The sweet psalmist of Israel. A sermon preach'd at the lecture held in Boston, by the Society for Promoting Regular & Good Singing, and for Reforming the Depravations and Debasements our Psalmody Labours Under, in Order to Introduce the Proper and True Old Way of Singing. : Now published at the desire of several ministers that heard it, and at the request of the society aforesaid. / By Thomas Walter, M.A. Minister of a church in Roxbury. ; [Three lines from Psalms]

The sweet Psalmist of Israel.

2 Sam. XXIII. 1.

—The sweet Psalmist of Israel.

_I MUST humbly make my Apology for ascending the Desk at this time, and entring upon a Service, which I know would be much better per|formed by many of my Fathers and Brethren in the Ministry, in this Place. And this not only for my self, but for those, who have, as it were, broken thro' Order and Superiority, and descended to so low a Choice, as that of the Person now addressing this worthy Audience. Their Excuse and mine is this, That not the Character of a Divine, so much as that of a Psalmist is under our present Consideration: Not the Preacher, but the Singer carried the Vote, which laid him under Obligations to comply with their Request.

WHEREFORE that Justice in some measure may be done to the Divine Science of Music and Verse, I shall have done with Prefaces and Apologies, and as in my poor Man|ner

I am able, illustrate, confirm and improve the Text under Consideration.

THE last and dying Words of Men use to be of Weight and Importance with the Survivors; and by them are wont to be esteemed awful and full of Authority. How regard|less soever we have been of the Sayings of wise and good Men, while they have been with us; yet that very Cir|cumstance of their leaving this World, gives Solemnity and Authority to what they deliver at their Departure out of it. Who knows not, that a Man a dying is able to make a greater and deeper Impression upon us, than any of the Living? For as Time is drawing to a close with them, so do they speak with a more than humane Emphasis, and discover such an experimental Air, as cannot fail to touch the Hearers with the most lively and affecting Sense of what they would communicate to them. As their Mi|nutes are then contracted and grow very precious, so their Discourse to the Living grows massy and full, it even fills up Time it self, admitting no Vacancy of Moments unre|plenished with a Treasure.

THE four Verses following my Text are worthy to be transcribed as such, and may serve as a glorious Introdu|ction to our Discourse upon the Sweet Psalmist of Israel; viz. David's Character as a sweet Singer, the Honour done him by God in the Record hereof, and the blessed End a Servant of God, famous for this Skill, may be able to make.

THIS sweet Psalmist of Israel said with a more than mortal eloquence— The Spirit of the Lord spake by me, and his Word was in my Tongue. The God of Israel said, the Rock of Israel spake to me: He that ruleth over Men must be just, ruling in the Fear of God; and he shall be as the light of the Morning, when the Sun riseth, even a Morn|ing without Clouds; as the tender Grass springing out of the Earth by clear shining after Rain. Altho' my House be not so with God, yet he hath made with me an everlasting Covenant, ordered in all things and sure: For this is all my Salvation and all my Desire, altho' he make it not to grow.

HERE we have verified the Fable of the expiring Swan singing her own Elegy; but with this Difference, that our dying Psalmist tunes his Voice to Notes of Joy and Triumph, and not to the Keys of Mourning and Sadness. These are David's last Words, this his dying Song, which better than a Monument of Brass, will consecrate his deathless Fame to all Posterity.

BUT who and what was he, that composed and sung this divine Song?— It was David the Son of Jesse, and the Man who was raised up on high, the anointed of the God of Jacob. Even the Son of a common and inferior Man in Israel, but exalted to the Regal Dignity and Charge over that great and holy Nation, by the anoint|ing of the God of Jacob. The last Words of so great a Man, and so distinguished in the Honours conferred upon him by Heaven, must command in us the most serious Attention and the highest Regard imaginable. They are the rich Legacy of a dying Prince, and to be received and laid up as an inestimable Treasure.

BUT this is not all of the noble Character of David, which does thus extort from us a Regard and Reverence to this his concluding Speech and Song. He that spake it, was not only a Godlike Prince, preferred by God him|self before all the great Personages of Israel to the Inheri|tance of the Kingly Power and Honours; but he was THE SWEET PSALMIST OF ISRAEL.

THIS Part of his Character comes under our present Consideration. Here therefore two Things are to be spo|ken to, which will comprise the whole of our present Discourse.

• I. THE Character of holy David.
• II. THE Honour done him in the Record of it.

I. THE Character of holy David: The sweet Psalmist of Israel. He was a Psalmist, which Title contains in it two things, namely, First, That as a Divine Poet, he composed Sacred Songs, and Hymns. Our Psalter is the greatest Part of it, made up of Divine Places of Poesy written by this Man of God, who derived his 〈◊〉〈◊〉 not from Par|nassus,

but from Zion the Mount of God. Not the fanci|ed Muses of the Heathen, but the Holy Ghost dictated his Song; nor needed he a Draught from the muddy Source of Heli••••••, who had drank so plentifully of the still and pure Stream (as the almost Divine Milton expresses it) slow|ing fast by the Oracle of God. Nor were the Subjects of his Verse less Divine, than his Inspiration. Not sorry Tri|fles and empty Fables, but the glorious Themes of divine Love, and Wisdom, and Power, and Majesty; not the im|pure and carnal Conceits of the profane Greeks and Romans, but the blessed and holy Oracles of JEHOVAH, and the cae|lestial Loves of Christ and his Church, were sung by him in his immortal Strain. Finally, the Design and End of his Psalms were consecrate and pious, even to the great and good Intentions of the Glory of God, and the Instru|ction and Benefit of Men.

