Of sacred poetry and music. A discourse at Christ-Church, Cambridge, at the opening of the organ, on Tuesday, XXI August, MDCCLXIV. / By East Apthorp, M.A. Missionary at Cambridge. ; [Three lines from Quinctilian]

OF SACRED POETRY AND MUSIC.

EPHES. V. 19.

Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the LORD.

EPHESUS, a maritime city of Iönia, renowned for its opulence, commerce, and superstitions, was a place of the greatest resort of any in the province of Asia: and business, curiosity, or religion drew thither men of all cha|racters and conditions. In this idolatrous city, St. Paul un|dertook to plant the Christian Church* 1.1: and notwithstand|ing the great opposition he met with,

the word of GOD mightily grew and prevailed;

so that

all they which dwelt in Asia, heard the word of the LORD JESUS, both Jews and Greeks.

To such a mixture of converts from different nations, sects and superstitions, St. Paul addresses this Epistle; and, with consummate art and judgment, adapts his manner of writing to their peculiar circumstances. There being so

great a diversity in the former state and opinions of those, who had become his converts; some from Judaism, others from Idolatry; some from the schools of science and philoso|phy; others, who had been addicted to magic and the curious arts of Superstition: the learned and judicious Apostle every where adapts his address to their several manners and preju|dices; and labours especially, to combine in one body and in one communion, in the unity of the spirit and in the bond of Peace, men who had no common principle of union or cha|rity, but what they derived from their Christian profession. He illustrates this religious union by an allegory* 1.2 borrowed from the order and symmetry of the celebrated temple at Ephesus; an allusion, which must have made a striking im|pression on his converts, to shew the moral harmony and spiritual beauty, which results from the unity of the whole Church of CHRIST. In pursuing this topic of Unity, which is principally kept in sight through the whole Epistle; he inlar|ges, in the III first Chapters, on the transcendent privileges of the Christian Church, into which men of all nations and cha|racters were freely admitted, as into a school of virtue, and§ 1.3 'blessed with all spiritual blessings,' that in the dispensation of the fulness of times (a well known periphrasis for the re|velation of the Gospel) GOD might gather together in One all things in CHRIST: being chosen in him, before the foundation of the world, that they should be henceforth holy and without blame before him in love; predestinated unto the adoption of children by

JESUS CHRIST. In consequence of these general privileges of Redemption, in the latter part of the Epistle he exhorts them to walk worthy of the vocation, wherewith they were cal|led; and descends to many admirable precepts for the conduct of the Christian life in all its relations. That of the text, as applicable to the solemnity of this place and time, shall be particularly opened and enlarged upon. It is only so far con|nected with the context, as it is part of an address to the E|phesian converts, instead of their former vain conversation, to substitute manners becoming their new and holy profession.

Ye WERE sometimes darkness; but NOW are ye light in the LORD: WALK as children of light—See then that ye walk circumspectly, not as fools but as wise, redeeming the time:

that is, making up by an extraordinary diligence in Christian sanctification, for the time lost in a state of gentilism. He then exhorts them to temperance and sobriety, in oppo|sition to their heathen revellings; Be not drunk with wine, wherein is excess, or luxury and riot: and teaches them to regulate their mirth by the Christian standard.

But be filled with the SPIRIT, speaking to yourselves in psalms and hymns and spiritual songs, SINGING and MAKING MELODY in your heart to the LORD.

BY being filled with the spirit, the Apostle intimates, what he explains more at large in his Epistles to the Corinthians, that the Psalmody or sacred Poetry of the Christian Church was

then the effect of divine Inspiration; being one of the charis|mata or spiritual gifts of the HOLY GHOST: a gift of temporary use and continuance, like those of languages, miracles, and unpremeditated prayer. As such, they are plainly connected in that passage to the Corinthians; I will PRAY with the spirit, and I will pray with the understanding also; I will SING with the spirit, and I will sing with the understanding also* 1.4. In the same chapter, the Apostle speaking of the abuse of the gift of Tongues, and the regulation of it by the dictates of Reason, borrows an illustration from musical instruments, which seems to intimate the use of them in the psalmody of that Church† 1.5.

