"He rode on hye, and did soe flye Upon the cherubins He came in sight and made his flight Upon the winges of windes."

They sung instead,—

"And th' earth did shake and quake and styrred bee grounds of the mount: & shook for wroth was hee Smoke mounted, in his wrath, fyre did eat out of his mouth: from it burned-with heat."

Alas, poor Priscilla! how could she sing with ease or reverence such confused verses? The tune, too, set in the psalm-book seems absolutely unfitted to the metre. I fear when she sang from the pages "the old Puritan anthem" that she was forced to turn it into a chant, else the irregular lines could never have been brought within the compass of the melody; and yet, the metre is certainly better than the sense.

It may be thought that these selections of the Psalms have been chosen for their crudeness and grotesqueness. I have tried in vain to find othersome that would show more elegant finish or more of the spirit of poetry; the most poetical lines I can discover are these, which are beautiful for the reason that the noble thoughts of the Psalmist cannot be hidden, even by the wording of the learned Puritan minister:—

1. Jehovah feedeth me: I shall not lack

2. In grassy fields, he downe dooth make me lye: he gently-leads mee, quiet-Waters by.

3. He dooth return my soul: for his name-sake in paths of justice leads-me-quietly.

4. Yea, though I walk in dale of deadly-shade ile fear none yll, for with me thou wilt be thy rod, thy staff eke, they shall comfort mee.

But few of these psalm-books of Ainsworth are now in existence; but few indeed came to New England. Elder Brewster owned one, as is shown by the inventory of the books in his library. Not every member of the congregation, not every family possessed one; many were too poor, many "lacked skill to read," and in some communities only one psalm-book was owned in the entire church. Hence arose the odious custom of "deaconing" or "lining" the psalm, by which each line was read separately by the deacon or elder and then sung by the congregation. There is no doubt, however, that this Ainsworth's Version was used in many of the early New England meetings. Reverend Thomas Symmes, in his "Joco-Serious Dialogue," printed in 1723, wrote: "Furthermore the Church of Plymouth made use of Ainsworths Version of the Psalms until the year 1692. For altho' our New England version of the Psalms was compiled by sundry hands and completed by President Dunster about the year 1640; yet that church did not use it, it seems, 'till two and fifty years after but stuck to Ainsworth; and until about 1682 their excellent custom was to sing without reading the lines."

John Cotton's account of the Salem church written in 1760, says, "On June 19, 1692, the pastor propounded to the church that seeing many of the psalms in Mr. Ainsworth's translation which had hitherto been sung in the congregation had such difficult tunes that none in the church could set, they would consider of some expedient that they might sing all the psalms. After some time of consideration on August 7 following, the church voted that when the tunes were difficult in the translation then used, they would make use of the New England psalm-book, long before received in the churches of the Massachusetts colony, not one brother opposing the conclusion. But finding it inconvenient to use two psalm-books, they at length, in June 1696 agreed wholly to lay aside Ainsworth and with general consent introduced the other which is used to this day, 1760. And here it will be proper to observe that it was their practice until the beginning of October, 1681 to sing the psalms without reading the lines; but then, at the motion of a brother who otherwise could not join in the ordinance [I suppose because he could not read] they altered the custom, and reading was introduced, the elder performing that service after the pastor had first expounded the psalm, which were usually sung in course."

On the blank leaf of the copy of Ainsworth now lying before me are written these words, "This was used in Salem half-a-century from the first settlement." In a record of the Salem church is this entry of a church meeting: "4 of 5th month, 1667. The pastor having formerly propounded and given reason for the use of the Bay Psalm Book in regard to the difficulty of the tunes and that we could not sing them so well as formerly and that there was a singularity in our using Ainsworths tunes: but especially because we had not the liberty of singing all the scripture Psalms according to Col. iii. 16. He did not again propound the same, and after several brethren had spoken, there was at last a unanimous consent with respect to the last reason mentioned, that the Bay Psalm Book should be used together with Ainsworth to supply the defects of it."

It is significant enough of the "low state of the musik in the meetings" when we find that the simple tunes written in Ainsworth's Version were too difficult for the colonists to sing. To such a condition had church-music been reduced by "lining the psalm" and by the lack of musical instruments to guide and control the singers. It was not much better in old England; for we find in the preface of Rous' Psalms (which were published in 1643 and authorized to be used in the English Church) references to the "difficulty of Ainsworth's tunes."