BUT then, Secondly, The Title of Psalmist carries in it not only that of a Piet, but of a Musician also. Not only the Psalms, but the Tunes to which they were to be set and sung, were his. And the best both of Jewish and Chri|stian Interpreters and Expositors do give Countenance to this Conjecture. But be this as it will, that his Skill both in Vocal and Instrumental Music was famous, is al|lowed upon all Hands. Whether or no he composed the Tunes, as well as the Psalms, which he frequently sent to the Pracentor or Chief Musician, with his Orders for hav|ing them sung or played, may admit of some Dispute. But that he had a thorough Understanding of this sweet and divine Science is a matter past all doubt. The Syriac and Arabic Versions do favour our first Conjecture, and do intimate the Improvements he made in this Part of the Divine Service. They render the Words, Qui suaves red|didit Cantus Israelis; Who made the Songs of Israel sweet. He raised them to a greater Perfection and Sweetness, than had ever been in Israel before. But to put this beyond all Dispute, we are in the Sacred Oracles informed, that David did invent Instruments of Music, which were pro|fanely imitated, and prostituted to the Designs of De|bauchery, by the wanton Israelites, in the Days of the

Prophet Amos, Chap. 6. Verse 5. They invent to themselves Instruments of Music like David. We also read, that he se|parated or set apart to the Services of Vocal and Instru|mental Music, the Sons of Asaph, 〈…〉〈…〉; appointing to every single Musician and to each Quire their Parts in the joint Performance of the Melodies and Anthems of the Temple. Whether for the Voice, or for Instruments, such as the Cymbal, Psaltery, Harp, the loud sounding or Treble Horn; their Disposition and Appoint|ment was by the King's Order. 1 Chron. 25.1, 1, 6. And this he did, not meerly by Virtue of his Kingly Au|thority, but as he was the Chief Master of the Temple-Music, his superiour Skill therein rendring him the fittest Person in all Israel for that Office. But of this enough.

DAVID was the Psalmist of Israel; that is of the Church of God, which wears this Name and Title, with which the Patriarch Jacob was dignified, when he had wrestled with the Angel of God in Prayer, and overcame: in this glorious Instance becoming the Head and Representative of them that seek the Face of God. Psal. 24.6. He became thenceforward the Father of the Generation of wrestlers in Prayer, the Prince of them that prevail with the Al|mighty God of Jacob. Israel is a most proper and just Ap|pellation of the Church Militant on Earth, who thro' holy Violence, strong Faith, and ardent Importunity, maugre all the Opposition of Hell and Earth, take the Kingdom of Heaven by Force. Math. 11.12. O that in this sweet Ex|ercise of Singing, as well as the more laborious one of Prayer, we might make such Improvements and Progress, as to deserve the honourable Name of Israelites indeed!

FOR the Use and Benefit of the Church then did David compose his Psalms, with Tunes adapted to the Subject Matter of them. It is a very profitable and good Note of Peter Martyr upon our Text, Quicquid Pi•• Doctrin•• ha|bent, id intelligunt non suum, sed Ecelesix esse. A good Man calls the Gifts and Talents Heaven endows him with, not his own, but the Church's. With whatsoever Skill the Father of Lights instructs us, it is not designed by God, nor should it be laid out by us, for our private Use, Profit

or Glory; but for God and his Church. And a faithful Servant of God beholds all his Accomplishments, whether Natural, Moral or Divine, under no other Notion or View, than that of so many Consecrations to God, or Talents for the Improvement of which he is accountable to him. The Glory and Honour of God, the Good and Edification of the Church, is that to which they are to be ultimately and at all Times referred. And this is here recorded to the everlasting Honour of King David, with respect to his religious Improvement of his extraordinary Poetical and Musical Abilities. Which hints a severe Reproof of the Licentious Poesy and Music of the present Age.

FINALLY, He was a SWEET Psalmist; in both the former Respects, even of his Music and his Poesy. And this is what must come under a more large and distinct Con|sideration. We are now therefore to discourse of Divine Music, and Divine Poesy: The latter relates to the Sub|ject matter of the Song, the former to the Manner and Form of the Tune, to which it is to be set or sung. Wherefore

1. MUSIC considered alone and in it self, is a sweet and pleasant Science. The Charms of Music are a most cele|brated Subject among the best Writers. And they are so various and so sweet, that it is equally impossible to num|ber them, and sufficiently to admire them. There is scarce any thing in the whole Creation of God, so wonderful and astonishing, as the Doctrine of Sounds and Harmony. We shall attempt a Discourse of the Sweetness of Music under the two following Heads.

• 1. MUSIC is in its own Nature sweet and pleasant.
• 2. IT is sweet and pleasant in the various Effects it pro|duces in the Souls of Men.

1. MUSIC is in its own Nature sweet and pleasant. There is a twofold Sweetness and Pleasancy of Sounds and Mu|sical Notes, according to the best Writers. There is, in the first Place, a Natural or Physical Sweetness in the Notes of Music. When a single Voice or String of an Instrument so equally and justly vibrates the Air, as to give forth a Sound agreeable to the Organ of the Ear. Being free

from all Jarr or Asperity, it strikes the Auditory Nerves in such Manner as one Unison String percuss'd or strook, causes the other to shake and tremble. When the external Air is thus vibrated, the same or a like Vibration is effe|cted in the internal Air reposited in the Cavity of the Or|gan, and this communicates its even and just Motion to the Nerves aforesaid. In this Sense, even the unaffected chirping Notes and smooth Warbles of the very Birds of Heaven, those * 1.1 Idle Musicians of the Spring, who are by their Creator, the Author of all Music, inspired with an harmonious Instinct; I say, in this Sense, even their art|less Lays do serve to please and recreate us.

BUT then Secondly; There is a Mathematical Sweetness and Pleasancy in Sounds. This is no other than the Doc|trine of Concords, to which there are required more Sounds than one, so proportioned and distanced in certain Inter|vals, as to create a pleasant Harmony and Agreement. The Pleasure arising from this Mathematical Sweetness or A|greement of Sounds, is a more Intellectual Pleasure; that from the Physical Sweetness, a more Sensual. Hence not only all Men, but the very Brutes too are capable of re|ceiving a Delight in a single pleasant Sound or Voice, but none of the Brutal Race, nor all of the Humane are capa|ble of relishing the Melody arising from the harmonious Agreement of a Diversity of Sounds. This requires a tuneful Soul, as well as a good Ear. As a late Anony|mous Poet well expresses it—

For Man may justly tuneful Strains admire, His SOUL is Music, and his Breast a Lyre. Music the mighty Artist, Man can rule, So long as that has Numbers, he a SOUL.

HERE let it be observed, that the Lowness and the Height of Sounds in the Gamut or Scale of Music, is not caused by the Strength and Force, but the Frequency of the Percussions, Strokes, or Tremors of the Air.