THE English Expression in the text, speaking to yourselves, does not, I think, convey the sense of the Apostle, or indeed any other good sense. Lalountes eautois or en eautois, is liter|ally, speaking between yourselves, that is, alternately, in the manner in which we recite our Psalms. This sense is well expressed in an invaluable Epistle of PLINY the consul§ 1.6; who gives this noble testimony of the Christian worship.

Soliti stato die ante lucem convenire, carmenque CHRISTO quasi DEO dicere secum invicem. They used to meet on a stated day, before light, and sing an hymn to CHRIST as

GOD, alternately.

The secum invicem of PLINY is the en eautois of the Apostle. This interpretation is confirmed by a parallel passage to the Colossians:† 1.7 Let the word of GOD dwell in you richly in all wisdom; teaching and admonishing ONE ANOTHER, in psalms and hymns and spiritual songs; singing with grace in your hearts to the LORD.

IN both places, this distinction of the sacred poetry into psalms, hymns, and spiritual songs, seems to be taken from the different kinds of poetic composition in the old testament, which are distinguished by these several titles. The psalm answers to the mizmor of the Hebrews; hymns, to their Te|hillim, or praises; and songs, to their Shirim or Odes. The epithet of spiritual either implies their being dictated by the HOLY SPIRIT; or their distinction from the profane and li|bertine songs, used in the heathen rites and festivities.

SINGING and MAKING MELODY in your hearts to the LORD—where the propriety of the words, adontes kai psallontes, seems to express both vocal and instrumental music. Of the first, there is no doubt of its having always obtained in the worship of Christians; the latter, as a matter of Fact, is not so certain, though, as a matter of right and lawfulness, it is clear enough from this and other texts, and from several ar|guments

which confirm this position. The words psallô used in this text, properly signifies to sing to an instrument; and is appropriated rather to the striking of chords, as in the lute or harp, than to the accompaniment of the voice. But the lawful use of instrumental music in our Churches, does not depend meerly on the argument drawn from this etymology: though without this appropriation of the words, singing to the voice, and making melody, to the instruments, the text will una|voidably labour with a distinction without a difference: an in|accuracy seldom to be found in the holy writings, wherein a more exact propriety of words, is, I think, observable, than in any other ancient books.

IT is well known that in the Grecian and Iönian cities, Music was so much in vogue, that a man was reckoned ill-bred, who could not touch an instrument. All their poetry, especially of the lyric kind, and in the rites of Religion, was accompanied with music: And universally among the anci|ents, poetry and music were inseparable* 1.8. From which we may draw a very probable conclusion, that the Ephesian con|verts were permitted by the Apostle to accompany their psalms and hymns, with such kinds of instruments, as were then in use: mere singing, without the grace of harmony and modu|lation by the lute or other instruments, being almost entirely unknown to antiquity.

HAVING thus commented on the text, I proceed to confirm this interpretation, by enquiring into the origin of Poetry and Music, and their application to Religion.

POETRY is the child of Admiration. Our nobler passions, when strongly excited by wonder and surprize, vent themselves in elevated sentiments and figurative language. Invention, Enthusiasm, and Sublimity of stile form the essence of Poetry† 1.9; and as these are connected most intimately with our ideas of the Divinity, Religion is the natural source of Poetry. Among the Greeks, (the most poetical nation in the world, except the Hebrews) the first efforts of poetry, were the praises of the gods, in hymns of thankfulness for fruitful seasons and the harvest or vintage. Among the Hebrews, the inventors of poetry, it had a still nobler origin, and a truer application: being always consecrated to Religion, and having never dege|nerated like that of other nations, to inferior purposes. The poetry of the Hebrews, being dictated by a real Inspiration, came to its perfection at once; and with the noblest enthusiasm and sublimity of stile and sentiment, has all the artifice of an exact though simple versification. The most ancient regular poems that are preserved entire in the scriptures, are those of Moses at the passage of the Red Sea, Exod. XV. and near the end of his life, Deut. XXXII. and perhaps the XCth Psalm.

But fragments of much greater antiquity are interspersed in the Pentateuch. It is particularly noted, that the song at the passage of the Red Sea was performed by chorusses of men and women; and accompanied with dancing and instruments.

