3

et Deo; that of Eusebius that they sang the praises of Christ as God, τὸν Χριστὸν θεοῦ δίκην ὑμνεῖν. Both, also, make distinct mention of sacred psalmody as a part of public worship. Justin Martyr makes mention of the psalmody of the Ephesian Christians. He is also supposed to have written a treatise on Christian psalmody, the loss of which we have deeply to deplore. Origen informs us that the Christians sang hymns to Him alone who is called God over all, and to his only begotten [Son.]*

Eusebius also has left on record the important testimony of Caius, as is generally supposed, an ancient historian, and contemporary of Tertullian. "Who knows not the writings of Irenæus, Melito, and others, which exhibit Christ as God and man? And how many songs and odes of the brethren there are, written from the beginning, dл' åρxès, by believers, which offer praise to Christ as the Word of God, ascribing divinity to him." This passage not only presents a new and independent testimony to the use of spiritual songs in the Christian church, from the remotest antiquity, to the praise of Christ as divine, but it shows that these, in great numbers, had been committed to writing, as it appears, for continued use. So that we here have evidence of the existence of a Christian hymn-book from the beginning.

Christ, the only begotten of the Father, is the burden of these primitive songs and hymns. Here is he set forth doctrinally, Seo2oyixas, as the incarnate Word of God, as God and man. His mediatorial character was the subject of the songs of these apostolical and primitive saints. This sacred theme inspired the earliest anthems of the Christian church; and as it has ever been the subject of her sweetest melodies and loftiest strains, so doubtless will it continue to be until the last of her ransomed sons shall end the songs of the redeemed on earth, and wake his harp to nobler, sweeter strains in heaven.

The songs of the primitive Christians were not restricted to their public devotions. In their social circles, and around their domestic altars, they worshipped God in the sacred song; and in their daily occupations they were wont to relieve their toil and refresh their spirits by renewing their favourite songs of Zion. Persecuted and afflicted as they often were,-in solitary cells of the prison, in the

* Επι πασι ὕμνους εἰς μόνον τὸν λεγόμενον θεοῦ, καὶ τον μονογενη αυτον.—Contr. Celsum. viii. c. lxvii.

† Πσαλμοὶ δὲ ὅσοι καὶ ὧδαι ἀδελφῶν ἀπαρχῆς ὑπὸ πιστῶν γραφεῖσαι, τὸν λόγον του Θεοῦ τὸν Χριστὸν ὑμνοῦσι θεολογοῦντες.—Eccl. Hist. lib. v. xxviii.

more dismal abodes of the mines to which they were doomed, or as wandering exiles in foreign countries,-still they forgot not to sing the Lord's song in the prison or the mine, or in the strange lands to which they were driven.

§ 2. OF THE MATERIAL AND SUBJECT OF CHRISTIAN PSALMODY.

THE poetical parts of the Old Testament, and especially the Psalms of David, supplied chiefly the spiritual songs of the primitive church. At first the sacred psalmody of the synagogue is supposed to have been transferred to the worship of the Christian church. The apostles and their first converts were Jews, and in the Christian church doubtless sang praises to God in their own sacred psalmody, with which they were already familiar.

The distinction between psalms and hymns is not very clear. The former term is restricted to the psalms of David; the latter, to other poetical songs, like that of Moses, Exod. xv.; Deut. xxxii., xxxiii.; the song of Deborah; the elegy on the death of Saul and Jonathan; and the song of Hezekiah, Isa. xxxviii. 10-22, &c. Latin writers like Augustin and Rufinus, define a hymn to be a song sung to the praise of God.*

The earliest songs of the Christian church of which profane history gives us any knowledge, as has been already remarked, and as may appear from the ancient hymns subjoined to this chapter, was the Divine character and mission of our Redeemer. This, indeed, has in every age been the inspiring theme of the Christian poet and of the psalmody of the Christian church. Christ and his cross are and ever have been all her theme.

§ 3. OF THE MODE OF SINGING.

1. Congregational singing. The prevailing mode of singing during the first three centuries was congregational. The whole congregation united their voices in the sacred song of praise, in strains suited to their ability. Their music, if such it could be called, was, of necessity, rude and simple. Indeed, it appears to have been a kind of recitative or chant. The charm of their sacred music was not in the harmony of sweet sounds, but in the melody

* Si sit laus, et non sit Dei, non est hymnus; si laus et Dei et non cantatur, non est hymnus.-RUFINUS in Ps. 72. Hymnus scitis quid est; cantus est cum laude Dei.-AUGUST. in Ps. 148.

of the heart. But Gerbert has collected authorities which show that it was not devoid of taste.

Burney, in his history of music, supposes that the psalmody of the church corresponded with that of the Hebrews; but that of the churches where paganism prevailed, resembled also that which had been used in the temple worship of the Greeks. Of this he finds indisputable proof in the versification of the hymns which are found in the breviaries and missals of the ancient church.

But, however this may be, the most ancient and the most common mode of singing was confessedly for the whole assembly, men, women, and children, to blend their voices in their songs of praise in the great congregation. Such is the testimony of Hilary,' of Augustin, and Chrysostom. "Formerly all came together, and united in their song, as is still our custom.' "Men and women,

2

113

the aged and the young, were distinguished only by their skill in singing, for the spirit which lead the voice of each one, blended all in one harmonious melody."

