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A Song to David by Christopher Smart

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Christopher Smart's "A Song to David" is an exuberant hymn that celebrates the biblical King David as the finest poet, warrior, and servant of God in history.

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The PoemFull text

A Song to David

Christopher Smart

I O THOU, that sit'st upon a throne, With harp of high majestic tone, To praise the King of kings; And voice of heav'n-ascending swell, Which, while its deeper notes excell, Clear, as a clarion, rings: II To bless each valley, grove and coast, And charm the cherubs to the post Of gratitude in throngs; To keep the days on Zion's mount, And send the year to his account, With dances and with songs: III O Servant of God's holiest charge, The minister of praise at large, Which thou may'st now receive; From thy blest mansion hail and hear, From topmost eminence appear To this the wreath I weave. IV Great, valiant, pious, good, and clean, Sublime, contemplative, serene, Strong, constant, pleasant, wise! Bright effluence of exceeding grace; Best man!—the swiftest and the race, The peril, and the prize! V Great—from the lustre of his crown, From Samuel's horn, and God's renown, Which is the people's voice; For all the host, from rear to van, Applauded and embrac'd the man— The man of God's own choice. VI Valiant—the word, and up he rose; The fight—he triumph'd o'er the foes, Whom God's just laws abhor; And, arm'd in gallant faith, he took Against the boaster, from the brook, The weapons of the war. VII Pious—magnificent and grand; 'Twas he the famous temple plann'd; (The seraph in his soul:) Foremost to give his Lord His dues, Foremost to bless the welcome news, And foremost to condole. VIII Good—from Jehudah's genuine vein, From God's best nature good in grain, His aspect and his heart; To pity, to forgive, to save, Witness En-gedi's conscious cave, And Shimei's blunted dart. IX Clean—if perpetual prayer be pure, And love, which could itself inure To fasting and to fear— Clean in his gestures, hands, and feet, To smite the lyre, the dance complete, To play the sword and spear. X Sublime—invention ever young, Of vast conception, tow'ring tongue, To God th'eternal theme; Notes from yon exaltations caught, Unrival'd royalty of thought, O'er meaner strains supreme. XI Contemplative—on God to fix His musings, and above the six The Sabbath-day he blest; 'Twas then his thoughts self-conquest prun'd, And heav'nly melancholy tun'd, To bless and bear the rest. XII Serene—to sow the seeds of peace, Rememb'ring, when he watch'd the fleece, How sweetly Kidron purl'd— To further knowledge, silence vice, And plant plant perpetual paradise, When God had calm'd the world. XIII Strong—in the Lord, Who could defy Satan, and all his pow'rs that lie In sempiternal night; And hell, and horror, and despair Were as the lion and the bear To his undaunted might. XIV Constant—in love to God, THE TRUTH, Age, manhood, infancy, and youth— To Jonathan his friend Constant, beyond the verge of death; And Zilba, and Mephibosheth, His endless fame attend. XV Pleasant—various as the year; Man, soul, and angel, without peer, Priest, champion, sage, and boy; In armor, or in ephod clad, His pomp, his piety was glad; Majestic was his joy. XVI Wise—in recovery from his fall, Whence rose his eminence o'er all, Of all the most revil'd; The light of Israel in his ways, Wise are his precepts, prayer and praise, And counsel to his child. XVII His muse, bright angel of his verse, Gives balm for all the thorns that pierce, For all the pangs that rage; Blest light, still gaining on the gloom, The more than Michal of his bloom, Th'Abishag of his age. XVIII He sung of God—the mighty source Of all things—the stupendous force On which all strength depends; From Whose right arm, beneath Whose eyes, All period, pow'r, and enterprise Commences, reigns, and ends. XIX Angels—their ministry and meed, Which to and fro with blessings speed, Or with their citherns wait; Where Michael with his millions bows, Where dwells the seraph and his spouse The cherub and her mate. XX O David, scholar of the Lord! Of God and Love—the Saint elect For infinite applause— To rule the land, and briny broad, To be laborious in His laud, And heroes in His cause. XXI The world—the clust'ring