Then sang Moses and the Children of Israel.
The Song of Moses at the Red Sea
Unwonted interest attaches to this song--the earliest on record of all the sacred odes, and the very foremost in the annals of Hebrew anthology. To the Jewish people themselves, it is what they have long called it, “The Song”; a designation to which it is entitled, alike from its inherent pre-eminence and its unrivalled associations.
1. It is Israel’s natal song. For, in crossing the Red Sea, they passed through the birth-throes of their national existence, and from this epoch dates a new chronology in Israel’s calendar. The oppressed tribes have become a commonwealth; and a commonwealth of the free.
2. It is Israel’s emancipation song, or song of liberty. It signalises a triple deliverance; marking the supreme moment of rescue from the threefold evils of domestic slavery, political bondage, and religious thraldom.
3. It is Israel’s first National Anthem and Te Deum in one. The Exodus was not a mere effort on the part of the Hebrew race to achieve their independence and realize their aspirations after a separate nationality. The spirit of even this idea had yet to be created within them; but everything depended on their being first delivered from the corrupting influences of Egyptian fetichism and idolatry, no less than from the yoke of Egyptian bondage. Not that the mass of them could at all appreciate the full meaning of the grand event as a mighty religious movement, repeating on a larger scale the migration of Abraham from Ur of the Chaldees, and breaking away from idolatrous and debasing superstitions, to find a home for the free development of a higher creed and worship. But the eye of their great leader descried this Divine purpose; and he had gone with this first tentative proposal to Pharaoh from God “Let My people go, that they may serve Me in the wilderness.” It is Israel’s Te Deum, or song of thanks and praise to God. An overwhelming sense of the Divine interposition is the predominant sentiment in the song from first to last. It is no mere secular ode; no mere war-song or outburst of patriotic triumph; no exultant shriek of insult over a fallen foe; but an anthem of blessing and gratitude for a great deliverance, a devout and solemn psalm before God, to whom, of whom, and for whom it is sung. This high and sacred intent keeps it from degenerating into a wild strain of vindictiveness or vainglory.
4. It is Israel’s Church-song; the type of all songs of redemption and salvation. The very words “redemption” and “salvation” are first introduced in connection with this great deliverance. “I will redeem you with an outstretched arm”; and again, “Fear ye not; stand still, and see the salvation of the Lord.” The people had become unified into a worshipping assembly. It is Israel’s triumph-song of deliverance. The note is that of joy and victory; and is prophetic of the success of every battle and struggle for the Lord’s cause and kingdom, fought in the Lord’s name and in His strength. This triumph is the precursor especially of that final and glorious one at the end of the ages, when the spiritual Israel, which no man can number, from every people, and tribe and language, “having gotten the victory over the beast, and over his image, and over his mark, and over the number of his name,” shall take up a position like their prototypes of old not, however, by the shore of the Red Sea, with the mere emblem of God’s presence before them--but as John saw them in apocalyptic vision, standing by the sea of glass mingled with fire; no longer led merely by Miriam and her chorus, but all of them having the harp of God in their hand, singing, not only “the Song of Moses, the servant of God,” but “the Song of the Lamb.”
I. Introduction: or the triple aim of the song (verses 1, 2). Thus the song is, first of all, inscribed and offered to the Lord. He also is its great theme or subject; and it is His exaltation that constitutes its one and expressly avowed aim. To God, of God, for God--these are the three pivot-thoughts regulating and determining the movement of the opening strophe, and, indeed, of the entire hymn. Here, as not infrequently with later psalms, we have the whole song concentrated in the first verse. The occasion of the song, its subject, its design, are all indicated. First, there is here a singing to the Lord. The simplest idea we can attach to the opening words, “I will sing to the Lord,” is this--I will bring myself into the immediate and felt presence of Jehovah, and will address and offer my song to Him! How near has He been to us during the eventful and stupendous transactions of the night! Under a realizing sense of that Dearness I will direct my song to Him. To what a pitch of solemnity this conception raises the singer I But, while this idea of singing to the Lord is expressive of the singer’s attitude as immediately before the very face of the Supreme, it no less indicates that the song is an acceptable offering and oblation to the Lord. It is no self-pleasing exercise of gift and faculty, but “a sacrifice to the Lord, the fruit of the lips.” “Singing,” says one, “is as much the language of holy joy as prayer is the language of holy desire.” How sublime a sight! The whole of a people singing before the one invisible God, and consciously realizing more or less their direct relation to the Eternal, under no outward form or image or material symbol! Secondly, the Lord is the subject or theme of the song. Underlying all is the sense of the Divine personality. Nothing but this could have kindled the soul to song. If God is to be the subject of hymning praise, it must needs be the thought of a living, personal One, to evoke the spirit of glorying in and praising His name. Thirdly, there is here a singing, not only to the Lord and of the Lord, but for the Lord. To extol and exalt the Lord is declared to be the ultimate end and aim of this song. And indeed this is the highest reach and the final purpose of all praise--to manifest and express the Divine character, the Divine working and ways, the Divine glory and honour. We are taught to pray for God as well as to Him; and to put this ever in the foreground of our prayers, as of all things the first, the best, the supremely desirable. “Hallowed be Thy name: Thy kingdom come: Thy will be done”--these petitions have the precedence over any for either ourselves or others. But not only to do this, but also to express it and set forth our purpose to do it--this is the special aim and function of praise, of which “Doxology,” or the ascription of power, blessing, dominion, and every excellency, is the highest climax. It is the very anticipation of heaven itself and of all its worship.