AS the Poetry of Scripture makes so large a part of the Old Testament; I will offer a few observations on such books and pieces, as are strictly poetical, not only in the elevation of stile and sentiment, but in the cadence and versification. This every where consists of iämbic or trochäic measures, corresponding to the numbers and accent of our English poe|try: being not distinguished from prose, by the length or shortness of feet and syllables, but solely by the regular ac|cent, and harmonious cadence. The figures that most a|bound in the Hebrew poetry are the antithesis and the ple|onasm or climax. Most of the verses consist of two mem|bers, the latter of which is often an amplification or oppo|sition to the former; and is usually a key to the true inter|pretation of obscurer passages. This artifice in the compo|sition is one reason, that the fire and spirit of the Hebrew poetry cannot be extinguished in the most literal and prosaic version. Our own language seems very happily adapted to express, in a kind of measured prose* 1.10, the peculiar genius of Eastern poetry.

BESIDES the lyric poems of Moses, which were wrote 1500 years before Homer, we have in the Book of Judges. Ch. V. the triumphant song of Deborah and Barak, on the defeat of the Midianites. In this and several other pieces of the same character† 1.11, we may discern that generous spirit of liberty, that love of their country and hatred of tyranny, which the Greeks admired in the odes of Alcaeus‡ 1.12. In the first book of Samuel, we have the grateful song of Hannah, the model of the magnificat. The funeral elegy of David on Saul and Jo|nathan, breathes that martial and generous spirit, with which a brave man praises the bravery and friendship of those unfortunate princes.

DAVID is confessed on all hands to have excelled in every kind of Poetry, whether descriptive, plaintive, or sublime: and his Psalms have been the most instructive lessons of Piety, to the Jewish and Christian Church.

SOLOMON has allegorized in his Canticles, under pastoral images, the love of GOD to his Church and its Union with CHRIST: an interpretation countenanced by the whole analogy of Scripture‖ 1.13.

HIS Proverbs are a didactic poem, of very different charac|ters: the first part (ch. I—IX) splendid and magnificent, in the images and diction; suitable to the divine person, the Wisdom or Spirit of GOD, whose powers and properties are the subject of it. In the rest of the work, he descends to moral instructions, generally couched in sententious aphorisms, and sometimes interspersed with poetic ornaments.

IN this review of the Hebrew poetry, it would be unpar|donable to omit the book of JOB: which all agree to be the far noblest dramatic poem, that is any where extant; though there is a great diversity of opinions, both as to the scope and antiquity of it. It certainly has internal marks of very high antiquity; and has no allusions, either to the religion or policy of mankind, later than the Exodus, and the times of Moses. If I were to adopt any particular conjecture, con|cerning the design of it: besides giving an example of† 1.14 Virtue patiently contending with Adversity; teaching the doctrine of an§ 1.15 unequal Providence in this Life; and containing a com|plete idea of natural‡ 1.16 Religion: we may suppose the great Moral of it to teach us, that

Man cannot be justified, or accepted by GOD, merely on account of his own Virtues:

it being the fault of Job, which GOD reproves, to be righteous in his own eyes, and justify himself rather than GOD* 1.17.

Surely thou hast spoken in mine hearing, And I have heard the voice of thy words: "I am clean, without transgression; "I am innocent, neither is there iniquity in me* 1.18.

His Friends were faulty in denying or disputing the sincerity, and Job in pleading the merit of his virtues. To complete the great moral of the poem, to withdraw man from his pur|pose, and hide Pride from man† 1.19; some passages strongly point out the justifier of him which believeth‡ 1.20, the REDEEMER of mankind.

If there be a messenger with him, An interpreter§ 1.21, one among a thousand, To shew unto man GOD's uprightness; Then He is gracious unto him, and saith, Deliver him from going down to the pit; I have found a ransom. XXXIII. 23. 24.

AS the pride of virtue was the error and offence of Job; so his submission and humility reconciles him to GOD.

Wherefore I abhor myself, And repent in dust and ashes. XLII. 6.

IT would detain us too long from another topic, if we were to run over and characterize the several poems that occur in the writings of the Prophets. In ISAIAH (ex|clusive of that inspiration, which is above all comparison) we have all the majesty of Homer; in JEREMIAH, all the pathos of

Euripides; in EZEKIEL, the terrible graces of AEschylus: and in the short prophecies of JOEL, NAHUM, and HABAKKUK, all the pomp and rapture of Pindar. With what a martial ap|paratus is the GOD of Israel described, taking vengeance on kingdoms, and subverting empires! with what majesty, con|trouling his own creation!

