The theme and progress of thought in this psalm are very common, especially in those attributed to David. A soul compassed by enemies, whose hate has all but sapped the life out of it, "catches at God's skirts and prays," and thence wins confidence which anticipates deliverance and victory. There are numerous variations of this _leitmotif_, and each of the psalms which embody it has its own beauty, its own discords resolved into its own harmonies. The representation of the trouble of spirit as producing wasting of the body is also frequent, and is apparently not to be taken as metaphor, though not to be pressed, as if the psalmist were at once struck with the two calamities of hostility and disease, but the latter is simply the result of the former, and will disappear with it. It is needless to look for a historical occasion of the psalm, but to an ear that knows the tones of sorrow, or to a heart that has itself uttered them, the supposition that in these pathetic cries we hear only a representative Israelite bewailing the national ruin sounds singularly artificial. If ever the throb of personal anguish found tears and a voice, it does so in this psalm. Whoever wrote it wrote with his blood. There are in it no obvious references to events in the recorded life of David, and hence the ascription of it to him must rest on something else than the interpretation of the psalm. The very absence of such allusions is a fact to be dealt with by those who deny the accuracy of the attribution of authorship. But, however that question may be settled, the worth of this little plaintive cry depends on quite other considerations than the discovery of the name of the singer or the nature of his sorrow. It is a transcript of a perennial experience, a guide for a road which all feet have to travel. Its stream runs turbid and broken at first, but calms and clears as it flows. It has four curves or windings, which can scarcely be called strophes without making too artificial a framework for such a simple and spontaneous gush of feeling. Still the transitions are clear enough.