II. The body, or subject-matter of the song (verses 3-13). The third verse seems to be designed for a great chorus--probably meant to be re-echoed by a body of deep-voiced warriors. It marks a transition from the declarative style of the introduction, to the alternation of recitative and ascriptive portions in the main body of the song. It forms also a suitable link between the two, being a fit climax to what precedes, because it sets forth why and in what character the Lord is to be exalted--“the Lord is a Man of War”--and a fit index to what follows, because it suggests, so strikingly, the nature of His triumph which is now about to be celebrated; a triumph involving struggle and conflict. He is “a Man of War” in accordance always with His sublime and sacred name Jehovah. The song proceeds to develop the three great qualities of the Jehovah-warrior, the Warrior who is Divine.
1. He is in power resistless. This power is seen first in the magnitude of the scale on which it operates--the sense of this being enhanced by the detail of particulars in verse 4. Pharaoh’s chariots, and his host, and his chosen captains. Then, again, in the ease with which it effects its object as He “casts” them into the sea--it is as if He had caught up the whole host in His hand, and slung it like a stone into the deep; and finally, in the completeness of the overthrow and the irreversible and irretrievable nature of the result. Having thus signalized the catastrophe, the poet’s inspiration seems to catch a new afflatus. The style suddenly changes in verses 6, 7, and 8; it ceases to be merely descriptive, and becomes directly ascriptive. The tone is now lofty and devout, God being addressed immediately in the second person, and the whole event being attributed to the interposition and miraculous operation of His power alone.
2. He is in equity and righteousness unchallengeable. The “equity and righteousness” is as manifest as the power. We are taught in verse 7 to regard the whole situation as intended for a display of “the Divine excellency”: so true, so timely, and so exemplary it is in its manifestation. With consummate ease, but with no less consummate justice, the dread penalty is enacted; to show how “He is glorious in holiness and fearful in praises” while “doing wonders.” For it is intimated that Egypt, in what it was doing, was not only “the enemy” of Israel, but it was “of them that rose up against Thee”; fighting against the Almighty and violating the first principles of Divine justice, truth, and mercy. The victims of the catastrophe were the fit subjects of a retributive and self-vindicating economy. Moreover, it was so well-timed. They were taken, as it were, red-handed, in the very act; at the very moment they were anticipating their revenge and gloating in its gratification. While they were intoxicated with insolence and pride: while they were breathing out threatening and cruelty, the Lord speaks to them in wrath; the Lord holds them in derision.
3. Yet, finally, He is in mercy plenteous. We have to note the goodness, no less than the severity, of God here. The reiteration in verse 12 of what has been said before, seems designedly made to enhance the sublime and suggestive contrast.
III. The threefold issues (verses 14-18). In this third and last wave of the anthem, the Divine mercy in the redemption of Israel is illustrated. The song becomes prophetic; and three grand issues are described and anticipated, an immediate, an intermediate, and a final one.
1. The immediate influence of the Exodus and passage of the Red Sea, on the tribes and peoples around, verses 14-16. A striking gradation is observed in describing the various effects: there is first a widespread panic and commotion in general, then the chiefs or “phylarchs” of Edom are paralyzed with terror; the mighty men of Moab tremble with uncontrollable fear; and finally the Canaanites melt away in despair.
