and impassioned. Such bards are trumpet-tongued with the exaltation of their time and country: they speak not of themselves, but for their people. To the burning imagination of Moses and the prophets, and to the rhythmical eloquence of the Grecian celebrants, I may refer when noting the quality of inspiration. I think the national and religious utterance of the Hebrews even more characteristic than their personal outgivings; they were carried out of and Intense personal feeling.above themselves when moved to song. But there is no more wonderful poetry of the emotional order than the psalms of David and his compeers relating to their own trials and agonies, their loves and hates and adoration. As we agonize and triumph with a supreme lyrical nature, its egoism becomes holy and sublime. The stress of human feeling is intense in such poetry as that of the sixth Psalm, where the lyrist is weary with groaning, and waters the couch with his tears, exclaiming, "But thou, O Lord, how long?" and that of the thirteenth, when he laments: "How long wilt thou forget me, O Lord? Forever?" and in successive personal psalms wherein the singer, whether David or another, avows his trust in the Deity, praying above all to overcome his enemies and to have his greatness increased. These petitions, of course, do not reach the lyrical splendor of the psalms of praise and worship: "The heavens declare the glory of God," "The earth is the Lord's and the fulness thereof;" and those of Moses—"He that dwelleth