spheres He made, The glorious light, the soothing shade, Dale, champaign, grove, and hill; The multitudinous abyss, Where secrecy remains in bliss, And wisdom hides her skill XXII Trees, plants, and flow'rs—of virtuous root; Gem yielding blossom, yielding fruit, Choice gums and precious balm; Bless ye the nosegay in the vale, And with the sweetness of the gale Enrich the thankful psalm. XXIII Of fowl—e'en ev'ry beak and wing Which cheer the winter, hail the spring, That live in peace or prey; They that make music, or that mock, The quail, the brave domestic cock, The raven, swan, and jay. XXIV Of fishes—ev'ry size and shape, Which nature frames of light escape, Devouring man to shun: The shells are in the wealthy deep, The shoals upon the surface leap, And love the glancing sun. XXV Of beasts—the beaver plods his task, While the sleek tigers roll and bask, Nor yet the shades arouse: Her cave the mining coney scoops; Where o'er the mead the mountain stoops, The kids exult and browse. XXVI Of gems—their virtue and their price, Which hid in earth from man's device, Their darts of lustre sheathe; The jasper of the master's stamp, The topaz blazing like a lamp, Among the mines beneath. XXVII Blest was the tenderness he felt When to his graceful harp he knelt, And did for audience call; When Satan with his hand he quell'd And in serene suspense he held The frantic throes of Saul. XXVIII His furious foes no more malign'd As he such melody divin'd, And sense and soul detain'd; Now striking strong, now soothing soft, He sent the godly sounds aloft, Or in delight refrain'd. XXIX When up to heav'n his thoughts he pil'd From fervent lips fair Michal smil'd, As blush to blush she stood; And chose herself the queen, and gave Her utmost from her heart, "so brave, And plays his hymns so good." XXX The pillars of the Lord are seven, Which stand from earth to topmost heav'n; His wisdom drew the plan; His WORD accomplish'd the design, From brightest gem to deepest mine, From CHRIST enthron'd to man. XXXI Alpha, the cause of causes, first In station, fountain, whence the burst Of light, and blaze of day; Whence bold attempt, and brave advance, Have motion, life, and ordinance And heav'n itself its stay. XXXII Gamma supports the glorious arch On which angelic legions march, And is with sapphires pav'd; Thence the fleet clouds are sent adrift, And thence the painted folds, that lift The crimson veil, are wav'd. XXXIII Eta with living sculpture breathes, With verdant carvings, flow'ry wreathes, Of never-wasting bloom; In strong relief his goodly base All instruments of labor grace, The trowel, spade, and loom. XXXIV Next Theta stands to the Supreme— Who form'd, in number, sign, and scheme, Th'illustrious lights that are: And one address'd his saffrom robe, And one, clad in a silver globe, Held rule with ev'ry star. XXXV Iota's tun'd to choral hymns Of those that fly, while he that swims In thankful safety lurks; And foot, and chapitre, and niche, The various histories enrich Of God's record'd works. XXXVI Sigma presents the social droves, With him that solitary roves, And man of all the chief; Fair on whose face, and stately frame, Did God impress His hallow'd name, For ocular belief. XXXVII OMEGA! GREATEST and the BEST, Stands sacred to the day of rest, For gratitude and thought; Which bless'd the world upon his pole, And gave the universe his goal, And clos'd th'infernal draught. XXXVIII O DAVID, scholar of the Lord! Such is thy science, whence reward And infinite degree; O strength, O sweetness, lasting ripe! God's harp thy symbol, and thy type The lion and the bee! XXXIX There is but One who ne'er rebell'd, But One by passion unimpell'd, By pleasures unentic'd; He from Himself His semblance sent, Grand object of His own content, And saw the God in CHRIST. XL Tell them, I am, JEHOVAH said To MOSES; while earth heard in dread, And, smitten to the heart, At once above, beneath, around, All Nature, without voice or sound, Repli'd, "O Lord, THOU ART." XLI Thou art—to give and to confirm, For each his talent and his term; All flesh thy bounties share: Thou shalt not call thy brother fool; The porches of the Christian school Are meekness, peace, and pray'r. XLII Open, and naked of offence, Man's made of mercy, soul, and sense; God arm'd the snail and wilk; Be good to him that pulls thy plough; Due food and care, due rest, allow For her that yields thee milk. XLIII Rise up before the hoary head, And God's benign commandment dread, Which says thou shalt not die: "Not as I will, but as Thou wilt," Pray'd He Whose conscience knew no guilt; With Whose bless'd pattern vie. XLIV Use all thy passions!