2. There is an intermediate or remoter influence on the ultimate settlement and final destiny of Israel. So great an initial triumph was a happy augury and a sure prognostication of coming success. It was to be accepted as a Divine pledge of all needful aid and succour, until at length they should be firmly established in the promised land, as a nation, a race or family, and a Church. For in verse 17 we have a climax with three particulars, in which Israel is presented in three aspects, and their land is set forth in the triple character of an inheritance, a home, and a sanctuary, awakening the chords of patriotism, ancestry, and worship.
3. There is the last great issue of all, “The Lord shall reign for ever and ever.” The prophecy of this song reaches thus onward to the end of all things; for the deliverance of Israel was not merely typical of, but actually a part and instalment of, the final redemption. And therefore, this song of Moses is not only the key-note and inspiration of the songs of the Old Testament Church, but a song of the Church in every age, celebrating as it does an event and deliverance not only pledging but vitally contributing to the last great acts in the onward triumph of Christ’s complete redemption. (A. H. Drysdale, M. A.)
The Song of Moses
I. The history which the song celebrates.
II. The reflections which the history thus celebrated suggests.
1. The history affords an awful instance of persevering rebellion against God, notwithstanding the infliction of repeated and awakening chastisements.
2. The tendency of the human mind to forget past mercies, when we are involved in present afflictions.
3. The duty of yielding obedience to God, even when His commands seem to be opposed to our interests and our happiness.
4. The certainty that God will appear on behalf of His people, however long His interposition may be delayed.
5. The history reminds us of a nobler deliverance which God has effected for His people by Jesus Christ.
6. We may learn from the history with what grateful joy the disciples of Christ will celebrate His power and grace, when they have crossed the river of death. (J. Alexander.)
Jubilate
I. It will be instructive to notice the time of the singing of this song. To everything there is a season: there is a time of the singing of birds, and there is a time for the singing of saints. “Then sang Moses.”
1. It was first of all at the moment of realized salvation. When we doubt our salvation we suspend our singing; but when we realize it, when we see clearly the great work that God has done for us, then we sing unto the Lord who hath for us also triumphed gloriously. How can our joy of heart any longer be pent up?
2. So is it also in times of distinct consecration. I would remind you that the apostle assures us that all Israel were “baptized unto Moses in the cloud and in the sea.” That passage through the Red Sea was the type of their death, their burial, and their resurrection to a new life; it was their national baptism unto God: and therefore they sang as it were a new song. It is the happiest thing that can ever happen to a mortal man, to be dedicated to God.
3. It was also a day of the manifest display of God’s power.
4. But this song may be sung at all times throughout the life of faith. Let your hearts begin to ring all their bells, and let not their sweet chimes cease for evermore.
II. The tone of this song.
1. Note, first, that the tone is enthusiastic.
2. The tone is also congregational, being intended for every Israelite to join in it. Though Moses began by saying, “I will sing unto the Lord,” yet Miriam concluded with, “Sing ye to the Lord, for He hath triumphed gloriously.” This is a hymn for every child of God, for all that have come out of Egypt. Let the song be enthusiastic and unanimous.
3. Yet please to notice how very distinctly personal it is. “I will sing unto the Lord, for He hath triumphed gloriously. The Lord is my strength and song, and He is become my salvation; He is my God, and I will prepare Him an habitation; my father’s God, and I will exalt Him.” Do not lose yourself in the throng.
4. Note, again, the tone of this song is exceeding confident. There is not a shadow of doubt in it: it is all the way through most positive in its ascriptions of praise.
5. And this song is exceeding comprehensive. It sings of what God has done, and then of what God will do in bringing His people into the Promised Land; nor does it finish till it rises to that loftiest strain of all: “The Lord shall reign for ever and ever.”
6. Note, too, all through, that this song is immeasurably joyous. The Israelites were slaves enjoying new liberty; children let out to play. They did not know how to be glad enough. Let us give to God our unlimited joy.
7. Yet I must say, however enthusiastic that song was, and however full of joy it was, it was only such a song as was due unto the Lord.
III. The first clauses of this song. “The Lord is my strength and my song,” etc.
1. Notice, the song is all of God: there is not a word about Moses. Let us forget men, forget earth, forget time, forget self, forget this mortal life, and only think of our God.
2. Observe, the song dwells upon what God has done: “The horse and his rider hath He thrown into the sea.” Let us trace all the mercies we get to our God, for He hath wrought all our works in us; He hath chosen us, He hath redeemed us, He hath called us, He hath quickened us, He hath preserved us, He hath sanctified us, and He will perfect us in Christ Jesus. The glory is all His.
