret, are reflected in the bosom of the stream.

As the royal spectator with a poet and painter's eye is gazing on this shifting diorama, and when Nature is laughing and joyous again amid her own tear-drops, another simple incident arrests his attention. A Hart or Deer, hit by the archers or pursued by some wild beast on these "mountains of the leopards," with hot eyeballs and panting sides, comes bounding down the forest glade to quench the rage of thirst. The sight suggests nobler aspirations. With trembling hand and tearful eye the exiled spectator awakes his harp-strings, and bequeaths to us one of the most pathetic musings in the whole Psalter. The 23d has happily been called "the nightingale of the Psalms;" this may appropriately be termed "the turtle-dove." We hear the lonely bird as if seated on a solitary branch warbling its "reproachful music," or rather struggling on the ground with broken wing, uttering a doleful lament. These strains form an epitome of the Christian life—a diary of religious experience, which, after three thousand years, find an echo in every heart. Who can wonder that they have smoothed the death-pillow of dying saints, and taken a thorn from the crown of the noble army of martyrs![5]

II.

The General Scope of the Psalm.

"The Scriptures have laid a flat opposition between faith and sense. We live by faith and not by sense. They are two buckets—the life of faith and the life of sense; when one goes up, the other goes down."—Bridge, 1637.

"There are twins striving within me; a Jacob and an Esau. I can, through Thy grace, imitate Thy choice, and say with Thee, Jacob have I loved, and Esau have I hated. Blessed God! make Thou that word of Thine good in me, that the elder shall serve the younger."—Bishop Hall, 1656.

II.

THE GENERAL SCOPE OF THE PSALM.

"If the Book of Psalms be, as some have styled it, a mirror or looking-glass of pious and devout affections, this Psalm, in particular, deserves as much as any one Psalm to be so entitled, and is as proper as any other to kindle and excite such in us. Gracious desires are here strong and fervent; gracious hopes and fears, joys and sorrows, are here struggling. Or we may take it for a conflict between sense and faith; sense objecting, and faith answering."[6]

In these few words, the Father of commentators, with his wonted discernment, has given us the key to the true interpretation of this sacred song. It may be regarded, indeed, as the Old Testament parallel to the 7th chapter of the Epistle to the Romans, in which another inspired writer truthfully and powerfully portrays the same great struggle between corruption and grace, faith and sense, "the old and the new man."

There are two antagonist principles in the heart of every believer, corresponding to the great forces which act in the material world. The tendency of his new nature is to gravitate towards God—the Divine Sun of his being—the centre of his fondest affections—the object of his deepest love. But "there is a law in his members warring against the law of his mind;"[7]—the remains of his old nature, leading him to wander in wide and eccentric orbit from the grand Source of light, and happiness, and joy! "What will ye see in the Shulamite?" asks the Spouse in the Canticles, personating the believer (at a time, too, when conscious of devoted attachment to the Lord she loved). The reply is, "As it were the company of two armies." (Sol. Song vi. 13.) Sight on the one hand, Faith on the other. The carnal mind, which is enmity against God, battling with the renewed spiritual mind, which brings life and peace. Affections heaven-born, counteracted and marred by affections earth-born. The magnet would be true to its pole but for disturbing moral influences. The eagle would soar, but it is chained to the cage of corruption. The believer would tread boldly on the waves, but unbelief threatens to sink him. He would fight the battles of the faith, but there is "a body of death" chained to his heavenly nature, which compels him to mingle denunciations of himself as "a wretched man" with the shouts of victory.[8]

We may imagine David, when he composed this Psalm, wrapped in silent contemplation—the past, the present, and the future suggesting mingled reflections. The shepherd, the king, the fugitive! Sad comment on