To summon from the past and reproduce with any detail the story of Israel's life in the desert is now impossible. The outlines alone remain, severe, careless of almost everything that does not bear on religion. Neither from Exodus nor from Numbers can we gather those touches that would enable us to reconstruct the incidents of a single day as it passed in the camp or on the march. The tribes move from one "wilderness" to another. The hardship of the time of wandering appears unrelieved, for throughout the history the doings of God, not the achievements or sufferings of the people, are the great theme. The patriotism of the Book of Numbers is of a kind that reminds us continually of the prophecies. Resentment against the distrustful and rebellious, like that which Amos, Hosea, and Jeremiah express, is felt in almost every portion of the narrative. At the same time the difference between Numbers and the books of the prophets is wide and striking. Here the style is simple, often stern, with little emotion, scarcely any rhetoric. The legislative purpose reacts on the historical, and makes the spirit of the book severe. Seldom does the writer allow himself respite from the grave task of presenting Israel's duties and delinquencies, and exalting the majesty of God. We are made continually to feel the burden with which the affairs of the people are charged; and yet the book is no poem: to excite sympathy or lead up to a great climax does not come within the design. Nevertheless, so far as a book of incident and statute can resemble poetry, there is a parallel between Numbers and a form of literature produced under other skies, other conditions--the Greek drama. The same is true of Exodus and Deuteronomy; but Numbers will be found especially to bear out the comparison. The likeness may be traced in the presentation of a main idea, the relation of various groups of persons carrying out or opposing that main idea, and the Puritanism of form and situation. The Book of Numbers may be called eternal literature more fitly than the _Iliad_ and _Æneid_ have been called eternal poems; and the keen ethical strain and high religious thought make the movement tragical throughout. Moses the leader is seen with his helpers and opponents, Aaron and Miriam, Joshua and Hobab, Korah, Dathan, and Abiram, Balak and Balaam. He is brought into extremity; he despairs and appeals passionately to Heaven; in an hour of pride he falls into sin which brings doom upon him. The people, murmuring, craving, suffering, are always a vague multitude. The tent, the cloud, the incense, the wars, the strain of the wilderness journey, the hope of the land beyond--all have a dim solemnity. The occupying thought is of Jehovah's purpose and the revelation of His character. Moses is the prophet of this Divine mystery, stands for it almost alone, urges it upon Israel, is the means of impressing it by judgments and victories, by priestly law and ceremony, by the very