CHAPTER XII. PSALMODY OF THE PRIMITIVE CHURCH. THE singing of spiritual songs constituted, from the beginning, an interesting and important part of religious worship in the primitive church. The course of our remarks on this subject will lead us to consider, I. The argument for Christian psalmody as a part of religious worship. II. The mode of singing, in the ancient church. I. Argument for the psalmody of the primitive church. 1. From reason. Praise is the appropriate language of devotion. A fervent spirit of devotion instinctively seeks to express itself in song. In the strains of poetry, joined with the melody of music, it finds an easy and natural utterance of its elevated emotions. Can it be doubted, then, that that Spirit which was shed forth upon the disciples after our Lord's ascension, would direct them to the continued use of the sacred psalmody of their own Scriptures, indited by the inspiration of the same Spirit? Is it unreasonable to suppose, that the glad spirit with which they continued praising God, might direct them to indite other spiritual songs to the praise of their Lord, whose wondrous life and death so employed their contemplations, and whose love so inspired their hearts? The opinion has been expressed by Grotius, and is supported by many others, that we have, in Acts 4: 24-30, an epitome of such an early Christian hymn to Christ.1 2. From analogy. The singing of songs constituted a great part of the religious worship of all ancient nations. In all their religious festivals, and in their temples, those pagan nations sung to the praise of their idol gods.2 The worship of the Jews, not only in the temple, but in their synagogues and in their private dwellings, was celebrated with sacred hymns to God. Many of the loftiest, sweetest strains of Hebrew poetry were sung by their sacred minstrels on such occasions. Christ, himself, in his final interview with his disciples, before his crucifixion, sung with them the customary paschal songs, at the institution of the sacrament;3 and, by his example, sanctified the use of sacred songs in the Christian church. All analogy drawn from other forms of religious worship, pagan and Jewish, requires us to ascribe to the primitive Christians the use of spiritual songs in their public devotions. 3. From Scripture. The same is clearly indicated in the writings of the New Testament. 1 Comp. Augusti, Denkwürdigkeiten, 5, 248. 2 Semper id est cordi musis, semperque poetis Ut divos celebrent, laudes celebrentque virorum Υμνεῖν ἀθανάτους, ὑμνεῖν ἀγαθῶν κλέα ἀνδρῶν. Theocritus, cited by Gerbert, Musica Sacra, T. 1, Pref. Comp. 61, § 5, in which are many references of a similar kind. 3 The collect for such occasions is comprised in Psalms 113-118, the first two before the paschal supper, and the remainder after it. The theory has been advanced, but without reason, that Christ himself indited the hymn on this occasion. Neither is it necessary to suppose that all the hymns abovementioned were sung by him and the disciples at this time. Without doubt, in the opinion of Münter, the gift of the Holy Spirit on the day of Pentecost was accompanied with poetic inspiration, to which the disciples gave utterance in the rhapsodies of spiritual songs. Acts 2: 4, 13, 47. The opinion of Grotius and others, with reference to Acts 4: 24—30, has already been mentioned. But there are other passages which clearly indicate the use of religious songs in the worship of God. Paul and Silas, lacerated by the cruel scourging which they had received, and in close confinement in the inner prison, prayed and sang praises. to God at midnight. Acts 16: 25. The use of psalms and hymns, and spiritual songs, moreover, is directly enjoined upon the churches, by the apostle, as an essential part of religious devotions. Col. 3: 16. Eph. 5: 19. The latter epistle was a circular letter to the Gentile churches of Asia;5 and, therefore, in connection with that to the church. at Colosse, is explicit authority for the use of Christian psalmody in the religious worship of the apostolical churches.6 The use of such psalmody, evidently, was not restricted merely to the public worship of God. In connection with the passage from Ephesians, the apostle warns those whom he addresses against the use of wine, and the excesses to which it leads, with evident reference to those abuses which dishonored their sacramental supper and love-feasts. In opposition to the vain songs which, in such excesses, they were disposed to sing, they are urged to the sober, religious use of psalms and hymns and spiritual songs. The phraseology, therefore, indicates that they were not restricted to the use of the psalms of David merely, as in the Jewish worship; but were at liberty to employ others of 4 Com. Münter, Metrisch. Uebersetz. der Offenbar. Johann. Vorrede, P. 17. 