Hood says, "There is almost a certainty that no other version than Ainsworth was ever used in the colonies until the New England Version was published. But if any one was used in one or two of the churches it was Sternhold and Hopkins." I cannot feel convinced of this, but believe that both Ravenscroft's and Sternhold and Hopkins' Versions were used at first in many of the Bay settlements. Salem church had a peculiar connection in its origin with the church of Plymouth, which would account, doubtless, for its protracted use of the version so loved by the Pilgrims; but the Puritans of the Bay, coming directly from England, must have brought with them the version which they had used in England, that of Sternhold and Hopkins; and they would hardly have wished, nor would it have been possible for them to acquire speedily in the new land the Ainsworth's Version used by the Pilgrims from Holland.

The second edition of Ainsworth's Version was printed in 1617, a third in 1618; the fourth, in London in 1639, was a folio; and the sixth, in Amsterdam in 1644, was an octavo. A little 24mo copy is in the Essex Institute in Salem, and an octavo is in the Prince Library, now in the custody of the Public Library of the City of Boston. The latter copy has a note in it written by the Rev. Thomas Prince: "Plymouth, May 1, 1732. I have seen an edition of this version of 1618; and this version was sung in Plymouth Colony and I suppose in the rest of New England 'till the New England Version was printed."

There is a copy of the first edition of Ainsworth in the Bodleian Library and one in the library of Trinity College, Dublin. The American Antiquarian Society and the Lenox Library are the only public libraries in America that possess copies, so far as I know. The one in the library of the American Antiquarian Society was presented to it in 1815 by the Rev. William Bentley of Salem, Massachusetts, to whom also belonged the copy of the Bay Psalm Book now in the library at Worcester. He was a divine and a bibliophile and an antiquary, but there also ran in his veins blood of warmer flow. During the war of 1812, when the report came, in meeting-time, that the frigate "Constitution" was being chased into Marblehead harbor, the loyal parson Bentley locked up his church, and tucked up his gown, and sallied forth with his whole flock of parishioners to march to Marblehead with the soldiers, ready to "fight unto death" if necessary. Being short and fat, and the mercury standing at eighty-five degrees, the doctor's physical strength gave out, and he had to be hoisted up astride a cannon to ride to the scene of conflict,—martial in spirit though weak in the legs.

But this association with the old book is comparatively of our own day; and the most pleasing fancy which the "psalm-book of Ainsworth" brings to my mind, the most sacred and reverenced thought, is of a far more remote, a more peaceful and quiet scene; though men of warlike blood and fighting stock were there present and took part therein. It is with that Sabbath Day before the Landing at Plymouth which was spent by the Pilgrims, as Mather says, "in the devout and pious exercises of a sacred rest." And though Matthew Arnold thought that the Mayflower voyagers would have been intolerable company for Shakespeare and Virgil, yet in that quiet day of devout prayer and praise they show a calm religious peace and trust that is, perhaps, the highest spiritual type of "sweetness and light." And from this quaint old book their lips found words and music to express in song their pure and holy faith.



XII.

The Bay Psalm-Book.



It seems most proper that the first book printed in New England should be now its rarest one, and such is the case. It was also meet that the first book published by the Puritan theocracy should be a psalm-book. This New England psalm-book, being printed by the colony at Massachusetts Bay, is familiarly known as "The Bay Psalm-Book," and was published two hundred and fifty years ago with this wording on the titlepage: "The Whole Book of Psalmes Faithfully Translated into English Metre. Whereunto is prefixed a discourse declaring not only the lawfullnes, but also the necessity of the Heavenly Ordinance of Singing Psalmes in the Churches of God.

"Coll. III. Let the word of God dwell plenteously in you in all wisdome, teaching, and exhorting one another in Psalmes, Himnes, and spirituall Songs, singing to the Lord with grace in your hearts.

"James V. If any be afflicted, let him pray; and if any be merry let him sing psalmes. Imprinted 1640."

