But to Eastern minds poetry was a sort of native language. Its inspiration was in the air. Their ordinary speech was ornate and efflorescent, throwing itself out in simile and hyperbole. It only needed some small excitement, and they fell naturally into the couplet form of utterance. Even to-day the children swing under the mulberry-trees to songs and choruses; hucksters extol their wares in measured verse; and the Bethany fruit-girl sings in the market, "O lady, take of our fruit, without money and without price: it is yours; take all that you will"! And so it need not surprise us, much less trouble us, that Simeon and Elisabeth, Zacharias and Mary, should each speak in measured cadences. Their speech blossomed with flowers of rhetoric, just as naturally as their hills were ablaze with daisies and anemones. Besides, they were now under the direct inspiration of the Holy Spirit. We read, "Elisabeth was filled with the Holy Ghost;" and again, Zacharias was "filled with the Holy Ghost;" Simeon "came in the Spirit into the Temple;" while Mary now seemed to live in one conscious, constant inspiration. It is said that "a poet is born, not made;" and if he be not thus "free-born" no "great sum," either of gold or toil, will ever pass him up within the favoured circle. And the same is true of the poet's creations. Sacred hymns are not the product of the unaided intellect. They do not come at the bidding of any human will. They are inspirations. There is the overshadowing of the Holy Spirit in their conception. The human mind, heart, and lips are but the instrument, a kind of Æolian lyre, played upon by the Higher Breath, which comes and goes--how, the singer himself can never tell; for "In the song The singer has been lost." It was when "filled with the Spirit" that Bezaleel put into his gold and silver the thoughts of God; it was when the Spirit of God came upon him that Balaam took up his parable, putting into stately numbers Israel's forward march and endless victories. And so the sacred psalm is the highest type of inspiration; it is a voice from no earthly Parnassus, but from the Mount of God itself--the nearest approach to the celestial harmonies, the harmonies of that city whose very walls are poetry, and whose gates are praise.