We refer particularly to psalms and songs designed for religious worship, which constitute, we believe, the greater part of this class of writings in our language. And lest the reader should think that we treat them too severely, we would refer him to Vol. VII. old series of this work, where, in two or three successive numbers, he will find the faults we specify illustrated by very numerous quota tions. On the subject of structure we will remark a little more particularly; for although one of the most essential points in lyric poetry, it has perhaps been more frequently overlooked than any other. In the drama it is perfectly well understood that a particular arrangement and adaptation of parts is indispensably necessary to stage effect; and many a piece, excellent in sentiment and beautiful in language, has utterly failed in action from no other deficiency than this. Now what action is to the drama, that, in a great measure, is music to the hymn or song; and a peculiar adaptation is as essential in the one case as the other. The construction should be such that the important words and accented syllables, may fall upon the accented notes of the tune. The following lines sung to Old Hundred, are a good example. Before Jěhovah's awful thrōne Here it will be seen, that the heavy syllable of the verse corresponds with the heavy note of the tune throughout, and the movement will be easy and energetic. But apply to the same tune the following couplet. Lord if thou dost not sōōn ǎppear Here in the first foot of each verse, the light syllable falls upon the accented part of the bar; and the unimportant word 'dost,' being necessarily emphasised, in singing becomes unduly promiIn consequence of these irregularities, either the harmony or the sense must necessarily be sacrificed; and probably more frequently, both would be destroyed. nent. Besides an irregular and unmanageable accent, there are also several other defects in structure, which are very common in our lyric poetry; such for example as forced inversions, parentheses, long and complicated sentences, and a want of regular progress in the current of thought. All these may be unobjectionable in a poem intended only to be read, because a varied intonation may render them perfectly intelligible; but in a hymn they are altogether inadmissible. There the language should be as far as possible direct and plain, the sense obvious, and the thought should move regularly onward to the end. Now, let any one look over the stores of English lyric verse for specimens, not which contain a certain number of syllables, but which are really made of lyric materials, and so constructed as to be fitted for musical effect, and he will be astonished to find to what an extent our remark is true, that the subject has not untill recently been understood in any considerable degree. Within a very few years, there has indeed been a rapid improvement in this respect. Some of the best living poets have lent their efforts in the work of reformation. Various attempts have been made with different degrees of success, by remodelling the old or forming new selections, to meet the wants of the christian world, for the purposes of public worship. They have all, however, been but partially successful, owing to the want either of care or judgment in the choice of matter. It seems indeed to be almost an universal sentiment among the judicious, that a selection prepared on different principles from any now in use, is greatly needed. It is, therefore, with peculiar pleasure that we introduce to the religious public, a new work which aims to meet their wants, and which, we must add, in our opinion, has very high claims on their attention. It has been prepared by Lowell Mason, Esq. and Mr. David Green of Boston, gentlemen extensively known as distinguished for thorough acquaintance with the science of music, as well as correct literary taste. Mr. Mason has been for many years the president of the Handel & Hayden Society, and the compiler of their selections; and having devoted a large portion of his time to the improvement of church music, is better acquainted with the subject probably than most persons in our country. With these qualifications the compilers of the Church Psalmody, have adopted a much higher standard by which to measure their materials, than has been used in any selection with which we are acquainted. They proposed to themselves to bring together, not merely good sentiment on the requisite topics, but, as far as the resources of our language could supply it, good lyric poetry;-poetry which instead of being rendered unintelligible by the choir, should come upon the hearer with additional power and beauty, When assembled men to the deep organ join We make the following extract from the preface. After stating what they conceive to be the essential requisites of lyric poetry, in respect both to the matter and the structure, the compilers say: In compiling this book, the principles just laid down have been kept constantly in view, and, in innumerable instances, such faults as have been here noticed have been corrected; the fact that some imperfections of various kinds must remain, is no reason why they should not be rendered as few as possible. In noticing the sources from which the materials for this book have been drawn, it may be stated, that besides the version of the psalms by Dr. Watts, and those versions that preceded his, and those of some authors of less note made since his time, use has been made of two nearly entire versions recently published in England. Versions of many single psalms, have been found scattered through the several collections of hymns which have been examined. In selecting the hymns, in addition to the hymn-books used by the various denominations of christians in the United States, the compilers have examined eight or ten extensive collections of hymns, besides a large number of smaller collections published in England, and which have never been republished or for sale in this country. In these and other works, they suppose they have examined nearly all the good lyrical poetry