5 Neander's Apost. Kirch., 1, 450, 3d ed. 6 All this is shown at length by J. G. Walch, De Hymnis Ecclesiae Apostolicae. appropriate religious character in their devotions. It seems also that the Corinthians were accustomed to make use of songs composed for the occasion. 1 Cor. 14: 26. And though the apostle had reason to correct their disorderly proceedings, it does not appear that he forbade the use of such songs. On the contrary, there is the highest probability that the apostolical churches did not restrict themselves simply to the use of the Jewish Psalter. And the evidence is sufficiently clear, that the primitive churches very early employed, in their devotions, not merely the psalms, appropriately so called, but hymns and spiritual songs indited for the worship of the Christian church. Grotius and others have supposed that some fragments of these early hymns are contained, not only as abovementioned, in Acts, but perhaps, also, in 1.Tim. 3: 16. Something like poetic antithesis they have imagined to be contained in 1 Tim. 1: 1. 2 Tim. 2: 11-13. The expression in Revelation, “I am Alpha and Omega; the first and the last,” has been ascribed to the same origin, as has also Rev. 4: 8, together with the song of Moses and the Lamb, 15: 3, and the songs of the elders and the beasts, Rev. 5: 9-14. Certain parts of the book itself have been supposed to be strictly poetical, and may have been used as such in Christian worship, such as Rev. 1: 4—8. 11: 15—19. 15: 3,4. 21: 1-8. 22: 10-18. But the argument is not conclusive; and all the learned criticism, the talent, and the taste that have been employed on this point, leave us little else than uncertain conjecture on which to build an hypothesis. 4. From history. The earliest authentic record on this subject is the celebrated letter from Pliny to Trajan, just at the close of the apostolical age, A. D. 103, 104. In the investigations which he instituted against the Christians of his period, he discovered, among other things, that they were accustomed to meet before day, to offer praise to Christ as God, or as The a God, as some contend that it should be rendered.7 expression is somewhat equivocal, and might be used with. reference to the ascription of praise in prayer, or in song. But it appears that these Christians rehearsed their carmen invicem, alternately, as if in responsive songs, according to the ancient custom of singing in the Jewish worship. Tertullian, only a century later, evidently understood the passage to be descriptive of this mode of worshipping God and Christ, who says that Pliny intended to express nothing else than assemblies before the dawn of the morning, to sing praise to Christ and to God, coetus antelucanos, ad canendum Christo et Deo.8 Eusebius also gives the passage a similar interpretation, saying, that Pliny could find nothing against them, save that, arising at the dawn of the morning, they sang hymns to Christ as God, I τό γε ἅμα τῇ ἕω διεγειρομένους τὸν Χρισὸν Θεοῦ δίκην ὑμνεῖν 9 Viewed in this light, according to the most approved interpretation of the passage, it becomes evidence of the use of Christian psalmody among the Christians immediately subsequent to the age of the apostles.10 Tertullian himself also distinctly testifies to the use of songs to the praise of God by the primitive Christians. Every one, he says, was invited in their public worship to sing unto God, according to his ability, from the Scriptures, or de proprio ingenio, one indited by himself, according to the interpretation of Münter. But whatever be the meaning of this phrase, the passage clearly asserts the use of Christian psalmody in their religious worship. Again, he speaks of singing, in connection with the reading of the Scriptures, exhortations, and prayer in public worship.11 Eusebius also speaks of singing in a similar manner.12 7 Carmen Christo quasi Deo dicere secum invicem.-Epist., Lib. 10, 97. 8 Apolog., c. 2. 9 Eccl. Hist., 3, 32. 10 Münter, Metrisch. Offenbar., p. 25. 11 De Anima, c. 9. 12 Vit. Const., Lib. 4, c. 45. |