And when the Numbers of Tremors or Percussions of the Air caused by two Sounds, are proportionable, there is an harmonious Agreement of those two Sounds; but if disproportionate, a Discord is produced. Thus an Oc|tave or Eighth to a graver Sound, gives the Air two Percussions or Tremors to the others one. So they coincide every other Tremor; and one to two is propor|tionate. The like may be said of all other Chords. A Unison, or two Notes on a Pitch, is when two Sounds give the Air an equal Number of Pulses or Strokes, and therefore so coincide in every Pulse, as to become but one and the same Sound.—So that the Proportions that please the Eye in any Visible Objects, are found to please the Ear in Audible Objects. And when two Concordant Notes of different Heights are Sounding, were the Sight of our Eyes so strengthened and rendred so acute, as that we could accurately inspect and discern the Particles of vibrated Air, we should see the Tremors, or Vibrations of the Air proportionate in Arithmetical Numbers.—But while I am thus wading in the depths of Philosophy, I had almost forgot the chief Thing I first aimed at, when I mentioned the mathematical Sweetness of Sounds, and that is as follows.

THE Music of the Temple, as it was under the Ma|nagement and Direction of our Sweet Psalmist of Israel, was a Chorus of Parts. The Singers and the Players upon Instruments, were divided into THREE Sets or Quires. One for the Bass, another for the Medius or inner Parts; the third for the Trebles or Altus's. Mr. Ford, in his Preface to his Exposition on the Psalms, has done to my Hand, what I might have attempted; even to prove that Music in Parts (in spight of popular Ignorance) is as An|cient as the Times of holy David.—I shall translate in|to this Sermon, what he says upon this Head.

THE Modulation (says he) of the Voice only, or upon an Instrument only, or both together, (Psal. 71.22. and 98.5. and 33.2, 3. and 147.7. and 149.3. and 57.8, 9.) was generally and for the most part performed in three

Parts, according to the Number of Concords in the Octant For a Tone or Sound is either

• 1. Low, which is Grave, and is called the Bass. Or
• 2. Middle, which is commonly called the Medius, or Tenor. Or
• 3. High, which is called the Alt.

THESE with their Octaves and Variations, comprise the whole of all Music, and all of them were sound in their Worship. [Sheminith] A Noun Adjective Feminine, signify|ing [an Eighth] is used to design or signify the Eighth Voice, or Eighth Tone in Music, or Eighth Modulation of the Voice, which in descending may be called the lowest Tone. Therefore Tremellius and Junius render [hhal hassheminith] 1 Chron. 15.21. Psal. 6.1. By these Words, [To a grave and low Symphony] that is, to a Bass Note and Key. And be|cause in 1 Chron. 15.21. [becinoroth] or [with Harps] is added, we may gather thus much, that Ethan or Jeduthum lead upon the Bass, or had the Regulation of the lower Parts, and that the Bass was play'd upon that Instrument. And therefore he was the Master and Moderator of that Part, which we call the Bass, or at least of something analogous to it.

2. [Hhalmah] A Noun signifying the Age of Virginity is used in the Plural Number for a Musical Tone or Sound at the Heighth of a Female Voice, which is an Octave above that of a Man. Wherefore [Hhal hhalamoth] 1 Chron. 15.20. Psal. 46.1. [With Psalteries on Alamoth.] Junius and Tremellius render [To an acute Symphony] or to the Alt. Now, since these Tunes upon Alamoth were play'd upon the Psaltery, and since it is as certain, that this Part is assigned to the Son of Corah, it may be concluded, that Heman was the Master and Moderator of the Altus or high|est Part. * 1.2

3. Asaph therefore was the Master of the Medius or mid|dle Quire, and the Instrument used by them was that of the Cymbal.

UPON the whole, this Author gives us a general Rule of judging to what Part and Keys every Psalm was design|ed, from the Name of the Master of Music, from the In|strument on which it was to be plaid, or the initial Words of some other well known Divine Song in use at that Time; which the Reader may learn, if he diligently observes the Inscriptions, &c. of the Psalms, and compares them with what has been said above.

BUT it is Time to pass on to the Second Particular, which is,

2. MUSIC is sweet and pleasant, if we consider the vari|ous Effects it is capable of producing in us. There is some|thing in Music, which is congenial to the Soul, and which for this Reason makes a ready Passage into its in|most Recesses. It has a Power to strike it after the most agreeable Manner, and to affect it with the Sense of a strange and admirable Pleasure. There is a certain secret Sympathy between the Soul and Harmony, which made a Philosopher mentioned in the Margin, define it, An Har|mony. Verily, the Joy arising hence is truly refined and sublime! The ingenious Cowley well expresses the Powes Musicians may exercise over Men:

Thus they our Souls, thus they our Bodies win, Not by their Force, but Party that's within. So when two Brethren Strings are set alike, To move them both, but one of them we strike.

BUT let us come to the Theological Consideration of the Point, and shew the blessed Influence and Effects of Harmo|ny upon the Soul, as it is helpful to Devotion, either to excite, assist, promote or preserve it.

1. IT creates a most Hessed Serenity and quiet Calm in the Soul of the Worshipper. He that would worship God a|right, ought to possess a quiet Mind, free from the Dis|turbance and Agitation of Passions. So when the Soul of holy David was disquieted in him, he knew not how to apply himself to the sweet Exercise of Singing in the Tem|ple. Psal. 42.11. and 43.4. His Thoughts within him were tumultuous, and various Passions haunted his Breast, while he was revolving in his Mind the Oppression of the Enemy, his Absence from the House of God, and other afflictive and distressing Themes; he became hereupon wholly unfit for religious Exercises. So the Jews in the Babylonish Captivity hung their neglected Harps upon the Willows, when they remembred Zion, and their once glo|rious and happy State, amidst the Insults of their barba|rous Enemies. Say they, How shall we sing the Lord's Songs in a strange Land? Psal. 137.4. Which is a sure Proof how driving Passions, such as Anger, Grief, Hatred, Fear, &c. do ruffle the Soul, and wholly indispose it to the Exercises of Religion and Devotion. Any further Proofs from Scripture are needless. All that I shall Remark up|on these Instances is this, when they were so unfitted for Devotion, as that they had not the Inclination or Power to play upon their Harps, their very Harps, 〈◊〉〈◊〉 they used them, would have been their Cure, and have allayed the very Passions, which forbad them to play.

