A modern hymn book is seldom, if ever, a fresh compilation from the sources; it is habitually made up from collections already in use, with the addition, perhaps, of the editor's gleanings from the sources, or of recent poems. The names of the collections thus used may be given, and the names of the authors--often taken along without verification. Editors of hymn books have also generally allowed themselves great liberties with the text of hymns, altering them to suit their own taste or the religious and theological idiosyncrasies of their sect; abridging, transposing, expanding, without scruple; and only in very modern times has a tardily awakened literary conscience constrained them to give notice of such changes. In this way mediæval Catholic poets are made to sing good Protestant songs, or Calvinists and Methodists to drop their shibboleths and express themselves in a manner acceptable to Unitarians. The familiar hymn, "O for a thousand tongues to sing my dear Redeemer's praise," has been adapted to Buddhist use as, "O for a thousand tongues to sing my holy Buddha's praise, The glories of my teacher great, the triumphs of his grace," with similar changes throughout, and if we did not know the Christian hymn, we might take the author for a good Shin-shu Buddhist, though an indifferent poet. The editors of the Psalter proceeded in the same way, and the older recollections on which they worked can in part be recognized. It is observed that Books II. and III. of the Psalter (Pss. 42-89), or, more exactly, Pss. 42-83, must once have formed a collection by themselves, whose editor was averse to the use of the proper name Jehovah, and accordingly altered the text of the hymns where this name occurred by substituting the appellative God (Elohim), giving rise to such strange expressions as "O God, my God." Thus Ps. 53 is the same with Ps. 14, but wherever Jehovah stands in Ps. 14, "God" takes its place in Ps. 53; Ps. 70 is merely an extract from Ps. 40 (vss. 13-17) with the same change. In the latter, however, copyists, influenced by the parallel passage, have restored "Jehovah" in one (Greek) or two (Hebrew) places, as they have done in other of these psalms. This occurrence of the same hymn in two parts of the Psalter, of which another instance is Ps. 108 (made up of parts of two psalms in the elohistic book, lvii. 7-11, and lx. 5-12), is itself presumptive evidence that these parts once existed separately. At the time when the musical directions were prefixed to the psalms, the last two books (Pss. 90-150) seem not to have been included in the temple hymn book; for these directions, scattered through Pss. 1-89, are lacking from that point on, notwithstanding the fact that a larger proportion of the psalms in Pss. 90-150 were manifestly composed for public worship than in Pss. 1-89.