Latest / Reformed Thinking / When Zeal for God Brings Suffering and Shame (Psalm 69) | Charles Spurgeon

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When Zeal for God Brings Suffering and Shame (Psalm 69) | Charles Spurgeon · Reformed Thinking

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Hello and welcome back. It is.
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It's good to have you with us for another session of Reformed
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thinking. It is good to be.
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Here we have, well, we have quite the session ahead of us
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today. We're continuing our mission,
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which is, you know, essentially taking a stack of these heavy,
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sometimes dusty, but always heavy theological sources and
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trying to extract the real gold for you, the listener.
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We want to get to the heart of the matter without getting too
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bogged down in the academic weeds.
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Although I have to say, given our topic today, we might just
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find ourselves in some deep waters.
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Deep Waters is a very, very appropriate way to phrase it.
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In fact, it's the central metaphor of the text we're about
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to get into. So to set the stage for
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everyone, we're looking at one of the giants of the faith,
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Charles Haddon Spurgeon, and his massive work on the Psalms, the
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Treasury of David. Specifically, we're zoning in on
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Psalm 69 now before we even open the text.
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I think it's important we establish where we're coming
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from. You and I are both approaching
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this as Protestant Christians. Yes, we hold to reform theology
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and generally we adhere to the Westminster Confession of Faith.
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That's the lens through which we view Scripture.
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And honestly, it's the lens through which Spurgeon viewed it
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as well. Right.
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He was a Baptist, of course. A Baptist, certainly, but his
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understanding of salvation, his soteriology, was thoroughly
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reformed. So if you're listening and you
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hear us talk about things like election or the imputation of
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sin or the perseverance of the Saints, well, that's the
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framework we're operating in. It is.
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And today, the mission is pretty specific.
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We aren't just reading Psalm 69 as a song King David wrote
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about, you know, having a really bad day.
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No, definitely not. If we read it only as David's
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diary, we completely miss the point.
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We're looking. At it as a direct window into
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the suffering of Christ. That's the key, Spurgeon argues.
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And I think the New Testament confirms this over and over,
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that while David penned these words, the Spirit intended them
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to speak most clearly, most profoundly of the crucified 1.
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Let's start right at the top of them with the title.
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I love how Spurgeon pays such close attention to these small
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details. The title of Psalm 69 is to the
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chief musician upon Shoshanim, and Shoshanim means lilies.
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It does lilies. And Spurgeon immediately points
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out this this huge contrast. We saw this title back in Psalm
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41 one, but there it felt different.
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Here we have a Psalm that is just full of misery, of sinking
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and mire, enemies everywhere, and yet it's titled Upon the
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Lilies. It's a striking paradox, isn't
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it? In Psalm 41, you might think of
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golden lilies, you know, the kind of grow in the ivory
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palaces of a king. But here here's Persian says we
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have to view this as the Lily among thorns.
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The Lily among thorns. This is the Lily of the Valley,
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but it's blooming in the dark, damp soil of the Garden of
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Gethsemane. That's a powerful image, but it
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does raise the question how can a song about such just utter
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misery be titled after such a beautiful flower?
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I think it speaks to the beauty of the work being accomplished
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in that misery. To the natural eye, the
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suffering described here is ugly.
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It's mud, it's mire, it's crying, it's reproach.
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But to the eye of faith, looking at the work of Christ, it's the
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most beautiful thing in all of history.
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So it's the Lily among the thorns of our sin.
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Exactly. The beauty is in the
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substitution, in the love that endures such ugliness for our
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sake. Now, we do have to be a little
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careful here, right? Because Spurgeon mentions a
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specific caveat. He does.
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He's very clear. He says we have to read this as
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of himself and of some other man, meaning David is speaking
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and Christ is speaking. There are verses where the 2
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they just overlap perfectly, but there are other verses where
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they separate. Right, because David was a
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Sinner. Precisely.