LET us now consider the Ch••••••s of Music; how do they soothe the Soul to Rest, and reduce it to an heavenly Quietude and Temper! How do they allay the turbid Passions, and chace the Disturbers out of our Breast! Music has a natural Tendency to this. For as it is capable of being so ordered, as to raise and increase tumultuous Passi|ons in the Soul; so no less to allay and quiet these Dis|orders. The Story of Timothous, who with his Harp chang|ed the Temper of Alexander, as often as he pleased to

change his Notes and Keys; either * 1.3 to swell his Soul to Rage, or enkindle the softer Passions, or to lull it into a total Calm. The Stories also of Pythagoras, Asclepiades, and others mentioned by Gronovius and Kircher, are a full Proof of the Power of Harmony, either to raise or to calm the Passions. The Thracian Orpheus taming wild Beasts, and disarming them of their Fury, is, if we moralize the Fable, † 1.4 no other than his subduing the fierce Tempers and Passi|ons of that brutal and savage People of Thrace, reclaiming them to Civility, and making them Manageable by his Music.

BUT if Music alone can by its natural Force and Charms work these Effects, what may not Divine Harmony, under the Influence and Co-operation of Heaven, be able to pro|duce in the Soul of the Worshipper! Psal. 43.3, 4. Send forth thy Light and thy Truth; let them bring me to thy ho|ly Hill, and to thy Tabernacles. Then will I go to the Altar of God, unto God my exceeding Joy: (or the Gladness of my Joy) Yea, upon the Harp will I praise thee, O God, my God!

2. MUSIC is of good use to suspend and cure the evil and malign Influences of Satan on the Soul. Besides our natural Passions, which are oftentimes turbid and troublesome, and so do unfit the Soul for Devotion, Satan may be permitted to interpose his Agency and Influence, to increase and heighten these Disorders of the Mind. When we give way to sinful Passions, Satan finds an easy Passage into the Soul. He usually makes his Entrance thro' a Storm, and like a true hater of Peace and Harmony, takes a malicious and cruel Pleasure, in his Mansion of Discord and Uproar. Had we not upon Sacred Record the Instance of Saul, &c. I believe we need not go very far to seek Instances enough of Persons agitated and acted by the Furies of Hell. But to go no farther than that of Saul, 1 Sam. 16.14. The Spi|rit of the Lord departed from Saul, and an evil Spirit trou|bled or terrified him. His Servants gave very proper Advice

in this Difficulty, &c. That a sweet Musician or Harper should be found to play before the King upon his seizure with the satanical Paroxism. Ver. 23. And it came to pass, when the evil Spirit from God was upon Saul, that David took an Harp and played with his Hand; so Saul was re|freshed and was will, and the evil Spirit departed from him. His Terrors vanished, the 〈◊〉〈◊〉 fled precipitant from the Harmony, and his burdened Hand strait grew easy and sweetly composed. An heavenly Light darted into his Soul, and all was calm and bright, serene and joyous. Or to use the Words of the sweet Cowly,

—His Harp did Saul's wild Rage controul, And tune the barsh Disorders of his Soul.

What the Hyperbolizing Pindar said to his Harp,[Ton aicmaton keraunon shennucis] thou quenchest the raging Thun|der, may with much better Justice be ascribed to the Harp of David, which wrought mightier Essects and more amazing Feats, which could still a louder and more angry Thunder than that of the Firmament, and silence and put to flight a raging Damon.

BUT it must be Music with the Consort of the holy Spirit, even the religious Music of the Soul, joined with that of the Voice, which must work these blessed Effects in the Soul of him, who is preparing himself to call upon God, and to approach him in the Exercises of Devotion, and holy Communion. When these go together, not only does the evil Spirit depart, and cease to disturb us (as in the Case of Saul) but the holy Ghost, that heavenly Guest will return, and inspire us and fill us with all Joy and Consolation. That Music is of use in this Matter, not only to cure the evil Influences and malignant Impressions of Satan, but also to prepare our Souls for the Entrance of 〈◊〉〈◊〉 holy Ghost into this his spiritual Mansion and living Temple may be argued from the Manner of Prophesying used by some of the Prophets. Thus Elisha, 2 King. 3.15. But now bring me a Minstrel, and it came to pass, when the Minstrel played, that the Hand of the Lord came upon him.

The Note of Tremellius and Junius * 1.5 is very just and good. By the help of this Music, the Soul of the Prophet, just be|fore discomposed and roiled at the sight of the wicked King of Israel, was composed and calmed, and so prepared to de|liver the heavenly Oracle; and they that heard it were by its Sweetness better prepared for the Reception of it. And those Words, The Hand of the Lord came upon him, the forementioned Expositors, by a Metonymy, interpret of the Prophetic Exergy and Rapture, into which the Prophets were cast, when the Spirit visited and took Possession of them; in a Word, the Gift of Prophecy. And here I can|not forbear transcribing the Words of Bishop Beveridge upon this Subject of Music, which may at once illustrate this and the following Head. Says he, § 1.6

Music exercises at once both my Body and my Soul, &c. it calls in my Spirits, composes my Thoughts, delights my bar, recre|ates my Mind, and so not only fits me for after Business, but fills my Heart at the present with pure and useful Thoughts; so that when the Music Sounds sweetliest in my Ears, Truth commonly flows the clearest into my Mind. And hence it is, that I find my Soul is become more Harmonious, by being accustomed so much to Har|mony, and so averse to all manner of Discord, that the least jarring Sounds either in Notes or Words, seem ve|ry harsh and unpleasant to me.

THAT there is (says he) something more than ordi|nary in Music, appears from David's making use of it, for driving away the evil Spirit from Saul; and Elisha for the bringing the good Spirit upon himself. From which I am induced to believe, that there is really a sort of secret and charming Power in it, that naturally dispels from the Mind, all or most of those black Hu|mours, which the evil Spirit uses to brood upon, and by composing it into a more regular, sweet, and docible Disposition, tenders it the fitter for the Holy Spirit to work upon, the more susceptive of Divine Grace, and

more faithful Messenger, whereby to convey Truth to the Understanding, &c.— My Spirits are thereby made the more nimble and active, and by Consequence, the fitter to wait upon my Soul, and be employed by her, in whatsoever Business she is engaged.

THUS far he; and this is not the only Instance of the Use of Music in Prophesying; (which Word, by the Way, is not to be restrained to what we call Prediction, or the foretelling future Events by the Revelation of the Spirit of God, but comprises also in its Meaning, the Power or Faculty of uttering any sort of Divine Discourses, by vir|tue of an Impetus or immediate Power from the holy Spi|rit) I say, this is not the only Instance of the Use of Mu|sic in order to Prophesying. The forementioned Saul meet|ing a company of Prophets with their Music in the pro|phetical Exercise, is a further Confirmation of the Argu|ment before us. 1 Sam. 10.5, 6. After that, thou shalt come to the Hill of God, where is the Garrison of the Philistines, and it shall come to pass when thou art come thither to the City, that thou shalt meet a company of Prophets coming down from the high Place, with a Psaltery, and a Tahret, and a Pipe, and a Harp before them, and they shall Prophesy. And the Spirit of the Lord will come upon thee, and thou shalt Prophesy with them, and shalt be TURNED INTO ANOTHER MAN.