—love is thine, And joy, and jealousy divine; Thine hope's eternal fort, And care thy leisure to disturb, With fear concupiscence to curb, And rapture to transport. XLV Act simply, as occasion asks; Put mellow wine in season'd casks; Till not with ass and bull: Remember thy baptismal bond; Keep from commixtures foul and fond, Nor work thy flax with wool. XLVI Distribute: pay the Lord His tithe, And make the widow's heart-strings blythe; Resort with those that weep: As you from all and each expect, For all and each thy love direct, And render as you reap. XLVII The slander and its bearer spurn, And propagating praise sojourn To make thy welcome last; Turn from Old Adam to the New; By hope futurity pursue; Look upwards to the past. XLVIII Control thine eye, salute success, Honor the wiser, happier bless, And for thy neighbor feel; Grutch not of Mammon and his leav'n, Work emulation up to heav'n By knowledge and by zeal. XLIX O DAVID, highest in the list Of worthies, on God's ways insist, The genuine word repeat: Vain are the documents of men, And vain the flourish of the pen That keeps the fool's conceit. L PRAISE above all—for praise prevails; Heap up the measure, load the scales, And good to goodness add: The gen'rous soul her Saviour aids, But peevish obloquy degrades; The Lord is great and glad. LI For ADORATION all the ranks Of angels yield eternal thanks, And DAVID in the midst; With God's good poor, which last and least In man's esteem, thou to thy feast, O blessed bridegroom, bidst. LII For ADORATION seasons change, And order, truth, and beauty range, Adjust, attract, and fill: The grass the polyanthus checks; And polish'd porphyry reflects, By the descending rill. LIII rich almonds color to the prime For ADORATION; tendrils climb, And fruit-trees pledge their gems; And Ivis with her gorgeous vest, Builds for her eggs her cunning nest, And bell-flowers bow their stems. LIV With vinous syrup cedars spout; From rocks pure honey gushing out, For ADORATION springs; All scenes of painting crowd the map Of nature; to the mermaid's pap The scaled infant clings. LV The spotted ounce and playsome cubs Run rustling 'mongst the flow'ring shrubs, And lizards feed the moss; For ADORATION beasts embark, While waves upholding halcyon's ark No longer roar and toss. LVI While Israel sits beneath his fig, With coral root and amber sprig The wean'd advent'rer sports; Where to the palm the jasmine cleaves, For ADORATION 'mongst the leaves The gale his peace reports. LVII Increasing days their reign exalt, Nor in the pink and mottled vault The opposing spirits tilt; And, by the coasting reader spi'd, The silverlings and crusions glide For ADORATION gilt. LVIII For ADORATION rip'ning canes And cocoa's purest milk detains The western pilgrim's staff; Where rain in clasping boughs enclos'd, And vines with oranges dispos'd, Embow'r the social laugh. LIX Now labor his reward receives, For ADORATION counts his sheaves To peace, her bounteous prince; The nect'rine his strong tint imbibes, And apples of ten thousand tribes, And quick peculiar quince. LX The wealthy crops of whit'ning rice, 'Mongst thyme woods and groves of spice, For ADORATION grow; And, marshall'd in the fenced land, The peaches and pom'granates stand, Where wild carnations blow. LXI The laurels with the winter strive; The crocus burnishes alive Upon the snow-clad earth: For ADORATION myrtles stay To keep the garden from dismay, And bless the sight from dearth. LXII The pheasant shows his pompous neck; The ermine, jealous of a speck, With fear eldues offence: The sable, with his glossy pride, For ADORATION is describ'd, Where frosts the waves condense. LXIII The cheerful holly, pensive yew, And holy thorn, their trim renew; The squirrel hoards his nuts; All creatures batten o'er their stores, And careful nature all her doors For ADORATION shuts. LXIV For ADORATION, DAVID's psalms Life up the heart to deeds of alms; And he, who kneels and chants, Prevails his passions to control, Finds meat and med'cine to the soul, Which for translation pants. LXV For ADORATION, beyond match, The scholar bullfinch aims to catch The soft flute's iv'ry touch; And, careless on the hazel spray, The daring redbreast keeps at bay The damsel's greedy clutch. LXVI For ADORATION in the skies, The Lord's philosopher espies The Dog, the Ram, and Rose; The planet's ring, Orion's sword; Nor is his greatness less ador'd In the vile worm that glows. LXVII For ADORATION, on the strings The western breezes work their wings, The captive ear to sooth. Hark! 