REVIEW.

Church Psalmody: a collection of Psalms and Hymns, adapted to Public Worship. Selected from Dr. Watts and other authors. Boston: Perkins & Marvin. pp. 576.

POETRY and Music, though reckoned as fine arts, are yet nearly coeval with our race, and have their seat deep among the original elements of our being. And they are capable, when skilfully applied, of producing so powerful effects on the feelings and conduct of men, that we may well presume God intended they should hold a prominent place in that economy of influences which he has appointed for the government of the world, and for the training of immortal minds for a better state of existence. They have been resorted to by all nations where oral instruction chiefly was practised, as affording the best helps in diffusing and transmitting whatever was deemed valuable information. History, laws, the knowledge of useful arts, have been reduced to measure, and set to music, and thus, in song, conveyed abroad, and handed down to after ages. And the reason is, there is something in this measure accompanied with music, which gives the subject greater power over the mind. It serves to arrest attention, and to obtain for what is delivered a more secure lodgement in the memory and the heart. Indeed every one knows that sentiments borne to the soul in tones of varied melody and blended harmony, soften and subdue resistance, make a deep and vivid impression, awaken new trains of emotion, and lead captive those who would not have moved at the call of simple naked truth.

Fletcher of Saltoun said, that if he could be allowed to furnish the ballads of a country, he would ask no further means of fashioning the public sentiment. The principle involved in this remark is equally applicable to the subject of Church Psalmody. Next to the Bible, and the discourses drawn from it, the psalms and hymns which we use in our acts of worship, fashion the religious sentiment of the community, and give a character to the piety which is cherished. Go to the thousands of our solemn assemblies, and listen to the songs which make so great a part of their service, accompanied now with the organ's loud peal, and now breathed in soft whispers, and see the tide of emotion rising or falling, rolling in one direction or another, in correspondence with what is uttered, and say if here is not a power of immense importance to the welfare of Zion. It has not yet received the regard to which it is entitled.

Every attempt to improve this important branch of worship should therefore be hailed as an omen of good. The improvers are benefactors to their race. Eternity shall show the happy results of their labors.

In the secular world, poetry and music have gone hand in hand in the course of improvement. But in the ecclesiastical department, poetry, at least in modern times, seems hardly to have kept pace with its sister art. While the church has a supply of music of a high character, there has long been a paucity of first-rate sacred poetry. The greater part of the more eminent English poets have not attempted anything-or very little-of this description. They have found other subjects more congenial, it is to be supposed, with their taste. Those who have attempted something, appear often to less advantage here, than in their other productions. As Johnson has said of Waller: "His sacred poems do not please like some of his other works." And as he has said again, in regard to Denham's metrical

version of the Psalms of David: "In this attempt he has failed. But," adds the critic, "in sacred poetry who has succeeded?"

66

Johnson has given what he considers the reasons why sacred poetry so frequently thus falls below what it seems at first view might be expected. Contemplative piety," he says, or the intercourse between God and the human soul, cannot be poetical. Man admitted to implore the mercy of his Creator, and plead the merits of his Redeemer, is already in a higher state than poetry can confer.-Faith, invariably uniform, cannot be invested by fancy with decorations. Thanksgiving, the most joyful of all holy effusions, yet addressed to a Being without passions, is confined to a few modes, and is to be felt rather than expressed. Repentance, trembling in the presence of the judge, is not at leisure for cadences and epithets. Supplication of man to man may diffuse itself through many topics of persuasion; but supplication to God, can only cry for mercy. Of sentiments purely religious, it will be found that the most simple expression is the most sublime. Poetry loses its lustre and its power, because it is applied to the decoration of something more excellent than itself.-The ideas of Christian theology are too simple for eloquence, too sacred for fiction, and too majestic for ornament." (Lives of the Poets.)

After all, it may be questioned whether this great man has not circumscribed the operations of the sacred poet within too narrow limits, and thrown around the subject some difficulties which were the creations of his own imagination. What is properly denominated "contemplative piety," constitutes but a small share of the topics for sacred poetry. The field through which the heavenly muse may range, includes the whole disclosures of revelation. And what more magnificent and thrilling themes for poetry, than many of those here opened to our view? What more inspiring than the visions which are here given us of heaven? What more affecting than the ravages and consequences of sin, in this world and in that which is to come? Where can be found, among men, loftier exploits, or more heroic sufferings, than have been witnessed in many of the servants of God? And what in the universe beside, is so suited to move all the sacred passions of the soul, as the condescensions and toils, the sufferings and triumphs, of the Redeemer, with the promised glorious results of his mediation? Nor do the more contemplative affections of the pious heart so utterly reject poetical modes of expression. True, they do not seekespecially those of a penitential character-do not seek ornament. But ornament and poetry are not always synonymous. Emotion and poetry are more nearly allied. And emotion is one of the very common elements of pious intercourse between the soul and its God. Had we room, we might show by many apposite quotations, that faith, and penitence, and love, and thankfulness, are capable of being uttered in poetry of a high character, and that poetry is a channel through which they very naturally flow out towards their appropriate objects. These affections, existing in a vigorous state, constitute that very emotion from which poetry takes its rise.