BUT to have done with particular Instances, let me add, that not only single Persons have occasionally made use of Music, as a fit preparative for the Reception of the Spirit of God, but the stated Quires of the Church of Israel in their Ordinary Worship, proposed no less Benefit from this divine Science, according to the Appointment of God. So the Sons of Jeduthun, Gedaliah, Zeri, &c. under the Hands of their Father Jeduthun, prophesied with an Harp to give Thanks and to Praise the Lord. 1 Chron. 25.3.

UPON the whole we may conclude, that Music is not only a Means provided by the God of Nature and the Au|thor of all Religion, to dispel and drive away the evil Influences of Satan, but also to prepare the Soul for the Reception of the Inspiration of the holy Spirit. Nor will

the Objection of any thing Typical or Extraordinary in these Matters take away the Use of that which then had a natural Subserviency and Tendency to produce these good Effects, and prepare the Soul for the sublimest Per|formances in Religion and Worship. But

3. MUSIC happily serves to fix the Mind upon religious Objects, abstracting the Soul from every Diversion. It sweet|ly sixes the wandring Spirit, making us retire within our selves, and be wholly employed in the present holy and delightful Exercise. It reduces the Mind to such a sweet Composure, as that all our Attention is fastened upon the Subject of our Devotion. This Fixedness of Soul is a ne|cessary Preparation for our Entrance upon any Religious Employments, especially those of the Temple. So we find holy David addressing himself to the Worship of God. Psal. 57.7, 8. My Heart is fixed, [or prepared; a fixed Heart is a prepared Heart.] O God, my Heart is fixed; I will sing and give Praise. Awake my Glory, awake Psaltery and Harp; I my self will awake early. Divine Music, under the Con|duct and Influence of the blessed Spirit, the Author of all inward and spiritual Harmony, is an effectual Remedy for those desultory, loose, and vagrant Frames of Spirit, which the most devout Christians oftentimes experience, and as often bewail. It collects the scattered Powers of the Mind, and so unites them, that the Soul with unwonted Vigour and Strength mounts as on the Wings of Eagles, pursuing the glorious Flight, till she is gotten beyond the View of mortal Things, and enters the holy of holies a|bove. Then is she rais'd and transported beyond the Limits of Time and Sense, and is seated in the Lap of Eternity; where she dwells upon everlasting Themes, and becomes a sharer in the sweet and uninterrupted Blisses of Angels and glorified Saints.

4. MUSIC is of good Use in Religious Worship, to excite and improve suitable and proper Affections, according to the Diversity of Subjects, about which it is employed. The God of Nature has, beside the Intellectual and Volitive Faculty, implanted in the Soul of Man, divers Affections and Pas|sions.

These are so many Ministers to the superior Powers of Understanding and Willing. And by Consequence, as these two are the prime Faculties of the Soul, which ought ever to be first in Exercise in our religious Approa|ches to the Divine Being, (the Intellect being the Power of spiritual Apprehension, Knowledge and Faith, and the Will the Principle of Divine Love, and all Devotion,) I say, as those two Faculties are primarily and principally employed in all religious Exercises; so these Affections and Passions be of subordinate Use, and are subservient to the same Designs of Religion and Devotion. For it was a gross Mistake in those Philosophers, who asserted them to be but the Foibles or Weaknesses of the Soul, and natu|rally Sinful. No, they are naturally and physically Good, and when they have been endowed with the Sanctification of the Holy Ghost, they are of great and noble Use in Religion. This may serve to illustrate that of the Apostle Paul, 1 Thess. 5.23. where he prays, that the God of Peace would sanctify them wholly, and preserve their whole Spirit, Soul and Body, &c. That is, not only the superior Powers of the Mind, such as the Intellect and Will; and the infe|rior and mechanic Powers of the Body; but also the passio|nate and affectionate Part, which is of a mixt Nature, part|ly Animal and partly Spiritual. Now when these are sanctified, they become capable of a most excellent Use and Improvement in Religion, especially in all the devotionary Parts thereof. They are as it were the Wings of the Soul, whereby it is carried forth in all the Acts of holy Joy and Transport; Contrition and Mourning; Fervency and Zeal, and the like. But now what is more suited and adapted to excite and preserve these Affections in their due and proper Exercise, than Music and Harmony? Whether the religious Soul be wholly employed upon Subjects of Con|trition and Penitence, Sorrow and Mourning, Music can furnish it with melancholy and graver Ayres: Or, if it dwells upon Themes of Joy and Praise, the loud and sprightly Notes of the more chearful Keys shall raise the Soul to GOD, the Author of all good, and the Object of all our high Praises. And so of the rest. Wherefore we frequently find the sweet Psalmist of Israel sending his

Psalms and Odes to the Chief Musician, to be set to these or those Tunes then practised in the Church of Israel. And the Inscriptions and Titles of the Psalms do hint to us his Directions to the Master of Music in this Matter. Altho' the Tunes then in Use, and their Names and Keys are now to be reckoned among the Res deperditoe, lost in the Ruins of Antiquity.

BUT now we have been discoursing of Music, as it is able to excite and preserve proper and suitable Passions and Affections, and to assist the Soul in the due Exercise of them, agreeable to the Variety of Themes or Subjects about which it is conversant; we are by a natural Transition to pass on to the Consideration of Music in its Conjunction with Divine Poesy. Wherefore,

2. AS MUSIC in it self and seperately considered is Sweet, so much more does it deserve that Character, when considered in its Conjunction with DIVINE POESY. Music joined with Numbers is in a transcendent Degree Sweet, Kircher † 1.7 in his Book intituled, The great Art of Concord and Discord, among the Four Things requisite to move and affect the Soul, reckons that as a principal one, viz. efficacious and pathetical Words joined with the Harmony or Music. Thus the Phrygian Music, of which such migh|ty and wonderful Effects were boasted by Antiquity, was a sort of enthusiastic Harmony, or speaking Melody. Which tho' it is to be added to the Catalogue of the lost Sciences, yet is it in some Measure imitable, by suiting and adapt|ing Tunes to the Subject Matter of the Song.