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There are confessions of foolishness in this song that we
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just cannot apply to the sinless Christ, at least not in terms of
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his personal guilt. And on the other side of that
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coin, there are deaths of innocent suffering here that
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David, for all his troubles, never truly experienced to the
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degree Christ did. So we need discernment.
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We have to have the discernment to see where the type David ends
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and where the anti type Christ begins.
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Spurgeon actually says he enters this exposition with much
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trembling. He feels like he's entering the
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Holy of Holies. So maybe let's take off our
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shoes, so to speak, and step into this first section verses
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one through 4, The sinking soul. The imagery here is just, It's
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terrifying. Save me, O God, for the waters
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are come in unto my soul. That phrase come in unto my
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soul. Spurgeon makes a really big deal
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about this distinction. He does.
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He contrasts it with a ship at sea.
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You can be in a storm, a hurricane, and the waves can be
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fifty, 100 feet high. As long as the water is outside
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the ship, you're relatively safe.
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You're being tossed about, but you're afloat.
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But here. Here the water is broken into
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the hold. The water is inside.
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The crisis is internal. So this isn't just about bodily
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pain. That's not the first complaint.
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No, bodily anguish isn't the first complaint.
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The first complaint is that the sorrows have penetrated his
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inner nature, his soul. This connects directly to the
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Reformed understanding of Christ's suffering.
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It wasn't just that the Romans whipped him or nailed Him to a
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cross. It was at the wrath of God.
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The sorrow for our sin was flooding his very soul.
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Spurgeon makes a comparison here to Jonah.
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Yes, a greater Jonah. Jonah cried from the depth of
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the sea. The waters compassed me about
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even to the soul. Christ is the greater Jonah.
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He went down to the bottoms of the mountains.
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He did business for us in the great waters, a business of
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salvation. Then in verse 2, the metaphor
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shifts a bit from water to mud. I sink in Deepmire where there
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is no standing. And that's an even more
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terrifying sensation, I think. If you're in deep water, at
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least you might be able to swim to tread water.
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But in Deepmire, struggling only makes you sink faster.
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There's no foothold, there's nothing solid beneath you.
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It just sucks you down. Sucks you down, and Spurgeon
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points out that this represents the clinging, suffocating nature
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of sin. And we have to remember Christ
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is pure sin, is utter filth to him.
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Exactly. For His holy soul to be immersed
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in the mire of our iniquity imputed to Him, it must have
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been more agonizing than the physical crucifixion itself.
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He was loathing the connection to sin that was necessary for
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expiation. He was standing in the dismal
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swamp that we were born into. And he had no standing, no
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support. Everything gave way under him.
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The law offered no support because he was made sin for us.
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His friends deserted him. The Father's face was hidden.
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He was sinking, utterly alone. Verse 3 moves from that
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spiritual agony to the physical toll it's taking.
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I am weary of my crying. My throat is dried.
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My eyes fail while I wait for my God.
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This just shows the true, unvarnished humanity of Jesus.
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He wasn't a phantom. He wasn't some stoic God just
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pretending to suffer. He prayed until he was
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physically utterly exhausted. Spurgeon's description of his
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prayers is intense. He says his prayers were salted
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with fire. They were hot with agony, so
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fervent that they literally scorched his throat.
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Throat is dried. That's such a visceral detail.
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It is. You can almost feel it, he
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pleaded with such awful fervor that it parched him from the
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inside out. And then think about the eyes.
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My eyes fail from watching, from watching and waiting for a
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deliverance that did not come immediately.
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He kept looking up, expecting help, and the strain was so
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immense his vision began to blur and fail.
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Spurgeon has a lovely note here. He says no painter can depict
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those eyes. That's interesting.
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We see paintings of Jesus with a Halo or looking serene, or maybe
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with a single noble tear. But can you paint eyes that have
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failed from weeping and watching?
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Eyes that are red and dim and swollen from the sheer strain of
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looking for God in the darkness. It really grounds the theology
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in a person. This isn't just an abstract
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transaction happening, this is a real person suffering.