The words "For the Use, Edification, and Comfort of the Saints in Publick and Private especially in New England," though given in Thomas's "History of Printing," Lowndes's "Bibliographers Manual," Hood's "History of Music in New England," and many reliable books of reference, as part of the correct title, were in fact not printed upon the titlepage of this first edition, but appeared on subsequent ones. Mr. Thomas, at the time he wrote his history, knew of but one copy of the first edition; "an entire copy except the title-page is now in the possession of rev. mr. Bentley of Salem." The titlepage being missing, he probably fell into the error of copying the title of a later edition, and other cataloguers and manualists have blindly followed him.

There were in 1638 thirty ministers in New England, all men of intelligence and education; and to three of them, Richard Mather, Thomas Welde, and John Eliot was entrusted the literary part of the pious work. They managed to produce one of the greatest literary curiosities in existence. The book was printed in the house of President Dunster of Harvard College upon a "printery," or printing-press, which had cost L50, and was the gift of friends in Holland to the new community in 1638, the name-year of Harvard College. Governor Winthrop in his journal tells us that the first sheet printed on this press was the Freeman's Oath, certainly a characteristic production; the second an almanac for New England, and the third, "The Bay Psalm-Book." Some, who deem an almanac a book, call this psalm-book the second book printed in British America.

A printer named Steeven Daye was brought over from England to do the printing on this new press. Now Steeven must have been given entire charge of the matter, and could not have been a very literate fellow (as we know positively he was a most reprehensible one), or the three reverend versifiers must have been most uncommonly careless proof-readers, for certainly a worse piece of printer's work than "The Bay Psalm Book" could hardly have been struck off. Diversity and grotesqueness of spelling were of course to be expected, and paper might have been coarse without reproof, in that new and poor country; but the type was good and clear, the paper strong and firm, and with ordinary care a very presentable book might have been issued. The punctuation was horrible. A few commas and periods and a larger number of colons were "pepered and salted" a la Timothy Dexter, apparently quite by chance, among the words. Periods were placed in the middle of sentences; words of one syllable were divided by hyphens; capitals and italics were used after the fashion of the time, apparently quite at random; and inverted letters were common enough. The pages were unnumbered, and on every left-hand page the word "Psalm" in the title was spelled correctly, while on the right-hand page it is uniformly spelled "Psalme." But after all, these typographical blemishes might be forgiven if the substance, the psalms themselves, were worthy; but the versification was certainly the most villainous of all the many defects, though the sense was so confused that many portions were unintelligible save with the friendly aid of the prose version of the Bible; and the grammatical construction, especially in the use of pronouns, was also far from correct. Such amazing verses as these may be found:—

"And sayd He would not them waste: had not Moses stood (whom He chose) 'fore him i' th' breach; to turne his wrath lest that he should waste those."

Cotton Mather, in his "Magnalia," gives thus the full story of the production of "The Bay Psalm-book":—

"About the year 1639, the New-English reformers, considering that their churches enjoyed the other ordinances of Heaven in their scriptural purity were willing that the 'The singing of Psalms' should be restored among them unto a share of that purity. Though they blessed God for the religious endeavours of them who translated the Psalms into the meetre usually annexed at the end of the Bible, yet they beheld in the translation so many detractions from, additions to, and variations of, not only the text, but the very sense of the psalmist, that it was an offense unto them. Resolving then upon a new translation, the chief divines in the country took each of them a portion to be translated; among whom were Mr. Welds and Mr. Eliot of Eoxbury, and Mr. Mather of Dorchester. These like the rest were so very different a genius for their poetry that Mr. Shephard, of Cambridge, on the occasion addressed them to this purpose:

You Roxb'ry poets keep clear of the crime Of missing to give us very good rhime. And you of Dorchester, your verses lengthen And with the text's own words, you will them strengthen.

The Psalms thus turned into meetre were printed at Cambridge, in the year 1640. But afterwards it was thought that a little more of art was to be employed upon them; and for that cause they were committed unto Mr. Dunster, who revised and refined this translation; and (with some assistance from Mr. Richard Lyon who being sent over by Sir Henry Mildmay as an attendant unto his, son, then a student at Harvard College, now resided in Mr. Dunster's house:) he brought it the condition wherein our churches have since used it. Now though I heartily join with those gentlemen who wish that the poetry thereof were mended, yet I must confess, that the Psalms have never yet seen a translation that I know of nearer to the Hebrew original; and I am willing to receive the excuse which our translators themselves do offer us when they say: 'If the verses are not always so elegant as some desire or expect, let them consider that God's altar needs not our pollishings; we have respected rather a plain translation, than to smooth our verses with the sweetness of any paraphrase. We have attended conscience rather than elegance, fidelity rather than ingenuity, that so we may sing in Zion the Lord's songs of praise, according unto his own will, until he bid us enter into our Master's joy to sing eternal hallelujahs.'"