HERE therefore in general a good Version of the Psalms is to be pleaded for, where moving Words and moving Sounds go together * 1.8. Dr. Woodford's Words in his Preface to his Paraphrase on the Psalms may be here recited, and if he speaks wrong, let his Fellow-Poets answer for him.

How miserably, says he, have the greatest Part of Translators been overseen, whilst all their Pains has been

bestowed to compose a few ill contrived Cadences, put|ting themselves to an unimaginable Torture to make those Conceptions intollerable by the straitness of Verse, which else might have done well enough in looser Prose. To them are we beholden for the low Esteem Poesy now has amongst us, tho' at the same time they have not only rendred that ridiculous, but humbled Divinity, which supplies the Poet with his noblest and most lofty Subjects. You may in the Psalms see Divinity flourishing upon the Root of Poesy, and that again load|ed with the generous Productions of Divinity: both so inseparably united each to other, that like Stock and Cyon they make but one Plant, and leave it hard to be judged, whether the Author were the greater Di|vine or Poet. And hence the: Title of Vates comprehend|ed both those sublime Functions of a Divine and a Poet.

Thus far he. * 1.9 And what he says, is much more moderate and tollerable than that bitter and sarcastical Expression of Cowly, ‖ 1.10 that such Translators seem to him to revile him worse than Shimei. But to have done with a Topic, which may incur Displeasure, I am bold to affirm, that there is no Prose so intollerable as ordinary Verse.

WHAT we are now more especially to speak to, is this, that if we descend to the particular Subjects of Divine Poesy, it will at first Thought be granted, that the Words and Matter of our spiritual Songs, suited and set to a pro|per Music, convey a wonderful Charm into the Soul of a religious Worshipper. The sweetness of these in their Conjunction is truly Ineffable!

To be brief;

EVEN Contrition and Sorrow for Sin, are sweet Subjects of Music to a penitent Soul. To confess our Sins in a Psalm, O how sweet is it! The Music gives a refreshing Vent to

our pressing Grief, and relieves the Agonies of the Mind. While the Soul is pouring out it self in the most melting Strains, it conceives the sense of the Love of God, and the assurance of a Pardon and Interest in his Favour. The kindly Contrition is mixed with an holy Joy thro' the Love of God shed abroad in the Soul!

AGAIN, The Themes of Sorrow and Mourning thro' Losses and Trouble and Afflictions, may by a good Use of Music, and Psalms, be converted into the most glorious Strains of Piety. The Vanity of the World and all its fading Joys, the tos|sing Inquietudes and bitter Crosses of a Christian, as they ought not to hurry him into a criminal Anxiety or Mur|muring, Discontent, or Diffidence; so he can calmly turn them into a Song. And as he believes there is an Harmony of Justice Wisdom and Mercy in all the Dispensations of Providence, how discordant and uncouth soever they may appear, so his Soul and his Voice afford you a lively Em|blem of his sweet Resignation to, and harmonious Acqui|escence in them.

BUT to proceed; The Precepts of our Duty are a fit Matter for a Psalm, and O how sweet is it with holy Da|vid, to make the Statutes of God our Songs! ‖ 1.11 Holy Re|solutions and pious Vows sent up to Heaven in the plea|sant Conveyance of Music and Psalms, O how Sweet is the Exercise! Nothing can more engage and dispose the reli|gious Mind to the Performance of those Vows, than this sweet Manner of Uttering them. * 1.12 Thus to make Religion and the Laws of God the Theme of our Songs, argues an enlarged Soul running with Vigour and Alacrity the Ways of his Commandments! With an holy Chearfulness and a certain Strength of Joy he sings, O how do I love thy Law, it is my Meditation all the Day; thy Testimonies are Wonderful, therefore doth my Soul keep them! † 1.13

Once more, OUR Prayers are sweetly and gloriously con|veyed to Heaven in the Chariot of Music and Praise! when we turn our very Supplications into Joy, thro' a strong Faith and Assurance of an Answer. When we sing the Promises, the Benefits, the Mediator, and the God of the

New Covenant, and mix a grateful Variety of Praise and Prayer. Such a Saint, is he in Heaven, or is he on Earth? Indeed the Matter of his Song is Prayer, and so belongs to one on this side Heaven; but his Soul and his Voice would make you think him actually there, in the full Possession and Fruition of what he is praying for!

LET me add; The Triumphs of the Redeemed are best sounded forth in the Song; of Zion! † 1.14 Their glorious Victo|ries over Sin and the World, Death and Hell, thro' the Blood of the Lamb; as on Earth they begin these Songs of Triumph, and raise their Notes in Proportion to the Progress and Greatness of them; so when in Heaven they shall commence perfect and compleat Victors, they shall tune their Harps to loud and everlasting Strains of Joy!

Finally, ADORATION and Praise of God the Father, Christ the Redeemer, and the holy Spirit the Sanctifier of the Church, and the Applier of Redemption to it, are a sweet Song that shall never have an End! The Perfections, the Bounties, and the Grace of the Everliving JEHOVAH, Fa|ther, Son, and holy Ghost, the Fountain of all Good, and Life and Happiness, are inexhaustible Themes of Praise. CHRIST the Redeemer, the glorious and incomprehensible God-Man, the Sacrifice for the Sine of the World, the Pur|chaser and Sender of the HOLY GHOST, the glorified Head of the Church, and the Author of Eternal Life to all that believe, are a Subject of everlasting Hellelujahs! * 1.15

EVEN the Mercies of common Providence ought to fill our Mouths with the Praises of God; but the vast and infi|nite Bequests of the Kingdom of Grace, and the Hopes, Pledges and Foretasts of the Blessings of the Kingdom of Glory, O, how should they rouse and constrain us to call upon our Souls and all within us, to bless and praise his holy

Name, and upon our Glory, (that is, our Voice) to awake and join in the eternal Consort!

O how sweet, how sweet is Praise! How pleasant and † 1.16 comely to sing to our God! While I have Breath, O Lord, my God and my Redeemer, I will employ it in celebrating thy Name and thy Praise!

BUT it is high Time to pass to the Second Thing to be observed in the Text, which I must but just touch upon, and which I wish were to be enlarged upon by a better Pen.

