Augustine also refers to the same usage, and ascribes the talent which they manifested in this extemporaneous psalmody to divine inspiration.30

Such, so far as we are informed, was the psalmody of the early church. It consisted in part of the psalms of David, and in part of hymns composed for the purpose, and expressive of love and praise to God and to Christ.31 Few in number, and sung in rude and simple airs, they yet had wonderful power over these primitive saints. The sacred song inspired their devotions both in the public and private worship of God. At their family board it quickened their gratitude to God, who gave them their daily bread. It enlivened their domestic and social intercourse; it relieved the weariness of their daily labor; it cheered them in solitude, comforted them in affliction, and supported them under persecution. "Go where you will," says Jerome, "the ploughman at his plough sings his joyful hallelujahs, the busy mower regales himself with his psalms, and the vine-dresser is singing one of the songs of David. Such are our songs—our love songs, as they are called — the solace of the shepherd in his solitude, and of the husbandman in his toil."32 Fearless of reproach, of persecution, and of death, they continued, in the face of their enemies, to sing their sacred songs in the streets and market-places, and at the martyr's stake. Eusebius declares himself an eye-witness to the fact, that under their persecutions in Thebais, "they continued to their latest breath to sing psalms, and hymns, and thanksgivings to the God of heaven."33 And the same is related of many others of the early martyrs. We are informed by Chrysostom, that it was an ancient custom

30 Cited by Münter, Metrisch. Offenbar. The sentiments of Grotius also are to the same effect.

31 Neander, Allgem. Kirch. Hist., 1, p. 523, 2d ed.

32 Ep. 17, ad Marcellam. Cited in Arnold's Abbildung, p. 174.

33 Eccl. Hist., 8, c. 9.

to sing the 140th psalm every evening, and that these Christians continued through life the constant singing of this psalm.34 The song of Zion was a sacred fountain, which, like the living waters of a desert, sustained in this barren wilderness, the growth and vigor of primitive piety, and overspread with perpetual verdure the vineyard of the Lord. On this point the sentiments of Herder are peculiarly interesting; and no one can speak with more authority respecting the psalmody of the ancient church. Speaking of the earliest hymns of the Latin church, after remarking that they exhibit little poetic talent or classic taste, he adds, "But 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 into his cell, and attend the afflicted in distress, in want, and to the grave. While singing these, one forgets his toil, and his fainting sorrowful spirit, soars in heavenly joys to another world. Back to earth he comes to labor, to toil, to suffer in silence and to conquer. How rich the boon, how great the power of these hymns."35 He proceeds to say, that here is 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 34 Chrysost. in Ps. 140, Tom. 5, p. 427.

35 Augustine gives the following account of the power of this music over him on the occasion of his baptism. "Oh how freely was I made to weep by these hymns and spiritual songs; transported by the voices of the congregation sweetly singing. The melody of their voices filled my ear, and divine truth was poured into my heart. Then burned the sacred flame of devotion in my soul, and gushing tears flowed from my eyes as well they might."-Confess., Lib. 9, c. 9, p. 118.

the great and simple truths of religion, they speak the sentiment of an 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 odors, perpetually recurring, with a fragrance that suffers no abatement."36 Such is the sim

ple power of truth wrought into 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 the deeper in the soul.

"Time but the impression stronger makes,

As streams their channels deeper wear."

III. Changes in the psalmody of the church.

In the course of a few centuries from the fourth onward, several variations were introduced in the mode of performing this part of public worship, the effect of which was to withdraw the people from any direct participation in it, and to destroy in a great degree its moral power.

1. The first of these changes has been already mentioned, singing alternately by responses. This was

36 Briefe zur Beförderung der humanitat., 7, Samml., p. 28, seq. Cited by Augusti, Denkwürdigkeiten, 5, p. 296, 297.

introduced into the Syriac churches, afterwards in the Eastern church, and finally, into the Western, by Ambrose. In this the congregation still bore some part, all uniting in the chorus, and singing the responses.

2. The appointment of singers as a distinct class of officers in the church, for the performance of this part of religious worship marks another alteration in the psalmody of the church. These were first appointed in the fourth century. But the people continued, for a century or more, to enjoy their ancient privilege of singing all together.

3. Various restrictions were from time to time laid upon the use of hymns of human composition, in distinction from the inspired psalms of David. Heretics of every name had their sacred hymns, suited to their own religious belief, which had great effect in propagating their errors. To resist their encroachments, the established church were driven to the necessity, either of cultivating and improving their own psalmody, or of opposing its authority to stay the progress of this evil. The former was the expedient of Ambrose, Hilary, Gregory Nazianzen, Chrysostom, and Augustine, &c.

But the other alternative in turn was also attempted; and the churches by ecclesiastical authority were restricted to the use of the psalter and other canonical songs of the Scriptures. All hymns of merely human composition were prohibited, as of a dangerous tendency and unsuitable to the purposes of public worship. The synod of Laodicea, A. D. 344-346, c. 59, passed a decree to that effect. The decree was not, however, fully enforced. But this, and similar efforts on the part of the clergy, had the effect to discontinue the use of such religious songs. The Arians of that age also opposed these ancient sacred hymns, for a different reason, and cultivated a higher style of sacred music.

4. The introduction of instrumental music. The tendency of this was to secularize the music of the church, and to encourage singing by a choir. Such musical accompaniments were gradually introduced; but they can hardly be assigned to a period earlier than the fifth and sixth centuries. Organs were unknown in church until the eighth or ninth century. Previous to this they had their place in the theatre, rather than in the church. They were never regarded with favor in the Eastern church, and were vehemently opposed in many places in the West. In Scotland no organ is allowed, to this day, except in a few Episcopal churches. "In the English convocation, held A. D. 1562, in queen Elizabeth's time, for settling of the liturgy, the retaining of organs was carried only by a casting vote."

5. The introduction of profane, secular music into the church, was one of the principal means of corrupting the psalmody of the church. An artificial, theatrical style of music, having no affinity with the worship of God, began to take the place of those solemn airs which before had inspired the devotions of his people. The music of the theatre was transferred to the church, which accordingly became the scene of theatrical pomp and display, rather than the house of prayer and of praise, to inspire by its appropriate and solemn rites the spiritual worship of God. The consequences of indulging this depraved taste for secular music in the church are exhibited by Neander in the following extract. "We have it to regret, that both in the Eastern and the Western church, their sacred music had already assumed an artificial and theatrical character, and was so far removed from its original simplicity, that even in the fourth century, the abbot Pambo of Egypt complained that heathen melodies [accompanied as it seems, with the action of the hands and the feet] had