The grand reason, then, why we have not more sacred poetry of the high character desired, cannot be that the subjects of religion do not furnish the material. It is to be sought in another cause. And that cause has been in part already mentioned. Many of the most eminent poets, it has been observed, have attempted nothing in this line. They have not employed their talents in the service of the sanctuary. Some who have made the attempt, seem not to have been, from their own experience, sufficiently acquainted with the emotions of piety, to know how to supply them with the most appropriate language. They have written rather from

theory, than from feeling. And most who have written seem, while in this department, not to have put forth their energies, as in other cases. They appear to have felt that, as the subject was great and good, this rendered it of less importance to expend labor in setting it forth. Look at Cowper. Accustomed to write well on other subjects, and frequently too throwing off a piece very happily in sacred poetry, yet in this last he often seemed to feel that any form of expression would answer-that the excellence of his subject would make amends for the absence of all other excellence. The same was true, in a measure, of Watts. The piety of his own mind seems sometimes to have been satisfied with imagery, or an arrangement of words, which, in the case of other minds-perhaps less pious-operates as a real hindrance to devotion. "It is sufficient for Watts," says the critic above mentioned, "to have done better than others what no man has done well." Newton has left many pieces on experimental piety which are a rich legacy to the church. They breathe the child-like simplicity of his own spirit. Yet he has not a few of the blemishes above alluded to. Doddridge is chaste and pure, yet frequently somewhat artificial, and wanting in that tenderness and onction which many branches of sacred poetry require. Many others, as Toplady, the Wesleys, Steele, and James Montgomery, have made valuable additions to the stock of sacred poetry, each contributing from the peculiar treasures of his own mind, yet no one furnishing us with all that is excellent. Our own Dwight has done some things in the best style. His different versions of the 88th psalm are of this description. That in long metre is one of the first specimens of pathetic expostulation.

If the preceding remarks are just, it will be seen that we need not despair of having sacred poetry of as high a cast as is found in any other department whatever. The subject is adequate to sustain it, and consecrated talent can produce it. It will be seen, too, that, in order to serve the church in the best manner in this respect, we must not restrict ourselves to the productions of any one man. We must gather flowers from every field where they may be found. The psalms and hymns of Watts, were, for a long time, the only psalmody commonly met with in our churches. But a new spirit is beginning to show itself on this subject. Several attempts have been made of late to enlarge and enrich our body of church psalmody. Dwight gave a modification of it, with some additions, which increased the purity and elevation of its character. Worcester's Watts and Select Hymns is a valuable body of sacred poetry-more so than any which the American churches had previously seen. Another attempt of the same kind has given rise to the production whose title stands at the head of this article.*

It is no part of our design to obtain a reputation for this book at the expense of others; a crime which has been too often attempted in the world of poetry and authorship. As Orrery says:

"Poets are sultans, if they had their will;
For every author would his brother kill."

Rather would we say in the language of Denham, a little varied, with whom, indeed, this beautiful allusion of Orrery had its origin:

"Nor is thy fame on other's ruins built,

Nor need thy well earn'd title the foul guilt
Of eastern kings, who, to secure their reign,
Must have their brothers, sons, and kindred slain."

We hope that every laborer who has toiled in this department, will meet his full reward.

* Compiled by Lowell Mason and David Greene, of Boston.

It cannot be deemed unfair, however, to notice a few things in regard to the publication before us. Its design has been thus stated by the compilers.

"It has been their aim and hope to make a selection of psalms and hymns of a highly lyrical character, in respect to sentiment, imagery, language, and structure; possessing sufficient elevation and dignity to render them specially adapted to public worship on the Sabbath, and possessing, at the same time, such a variety of subjects and metres, and such a degree of simplicity, warmth, and animation, as should render them suitable for use in all social religious meetings, and in families. They have aimed, also, to render the selection particularly copious in those classes of hymns which are specially adapted to this period of revivals and of religious benevolent institutions and labors, and to various important occasions."-(Preface.)