3. The song also declares what the Lord will yet do. We shall conquer yet in the great name of Jehovah. Take up the first note: “The Lord is my strength.” What a noble utterance! Poor Israel had no strength! She had cried out by reason of her sore bondage, making bricks without straw: The Lord is my strength when I have no strength of my own. It is well to say, “The Lord is my strength” when we are weak and the enemy is strong; but we must mind that we say the same when we are strong and our enemies are routed. The next is, “The Lord is my song,” that is to say, the Lord is the giver of our songs; He breathes the music into the hearts of His people; He is the Creator of their joy. The Lord is also the subject of their songs: they sing of Him and of all that He does on their behalf. The Lord is, moreover, the object of their song: they sing unto the Lord. Their praise is meant for Him alone. (C. H. Spurgeon.)
The Song of triumph
The Song of Moses has never been surpassed for the poetical beauty of its imagery and its expressions. It is, besides, so full of holiness and adoration, as to render it incomparable.
I. Let us recount all the causes for gratitude which are enumerated in it.
1. The Israelites had been delivered from a terrible danger. The enemy had said, “I will pursue, I will overtake, I will divide the spoil; I will draw my sword, my hand shall destroy them.”
2. They had been delivered from inevitable danger. None could save them but God only. Before them was the sea; behind them were Pharaoh and his host.
3. They had been delivered from universal danger. Not the lives of a thousand only, or even of ten thousand, among them had been threatened; all, old and young together, were to have been slain.
4. They had been delivered by most glorious miracles; the strong east wind, the pillar of light, the sea changed, as it were, into walls of ice.
5. They bad been delivered notwithstanding their sins. Oh, what an example of the free grace of God! They had scorned His words, had murmured; it was, so to speak, in spite of themselves that God had saved them.
6. They had been delivered altogether, not one was missing, not one had perished, not even the youngest child. No mourning marred their triumph, as often happens to the nations of the earth when they are celebrating a great victory.
7. They had been saved by the power of God alone. It was not their work, it was that of the Lord, who had said to them, “Stand still, and ye shall see the salvation of the Lord; the Lord shall fight for you.”
8. Lastly, their deliverance was accompanied by promises for the future. God had brought them out of Egypt, but it was to lead them to Canaan.
II. If we are true believers, and if Jesus is our Saviour, we have the same reasons that the Israelites had for singing the song of praise.
1. Like them, we have been delivered from a terrible danger. It was the danger of death,--not of the body, for that is comparatively nothing, as our Lord has said, but of the soul; that is to say, condemnation, alienation from God, a whole eternity passed “in outer darkness, where there is weeping and gnashing of teeth.”
2. Like the Israelites, we have been delivered from inevitable danger. There is no way of escape--no salvation in any other than in the Lord Jesus Christ.
3. We have been delivered from a universal danger. Indeed, we are all by nature under condemnation. “There is no difference: for all have sinned, and come short of the glory of God.”
4. We have been delivered by most glorious marvels. “Behold what manner of love the Father hath bestowed upon us, that we should be called the sons of God,” exclaims the apostle John. These things are so sublime, that the angels desire to look into them.
5. We have been delivered notwithstanding our sins; for “God commendeth His love towards us, in that, while we were yet sinners, Christ died for us.”
6. Like Israel, we have been delivered altogether. Not one of the chosen people of God will be missing; the youngest child, the most despised, the most forgotten of men, if he has put his trust in the Lord, will not perish.
7. God has saved us without any strength of our own, for we were incapable of doing anything. “I have trodden the winepress alone,” saith the Saviour by the mouth of Isaiah. He obeyed for us, He has borne our sins, He has accomplished all the work of our salvation.
8. Lastly, our deliverance has been accompanied, like that of the Israelites, with glorious promises. The Lord will guide us with His counsel, and afterwards He will receive us to glory. He will be our strength, because He has been our Saviour. (Prof. Gaussen.)
Manly gratitude
Among the mass of men how little there is of that frank, manly gratitude, that openly, and in the sight of a scoffing world, acknowledges the delivering, saving hand of God. Amid such wide-spread forgetfulness of the hand of an overruling Providence, it is a satisfaction to record the case of a thankful British seaman, a fine young man in the naval service on board Her Majesty’s ship, Queen. They were cruising off Cape Finisterre. The hands had been turned up to reef top sails for the night; the work was just finished, when the young captain of the mizzen top overbalanced himself and fell. He came down a distance of a hundred feet or more, and would have fallen on the deck, where no doubt he would have been instantly killed or seriously injured; but as he fell he clutched the foot-brail of the mizzen--this threw him against the sail, which broke his fall, and he was saved! And as he touched the deck he knelt down in the sight of the throng of officers and men who composed the crew, and offered up his thanks to Almighty God for his safe deliverance, during which time the silence and discipline was such one might have heard a pin drop on the deck.
