In an Appendix I have noticed a practice, now fallen into desuetude, which in past times was considered an indispensable part of pastoral work; and have adverted to some particulars in which improvement is happily exhibited in the important matter of behaviour in the house of God. Page vii. 1. 14, for "Preparing," read "Prefacing." Page viii. 1. 7 from foot, for "CONSTITUTION," read "CONTRIBUTION.' Page 188, 2nd Col., 1. 9, for " History," read "Victory." Page 188, 2nd Col., 1. 10, for "vigorous," read "rigorous." " CHAPTER I. PRAISE, OR THE SERVICE OF SONG. PRAISE, as an act or exercise of religious worship, pos sesses the character both of adoration and thanksgiving. It consists in "extolling" and "blessing" God. It is the devout celebration of His perfections, works, and ways, and the grateful acknowledgment of His mercies. Singing, or the utterance of musical sounds, combined with measured composition in the form of hymns, has been in all ages the principal mode of performing this exercise, and of thus expressing the sentiments and emotions of genuine piety. The service of song was an important part of the worship of the people of God in ancient times; and it was observed by the early Christians in their public assemblies. During the long period termed "the dark ages," the people were debarred from joining in the psalmody, the hymns that were sung being composed in a language unknown to them; but the Reformation in the seventeenth century restored to the people the enjoyment of their right to participate in this primitive and edifying part of public A worship.1 It has all along formed a prominent part of the service in the Presbyterian Church of our land. The early Scottish Reformers, while they excluded instrumental music from the churches, paid great attention to the singing. In Knox's Psalter, arranged for use in the public assembly, the metrical psalms were set to music in harmony of four parts. In subsequent times, however, congregational singing came to be of a very inferior character. An indignant writer described the psalmody of Scotland as "a howling wilderness." But that of England seems to have been little better. Thomas Mace, in his book on Psalmody, says, "I shall not blazon it abroad in print how miserably the Prophet David's Psalms are (as I may say) tortured and tormented, and the service of God dishonoured, made coarse, or ridiculous thereby. It is sad to hear what whining, tooting, yelling, and screeching there is in many congregations."2 In some places of worship still, instead of harmonious music, or grave sweet melody," sounds are heard that are little calculated to excite and promote devotional 66 1 Eadie's "Eccl. Cyc.," Art. Psalmody. "Singing," as Vinet remarks, "is the art which visibly unites the whole congregation, which assigns to believers an active share in public worship, and in which their liberty is more entire.”—“ Pastoral Theology,” Part iii. Sect. I. 2 Stanford's "Philip Doddridge,” p. 128. In the latter part of last century, John Ryland, on one occasion, having been discoursing on the presence of angels in Christian assemblies, said to the people, when they had sung after sermon, "I wonder the angels of God do not wrench your necks off,”—a saying certainly very exceptionable, but strongly indicating how bad the singing must have been. --Jay's Autobiography," p. 293. |