in the English language. The number of the metrical pieces of the psalms is four hundred and fifty-four, and the number of the hymns is seven hundred and thirty-one, making eleven hundred and eighty-five in all. Of these, four hundred and twenty-one are from Watts, who has undoubtedly written more good psalms and hymns of a highly lyrical character, than any other author, and to whom the church is indebted, probably for nearly half of all the valuable lyric poetry in the language. The names of the several authors, when known, are given in the index to the first lines. In selecting and arranging these materials, the compilers have aimed to make a hymn-book of a thoroughly evangelical character, in doctrine and in spirit, and as highly lyrical as the materials, with such labor as could be bestowed upon them, would permit. They have accordingly rejected a large amount of religious poetry, excellent in itself so far as sentiment and language are concerned, and aimed to select only such pieces as are adapted to be sung. As the same piece was often found with impor tant variations, in different books, they have aimed to select that copy which seemed best suited to the design of this work, without inquiring how the author originally wrote it. They have treated the hymns which have come before them as public property, which they had a right to modify and use up according to their own judgments. Omissions, abridgments, alterations, and changes in the arrangement of the stanzas, have therefore been made with freedom, whenever it appeared that the piece could thereby be improved. These alterations have been made chiefly to avoid prosaic or unimpassioned passages, low or otherwise unsuitable imagery or expression; abrupt transitions; unmeaning and cumbrous words and clauses; long, complicated and obscure sentences; feeble connectives, long words, and harsh and slender syllables; a wrong position of the ac cent and pauses: the anticlimactic structure; and a disagreement in the form and rhythm of the several stanzas. A considerable number of pieces, possessing less of a lyrical character than is desirable, have been retained; partly because the subjects were important and nothing better could then be found, and partly because, though not adapted to public worship generally, they might be useful on special occasions, or for families and individuals. It will be seen that the compilers of the Church Psalmody have had great advantages over those who have gone before them in the choice of their materials, and that the pieces are more numerous than in the collections in common use, and have been subjected VOL. III. 67 to the ordeal of a criticism at once enlightened and severe. And we are persuaded, that no person of correct taste can examine the work, without being delighted with the propriety and judiciousness of the selections and arrangement, and with the excellent adaptation of the whole to the purposes of devotion. It is copious in all the subjects which properly belong to this branch of public worship. On some of the most important, it has a marked superiority in this respect over the selections in common use. Under the head of Holy Spirit, for example, it contains from thirty to forty excellent hymns; while in Watts or Dwight we have only three or four. Each piece is accompanied by marks for musical expression; and several are divided so as to be performed by responses in the Hebrew manner. The effect of this division of the choir is very happy. The following may serve as a specimen of the responsive mode. On the whole we think the Church Psalmody will do much toward helping forward the reformation which we trust is taking place extensively in our country on the subject of church music; and we hope therefore soon to see it in general use. We know it is difficult to overcome the predilections we feel for books, with which we have been familiar from our childhood. But certainly they should be made to yield to good taste and our better judgment. Especially in this age of revivals, is it important that our church music should be in every sense, of an elevated character. We want hymns which shall take hold of the affections of the soul, and aided by the thrilling power of the organ and the voice, melt them into penitence and submission, or raise them in triumphant gratitude and praise to God. ART. III.-REVIEW OF THE WRITINGS AND CHARACTER OF SIR MATTHEW HALE. The Works Moral and Religious of Sir Matthew Hale, Lord Chief Justice of the Court of King's Bench; with some account of his life and death by Bishop Burnet. And additional notes by Richard Baxter. collected and published by the Rev. T. Thirlwall. 2 volumes. London. The whole THE illustrious author of these volumes, lived in one of the most eventful periods of English history, and was an actor in its great and unquiet scenes. He was assigned as counsel to Charles the first, in that august trial, in which an oppressed people, resuming back into their own hands, a trust which had been abused and perverted, sat in judgment on their chief magistrate, and awarded to him the sentence of death. He lived, and was honored, and stood high in the confidence of the nation, under the popular, but iron government of the commonwealth. He lived, and honors still thickened upon him, in that dark and desponding relapse of national feeling, which was brought on by unceasing commotion and bloodshed, and in which the second Charles was called back to the throne of his fathers. Contrary to his wishes, the highest judicial duties were forced upon him under the reign of that abandoned prince; and it was with difficulty that he at length obtained permission to retire to the seclusion of private life, as he found the weight of years pressing upon him, and hastening his removal to another world. Respecting the character of this great man, as exhibited under these varied and trying circumstances, there has been a remarkable coincidence in public opinion. The late Lord Ellenborough spoke the sentiments of every member of his profession when he said, that "Hale was one of the greatest judges that ever sat in |