After deliverance there should come a song
Gratitude is an imperative duty; and one of its first and finest forms is a hymn of thanksgiving and praise. It is true that it will not be worth much if it expends itself only in song; but wherever the psalm is sincere, it will communicate its melody also to the life. Too often, however, it does not even give a song. You remember how only one of the ten lepers returned to thank the Lord for His cleansing; and, perhaps, we should not be far wrong if we were to affirm that a similar proportion prevails to-day between the thankful and the ungrateful. Yet it would be wrong if we were to leave the impression that such gratitude as this of Moses is almost unknown. On the contrary, the pages of our hymn-books are covered with songs which have been born, like this one, out of deliverance. Many of the finest of David’s psalms are the utterances of his heart in thanksgiving for mercies similar to those which Moses celebrated; and some of the noblest lyrics of Watts and Wesley, of Montgomery and Lyre, have had a similar origin. Nor is this all; we can see that in all times of great national revival there has been an outburst of song. At the Reformation, no result of Luther’s work was more remarkable than the stimulus it gave to the hymnology of the Fatherland. In fact, that may be said to have been as good as created by the Reformation; and in our own country each successive revival of religion has had its own special hymn. But we have not all the genius of Wesley, or the inspiration of Moses, or of David; and what shall we do then? We can at least appropriate the lyrics of those who have gone before us, and use them in so far as they meet our case; and I can conceive no more pleasant or profitable occupation for the household than the singing of those hymns which have become dear to us because of the personal experiences which we can read between the lines. But we can do better still than that; for we can set our daily deeds to the music of a grateful heart, and seek to round our lives into a hymn--the melody of which will be recognized by all who come into contact with us, and the power of which shall not be evanescent, like the voice of the singer, but perennial, like the music of the spheres. To this hymnology of life let me incite you; for only they who carry this music in their hearts shall sing at last on the shore of the heavenly land, that song of “pure concert” for which John could find no better description than that it was” the song of Moses, the servant of God, and the song of the Lamb.” But to sing of deliverance, you must accept deliverance. Open your hearts, therefore, for the reception of salvation. (W. M. Taylor, D. D.)
The Lord is my strength and my song.--
The citadel and the temple
I. What the Lord is to his people.
1. “The Lord is my strength,” sang the enraptured host, when they saw how He had “triumphed gloriously” for them--and this has ever been the song of God’s people as they have passed through dangers and tribulations in their way to the heavenly Canaan (Isaiah 26:4).
2. But if the Lord be the strength of His people, it must imply that they themselves are weak.
3. But the Lord is our strength; and if the Church be likened unto things which are weak, the figurative language of the Bible is equally strong in setting forth the Lord as her strength (Proverbs 28:10; Psalms 18:2). The Lord Jesus is called the Captain of her salvation, her Deliverer, Governor, Guide.
4. But the Lord is not only the strength of His people, but also their song. He is a very present help in trouble, and He sometimes raises the head, and cheers the heart, even in the midst of sorrows and trials (Habakkuk 3:17-19).
5. The Lord is also the salvation of His people. He sometimes saves them, in a miraculous manner, from temporal evils.
6. He is their God: and this is everything. Infinite power, wisdom, mercy, goodness, love, pity, truth, justice, are all exerted in their behalf; for, in one delightful word, He is their God--yea, and He will be their God for ever and ever, and their Guide even unto death.
II. The resolutions which a sense of His goodness leads them to make.
1. “I will prepare Him an habitation,” alluding, probably, to the Temple which the Jews afterwards built. But it is in the humble, contrite heart that the Lord delights to dwell; and we prepare Him a habitation when we open our hearts to receive Him, when we devote them entirely to Him, and when we make Him the principal object of our desires.
2. “My father’s God”--the God of Abraham, Isaac, and Jacob, and of all our pious ancestors--“and I will exalt Him.” With my tongue will I praise His name, and my soul shall exalt in Him. (B. Bailey.)
My father’s God.--
The pathos of theology
A song is the proper conclusion of a victory. Fasting is the worship of sorrow; singing is the worship of joy. The words specially chosen for meditation show that the victory did not end in itself; it touched the holy past; it consummated the promises and hopes of ages.