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A real person. And then verse 4 we get the
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cause, or rather the the lack of a 'cause they that hate me
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without a cause are more than the hairs of mine head.
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Without a cause. I mean, that's the logic of
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hatred against God is that it's irrational.
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Completely. What had he done to them?
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Nothing. He had healed their sick, he
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raised their dead. He taught them the truth.
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He hadn't injured any man or blasphemed God.
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And yet look at the coalition against him Spurs and lists them
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out. Civilians, Military, layics,
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Clerics, Drunkards, Princess the.
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Whole world, the whole. World banded together to destroy
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him. And yet right in the middle of
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this verse, there's this massive, massive theological
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statement. It just explodes off the page.
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Then I restored that which I took not away.
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Spurgeon absolutely loves this line.
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Let's unpack it a bit. This is the heart of the
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atonement. It's the core of substitution.
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Think about it, Who took away the glory of God?
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Man did Adam us. Right.
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We took away God's glory by our disobedience.
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We took away our own righteousness.
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We took away your own happiness and peace with God.
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We are the thieves, Christ. Christ took nothing.
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He never robbed God of an ounce of glory.
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He never sinned. He never broke fellowship.
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And yet he is the one who restores it all.
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The innocent pays the debt for the guilty.
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That is it. He restores the honor of God's
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law that he did not steal. He restores the righteousness to
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man that he did not forfeit. It is the great exchange, as
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Spurgeon puts it. The sheep go astray, but the
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wanderings are laid at the shepherd's door.
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Wow. And that brings us to Section 2.
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And this is the well, it's the interpretive hurdle I mentioned
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earlier, verse 5. Oh God, thou knowest my
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foolishness and my sins are not hid from Thee.
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Now if I'm reading this as a Messianic Psalm, as Christ
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speaking, I hit a wall. Christ is sinless.
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He is the wisdom of God. How on earth can he say thou
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knowest my foolishness? It's the great interpretive
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challenge of this Psalm, no question.
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And Spurgeon offers a few ways to look at this.
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The 1st, and maybe the simplest, is to say this is David speaking
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purely for himself. Just David being David.
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Right. David was a Sinner.
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He had plenty foolishness to confess.
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We know that. So on one level, the type is
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just speaking for himself. Sure, that makes sense.
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But if we're committed to seeing Christ here, which the rest of
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the Psalm really demands that we do, we have to look deeper.
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Spurgeon suggests. This could be an appeal
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regarding the imputation of sin. OK, how does that work?
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Think of it as Christ saying something like, Lord, you know
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if I am truly foolish or guilty, you know the truth of my nature.
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It's an appeal to God's omniscience against all the
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false accusations of men. So it's like men call me a
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blasphemer, they call me mad, but you know my heart.
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Exactly, you know, if this foolishness is inherent in me or
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if it's just what the world is throwing at me.
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But Spurgeon goes even further. And this is where the Reformed
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theology comes in really strong, especially with the second-half
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of the verse. My sins are not hid from thee,
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right? If Christ is bearing the sins of
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his people, then in a legal, federal sense, those sins are
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His. Not that he committed them, but
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he is now responsible for them. He is the surety.
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He's the one who cosigned our debt.
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So when he stands before the judgement seat of God.
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Our sins are on His shoulders. They are not hid.
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He's not trying to conceal them. He is standing openly as the
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substitute, bearing the full weight of our foolishness and
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our sin before the Father. So he's confessing the sins that
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he's caring for us. He's identifying so closely with
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his people that he speaks of their foolishness as his burden.
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It's an incredible act of solidarity, and Spurgeon has
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this beautiful insight on this. He says he who can say Thou
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knowest my foolishness is the only man who can add, but thou
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knowest that I love thee. Because that kind of transparent
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confession is what opens the way for that deep relationship.