'Tis a voice—how still, and small— That makes the cataracts to fall, Or bids the sea be smooth! LXVIII For ADORATION, incense comes From bezoar, and Arabian gums; And from the civet's fur: But as for prayer, or e'er it faints, Far better is the breath of saints Than galbanum and myrrh. LXIX For ADORATION from the down Of dam'sins to th'anana's crown, God sends to tempt the taste; And while the luscious zest invites, The sense, that in the scene delights, Commands desire be chaste. LXX For ADORATION, all the paths Of grace are open, all the baths Of purity refresh; And all the rays of glory beam To deck the man of God's esteem, Who triumphs o'er the flesh. LXXI For ADORATION, in the dome Of Christ, the sparrows find a home; And on His olives perch: The swallow also dwells with thee, O man of God's humility, Within his Saviour CHURCH. LXXII Sweet is the dew that falls betimes, And drops upon the leafy limes; Sweet, Hermon's fragrant air: Sweet is the lily's silver bell, And sweet the wakeful tapers smell That watch for early pray'r. LXXIII Sweet the young nurse with love intense, Which smiles o'er sleeping innocence; Sweet when the lost arrive: Sweet the musician's ardour beats, While his vague mind's in quest of sweets, The choicest flow'rs to hive. LXXIV Sweeter in all the strains of love, The language of thy turtle dove, Pair'd to thy swelling chord; Sweeter, with ev'ry grace endu'd, The glory of thy gratitude, Respir'd unto the Lord. LXXV Strong is the horse upon his speed; Strong in pursuit the rapid glede, Which makes at once his game: Strong the tall ostrich on the ground; Strong through the turbulent profound Shoots xiphias to his aim. LXXVI Strong is the lion—like a coal His eyeball—like a bastion's mole His chest against his foes: Strong, the gier-eagle on his sail, Strong against tide, th'enormous whale Emerges as he goes. LXXVII But stronger still in earth and air, And in the sea, the man of pray'r; And far beneath the tide; And in the seat to faith assign'd, Where ask is have, where seek is find, Where knock is open wide. LXXVIII Beauteous the fleet before the gale; Beauteous the multitudes in mail, Rank'd arms and crested heads: Beauteous the garden's umbrage mild, Walk, water, meditated wild, And all the bloomy beds. LXXIX Beauteous the moon full on the lawn; And beauteous, when the veil's withdrawn, The virgin to her spouse: Beauteous the temple, deck'd and fill'd, When to the heav'n of heav'ns they build Their heart-directed vows. LXXX Beauteous, yea beauteous more than these, The shepherd king upon his knees, For his momentous trust; With wish of infinite conceit, For man, beast, mute, the small and great, And prostrate dust to dust. LXXXI Precious the bounteous widow's mite; And precious, for extreme delight, The largess from the churl: Precious the ruby's blushing blaze, And alba's blest imperial rays, And pure cerulean pearl. LXXXII Precious the penitential tear; And precious is the sigh sincere; Acceptable to God: And precious are the winning flow'rs, In gladsome Israel's feast of bow'rs, Bound on the hallow'd sod. LXXXIII More precious that diviner part Of David, ev'n the Lord's own heart, Great, beautiful, and new: In all things where it was intent, In all extremes, in each event, Proof—answ'ring true to true. LXXXIV Glorious the sun in mid career; Glorious th'assembled fires appear; Glorious the comet's train: Glorious the trumpet and alarm; Glorious th'almighty stretch'd-out arm; Glorious th'enraptur'd main: LXXXV Glorious the northern lights a-stream; Glorious the song, when God's the theme; Glorious the thunder's roar: Glorious hosanna from the den; Glorious the catholic amen; Glorious the martyr's gore: LXXXVI Glorious—more glorious, is the crown Of Him that brought salvation down, By meekness, call'd thy Son: Thou at stupendous truth believ'd;— And now the matchless deed's achiev'd, DETERMIN'D, DAR'D, AND DONE.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