I. “My father’s God.” Then religion was no new thing to them. They were not surprised when they heard the name of God associated with their victory. Religion should not be an originality to us; it should not be a novel sensation; it should be the common breath of our daily life, and the mention of the name of God in the relation of our experience sought to excite no mere amazement.
II. “My father’s God.” Then their father’s religion was not concealed from them. They knew that their father had a God. It is possible not to suspect that a man has any regard for God until we see his name announced in connection with some religions event. We cannot read this holy book without being impressed with the fact that the men who made the history of the world were men who lived in continual communion with the spiritual and unseen.
III. “My father’s God.” Yet it does not follow that the father and the child must have the same God. You have power deliberately to serve the connection between yourself and the God of your fathers. It is a terrible power!
IV. “My father’s God.” Then we are debtors to the religious past. There are some results of goodness we inherit independently of our own will. This age inherits the civilization of the past. The child is the better for his father’s temperance. Mephibosheth received honours for Jonathan’s sake. The processes of God are not always consummated in the age with which they begin. Generations may pass away, and then the full blessing may come. Practical questions:
1. Your father was a Christian,--are you so much wiser than your father that you can afford to set aside his example? There are some things in which you are bound to improve upon the actions of your father; but are you quite sure that the worship of the God of heaven is one of them?
2. Your father was a holy man--will you undertake to break the line of a holy succession? Ought not the fame of his holiness to awaken your own religious concern?
3. Your father was deeply religious,--will you inherit all he has given you in name, in reputation, in social position, and throw away all the religious elements which made him what he was?
4. Your father could not live without God,--can you? (J. Parker, D. D.)
A noble ancestry and a glorious resolution
I. A noble ancestry. “My father’s God.” Who are the men who have the most illustrious ancestry? The men who honoured, served, and trusted the one true and living God. The same God does for all ages; His character commends itself to the adoration of all souls. It is natural to value anything our loving fathers love. We value their favourite books, but how much more their God, the totality of goodness, the fountain of all blessedness?
II. A glorious resolution. “I will exalt Him.” How can we “exalt Him?” Enthrone Him in our affections as Lord of lords, and King of kings, ruling all thoughts, animating and directing all activities. (Homilist.)
The living God
I. Who was the God of our fathers?
1. A pure Being, not the “chance” of the atheist.
2. A conscious Being, not the “mere law” of the deist.
3. A personal Being, not “the all” of the pantheist.
4. A perfect Being, as revealed in the Bible.
5. An emotional Being, as manifested in Christ.
6. A communicative Being, as imparted by the Holy Spirit.
II. What is it to exalt Him?
1. Not by tall spires.
2. Not by gorgeous ritual.
3. To adore Him as the object of our worship.
4. To give Him the chief place in our affections. (W. W. Wythe.)
My mother’s God
At a fashionable party a young physician present spoke of one of his patients, whose case he considered a very critical one. He said he was “very sorry to lose him, for be was a noble young man, but very unnecessarily concerned about his soul, and Christians increased his agitation by talking with him and praying for him. He wished Christians would let his patients alone. Death was but an endless sleep, the religion of Christ a delusion, and its followers were not persons of the highest culture or intelligence.” A young lady sitting near, and one of the gayest of that company, said, “Pardon me, doctor, but I cannot hear you talk thus and remain silent. I am not a professor of religion; I never knew anything about it experimentally, but my mother was a Christian. Times without number she has taken me with her to her room, and with her hand upon my head, she has prayed that God would give her grace to train me for the skies. Two years ago my precious mother died, and the religion she loved through life sustained her in her dying hour. She called us to her bedside, and with her face shining with glory, asked us to meet her in heaven, and I promised to do so. And now,” said the young lady, displaying deep emotion, “can I believe that this is all a delusion? that my mother sleeps an eternal sleep? that she will never waken again in the morning of the resurrection, and that I shall see her no more? No, I cannot, I will not believe it.” Her brother tried to quiet her, for by this time she had the attention of all present. “No!” said she. “Brother, let me alone; I must defend my mother’s God, my religion.” The physician made no reply, and soon left the room. He was found shortly afterwards pacing the floor of an adjoining room, in great agitation and distress of spirit. “What is the matter?” a friend inquired. “Oh,” said he, “that young lady is right. Her words have pierced my soul like an arrow. I too must have the religion I have despised, or I am lost for ever.” And the result of the convictions thus awakened was that both the young lady and the physician were converted to Christ, and are useful and influential members of the Church of God.