The LORD hath his way in the whirlwind and the storm: And the clouds are the dust of his feet— The earth is burned at his presence. NAHUM. ch. I.

The chariots rage in the streets, They justle one against another; They seem like torches, they run like lightenings. ib. ch. II.

His glory covereth the heavens, And the earth is full of his praise— Before him went the pestilence— He stood, and measured the earth— The Sun and Moon stood still in their habitation; At the light of thine arrows they went; At the gleams of the† 1.22 lightening of thy spear. HABAK. ch. II.

MUSIC is among the earliest inventions of the arts of life: being assigned by Moses to one of the sons of Lamech: as the introduction of property [mikneh] is ascribed to another of the same race.

Jubal was the father [or, inventor of mu|sical instruments, and the teacher] of all such, as handle the harp and organ* 1.23.

It is impossible to conjecture what kinds of instruments these were. The Organ, as we term it, has a name ex|pressive of the charms of sweet and delightful sounds† 1.24. The first specimen of poetry seems to be those obscure metrical verses (for such they are) of Lamech to his wives, in the same chapter‡ 1.25. The harp and timbrel are often mentioned in the subsequent history. But the music as well as poetry of the Hebrews, seems to have attained its perfection, under that great master and patron of both, King David. The wonderful effects of his music on the evil spirit of Saul, which was probably a deep and rooted melancholy, shew that it was

'able to chase all sorrow but despair'.

TO judge of the improvements of this fine art, let us take a cursory view of David's regulation of it, for the service of GOD's tabernacle. In the books of Chronicles we find 4000 Levites, divided into courses, under 288 eminent masters, that were instructed in the songs of the LORD, appointed to praise the LORD with musical instruments of GOD‖ 1.26. These are some of them specified by name, such as psalteries, harps, cymbals, cor|nets,

trumpets, &c. from the number and variety of which, it is probable, that the Hebrew music was of great compass and harmony; suitable in majesty and grace, to the exquisite elegance and sublimity of their poetry. It appears from the CXXXVIIth psalm, that the Jews in their captivity were highly esteemed for their music by their Conquerors; and we read that 200 musicians of both sexes returned with Ezra from Babylon† 1.27.

NO nation seems more to have cultivated this art, than the Jews: though wonders are told us of the Grecian music, which was under the regulation of their Legislators, and of great influence on the public manners* 1.28; being adapted to inspire the noblest sentiments, and animate the citizens with a martial and patriot spirit. Besides these civil purposes, the Hebrews consecrated it in a peculiar manner to the worship of GOD. We find the Psalmists, especially David, on all occa|sions exerting, in the praises of GOD, the combined powers of Music and Poetry; whatever in harmony or song could sooth the ear, and kindle the heart to holiest raptures:

Awake, my glory, awake, lute and harp; I myself will awake right early. Psal. LVII. CVIII.

IN the CLth psalm he calls upon all nature, animate and in|animate, to praise the LORD; and on man, to praise him with the sound of the trumpet, with the psaltery and harp, with the timbrel and dance, with stringed instruments and organs, with loud and high-sounding cymbals. Let every thing that hath breath praise the LORD. Let all the powers of the soul, and that sense of harmony which GOD hath im|pressed on the ear, be employed in their utmost exertion, to celebrate the author of melody itself.

THE fine arts, not only of Music and Poetry, but those of Architecture, Sculpture, and Painting, the powers of Elo|quence, and every true expression of taste and genius, are all undoubtedly derived from GOD. This is as evident from Reason as from Revelation. There can be no instance of intelligence in man, but what is derived from an intelligent cause. In the Jewish worship, the Tabernacle and Temple, with all their rich ornaments; becoming those palaces of the KING of Kings, and the majesty of the Theocracy; were fi|nished on the models given by GOD himself. Yet an opinion seems to have taken deep root in the minds of serious persons, that what are properly called the fine arts, are almost incom|patible with the Christian life, and a heavenly temper. The reason of which hard censure is, I suppose, that these arts

have generally been so grosly perverted to the gratification of pride and luxury, and a profane voluptuousness. Thus, the noble powers of Poetry have been in many instances debased to the vilest purposes: Music hath been the attendant of re|velling and licentious excesses: Sculpture and Painting, in pagan and papal countries, have lent their aid to superstition and idolatry: Eloquence, Taste, and Genius have been pro|faned, to flatter the pomp, or varnish the deformity of vice. The abuse has in a manner desecrated all the arts of Ele|gance, and made good men piously averse to them. Yet in themselves, and under just regulations, they are friendly to virtue, and a source of happiness.

