II. Mode of singing in the ancient church.
Both the Jews in their temple service, and the Greeks in their idol worship, were accustomed to sing with the accompaniment of instrumental music. The converts to Christianity accordingly must have been familiar with this mode of singing. The word, ψαλλειν, which the apostle uses in Eph. 5: 19, is supposed by critics to indicate that they sang with [370] such accompaniments. The same is supposed by some to be intimated by the golden harps of John, in the Apocalypse, put into the hands of the four-and-twenty elders. But it is generally admitted, that the primitive Christians employed no instrumental music in their religious worship. Neither Ambrose, nor Basil, nor Chrysostom, 20 in the noble encomiums which they severally pronounce upon music, make any mention of instrumental music. Basil condemns it as ministering only to the depraved passions of men.21
It seems from the epistle of Pliny, that the Christians of whom he speaks, sang alternately, in responses. The ancient hymn from Clement above-mentioned, seems to be constructed with reference to this method of singing. There is, also, an ancient but groundless tradition extant in Socrates,22 that Ignatius was the first to introduce this style of music in the church at Antioch. It was familiar to the Jews, who often sang responsively in the worship of the temple. In some instances, the same style of singing may have been practiced in the primitive church. But responsive singing is generally not allowed to have been in common use during the first three hundred years of the Christian era. This mode of singing was common in the theaters and temples of the Gentiles, and for this reason was generally discarded by the primitive Christians.23 It was first practiced in the Syrian churches; it was introduced into the Eastern churches by Flavian and Diodorus, in the middle of the fourth century;24 from them it was transferred by Ambrose, A. D. 370, to those of the West, and [371] it soon came into general use in these churches, under the name of the Ambrosian style of music. 25
Sacred music must, at this time, have consisted only of a few simple airs which could easily be learned, and which by frequent repetition, became familiar to all. An ornamented and complicated style of music would have been alike incompatible with the circumstances of these Christian worshippers, and uncongenial with the simplicity of their primitive forms.26
In their songs of Zion, both old and young, men and women, bore a part. Their psalmody was the joint act of the whole assembly in unison. Such is the testimony of Hilary, A. D. 355.27 Ambrose remarks, that the injunction of the apostle, forbidding women to speak in public, relates not to singing, “for this is delightful in every age and suited to every sex.”28 The authority of Chrysostom is also to the same effect. “It was the ancient custom, as it still is with us, for all to come together, and unitedly to join in singing. The young and the old, rich and poor.... All worldly distinctions here cease, and the whole congregation form one general chorus.”29
This interesting part of their religious worship was conducted in the same simplicity which characterized all their proceedings. All unitedly sang their familiar psalms and hymns; each was invited, at pleasure, and according to his ability to lead their devotions in a sacred song indited by himself. Such, evidently, was the custom in the Corinthian [372] church. Such was still the custom in the age of Tertullian, to which reference has already been made. Augustine also refers to the same usage, and ascribes to divine inspiration30 the talent which they manifested in this extemporaneous psalmody.
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 those 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 marketplaces, and at the martyr’s stake. Eusebius declares himself an eye-witness to the fact, that under their persecutions in Thebias, “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 among the early martyrs. [373] We are informed by Chrysostom, that it was an ancient custom to sing the 140th Psalm every evening; and that the Christians continued through life the constant singing of this psalm.34 The song of Zion was a sacred fountain, which, like living waters in 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 they have 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 joy 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 there is in these an efficacy and power which lighter songs, which philosophy itself can never have; a power which is not ascribable to anything new or striking in sentiment, or powerful in expression. And then raises the question, “whence then have they this mighty power? [374] what is it that so moves us?” To which he replies, simplicity and truth. “Embodying the great and simple truths of religion, they speak the sentiment of a 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, and incense of sweet odors, perpetually recurring, with a fragrance that suffers no abatement.”36 Such is the simple 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.”
20 Ambrose, in Ps. 1. Praef. p. 740. Basil, in Ps. 1. Vol. II. p. 713. Chrysostom, in Ps. 41. Vol. V. p. 131.
23 Theodorus Mopsues. quoted by Nicetas Momin. Thesaur. orthodox, Lib. 5. c. 30. in Biblioth. Vet. Pat. XXV. p. 161.—Augusti, Denkwürdigkeiten, Vol. V. 278.
24 Theodoret, Eccl. Hist. Lib. 2. c. 19. p. 622.
25 August. Confess. 9. c. 7. Paulini, Vet. Ambrose. p. 4. Comp. Augusti, Denkwürdig. V. 1. p. 300.
26 Augusti, Denkwürdigkeiten, Vol. V. p. 288.
27 Comment. in Ps. 65. p. 174.
28 In Ps. 1. Praef. 741. Comp. Hexaemeron, Lib. 3. c. 5. p. 42.
29 Hom. 11. Vol. XII. p. 349. Hom. 36 in 1 Cor. Vol. X. p. 340. Comp. Gerbert, Musica Sacra, Lib. 1. § 11, who has collected many other authorities to the same effect.
30 Cited by Münter, Metrisch. Offenbar. The sentiments of Grotius also are to the same effect.
31 Neander, Allgem. Kirch. Hist. I. S. 523, 2d ed.
32 Ep. 17. ad Marcellam. Cited in Arnold’s Abbildung, S. 174.
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.
36 Briefe zur Beförderung der Humanität. 7. Samml. S. 28 sq. Cited by Augusti, Denkwürdigkeiten, Vol. V. S. 296, 297.