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 arising out of His resurrection and its sacramental efficacy, that it seems more like history than prophecy, ut non tam prophetia, quam historia videatur (Cassiodorus). Accordingly the ancient Church regarded Christ, not David, as the speaker in this Psalm; and condemned Theodore of Mopsuestia who expounded it as contemporary history. Bakius expresses the meaning of the older Lutheran expositors when he says: asserimus, hunc Psalmum ad literam primo, proprie et absque ulla allegoria, tropologia et ἀναγωῇintegrum et per omnia de solo Christo exponendum esse. Even the synagogue, so far as it recognises a suffering Messiah, hears Him speak here; and takes the “hind of the morning” as a name of the Shechı̂na and as a symbol of the dawning redemption. To ourselves, who regard the whole Psalm as the words of David, it does not thereby lose anything whatever of its prophetic character. It is a typical Psalm. The same God who communicates His thoughts of redemption to the mind of men, and there causes them to develop into the word of prophetic announcement, has also moulded the history itself into a prefiguring representation of the future deliverance; and the evidence for the truth of Christianity which is derived from this factual prophecy (Thatweissagung) is as grand as that derived from the verbal prediction (Wortweissagung). That David, the anointed of Samuel, before he ascended the throne, had to traverse a path of suffering which resembles the suffering path of Jesus, the Son of David, baptized of John, and that this typical suffering of David is embodied for us in the Psalms as in the images reflected from a mirror, is an arrangement of divine power, mercy, and wisdom. But Ps 22 is not merely a typical Psalm. For in the very nature of the type is involved the distance between it and the antitype. In Ps 22, however, David descends, with his complaint, into a depth that lies beyond the depth of his affliction, and rises, with his hopes, to a height that lies far beyond the height of the reward of his affliction. In other words: the rhetorical figure hyperbole (Arab. mubâlgt, i.e., depiction, with colours thickly laid on), without which, in the eyes of the Semite, poetic diction would be flat and