5. (Compare Ps 115:17, 18; Isa 38:18). There is no incredulity as to a future state. The contrast is between this scene of life, and the grave or Sheol, the unseen world of the dead.

     6. By a strong figure the abundance as well as intensity of grief is depicted.

     14, 15. Utter exhaustion and hopeless weakness, in these circumstances of pressing danger, are set forth by the most expressive figures; the solidity of the body is destroyed, and it becomes like water; the bones are parted; the heart, the very seat of vitality, melts like wax; all the juices of the system are dried up; the tongue can no longer perform its office, but lies parched and stiffened (compare Ge 49:4; 2Sa 14:14; Ps 58:8). In this, God is regarded as the ultimate source, and men as the instruments.

     15. the dust of death—of course, denotes the grave. We need not try to find the exact counterpart of each item of the description in the particulars of our Saviour's sufferings. Figurative language resembles pictures of historical scenes, presenting substantial truth, under illustrations, which, though not essential to the facts, are not inconsistent with them. Were any portion of Christ's terrible sufferings specially designed, it was doubtless that of the garden of Gethsemane.