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 We still have his exposition of Ps. 1, 2, 9, 13, 14, 51, 52, 53-69, 91, 118-150 (according to the numbering of the lxx); according to Jerome (Ep. ad Augustin. cxii) it is transferred from Origen and Eusebius. It is throughout ingenious and pity, but more useful to the dogmatic theologian than the exegete (t. xxvii., xxviii. of the Collectio Patrum by Caillau and Guillon). Somewhat later, but yet within the last twenty years of the fourth century (about 386-397), come Ambrose's Enarrationes in Psa 1:1-6, 35-40, Psa 43:1-5, 45, Psa 47:1-9, Psa 48:1-14, Psa 61:1-8, 118 (in t. ii. of the Benedictine edition). The exposition of Psa 1:1-6 is likewise an introduction to the whole Psalter, taken partly from Basil. He and Ambrose have pronounced the highest eulogiums on the Psalter. The latter says: ''Psalmus enim benedictio populi est, Dei laus, plebis laudatio, plausus omnium, sermo universorum, vox Ecclesiae, fidei canora confessio, auctoritatis plena devotio, libertatis laetitia, clamor jucunditatis, laetitiae resultatio. Ab iracundia mitigat, a sollicitudine abdicat, a maerore allevat. Nocturna arma, diurna magisteria; scutum in timore, festum in sanctitate, imago tranquillitatis, pignus pacis atque concordiae, citharae modo ex diversis et disparibus vocibus unam exprimens cantilenam. Diei ortus psalmum resultat, psalmum resonat occasus''. After such and similar prefatory language we are led to expect from the exposition great fervour and depth of perception: and such are really its characteristics, but not to so large an extent as might have been the case had Ambrose - whose style of writing is as musical as that of Hilary is stiff and angular - worked