Christopher Smart's "A Song to David" is an exuberant hymn that celebrates the biblical King David as the finest poet, warrior, and servant of God in history. Smart examines David's virtues in detail, then moves through all of creation—animals, plants, gems, seasons, and stars—illustrating that everything in the universe exists to honor God. The poem concludes with a powerful celebration of Christ's salvation, viewing David as the forerunner who guided the world toward that pivotal moment.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. O THOU, that sit'st upon a throne, / With harp of high majestic tone,

    Editor's note

    Stanzas I–III begin the poem with a formal invocation. Smart addresses David, who is now in heaven, asking him to listen to this tribute. The harp, David's signature instrument, is tied to divine praise — the music serves not only to entertain but also to rise to God. Smart is framing his own poem as an offering, a wreath he creates for David.

  2. Great, valiant, pious, good, and clean, / Sublime, contemplative, serene,

    Editor's note

    Stanza IV acts as the backbone of the poem: Smart lists the nine adjectives that he will explore in detail over the next twelve stanzas. It comes off like a fanfare — a quick burst of praise before diving into the deeper analysis. Each word serves as a title for the sections that follow.

  3. Great—from the lustre of his crown, / From Samuel's horn, and God's renown,

    Editor's note

    Stanzas V–XVI explore each of the nine adjectives sequentially. 'Great' refers to David's anointing by Samuel and the people's praise. 'Valiant' describes his victory over Goliath. 'Pious' attributes the planning of the Temple to him. 'Good' highlights his mercy towards adversaries like Shimei. 'Clean' commends his commitment to prayer, fasting, and self-discipline. 'Sublime' recognizes his poetry as unmatched. 'Contemplative' pays tribute to his reflections during the Sabbath. 'Serene' recalls his childhood as a shepherd in the Kidron valley. 'Strong' positions his faith as a weapon against Satan. 'Constant' emphasizes his loyalty to Jonathan and Mephibosheth. 'Pleasant' reflects his versatility — as a warrior, priest, dancer, and boy. 'Wise' acknowledges his mistakes and the lessons learned from them, which Smart views as the foundation of his profound wisdom.

  4. His muse, bright angel of his verse, / Gives balm for all the thorns that pierce,

    Editor's note

    Stanza XVII marks a turning point. Smart moves away from simply listing David's traits to highlighting the strength of his poetry. The 'muse' takes on an almost angelic quality—David's inspiration feels divine rather than just human. Smart also introduces two women from David's life, Michal and Abishag, using them as symbols for the youthful and older stages of his creative abilities.

  5. He sung of God—the mighty source / Of all things—the stupendous force

    Editor's note

    Stanzas XVIII–XXVI detail the subjects of David's song: God, angels, the world, trees and flowers, birds, fish, beasts, and gems. Smart is essentially crafting a mini-encyclopedia of creation, claiming that David's psalms encompass everything. The list is both joyful and specific — the beaver, the coney, the jasper, the topaz — because for Smart, each unique element in nature serves as a testament to God's existence and generosity.

