Subject. It would be idle to enquire into the particular period when this delightful poem was composed, for their is nothing in its title or subject to assist us in the enquiry. The heading, “To the Chief Musician, a Psalm of David, “informs us that David wrote it, and that it was committed to the Master of the service of song in the sanctuary for the use of the assembled worshippers. In his earliest days the psalmist, while keeping his father’s flock, had devoted himself to the study of God’s two great books—nature and Scripture; and he had so thoroughly entered into the spirit of these two only volumes in his library that he was able with a devout criticism to compare and contrast them, magnifying the excellency of the Author as seen in both. How foolish and wicked are those who instead of accepting the two sacred tomes, and delighting to behold the same divine hand in each, spend all their wits in endeavouring to find discrepancies and contradictions. We may rest assured that the true “Vestiges of Creation” will never contradict Genesis, nor will a correct “Cosmos” be found at variance with the narrative of Moses. He is wisest who reads both the world book, and the Word book as two volumes of the same work, and feels concerning them, “My Father wrote them both.”
Division. This song very distinctly divides itself into three parts, very well described by the translators in the ordinary heading of our version. The creatures show God’s glory, Psalms 19:1-6. The word showeth his grace, Psalms 19:7-11. David prayeth for grace, Psalms 19:12-14. Thus praise and prayer are mingled, and he who here sings the work of God in the world without, pleads for a work of grace in himself within.
The Treasury of David.
“Who can understand his errors?” A question which is its own answer. It rather requires a note of exclamation than of interrogation. By the law is the knowledge of sin, and in the presence of divine truth, the Psalmist marvels at the number and heinousness of his sins. He best knows himself who best knows the Word, but even such an one will be in a maze of wonder as to what he does not know, rather than on the mount of congratulation as to what he does know. We have heard of a comedy of errors, but to a good man this is more like a tragedy. Many books have a few lines of errata at the end, but our errata might well be as large as the volume if we could but have sense enough to see them. Augustine wrote in his older days a series of Retractations; ours might make a library if we had enough grace to be convinced of our mistakes and to confess them. “Cleanse thou me from secret faults.” Thou canst mark in me faults entirely hidden from myself. It were hopeless to expect to see all my spots; therefore, O Lord, wash away in the atoning blood even those sins which my conscience has been unable to detect. Secret sins, like private conspirators, must be hunted out or they may do deadly mischief; it is well to be much in prayer concerning them. In the Lateran Council of the Church of Rome, a decree was passed that every true believer must confess his sins, all of them, once in a year to the priest, and they affixed to it this declaration, that there is no hope of pardon but in complying with that decree. What can equal the absurdity of such a decree as that? Do they suppose that they can tell their sins as easily as they can count their fingers? Why, if we could receive pardon for all our sins by telling every sin we have committed in one hour, there is not one of us who would be able to enter heaven, since, besides the sins that are known to us and that we may be able to confess, there are a vast mass of sins, which are as truly sins as those which we lament, but which are secret, and like the farmer’s small samples which he brings to market, when he has left his granary full at home. We have but a very few sins which we can observe and detect, compared with those which are hidden from ourselves and unseen by our fellow-creatures.
The Treasury of David.
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