The number of metrical pieces in the psalms is 454. The number in the common version of the psalms by Watts is 338; giving a preponderance, in respect to the psalms, in the book before us, of 116 pieces. The hymns in the three books of Watts, amount to 365. Those appended to the psalms in the compilation before us, amount to 731; making the whole number of pieces contained in this compilation 1,185; exceeding those contained in Watts' Psalms and Hymns by 411.

Of the pieces, more belong to Watts, than to any other author. In the psalms, Watts is the basis, only he is compressed, to make room for versions by other hands-some of them of high value. In the hymns, too, the marrow of Watts is retained, only it is reduced into a narrower compass by the removal of unpoetical and useless stanzas which had fallen from him. And by this removal room is made for a great variety of matter, which every reader must pronounce rich in thought, and rich in poetic excellence. The arrangement of the hymns is new, and according to the order suggested by the nature of the subjects: a convenience which the original Watts does not afford.

Take the Church Psalmody together, the pieces are short. Three, four, five stanzas, is the usual number which they contain. This is an excellence. It is with singing, as with preaching: long performances tire. Short, and to the point, is the best rule in ordinary cases, in both employments.

It is not to be supposed that the compilers have proceeded in such a manner as to please every body in every instance. In compressing Watts, they may have sometimes left out a stanza, which another would wish to see retained. In altering phraseology, they may have sometimes done what another will not think an improvement. Many of their alterations, however, all will acknowledge, are valuable.

In regard to variety, both of subjects and metres, we cannot but think that the present book exceeds any other which is before the public. The design of the compilers has been to gather from every source whatever is most rich in sacred song, and best adapted to the various wants and occasions of the present interesting day, and to compress it into one body of convenient size for common use in our sanctuaries. And we think they have executed their task in a manner worthy of high commendation.

We should not do right to omit, that there is in the lines and stanzas generally a mellifluous character, rendering them highly adapted to the purposes of musical expression. This is a point in regard to which the compilers seem to have labored much, and they have evidently not labored in vain.

Prefixed to the Psalmody is an index of first lines, and also an index of subjects succinctly and lucidly arranged. There is moreover in the preface, which is full of important suggestions in regard to church psalmody, a table of marks for musical expression, such as are in common use in the

music books, which marks are scattered likewise in the margin, by the side of the different lines and stanzas as they are needed, through the whole work, so that they are ever present to the eye of the performer, admonishing him how he is to sing. Were all who compose our choirs thorough masters of music, and sufficiently imbued with its spirit, such marks would be less needful. Their own judgment and taste would guide them right. Under the existing state of things, however, some familiar directions for musical expression, such as are used in the book before us, cannot be viewed otherwise than as a valuable help in conducting the songs of the sanctuary.

In conclusion, we cheerfully invite those who may be wishing to supply themselves with church psalmody, to an examination of this book. In a number of churches, we understand, it has been adopted. We are not unaware that changes in church psalmody can be made but slowly. What has become venerable by long use, is not easily laid aside. And we rejoice that it is so. In this fact we have a safeguard to our valuable institutions. Still we cannot but think that all who shall acquaint themselves with the book before us, will find it of such a character that it may be adopted without any loss of important sentiment when compared with others, and with no small improvement upon most others as to purity of diction, poetic emotion, copiousness and variety of matter, and general adaptedness to the exigencies of public and private devotion.

REV. CHARLES WOLFE.

FEW individuals that have possessed the various and exalted merits of Wolfe, have been so little known. One reason is, he loved and sought obscurity. But his character and example are eminently instructive. On this account they ought to be seen, that they may be admired and imitated. There are especially some points in his history, worthy the attentive regard of those who are aspiring to the sacred ministry. This fact is a sufficient apology for introducing a sketch of him into the Register.

Wolfe was born in Dublin, 1791, and was educated at the University in his native place, where he took the degree of bachelor of arts in 1814. Soon after the commencement of his connection with the University, his intellectual character began to exhibit features of singular beauty and strength. As a classical scholar he attained a distinguished rank. In scientific investigation, though science was not with him an object of primary regard, his progress was marked by depth and strength. In the mind of Mr. Wolfe, we discover an admirable combination. There was finished eloquence, associated with solid robust vigor. He was a scholar of noble attainments, a poet of high creations, and a philosopher of remarkable acuteness. There was breadth to his views, and variety to his capacities and tastes. He perused and dwelt upon the Analogy of Butler, with as keen a relish, as he did upon the Paradise Lost of Milton.

Thorough, far-reaching investigation, was a prominent characteristic of his mind. He could pass over nothing lightly. "The examination of a single metaphysical speculation of Locke, or a moral argument of Butler, usually cost him more time and thought, than would carry ordinary minds through a whole volume. The peculiar constitution of his intellect led