He breaks the power of cancelled sin, He sets the prisoner free; His blood can make the foulest clean, His blood availed for me. So Thomas Olivers at the end of his great anthem to the God of Abraham adds his own voice to the voices of the celestial choir— The whole triumphant host Give thanks to God most high: ‘Hail, Father, Son, and Holy Ghost,’ They ever cry: Hail, Abraham’s God and _mine_! I join the heavenly lays. The contrast between the liturgical hymn written for others to sing and the hymn of personal experience, the pouring out of the soul before God, is well illustrated in the Psalter; e.g. compare Ps. cxv.— Not unto us, O Lord, not unto us, but unto Thy name give glory, For Thy mercy, and for Thy truth’s sake. with Ps. cxvi.— I love the Lord, because He hath heard My voice and my supplications. It is in the earlier psalms, though not in them exclusively, that we find the personal element conspicuous, and it is those psalms which have inspired the highest forms of Christian song. Even in psalms written for the congregation and with direct liturgical intent there is often the introduction of the personal element, as in Ps. cvi. In the Book of Psalms we have not only the cry of the seeker after God, but the voice of the Church in its common prayer and praise. We find here, too, hymns for the Sabbath day and other festivals, hymns in commemoration of the older saints, national prayers and anthems, which confess the sin of the people or record the mighty works of God, setting the nation’s history to music. Indeed, it is difficult to discover in modern hymn-books any hymn which has not its prototype in the Psalter, though the Incarnation and its manifold revelation brought into Christian life and thought a light that far outshines the brightest stars of the earlier dispensation. Like other great hymn-books, the Hebrew Psalter grew by stages and gathered into its treasury things new and old. In its final form it is a collection of hymns ancient and modern—a fusion of various hymn-books, in which, as in other collections, there is occasional repetition, free quotation of one writer from another, reminiscences of familiar psalms of earlier psalmists, and evidences of the exercise of a wide editorial discretion in revision and emendation. We should like to know something of the man who edited the final _Collection of Hymns for the use of the people called Jews_. If he had written a preface, or even a title-page, he would have solved for us many interesting literary questions—though he would have added little to the spiritual or liturgical value of the Psalter. It is enough for us to know that the psalms as we sing them to-day are the Psalms of which our Lord spoke, when He appealed to them as witnesses with Moses and the prophets to His mission. It was a hymn-book ready for use in the Church of Pentecost, and was adopted in its worship from the beginning.