To retrieve the just esteem of the fine arts, by making them subservient to Religion and Virtue, is the truest appli|cation of taste and genius. Wealth, when it increases be|yond the wants and conveniencies of Society, if it is not vent|ed on the Elegant arts, will be perverted to the grosser plea|sures of vice and luxury. This seems to be the present case of England, where these arts are even necessary, to check or di|vert every species of corruption. But in our own Country, it must be discerned, that we are so far from that opulence, which demands the cultivation of the finer arts, that the more sparingly they are introduced among us, the longer shall we secure the simplicity and frugality of our manners. What we do attempt of this kind, cannot better be applied, than to the service and ornament of Religion.

IT is natural to object, that the arguments for splendour and elegance, in the buildings, music, and other decorations relating to Religion, being derived from Jewish institutions, are of no force when applied to the Christian worship. Yet there seems to be something not so easily abrogated in the immediate appointments of GOD himself: and those, not (like many of the Jewish rites) of temporary use and application, but suitable to the general frame of human nature; and no less apt at present, than in Solomon's temple, to raise in our hearts religious affections, and elevate the Soul to GOD.

WE find the prophet Elisha, when ruffled by his interview with the King of Israel, calming his troubled spirits with music: and when the minstrel played, the hand of the LORD came upon him* 1.29. Such should be the effect of sacred music in our churches; it should calm the agitations of our minds, it should compose our spirits, and lift up our hearts to GOD, in an holy chearfulness and serenity. GOD loves not a dull and melancholy spirit. Much of that dejection, we see in some religious people, is the sorrow of the world that worketh death; or is the effect of wrong apprehensions. We are commanded to 'Rejoice evermore.' Rejoice in the LORD always, and again I say, Rejoice. Phil. IV. 4. Much more might be alledged, to prove that the true Christian spirit, is a spirit of alacrity and chearfulness, of serenity and joy: a spirit, as dif|ferent from that dejection and stupid sadness, which good

men sometimes mistake for the temper of the gospel; as it is from the laughter of fools, which, like the crackling of thorns, is but a short-lived momentary blaze, that expires in a flash of mirth. The Christian temper is a perfect acquiescence and reliance on GOD, through CHRIST. To the faithful and vir|tuous this opens the happiest prospects; which, though some|times thrown into shades, every where brighten on the dis|tant view. The Faith, the Hopes, the Duties of a Christian support him in that calm, that peaceful, that delightful ele|vation of Soul, which, I suppose, is the immediate effect of re|ligious music, on those who attend to it with right affections.

MUSIC, when rightly applied, is a powerful aid to a devout and holy temper: it is as powerful, when misapplied, to ef|face every serious impression. How much then is it the duty of those, who practice this divine art in our churches, to re|gulate their performance by the purpose of it? and, instead of indulging themselves in any unbecoming levities of composi|tion or execution, to practice that grave and sober melody, which may compose and fix the mind in a serene and holy chearfulness; those soft and pathetic airs, which melt the heart to penitence; or those high and solemn strains, which raise the soul in adoration to GOD?

OUR incomparable HOOKER, in his laws of Ecclesiastical polity† 1.30, thus regulates the use and performance of sacred

music.

In church-music, curiosity and ostentation of art, wanton or light or unsuitable harmony; such as only plea|seth the ear, and doth not naturally serve to the very kind and degree of those impressions, which the matter that goeth with it leaveth, or is apt to leave, in mens minds; doth rather blemish and disgrace that we do, than add either beauty or furtherance unto it.—The faults prevented, the force and efficacy of the thing itself—is in truth most admirable.

THE same great author expresses, in very eloquent terms, the powers and application of this divine art.

