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.
III. The changes in the psalmody of the 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 abroad on 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? [363] 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.
Without doubt, in the opinion of Münter,4 the gift of the [364] 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 might be 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 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 [365] though the apostle had occasion 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 above- mentioned, 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 the Alpha and Omega; the first and the last,” together with the song of Moses and the Lamb, Rev. 5: 3, and the song 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 the period, he discovered, among other things, that they were accustomed to meet before day, to offer praise to Christ as God, or as a God, as some contend that it should be rendered.7 The expression [366] 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, for he says that Pliny intended to express nothing less than assemblies before the dawn of the morning, for singing 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, Πλην το γε αμα τη εω διεγειρομ&eps ilon;νος τον Χριστον Θεου διξην υμνειν.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, either from Scriptures, or de proprio ingenio, one indited by himself, according to the interpretation of Münter. Whatever may 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
Justin Martyr also mentions the songs and hymns of the Ephesian Christians. “We manifest our gratitude to him by worshipping him in spiritual songs and hymns, praising [367] him for our birth, for our health, for the vicissitudes of the seasons, and for the hopes of immortality.”13
The testimony of Origen, † A. D. 254, again, of the church of Alexandria, is to the same effect. In answer to the charge of Celsus, that the Christians worshipped the great God, and sang hymns also to the sun and to Minerva, he says, “we know the contrary, for these hymns are to him who alone is called God over all, and to his only begotten [Son].”14
Eusebius has also left on record the important testimony of Caius, as is generally supposed, an ancient historian, and contemporary of Tertullian. “Who knows not the writings of Irenaeus, Melito, and others, which exhibit Christ as God and man? And how many songs and odes of the brethren there are, written from the beginning, jam pridem, a long time since, by believers, which offer praise to Christ as the Word of God, ascribing divinity to him.”15 This passage not only presents a new and independent testimony to the use of spiritual songs in the Christian church, from the remotest antiquity, απ αρξης, to the praise of Christ as divine, but it shows that these, in great numbers, had been committed to writing, as it appears, for continued use. So that we here have evidence of the existence of a Christian hymn-book from the beginning.
Christ, the only-begotten of the Father, is the burden of these primitive songs and hymns. Here is he set forth [368] doctrinally, θεολογικ&omeg a;ς, as the incarnate Word of God, as God and man. His mediatorial character was the subject of the songs of these apostolical and primitive saints. This sacred theme inspired the earliest anthems of the Christian church; and, as it has ever been the subject of her sweetest melodies and loftiest strains, so doubtless will it continue to be, until the last of her ransomed sons shall end the songs of the redeemed on earth, and wake his harp to nobler, sweeter strains in heaven.16
One ancient hymn of the primitive church appears to have come down to us entire, from that distant period. It is found, indeed, in the Paedagoge of Clement of Alexandria, a work bearing date some hundred and fifty years from the time of the apostles; but is ascribed to another, and assigned to an earlier origin. It is wanting in some of the manuscripts of Clement. It contains figurative language and forms of expression which were familiar to the church at an early date; and, for various reasons, is regarded by Münter and Bull,17 as a venerable relic of the early church, which has escaped the ravages of time, and still remains, a solitary remnant of the Christian psalmody of that early age. However this may be, it is certainly very ancient, and the earliest that has been preserved and transmitted to us. It is a hymn to Christ; and, though regarded merely as a poetical production it has little claim to consideration, it shows what [369] was the strain of their devotions. We see in it the heart of primitive piety laboring to give utterance to its emotions of wonder, love and gratitude, in view of the offices and character of the great Redeemer.18 It is not found in the later collects of the church, because, as is supposed, it was thought to resemble, in its measure and antiphonal structure, the songs which were used in pagan worship.
The songs of the primitive Christians were not restricted to their public devotions. In their social circles, and around their domestic altars, they worshipped God in the sacred song; and, in their daily occupations, they were wont to relieve their toil and refresh their spirits, by renewing their favorite songs of Zion. Persecuted and afflicted as they often were,—in solitary cells of the prison, in the more dismal abodes of the mines to which they were doomed, or as wandering exiles in foreign countries,—still they forgot not to sing the Lord’s song in the prison or the mine, or in the strange lands to which they were driven.19
1 Comp. Augusti, Denkwürdigkeiten, Vol. V. 248.
Semper id est cordi musis, semperque poetis
Ut divos celebrent, laudes celebrentque virorum
Υμνειν αθανατους, υμνειν αγαθων κλεα ανδρων.
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 above-mentioned were sung by him and the disciples at this time.
4 Com. Münter, Metrisch. Uebersetz. der Offenbar. Johann. Vorrede, S. 17.
5 Neander’s Apost. Kirch. I. 450, 3d ed.
6 All this is shown at length by J. G. Walch, De Hymnis Ecclesiae Apostolicae.
7 Carmen Christo quasi Deo dicere secum invicem.—Epist. Lib. 10. 97.
8 Apolog. c. 2.
9 Eccl. Hist. Lib. 3. 32.
10 Münter, Metrisch. Offenbar. S. 25.
11 De Anima, c. 9.
12 Vit. Const. Lib. 4. c. 45.
13 Apol. c. 13. Justin Martyr wrote, as is supposed, also a work on Christian Psalmody, the loss of which we have deeply to deplore. Living within a half a century of the age of the apostles it would be particularly interesting to receive from him a treatise on this interesting subject. The references are from Semisch, Euseb. Eccl. Hist. Lib. 4. c. 18. and Phot. Bibl. Cod. Vol. 1. p. 95. ο επιγραφομε νος ψαλτης.
14 Against Celsum, Lib,. 8. c. 67. p. 792, ed. Ruaei: υμνος γαρ εις μονον τον επι πασι λεγομενον θεον, και τον μονογενη αυτου.
15 Πσαλμοι δε οσοι και ωδαι αδελφων απαρξης υπο πιστων γραφεισαι, τον λογον του Θεου τον Χριστον υμνουσι θεολογουντες.—Eccl. Hist. Lib. 5. 28.
16 Whatever may be the doctrinal truth in regard to the character of Christ, it is abundantly evident, that he was worshipped as divine in the prayers and psalmody of the primitive church. See the author’s Christian Antiquities, pp. 203-206. This truth, again, is confirmed by the fact mentioned by Neander, that, „In the controversy with the Unitarians, at the close of the second and beginning of the third century, their opponents appealed to those hymns in which, aforetime, Christ had been worshipped as God.“—Allgem. Kirch. Hist., I . 523, 2d ed.
17 Metrisch.Offenbar., S. 32. Bull’s Defensio fidei Nicaenae, § 111. c. 2. p. 316, cited by Münter.
18 The reader will find this hymn in the author’s Christian Antiquities, pp. 226, 227. It is an anapaestic ode, with occasional interchanges of spondees and dactyls, which this measure admits. It is supposed also to consist of parts which may have been sung in responses. The divisions are as follows,—lines, 1-10, 11-28, 29-45, 46-63.
19 Comp. Jamieson, cited in Christian Antiquities, p. 375. It would not be difficult to adduce original authorities to this effect, but we must confine ourselves more particularly to the devotional psalmody of their public worship.