  6. Blest was the tenderness he felt / When to his graceful harp he knelt,

    Editor's note

    Stanzas XXVII–XXIX focus on three well-known moments from David's life: his music that calmed Saul's madness, his overall talent for creating inspiring music, and Michal observing him dance in front of the Ark. These stanzas feel more personal and narrative compared to the rest of the poem — Smart allows the story to unfold for a moment before diving back into his grand theological framework.

  7. The pillars of the Lord are seven, / Which stand from earth to topmost heav'n;

    Editor's note

    Stanzas XXX–XXXVII present a complex framework that Smart refers to as 'the seven pillars of the Lord,' with each pillar named after a Greek letter (Alpha, Gamma, Eta, Theta, Iota, Sigma, Omega). Each pillar aligns with a level of creation — light, the heavens, vegetation, the stars, birds and fish, humanity, and ultimately the Sabbath rest. This passage stands out as one of the most unique in English poetry: a sort of sacred structure crafted from language, where each letter supports a distinct aspect of the universe.

  8. O DAVID, scholar of the Lord! / Such is thy science, whence reward

    Editor's note

    Stanzas XXXVIII–XLVIII turn back to speak directly to David and then transition into practical moral lessons for the reader. Smart advises us to channel our passions appropriately, contribute tithes, support widows, avoid slander, and respect our neighbors. The tone takes on a conversational feel — like a wise elder sharing insights — before Smart returns to highlight David as the example for all of this.

  9. O DAVID, highest in the list / Of worthies, on God's ways insist,

    Editor's note

    Stanzas XLIX–L clearly present the poem's main argument: that praise is the greatest human action, with David as its master. Smart disregards human learning ('vain are the documents of men') to emphasize genuine, heartfelt devotion to God. This perspective isn't anti-intellectual—Smart was highly educated—but instead highlights what truly holds significance.

  10. For ADORATION all the ranks / Of angels yield eternal thanks,

    Editor's note

    Stanzas LI–LXX form the powerful 'Adoration' sequence, representing the emotional and imaginative high point of the poem. Smart begins nearly every stanza with the word 'ADORATION' and follows it with a rich array of images from nature: shifting seasons, ripening fruit, birds, fish, insects, constellations, spices, and flowers. This cumulative effect is nearly overwhelming, evoking the idea that everything in creation is continually worshipping God merely by existing and fulfilling its purpose.

  11. Sweet is the dew that falls betimes, / And drops upon the leafy limes;

    Editor's note

    Stanzas LXXII–LXXIV make up the 'Sweet' sequence, serving as a gentle pause in the Adoration section. Smart gathers delicate, tender images — like dew, a nurse watching over a sleeping child, and a musician in search of the perfect note — before culminating in the sweetest expression of all: David's gratitude returned to God. The repetition of 'Sweet... Sweet... Sweet...' gives it a lullaby-like rhythm, providing a soothing contrast to the poem's more powerful moments.

  12. Strong is the horse upon his speed; / Strong in pursuit the rapid glede,

    Editor's note

    Stanzas LXXV–LXXVII make up the 'Strong' sequence. They list powerful creatures — the horse, eagle, lion, and whale — and then assert that the man of prayer is stronger than all of them. This is a striking rhetorical choice: while physical strength is impressive and deserving of admiration, spiritual strength far exceeds it.

  13. Beauteous the fleet before the gale; / Beauteous the multitudes in mail,

    Editor's note

    Stanzas LXXVIII–LXXX make up the 'Beauteous' sequence. Smart transitions from a military display to a moonlit garden, then to a bride being unveiled and finally to a temple full of worshippers. He concludes that the most beautiful sight of all is David on his knees, praying for every creature, from the greatest to the smallest. For Smart, beauty transcends the visual; it encompasses moral and devotional aspects as well.

  14. Precious the bounteous widow's mite; / And precious, for extreme delight,

    Editor's note

    Stanzas LXXXI–LXXXIII make up the 'Precious' sequence. Smart values the widow's mite more than rubies, the heartfelt sigh more than imperial gems, and above all 'that diviner part of David, even the Lord's own heart.' This sequence suggests that true worth isn't visible to most people — it resides in sincerity, penitence, and love.