Music hath an admirable facility to express and represent to the mind, more inwardly than any other sensible mean, the very stand|ing, rising and falling, the very steps and inflections every way, the turns and varieties of all passions, whereunto the mind is subject.—In harmony, the very image and character of virtue and vice is perceived, the mind delighted with their resemblances, and brought by having them often iterated, into a love of the things themselves. For which cause, there is nothing more contagious and pestilent, than some kinds of harmony; than some, nothing more strong and potent unto good.—At the hearing of some, we are more inclined unto sorrow and heaviness; of some, more mollified and softened in mind; one kind, apter to stay and settle us; another, to move and stir our affections. There is, that

draweth to a marvellous grave and sober mediocrity; there is also, that carrieth, as it were, into extacies, filling the mind with an heavenly joy, and, for the time, in a manner severing it from the body. So that—the very harmony of sounds, carried from the ear to the spiritual faculties of our souls, is by a native puissance and efficacy, greatly available, to bring to a perfect temper whatsoever is there troubled; apt, as well to quicken the spirits, as to allay that which is too eager; soveraign against melancholy and despair: forceable to draw forth tears of devotion, if the mind be such as can yield them; able both to move and to mo|derate all affections.—In which considerations, the Church of CHRIST doth likewise at this present day retain it; as an ornament to GOD's service, and an help to our own de|votion.

IT must however be observed, that, in early times, the Chris|tian psalmody, agreable to the depressed and persecuted state of the church, must have been very plain and simple: and per|haps for several ages, especially in the western parts, without instrumental accompaniments; the Organ in particular hav|ing not been introduced into churches, 'till the XIIth Cen|tury. Yet the same reason speaks for instrumental as for vo|cal music; its native efficacy to excite the best affections, and through the passions, to reach the understanding. But in all our oblations of Prayer or Praise especially in those of psal|mody

and music, which are most liable to this defect; let us be ever careful, that our sacrifice be not without a heart: and in your love of melody, do not neglect the affections of the Soul, and the rational sentiments of Christian piety, with|out which the best performances of Church-music are but harmonious trifles. 'GOD is the king of all the earth; sing ye praises with understanding* 1.31. On this maxim, those who have a taste for this heavenly art, may aid the piety of thought with the powers of sound: and they who are less susceptible of its impressions, may still express in their devotions, the music of a well-tuned Soul, 'singing and making melody in their hearts to the LORD.' Though we need not be insensible to the advantages which may be derived to Religion from the decent splendour of its public ministrations, where the orna|ments of Music and other hightenings of divine worship are accessible: yet that Devotion is too delicate and fastidious, that cannot subsist without them; that cannot, within itself, in the recesses of the heart, and abstracted from all external accommodations, find sufficient resources of interior Piety.

THUS have I adventured to make some observations, on a subject, of which I know but little of the thëory, and less of the practice; and in which, I give up my own indifference to Church-music, to the taste of those who have finer feelings, and a higher opinion of its subserviency to devotion. I need not use any arguments, to engage your good-nature, to assist

our new and burdened Society, by your liberality towards this ornamental part of our service. I am not ashamed to be an importunate solicitor, where a public interest is concerned; the interest of a Church, which, I hope, will be a KTHMA EC AEI, a perpetual benefit to our Country. But where there is a ready mind, Importunity is unnecessary; and would be some disparagement to that inclination, favour and prompt|ness, which is the fairest recommendation of your free-will offerings. He that giveth, let him do it with simplicity, and a ready mind; for GOD loveth a cheerful giver† 1.32. Every occa|sion, that calls our benevolence into act, improves the habit of it: and I hope, this days solemnity will have a still more extensive influence on our charity, by conciliating our hearts and minds to one another, harmonizing our affections, and disposing us to cherish and exercise that love to our Country, to our Church and Government, towards all men and all christians, which terminates in the love of GOD: that Christ may dwell in our hearts by Faith: that being rooted and grounded in love, we may be able to know the love of Christ, which passeth know|ledge, that we may be filled with all the fullness of GOD* 1.33.

NOW unto him that is able to do exceeding abundantly, a|bove all that we ask or think, according to the power that worketh in us; unto him be glory in the church by CHRIST JESUS, throughout all ages, world without end AMEN.

