I do not need to point out the exquisite beauty of the imagery or the pathos and peace that breathe in the majestic rhythm of the words. There is something more than poetical beauty or rhetorical amplification of a single thought in those three clauses. The 'hiding-place' and 'covert' refer to one class of wants; the 'rivers of water in a dry place' to yet another; and 'the shadow of a great rock in a weary land' to yet a third. And, though they are tinged and dyed in Eastern imagery, the realities of life in Western lands, and in all ages, give them a deeper beauty than that of lovely imagery, and are the true keys to understanding their meaning. We shall, perhaps, best grasp the whole depth of that meaning according to the Messianic reference which we give to the text, if we consider the sad and solemn conception of man's life that underlies it; the enigmatical and obstinate hope which it holds out in the teeth of all experience--'A _man_ shall be a refuge'; and the solution of the riddle in the man Christ Jesus. I. First, there underlies this prophecy a very sad but a very true conception of human life. The three classes of promises have correlative with them three phases of man's condition, three diverse aspects of his need and misery. The 'covert' and the 'hiding-place' imply tempest, storm, and danger; the 'river of water' implies drought and thirst; 'the shadow of a great rock' implies lassitude and languor, fatigue and weariness. The view of life that arises from the combination of these three bears upon its front the signature of truth in the very fact that it is a sad view. For, I suppose, notwithstanding all that we may say concerning the beauty and the blessedness scattered broadcast round about us; notwithstanding that we believe, and hold as for our lives the happy 'faith that all which we behold is full of blessing,' it needs but a very short experience of this life, and but a superficial examination of our own histories and our own hearts, in order to come to the conclusion that the world is full of strange and terrible sadness, that every life has dark tracts and long stretches of sombre tint, and that no representation is true to fact which dips its pencil only in light and flings no shadows on the canvas. There is no depth in a Chinese picture, because there is no shade. It is the wrinkles and marks of tear and wear that make the expression in a _man's_ portrait. 'Life's sternest painter "is" its best.' The gloomy thoughts which are charged against Scripture are the true thoughts about man and the world as man has made it. Not, indeed, that life needs to be so, but that by reason of our own evil and departure from God there have come in as a disturbing element the retributive consequences of our own godlessness, and these have made danger where else were safety, thirst where else were rivers of water, and weariness and lassitude where else were strength and bounding hope.