II. LET us consider the Honour done to David the sweet Psalmist and King of Israel, in this Record concerning him. The Mention of him as the sweet Psalmist of Israel, and the Tradition of this his Character to the latest Ages of Time in the History of Scripture, is to be reckoned among none of the smallest Honours done to this Man of God. Here

1. GOD himself has put a great Honour upon him in this Record. And he is most assuredly the best Judge of Ho|nour; yea, he is the Fountain from whence all true Ho|nour derives; and his Approbation and Testimony is the highest Dignity that can be conferred upon Mortals. God himself has here made his Name, as a sweet Singer, vene|rable and great, by allowing it a Place in his own Word and Oracles, which are the Register of the Worthies of Israel.

BUT this is not all the Honour done to King David, and so to all that have improved themselves in this Divine Art of Music and Psalmody, that he is there mentioned with Applause and Respect; but the Manner of this Record is a very honourable Circumstance. This Part of his Cha|racter seems to be put upon a sort of Parity with his Re|gal Dignity and Imperial Glory. The Man who was raised on high, the anointed of the God of Jacob, THE SWEET PSALMIST OF ISRAEL! The sweet Psalmist of Israel, and the anointed of the God of Jacob, are not unworthy of one another. The great Services this Man of God per|formed for the Church in the Capacity of a Psalmist, are

esteemed worthy to be enumerated with the Kingly Ho|nours conferred upon him by the God of Heaven, and the glorious Administration of his Kingdom. Nor is King David the only Person to whom Heaven has done the Honour of a Record in the Lists of Fame: The Scriptures afford us such a Number of these Instances, as the Time would fail us to mention Ever from Ju|bal the Father of all such as handle the Harp and Organ, to ‖ 1.17 the hundred and forty four thousand, who sung before the Throne a new Song, and could learn to play upon there Golden Herps. Moses and Miriam, Asaph and Haman, and a Multitude of those who excelled in this sweet and heavenly Skill, are honoured by God with a Record in his Word. But to conclude this Head, Not only in this World will God put all possible Marks of Respect and Honour upon them; but in the other he will ap|plaud and reward them before Men and Angels; exalt|ing them into the highest Quires of them that sing the Praises of God to all Eternity.

2. THE Church of Saints and Angels will honour them. The Saints revere them as Leaders of the Quire, and do not fail to make an honourable Mention of them, as Restorers of the Worship of God, the Promotion and Perfection whereof lie very near their Hearts. Upon the Consideration of these their Services to God and Religion, their Names are not only had in Respect by the Churches of Christ while they live, but shall be had in Remembrance, and diffuse a sweet Odour, be as an Oyntment poured forth, to all Posterity. The Churches shall bless them after they are dead and gone, and re|member all their laudable Essays to render their Worship of God, sweet and beautiful, orderly and edifying. Then shall it be said of the Church, This and that Man was born of her, who excelled in the heavenly Exercise of Music and of singing of Psalms. These were they who first taught us to sing the Songs of Zion, and after the best Manner to chant forth the Praises of our God! Thus do the Church

of Saints honour them, as they are an Honour and Orna|ment to the Church.

YEA the Church of Angels, who always rejoice in the good Improvements of the Church on Earth, conceive no small Delight and Satisfaction in the Essays of the Chil|dren of Men to imitate their Hallelujahs, and bring them as near as possible to the same heavenly Perfection. They being Witnesses of our Worship, and ever present in the Assemblies of the Saints, are highly gratified to behold us striving to bear a Part in their Quire. They look up|on us with Honour and Respect; and as by the Gospel we are brought to join * 1.18 the innumerable Company of An|gels, that sing the Praises of God; so the Day is hasten|ing, when they shall not disdain in the fullest Consort to unite with us in sounding forth the Songs and Melodies of the heavenly Zion: taking us into an everlasting Part|nership in their caelestial Music and Harmonies.

FROM the whole we learn the Honour due to a sweet Psalmist, and which God and Saints and Angels shall pay them upon the score of so fine and religious an Accom|plishment. Let me only observe here, that as not only the greatest and most worthy Persons mentioned in the Scripture History were fond of this Skill, and esteemed it none of the smallest of their Acquisitions and Honours; so also great Men of all Ages have had this Science in Ve|neration. Among the Heathen, as Quintilian informs us † 1.19, Men most famous for Wisdom, yea and of the severest Mo|rals, did in no small Measure cultivate this Divine Art. Such were Pythagoras, Socrates, Plato, &c. Yea says he, not only the greatest Philosophers and wise Men, but Princes and great Captains did not disdain to play upon Musical Instruments, and sing to them with their Voices. Such were Lycurgus and others which he there mentions.

BUT what is more to our Purpose, there have not been wanting (as History informs us) Instances of some of the greatest Princes that have ever been in the Christian World, as well as the Pagan, who had this Art in the highest Esteem and Honour. Witness the great Names of Constan|tine, Theodosius, and Justinian, Charles the Great, and others. Some of which have composed Hymns of Praise to Christ, and all of them were famous for their Performances of Music in the Assemblies of the Christians. Not to mention any of a more modern Date, who have not thought it beneath their Grandeur, but to be their truest Glory, to be lifted and numbered among the Singers of Israel!

THERE remains still One Exemple more of a Sweet Psal|mist, which is so great and so glorious, that it is impossi|ble Music and Psalmody should derive any further Honours from its Professors and Admirers, than what it has from His Practice and Approbation thereof, and that is our bles|sed Lord and Saviour JESUS CHRIST. Of whom it is re|corded by some of the Evangelists, that at the Institution and Celebration of the Eucharist or holy Supper, He ‖ 1.20 sang an Hymn with his Disciples. I have often thought how melodiously and divinely Sweet, that blessed Man, who was more than a Man, and who knew all the infinite Va|rieties, and even unsearchable Melodies, that lie hid in the Nature of Sounds, performed his Part in the Consort. And then how suddenly and insensibly are we rapt and carried away in our Thoughts to Heaven, to behold him there at the Head of the immortal Quires of the Saints and An|gels above!— But the Theme is too Sublime, the Thought too Vast to be indulged by a mortal Quid, and it is not lawful to utter freely upon it; deserving rather to be adored in profound Silence, than to suffer thro' our rude and unhallowed Essays to describe it!— All I shall add is this, Behold the Son of God as a sweet Psalmist, and allow the Character from henceforward to be truly great and honourable!

BUT we must hasten to make a brief Application of the Words.

APPLICATION.