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Right. It's only when we're honest
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about the sin, or in Christ's case, honest about the burden of
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sin He carries, that the profession of love stands on
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solid ground. Let's move to Section 3, then
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verses 7 through 12. We see this theme of
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estrangement in zeal come to the forefront.
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And verse 8 is just heartbreaking.
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I am become a stranger unto my brethren, and an alien unto my
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mother's children. The distinction there is so
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important culturally. In a polygamous society like
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David's, you had many half siblings.
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Father's children might not be that close, but mother's
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children? Those who nurse at the same
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breast, that is the closest family tie imaginable.
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And even they rejected him, the closest of the close.
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We see this played out in the Gospels, don't we?
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His own brothers did not believe in him.
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They thought he was, you know, beside himself.
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Crazy. Spurgeon notes the deep, deep
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emotional pain of this. It's one thing to be hated by
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the Romans, of the Pharisees. It's a whole other thing to be
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an alien at your own mother's dinner table.
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And what's the reason for this rejection?
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Verse 9 gives the answer for the zeal of buying house have eaten
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me up. This is one of those verses that
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the disciples remember specifically right after he
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cleansed the temple. They remember this verse was
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written about him. It's such a powerful metaphor of
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zeal eating him up. It is.
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It's like a fire. If a candle burns bright, what
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happens? It consumes the wax.
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Christ was consumed by his passion for God's glory, for the
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purity of God's house. It used him up.
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It wore him out. Spurgeon draws a sharp contrast
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between this kind of zeal and how the world views it.
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Oh. Absolutely.
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The world hates it. If you are zealous for money,
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they call you industrious. If you're zealous for science or
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art, they call you dedicated. But if you're zealous for God.
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You're a fanatic, a madman. Exactly.
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You're unbalanced. You're dangerous.
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Scurgeon has a great line. He says When Zeal eats a
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believer up, the ungodly, then try to eat the believer up, they
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just can't stand it. It convicts them.
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And then the verse continues, And their approach of them that
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reproach thee are fallen upon me.
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This is Christ as the the great buffer, the lightning ride.
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The world wants to attack God. They hate His Holiness, His
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sovereignty, but they can't physically hit God.
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He's in heaven. So who do they?
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Hit they hit his son, the one who represents him on.
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Earth. They hit the one who is the
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perfect image of Him. Every blow, every insult, every
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piece of blasphemy that was intended for the Father, it fell
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on the Son. He stood in the gap and took the
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hits for God. And look where this leads him.
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I mean the depths of humiliation here.
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Verse 12. I was the song of the drunkard.
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This is just the humiliation of the holiest of holies.
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Spurgeon paints this vivid, almost unbearable contrast.
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In heaven, the seraphim cover their faces with their wings
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when they cry Holy, holy, holy. And on earth.
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On Earth, the town drunks are sitting around a filthy table
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making up dirty rhymes about him in the Tavern.
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It puts the doctrine of the humiliation of Christ into very
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sharp, painful focus. It isn't just that he died, it's
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that he became a joke. A Tavern jest and it was total
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societal rejection. The verse mentions those who sit
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in the gate, That's the judges, the magistrates, the respectable
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people, the town council, and it also mentions the drunkards.
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From the top of society to the very bottom.
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Total rejection. OK, moving into Section 4,
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verses 13 through 21, we hear the cry from the pit.
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But verse 13 starts with a but. But As for me, my prayer is unto
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thee, O Lord, in an acceptable time.
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That's the pivot, isn't it? The world is mocking, but he is
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praying. And notice that phrase in an
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acceptable time. Which seems strange, right?
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It doesn't seem like a very acceptable time.
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He's suffering horribly. It was a time of rejection with
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man, but it was a time of acceptance with God.
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This is the moment of the great sacrifice.
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This is the moment the eternal covenant is being fulfilled.
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So even in the darkest hour of human history, the channel to
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the Father was open for the accomplishment of this specific
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work. In that verse, Spurgeon also
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zeroes in on the phrase multitude of mercy.