2. Responsive singing.—This style of singing was, according to Theodoret, first introduced at Antioch by two heretical monks, A. D. 350. "They were the first who divided the choir and taught them to sing the psalms of David responsively. This custom, which they thus originated in Antioch, spread everywhere, even to the very ends of the habitable world." This statement, however, must be received with caution. The authorities of Augustin and Chrysostom above, subsequent to this period, are in favour of congregational singing.

Ambrose, a few years later, introduced a highly artistic and responsive style of sacred music into the church at Milan," which prevailed extensively in the Western church. The practical effect of this change was that sacred music became highly artistic and theatrical, which Jerome and Chrysostom severely censured.* The congregation, unpractised in such refinements, were compelled of necessity to remit this delightful part of public worship to a few

* Audiunt hæc adolescentuli hi, quibus psallendi in ecclesia officium est, Deo non voce sed corde cantandum; nec in tragœdorum modum guttur et fauces dulci medicamine colliniendæ, ut in ecclesia theatrales moduli audiantur et cantica, sed in timore, in opere, in scientia scripturarum. Quamvis sit aliquis, ut solint illi appellare, xaxópwvos, si bona opera habuerit, dulcis apud Deum cantor est, Sic cantet servus Christi, ut non vox canentis, sed verba placeant, quæ leguntur, ut spiritus malus, qui erat in Saule, ejiciatur ab his, qui similiter ab eo possidentur, et non introducatur in eos, qui de Dei domo scenam fecere populorum.

trained musicians, aλtai, cantatores, who in the fourth century became a distinct class of ecclesiastical officers.

3. Choral singing.—Gregory the Great, two hundred years later, undertook again the reformation of sacred music. Great attention was paid by him to the rhythm of sacred music, though regardless of poetical measure and rhyme. Both prose and poetry were sung in a peculiar chant by a choir of singers. But his music became so complicated, that a good proficient in music would scarcely master it by diligence and skill in less than ten years.7

For the cultivation of this style of sacred music, singing-schools were established, the leaders of which rose to great distinction. Instrumental accompaniments were introduced, and especially that of the organ; which was transferred from the theatre to the church as an instrument of sacred music.

Church music was thus a refined art of difficult attainment, and limited to a few professional singers. The congregation were by the exigencies of their condition excluded from all participation in it. The devotional tendency of sacred music was lost in the artistic style of its profane and secular airs. Thus, like our modern church, the ancient soon impaired the devotional tendency of sacred music by raising it above the congregation, and limiting it to an orchestra or a choir, as they did that of their prayers by restricting them to the cold and formal rehearsals of a prayer-book.

§ 4. OF THE POWER OF SACRED MUSIC.

THE ancient fathers are singularly full and eloquent in praise of the moral power of their psalmody. "Nothing," says Chrysostom, "so lifteth up, and, as it were, wingeth the soul, so freeth it from earth, and looseth it from the chains of the body, so leadeth it unto wisdom, and a contempt of all earthly things, as the choral symphony of a sacred hymn set in harmonious measure.”1 Schöne has collected2 several of these encomiums from Athanasius, Ambrose, Basil, and Ephraem the Syrian, which for felicity of thought and expression are hardly surpassed by any thing that the venerable fathers of the church have left to us. We must reluctantly omit them, and content ourselves with Herder's beautiful commendation of these ancient hymns. "Who can deny their influence and power over the soul? These sacred hymns of many hundred years' standing, and yet, at every repetition, still new and unimpaired in interest-what a blessing have they been to poor human nature! They

go with the solitary man into his cell, and attend the afflicted in distress, in want, and to the grave. While singing these, one forgets his toils, and his fainting, sorrowful spirit soars in heavenly joys to another world. Back to earth he comes, to labour, to toil, to suffer in silence, and to conquer. How rich the boon, how great the power of these hymns!" He proceeds to say that there is in these an efficacy and power which lighter songs, which philosophy itself can never have; a power which is not ascribable to any thing new or striking in sentiment or powerful in expression. And then raises the question, "Whence then have they this mighty power? what is it that so moves us ?" To which he replies, simplicity and truth. "Embodying the great and simple truths of religion, they speak the sentiment of a universal creed-they are the expression of one heart and one faith. The greater part are suitable to be sung on all occasions, and daily to be repeated. Others are adapted to certain festivals; and as these return in endless succession, so the sacred song perpetually repeats the Christian faith. Though rude and void of refined taste, they all speak to the heart, and, by ceaseless repetition, sink deep the impress of truth. Like these, the sacred song should ever be the simple offering of nature, an incense of sweet odour, perpetually recurring, with a fragrance that suffers no abatement." Such is the simple power of truth wrought in the soul by the hallowed devotions of the sanctuary. Striking the deepest principles of our nature, stirring the strongest passions of the heart, and mingling with our most tender recollections and dearest hopes, is it strange that the simple truths and rude air of the sacred song should deeply move us? So presented, they only grow in interest by continued repetition. And in the lapse of years, these time-hallowed associations do but sink deeper in

the soul:

"Time but the impression stronger makes,

As streams their channels deeper wear."

Chrysostom eloquently descants upon the power of music in the family. "Wheresoever ungodly songs are sung, there will the devils be gathered together; and wheresoever spiritual songs are sung, there will the grace of the Spirit fly, and sanctify both mouth and soul. I say these things, not only that ye yourselves may give praise, but that ye may teach both your wives and children to sing such songs when engaged at the loom, or in other labours; but especially at meat. Let us, with our wives and children, arise and say, 'Thou, Lord, hast made me glad through thy works: I will