  15. Glorious the sun in mid career; / Glorious th'assembled fires appear;

    Editor's note

    Stanzas LXXXIV–LXXXVI deliver the poem’s powerful finale, known as the 'Glorious' sequence. The poet layers vivid images — the sun, comets, the northern lights, thunder, and a martyr's blood — all described as 'glorious,' culminating in the ultimate glory: Christ's salvation. The last three words, 'DETERMIN'D, DAR'D, AND DONE,' strike with the force of hammer blows, concluding the poem with a sense of absolute, triumphant certainty.

§04Tone & mood

How this poem feels

The tone is both ecstatic and unyielding — Smart isn’t just making an argument; he’s performing an act of worship in real time. There’s a real sense of joy here, one that flows into lists and repetitions because no single image can capture it all. Beneath this enthusiasm, however, lies a sense of precision: Smart carefully selects his words, and the poem's complex structure (the nine virtues, the seven pillars, the Adoration sequence, and the Sweet/Strong/Beauteous/Precious/Glorious sequences) reflects a mind that is both ecstatic and methodical. Written during Smart's time in a mental asylum, the poem carries a personal urgency — it feels as if praise is not merely a religious obligation but a lifeline.

§05Symbols & metaphors

Symbols & metaphors

The Harp
David's harp serves as the poem's main symbol for the connection between art and worship. It conveys the notion that music is not just an embellishment but a direct pathway to God. In this sense, Smart's poem mirrors the function of the psalms.
The Seven Pillars
The seven Greek-letter pillars (Alpha through Omega) symbolize the entire structure of creation, spanning from the initial burst of light to the Sabbath rest. Smart suggests that the universe is like a building supported by divine wisdom, and David grasped its design.
The Lion and the Bee
Smart refers to these as David's 'type' — his symbolic animals. The lion represents courage and leadership; the bee symbolizes hard work, sweetness, and the creation of something valuable from many small efforts. Together, they reflect David's dual identity as both a warrior and a poet.
The Brook (and the stone against Goliath)
The brook where David picked up the stone to defeat Goliath symbolizes the triumph of simple faith over raw power. Smart uses this to suggest that the right weapon, selected with God's guidance, is always sufficient.
Adoration (the repeated word)
The word 'ADORATION' acts like a musical refrain in the poem's central section. It suggests that all creatures and natural phenomena — from a bullfinch to the northern lights — are not only beautiful but are also worshipping God simply by existing. Creation itself is a form of liturgy.
DETERMIN'D, DAR'D, AND DONE
The poem's last three words symbolize divine completion. The alliteration combined with the past tense indicates that Christ's act of salvation was intentional and decisive — it was willed, risked, and accomplished. Smart concludes his entire hymn with this strong affirmation.

§06Historical context

Historical context

Christopher Smart wrote "A Song to David" in 1763, likely during or shortly after his time at St. Luke's Hospital for Lunatics in London. He had been committed there partly due to his tendency to drop to his knees and pray in public, which many people at the time found unsettling. For most of the 18th century, the poem was largely overlooked or dismissed as the ramblings of a madman; even Samuel Johnson, who had a personal affection for Smart, suggested the poem reflected signs of instability. It wasn't until the 19th century, when Robert Browning advocated for it, that readers started to appreciate it as one of the great religious poems in the English language. Smart was well-versed in Hebrew scholarship, classical studies, and Anglican devotion, all of which deeply influenced the poem. Its intricate numerical and alphabetical patterns express a belief, common in Smart's time, that the universe followed divine mathematical principles — a notion that Smart explored more than nearly anyone else.

§07FAQ

Questions readers ask

David is traditionally recognized as the author of the Psalms, earning him the title of the ultimate poet-worshipper in the biblical tradition. For Smart, who viewed praising God as the highest expression of humanity, David represented the ideal model — a figure who embodied the roles of a warrior, sinner, king, and musician. Writing about David also served as a means to explore the true purpose of poetry itself.

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