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Yes, the psalmist pleads in the multitude of thy mercy.
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And Spurgeon says we should learn from this.
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We should use God's own nature as an argument in prayer.
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When you are in a corner, when you've sinned, you don't plead
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your own goodness. That's a losing argument.
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You plead his goodness. You plead God's character, you
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go into the treasury of his attributes, and you say, Lord,
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save me, not because I am good, but because you are merciful.
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You have a multitude of mercy. That is a strong reason it is.
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Now we come to a verse that is just staggering.
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Verse 20. Reproach hath broken my heart.
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This is where Spurgeon brings in this fascinating piece of
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medical and historical insight. He cites A physician, Sir James
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Young Simpson. Right regarding the physical
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cause of Christ's death. We know the crucifixion was
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brutal, but the text doesn't say the nails have broken my body.
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It says reproach had broken my heart.
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Simpson and other physicians have argued that Christ's death
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was ultimately caused by a literal rupture of the heart
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muscle. A literal broken heart A.
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Literal broken heart brought on by the immense unbearable mental
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and spiritual agony and stress. The sorrow was so great it
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physically tore his vital organ. That gives a whole new weight to
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that common phrase. He died of a broken heart.
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It. Does and the evidence from the
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Gospel account. The blood and water flowing from
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his side when pierced by the spear would be consistent with
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the heart rupturing and blood collecting in the pericardial
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sack. It suggests that it wasn't just
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the nails that killed him, it was the weight of the woe.
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Unbelievable. And the verse continues.
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I look for some to take pity, but there was none.
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Gethsemane. Absolutely Gethsemane.
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He goes to Peter, James and John, his inner circle.
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Could you not watch with me one hour?
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He runs backward and forward-looking for just one
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sympathetic face in the darkness.
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Then he finds them asleep. He finds them asleep.
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He was absolutely, completely alone.
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The sufferer had no comforter. And then the final insult in
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this section, verse 21. They gave me also gall for my
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meat, and in my thirst they gave me vinegar to drink.
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A specific prophecy fulfilled to the letter.
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We see it right there in the Gospels.
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We do, and Spurgeon really notes the calculated cruelty of it.
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A man is dying, he is thirsty. It is one of the most basic,
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desperate human needs. And what is the only refreshment
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they offer him? Gall and vinegar mockery in a
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cup. There's a historical note that
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Roman soldiers sometimes gave a sour wine mixed with myrrh to
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condemn criminals to deaden the pain, a small, rough act of
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mercy. But here, the text specifically
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links it with gall, with bitterness.
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It implies it wasn't meant to help.
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It was meant to embitter to make the suffering sharp right to the
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very end. And Spurgeon, he doesn't let us
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off the hook here, He applies this directly to us.
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He does. He says we like to stand back
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and blame the Jews or the Roman soldiers, but he says our sins
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fill that cup every time we thin.
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We are essentially mixing that gall and offering that vinegar
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to the dying Savior. That is a heavy thought, and it
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leads us directly into what is, I think, perhaps the most
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difficult part of the Psalm for modern Raiders.
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Section 5. Verses 22 through 28.
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The Imprecations. The curses, yes.
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It's a really jarring shift in tone we go from I looked for
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pity, but there was none to let their table become a snare, let
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their eyes be darkened, add iniquity onto their iniquity,
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let them be blotted out. It sounds, well, it sounds
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vengeful. It does sound vengeful to our
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modern ears if we read it as personal malice.
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Yeah, this is just David getting mad at some guy named Cushing.
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It's very problematic, but Spurgeon in the whole Reformed
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tradition teach us to read this in a different light.
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These are not personal wishes for revenge.
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These are judicial prophecies. OK, explain that.
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What's a judicial prophecy? Christ is the sufferer, yes, but
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He is also the Judge of all the earth.
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These verses are not a temper tantrum from the cross.
