ent form, shows the marks of its compilation and use as the Hymn-Book of the Jewish people. Not only in the titles, but also in the text, we can discern the work of the compiler, critic, and adapter, sometimes wise, but occasionally otherwise.

IV

The most essential thing in the appreciation of the poetry in the Psalms is the recognition of the three great spiritual qualities which distinguish them.

The first of these is the deep and genuine love of nature. The psalmists delight in the vision of the world, and their joy quickens their senses to read both the larger hieroglyphs of glory written in the stars and the delicate tracings of transient beauty on leaf and flower; to hear both the mighty roaring of the sea and the soft sweet laughter of the rustling corn-fields. But in all these they see the handwriting and hear the voice of God. It is His presence that makes the world sublime and beautiful. The direct, piercing, elevating sense of this presence simplifies, enlarges, and ennobles their style, and

makes it different from other nature-poetry. They never lose themselves, as Theocritus and Wordsworth and Shelley and Tennyson sometimes do, in the contemplation and description of natural beauty. They see it, but they always see beyond it. Compare, for example, a modern versified translation with the psalm itself:

The spacious firmament on high,

With all the blue ethereal sky

And spangled heavens, a shining frame,
Their Great Original proclaim.*

Addison's descriptive epithets betray a conscious effort to make a splendid picture. But the psalmist felt no need of this; a larger impulse lifted him at once into “the grand style:"

The heavens declare the glory of God;

And the firmament showeth his handiwork.

The second quality of the poetry in the Psalms is their passionate sense of the beauty of holiness. Keats was undoubtedly right in his suggestion that the poet must always see truth in the form of beauty. Otherwise he may be a philosopher, or a critic, or a

moralist, but he is not a true poet. But we must go on from this standpoint to the Platonic doctrine that the highest form of beauty is spiritual and ethical. The poet must also see beauty in the light of truth. It is the harmony of the soul with the eternal music of the Good. And the highest poets are those who, like the psalmists, are most ardently enamoured of righteousness. This fills their songs with sweetness and fire incomparable and immortal: The fear of the Lord is clean, enduring for ever: The judgments of the Lord are true and righteous altogether.

More to be desired are they than gold, yea, than much fine gold:

Sweeter also than honey and the honeycomb.

The third quality of the poetry of the Psalms is their intense joy in God. No lover ever poured out the longings of his heart toward his mistress more eagerly than the Psalmist voices his desire and thirst for God. No conqueror ever sang of victory more exultantly than the Psalmist rejoices in the Lord, who is his light and his salvation, the strength of his life and his portion forever.

After all, the true mission of poetry is to increase

joy. It must, indeed, be sensitive to sorrow and acquainted with grief. But it has wings given to it in order that it may bear us up into the air of gladness.

There is no perfect joy without love. Therefore love-poetry is the best. But the highest of all lovepoetry is that which celebrates, with the Psalms,

that Love which is and was

My Father and my Brother and my God.