Notes

• * 1.1

  ACTS XIX. XX.
• * 1.2

  CH. II. 20—22. III. 18. IV. 16.
• § 1.3

  CH. 1. 3, 5, 10.
• * 1.4

  1 COR. XIV. 15.
• † 1.5

  ver. 7. See also REV. V. 8. XIV. 2. The martyr Ignatius has the like allusion, to illustrate the Christian union, by figures taken from Musical harmony. Epist. ad Ephes. ••. 4.
• § 1.6

  Lib. x. epist. 97, de Christianis.
• † 1.7

  COLOSS. III. 16, where eautois is used for allêlois, as in Ephes. IV. 32. and in the text.
• * 1.8

  Hendecasyllaborum volumen—legitur, describitur, cantatur etiam, et a Graecis quoque,—nunc citharâ nunc lyrâ personatur.' PLIN. lib. VII. epist. 4. vid. CORNEL. NEPOT. in praefat. et in vit. EPAM. n. 1, 2. CIC. Tusc. 1. 2.
• † 1.9

  Ingenium cui sit, cui Mens divinior, atque Os Magna sonaturum—

  HORAT. lib. 1. sat. IV. 43.
• * 1.10

  Should the Church be blessed with a new English version of the Scriptures, or with an exact and critical correction of the present Translation: together with a more just division of the Chapters and Paragraphs; might it not add to the perspicuity and elegance of the poetical books, to dispose them accord|ing to the Hebrew metre, stiche-wise or in versicles; as in Dr. Grabe's edition of the Septuagint, and as in Bishop Hare's hebrew edition of the Psalms, and Dr. Grey's, of Job, Proverbs, &c?
• † 1.11

  ISAIAH XIV. 3—27. XXXXIII.
• ‡ 1.12

  Pugnas, et exactos tyrannos. HORAT.
• ‖ 1.13

  PSAL. XLV. EPHES. V. 32. MATTH. IX. 15. XXV. 1. & passim.
• † 1.14

  JAM. V. 11.
• § 1.15

  Ch. VIII. 20. comp. with IX. 22.
• ‡ 1.16

  Ch. XXXI.
• * 1.17

  Ch. XXXII. 1, 2.
• * 1.18

  Ch. XXXIII. 8, 9.
• † 1.19

  ibid. v. 17.
• ‡ 1.20

  ROM. III. 26.
• § 1.21

  Melitz: an Ambassador or Mediator. 2 CHR. XXXII. 31. 'who negotiates Friendship between two parties.' TAYLOR. rad. 947. 4.
• † 1.22

  This very poetic expression, which is frequent in SS. is commonly lost in our translation, by an inelegant periphrasis. The Septuagint is in this place equally elegant and literal: phengos astrapês oplon sou. Of the description of NAHUM, that of the lyric poet is only fit to express our admiration, not to come in competition with it.

  Jam nunc minaci murmure cornuum Perstringit aures; jam litui strepunt: Jam fulgor armorum fugaces Terret equos equitumque vultus.

  HOR. l. II. od. i.
• * 1.23

  GEN. IV. 21.
• † 1.24

  TAYLOR's Hebr. Conc in Gnugab. rad 1317.
• ‡ 1.25

  GEN. IV. 23, 24.
• ‖ 1.26

  CHRONIC. b. I. c. XVI. 42. XXIII. 5. XXV. 7.
• † 1.27

  EZRA II. 65.
• * 1.28

  POLYBIUS, ascribes the ferocity of the Cynaethians, and the humane and hospitable disposition of the other Arcadians, chiefly to the neglect of music among the former, and the esteem and practice of it among the rest. From this instance we may conjecture, that Music might be applied with good effect to civilize our American Indians,

  If ever (in the words of that sage historian) GOD should hereafter bless them with better sentiments, and turn their minds towards such discipline, as may soften and improve their manners; and especially to Music: by which means alone, they can ever hope to be divested of that brutal fierceness, by which they have been so long distinguished.

  Hampton's POLYBIUS, B. IV. ch. iii.
• * 1.29

  KINGS b. II. ch. III. 15.
• † 1.30

  BOOK V. §. 38.
• * 1.31

  PSAL. XLVII. 7.
• † 1.32

  ROM. XII. 8. 2 COR. VIII. 19. IX. 7.
• * 1.33

  EPHES. III. 17—21.