USE I. WHAT a pity and what a shame is it to abuse so sweet and heavenly an Art to the base Ends and Designs of Impiety, Vice and Debauchery! To commit such a Sacri|lege, as to prostitute our Glory ‖ 1.21 to the Devil, and serve the Interests of Hell thro' the Means of this heavenly Science! Verily, Such Music shall finish in everlasting Weeping, Wailing and Gnashing of Teeth!

USE II. HOW ought we to labour after the Character of holy David. I hope and trust, My Brethren, that your good Exemple will in this Regard, be of good Influence to the Churches of Christ in this Land, that they may also use all possible Endeavours to restore banished Music to its ancient Seat in the Temple of God. That they may be stirred up and encouraged to come into this noble and pious Design of rescuing the divine Science of Psalmody from all the Disadvantages and Encumbrances, it now la|bours under, and of reducing it to its primitive Form and ancient Perfection. All compleatly conducive to Decency and good Order, and in the End to the Glory of God.

SIRS, Consider God will honour and bless you. For they who honour God, he will honour them * 1.22. They who have been much employed in advancing the Glory of God, and the Edification of his Church, shall never want Testimo|nies of Respect and Honour from him.

AND the Churches of our Lord Jesus Christ, and the Angels above will honour you; your Names shall be pre|cious and sweet with them. And, as we said before, we that are truly sollicitous and careful to excel in the Per|formance

of our Part in the Songs of the Temple here on Earth, viz. to improve in the external and mechanical Skill of sweetly modulating the Voice, and the internal and spi|ritual Skill of true Devotion of Soul, shall not fail of an exalted Seat in the glorious Choirs of Heaven.

WHEREFORE, let us above all labour after the inward Harmony of Piety and Devotion of Mind. Studying to make Melody to the Lord in our Hearts. In the harmo|nious Vehicle of our Voices sending up to Heaven the inward holy Sentiments and Dispositions of our Souls. Such an Agreement of ‖ 1.23 Heart and Voice is a sweet Sym|phony in the Ears of God, and with such Sacrifices of Praise he is well pleased!

USE III. Last. WE may from the Doctrinal Part of this Discourse infer the infinite Sweetness of the Songs of the heavenly World. The Ecstasies that our hoarser Har|mony here below is able to cast us into, are well known; but O the Perfection of the Songs above! O the ineffable Sweetness of the Anthems sounded forth by Saints and Angels! What mortal Tongue can describe them! Who in the present State of Imperfection can conceive the ra|vishing Echoes of their Music!

THERE the Saints shall be possessed of Bodies, and bodily Organs, which shall be perfectly fitted and adapted to all the Designs of Harmony and Praise. This glorious Ad|vantage shall accrue to them from the Resurrection of the Just.

THERE also shall they be endued with bright & enlarg|ed Minds, to indite Words which it is not possible for Man in our State of Darkness and Mortality to utter. Mysteri|ous Themes! Incomprehensible Music!

THE God of all Grace grant, that You and I may another Day hear and join them! That we may experimen|tally know what is past our present Comprehension; That we may faithfully perform our Part in the Songs of the Church here below, and at length may be introduced into the eternal Temple of God above, to sing his Praises for ever and ever!

O, Let every Thing that hath Breath, praise the Lord! While I live will I praise the Lord; I will sing Praises to my God while I have a Being! AMEN.

FINIS.

Notes

• * 1.1

  Lord Roscommon's 148 Psalm.
• * 1.2

  I know not why the Opinion of Pythagoras being the first, that in Opposition to Aristoxenus, reduced the Scale of Music to the Measure of the Octave, may not from hence be refuted; and why we may not suppose, that, since learned Men have fully prov|ed the Derivation and Stealth of all Arts and Sciences from the Jews to the Gentile Philosophers, this among other Pieces of Learn|ing, came to Pythagoras the same Way. And without doubt the Divine Music performed to Jehovah in his Temple, was in a great Measure by Divine Inspiration, as well as the Architecture of the Tabernacle (in it self a more Mechanical Part) was in Model and Idea given to Aholiab and Bezaleel. Exod. 31.3. I have filled him with the Spirit of God, in Wisdom and in Understanding, and in Knowledge, and in all manner of Workmanship.
• * 1.3

  Dryden's Ode.
• † 1.4

  Dictus ob hoc lenire Tigres, rabidosqe Leones. Hor. Ars Poet.
• * 1.5

  Vid. Jun. & Tremell. in Locums. P. 182. N. Eng. Edition.
• § 1.6

  Private Thoughts.
• † 1.7

  Vid. Kircher. De Arte Magna Consoni & Dissoni.
• * 1.8

  Vid. Quintilian Inst. Orat. Lib. 6. Cap. De Divisione affectuum & quo|modo movendi.
• * 1.9

  Now we are on the Head of good Words joined with good Mu|sic, let me take Notice of a very great Fault in our Version of the Psalms, observed to me by a Minister once in a private Con|versation: Said he, How ill that grave and mournful Psalm 137. suits with the Metre, which is a perfect Set of Jingles.
• ‖ 1.10

  Preface to his Pindaric Odes.
• ‖ 1.11

  Psal. 119.51.
• * 1.12

  Psal. 116.12. to the End.
• † 1.13

  Psal. 119.97.129.
• † 1.14

  Psal. 97.8. Psal. 146. and 147.12, 13. and 148.14 and 149. Psal. 14.7. Isai. 52.7, 8, 9. and 51.3.11. and innumerable other glorious Prothesies of the Victories of the Church.
• * 1.15

  Rev. 4.8. to the End and 5.9. to the End. A glorious Representation of the Quires and Antiphonies of the heavenly Wership, where they answer one ano|ther in the sweet Echees of the Praises of God and Christ. God grant me may one Day join them!
• † 1.16

  Psal. 147.1.
• ‖ 1.17

  Gen. 4.21. Rev. 14.1, 2, 3.
• * 1.18

  Heb. 12.22.
• † 1.19

  Vid. Quint Instit. Orat. Lib. 1. Cap. 16. De Mu|sica & ejus Laudibus. P. 69. Duces maximes & Fidibus & Ti|••iis ceriniss. ibid.
• ‖ 1.20

  Matt. 26.30. Mark 14.26.
• ‖ 1.21

  Psal. 57.8.
• * 1.22

  1 Sam. 2.3.
• ‖ 1.23

  Non Vox, sed Votum; non Musice Chordula, sed Cor: Non Clamor, sid Amor, psallit is Aure Dei.