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They are a divine judicial pronouncement of the inevitable
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consequences of rejecting God's anointed king.
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When you reject the cornerstone, you will be freshed by it.
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These verses are simply describing what that crushing
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looks like. And the apostle Paul actually
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quotes these verses in Romans 11.
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He does. He applies them directly to the
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nation of Israel for rejecting Christ, he says.
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And David says, let their table be made a snare and a trap.
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So the New Testament itself interprets these not as angry
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wishes, but as prophetic words about the judgement that falls
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on hardened unbelief. Let's look at that specific
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metaphor. Let their table become a snare.
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That's a terrifying concept. It is the table represents your
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daily bread, your prosperity, your security, your religious
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feasts, your friendships, your comfort.
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All the good things in. Life, the good things, and the
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curse is that these very good things become the trap.
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How does that happen? How can a blessing become a
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curse? It happens when you become so
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comfortable, so well fed, so secure in your material or even
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your religious life that you feel no need for God Himself.
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Your table has become a snare. Your blessing has become a
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curse. You are trapped by your own
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prosperity, blinded by your own comfort.
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Spurgeon also points to a very literal historical fulfillment
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of this. He does, and it's quite
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chilling. In 70 AD, when the Roman legions
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under Titus besieged Jerusalem, the Jews had all gathered in the
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city for the Passover. They were gathered for a feast
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for their most sacred table. They were at their table, and
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that very gathering became the snare that trapped hundreds of
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thousands inside the city for the brutal siege and destruction
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that followed. They were caught, quite
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literally, at their own feast. That is chilling.
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It's a picture of the severity of God's judgment on those who
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reject the Son. Then we get to verse 28, and
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this is another one that raises a big theological red flag for a
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lot of people. Let them be blotted out of the
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book of the living right now. If we believe in the
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perseverance of the Saints, the P in Tulip, the idea that if you
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are truly saved, you cannot lose your salvation, well, how can
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someone be blotted out of the book of life?
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It's a classic dilemma. It sounds like you can lose your
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salvation, but Reformed theology has a very clear answer for
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this, and Spurgeon articulates it well.
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And what is that answer we have? To make a distinction between
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the Book of the Living as a, say, a human record or a role of
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outward profession, and the eternal Lamb's Book of Life,
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which contains the names of the elect from before the foundation
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of the world. So there are two different books
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or two different ways of looking at the book.
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Think of it this way. In the Old Testament, to be
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written in the book of the living often meant you were on
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the census roll. You are a citizen of Israel.
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You're physically alive and part of the visible community of
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God's people. To be blotted out meant you died
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or were excommunicated, cut off from the people.
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OK, that makes sense for an earthly record.
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So Spurgeon, quoting other theologians like Thomas Adams,
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suggests that the people being talked about here were written
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down according to their own hope or by human opinion.
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They call themselves God's people.
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They were on the church roll, so to speak.
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They had a name that they were alive, but they were dead.
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But they weren't truly known by God from eternity.
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Exactly. God's eternal decree of election
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is unchangeable. As Paul says, the Lord knows
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those who are His. But from a human perspective,
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from the view on the ground, there are people who seem to be
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in the book. They preach, they prophecy, they
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eat at the Lord's Table, but they are not truly His.
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So when the verse says blotted out.
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It means it becomes manifest to everyone that they were never
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truly there in the 1st place. Their false profession is
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exposed. It's a principle we see in first
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John 2.1 mine. They went out from us, but they
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were not of us, for if they had been of us, they would have
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continued with us. Being blotted out is the public
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removal of a false name from the role.
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It's a terrifying thought that you can write your own name in
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the book, but God didn't hold the pen.
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That's a great way to put it. It's a sober, sober warning.
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It removes all room for a casual or presumptuous faith.
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Thankfully, the Psalm doesn't end in that dark place of
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judgement. We move to the final section.
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Section 6 and verse 29 begins with but, but I am poor and
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sorrowful. Let thy salvation, O God, set me
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up on high. Here's the great turn, the
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resurrection, The Ascension. The path to being set up on high
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begins with being poor and sorrowful.
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The way up is down. Always in the Kingdom of God,
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Christ humbled Himself to the point of death, even death on a
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cross. Therefore God highly exalted
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Him. Spurgeon makes this connection
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directly to the listener. If you feel poor, if you feel
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sorrowful, if you feel trodden down like the mire we talked
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about the beginning, take heart. You're in the company of Christ.
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That is the starting point for glory.
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And then the response is worship.
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Verses 30 and 31. I will praise the name of God
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with a song. This also shall please the Lord
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better than an ox or Bullock that hath horns and hoofs.
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You can almost hear a Spurgeon chuckling as he writes about
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this. He loves this little detail.
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Horns and hoofs. What's the point he's making
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there? It's a brilliant, almost
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sarcastic jab at empty ritualism.
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If you offer a bullet to God under the Old Covenant, what are
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you offering? A beast?
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And the horns in the hoofs are the inedible parts, the awful,
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the waste. Spurgeon is saying that God
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doesn't care about the horns and hoofs of your ceremonies.
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He doesn't care about the external trappings, the smoke
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and smells if the heart isn't there.
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He wants the heart. He wants the.
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Song He wants Thanksgiving, He wants spiritual worship.
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The shift here is from the Levitical animal sacrifice to
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the sacrifice of praise. Bottom.
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The idea that the near external work does something is nothing
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to God without the heart behind it.
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It's the difference between a. Dead ox and a living song.
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That's it, beautifully. Put and finally the Psalm.
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Just broadens out from the individual sufferer to a whole
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community. Verse 35 For God will save Zion,
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and will build the cities of Judah.
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It moves from the sufferer. To the seed, to the church.
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To the church. Because Christ suffered, Zion is
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saved. Because he sank in the mire, the
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cities of Judah are built. This is the Reformed view of the
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success of the gospel. It isn't just a potential
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salvation offered to everyone. It's an accomplished work that
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actually secures a people for God, the seed of His servants.
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Shall inherit it. That's us.
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If we were in Christ, we have the seed, we are the servants,
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we inherit the blessing that he purchased with all of his
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sorrow. It's just an amazing.
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Trajectory, when you look at it from start to finish, we started
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in the deep mire where there was no standing.
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We went through the drunkard song and the breaking heart.
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We face the terrifying snare of the table and we end up here in
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the restored cities of Judah with a song of praise on our
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lips. It's a whole gospel story.
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In a single song from Gethsemane to glory and what fascinates me.
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Is how Spurgeon, throughout his commentary, keeps us tethered to
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the fact that this is all for us, the sufferers.
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Agony is the believers security. That's the great comfort of it.
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He went through the mire so we wouldn't have to drown in it for
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eternity. He drank the cup of vinegar so
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that we could drink the new wine of the Kingdom before we wrap
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up. I want.
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To leave our listeners with something to to chew on from
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this, we talked about that haunting concept of the table as
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a snare. Yes, A.
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Very sobering idea it is so I want to.
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Ask you, the listener, Look at your table.
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Look at your life, your comfort, your job, your family, your
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routine. Is it possible that your
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blessings are blinding you? It's the great danger of the.
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Good life, isn't it? When things are going well, when
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the table is full, we tend to drift.
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We forget the mire, we forget the cost.
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Are you so satisfied with your? Table that you've lost your
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appetite for the host who provides it.
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And that other question from verse 28.
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Is your name written in the book of life by the very hand of God
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or have you just penciled it in yourself based on the fact that
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you have a nice table and you go to church?
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That's the question we all have. To face make your calling and
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election sure. Don't rest on the table, rest on
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the Savior who is broken for you.
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On that note. We are going to close the
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treasury of David for today. Thank you so much for diving
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deep with us. It has been a pleasure, this.
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Has been reformed thinking. We will see you next time.