I have never liked Cotton Mather so well as after reading this calm and kindly account of the production of "The Bay-Psalm-Book." He was a scholarly man, and doubtless felt keenly and groaned inwardly at the inelegance, the appalling and unscholarly errors in the New England version; and yet all he mildly said was that "it was thought that a little more of art was to be employed upon them," and that he "wishes the poetry hereof was mended." Such justice, such self-repression, such fairness make me almost forgive him for riding around the scaffold on which his fellow-clergyman was being executed for witchcraft, and urging the crowd not to listen to the poor martyr's dying words. I can even almost overlook the mysterious fables, the outrageous yarns which he imposed upon us under the guise of history.

The three reverend versifiers who turned out such questionable poetry are known to have been writers of clear, scholarly, and vigorous prose. They were all graduated at Emanuel College, Cambridge, the nursery of Puritans. Mr. Welde soon returned to England and published there two intelligent tracts vindicating the purity of the New England worship. Richard Mather was the general prose-scribe for the community; he drafted the "Cambridge Platform" and other important papers, and was clear and scholarly enough in all his work except the "Bay Psalm-Book." From his pen came the tedious, prolix preface to the work; and the first draft of it in his own handwriting is preserved in the Prince Library. The other co-worker was John Eliot, that glory of New England Puritanism, the apostle to the Indians. His name heads my list of the saints of the Puritan calendar; but I confess that when I consider his work in "The Bay Psalm-Book," I have sad misgivings lest the hymns which he wrote and published in the Indian language may not have proved to the poor Massachusetts Indians all that our loving and venerating fancy has painted them. It is said also that Francis Quarles, the Puritan author of "Divine Emblems," sent across the Atlantic some of his metrical versions of the psalms as a pious contribution to the new version of the new church in the new land.

The "little more of art" which was bestowed by the improving President Dunster left the psalms still improvable, as may be seen by opening at random at any page of the revised editions. Mr. Lyon conferred also upon the New England church the inestimable boon of a number of hymns or "Scripture-Songs placed in order as in the Bible." They were printed in that order from the third until at least the sixteenth edition, but in subsequent editions the hymns were all placed at the end of the book after the psalms. I doubt not that the Puritan youth, debarred of merry catches and roundelays, found keen delight in these rather astonishing renditions of the songs of Solomon, portions of Isaiah, etc. Those Scripture-Songs should be read quite through to be fully appreciated, as no modern Christian could be full enough of grace to sing them. Here is a portion of the song of Deborah and Barak:—

24. Jael the Kenite Hebers wife 'bove women blest shall be: Above the women in the tent a blessed one is she. 25. He water ask'd: she gave him milk him butter forth she fetch'd 26. In lordly dish: then to the nail she forth her left hand stretched.

Her right the workman's hammer held and Sisera struck dead: She pierced and struck his temple through and then smote off his head. 27. He at her feet bow'd, fell, lay down he at her feet bow'd, where He fell: ev'n where he bowed down he fell destroyed there.

28. Out of a window Sisera his mother looked and said The lattess through in coming why so long his chariot staid? His chariot wheels why tarry they? 29. her wise dames, answered Yea she turned answer to herself 30. and what have they not sped?

31. The prey by poll; a maid or twain what parted have not they? Have they not parted, Sisera, a party-colour'd prey A party-colour'd neildwork prey of neildwork on each side That's party-colour'd meet for necks of them that spoils divide?

Our Pilgrim Fathers accepted these absurd, tautological verses gladly, and sang them gratefully; but we know the spirit of poesy could never have existed in them, else they would have fought hard against abandoning such majestic psalms as Sternhold's—

"The Lord descended from above and bow'd the heavens hye And underneath his feete he cast the darkness of the skye.

"On cherubs and on cherubines full royally he road And on the winges of all the windes came flying all abroad."

They gave up these lines of simple grandeur, to which they were accustomed, for such wretched verses as these of the New England version:—

9. Likewise the heavens he downe-bow'd and he descended, & there was under his feet a gloomy cloud 10. And he on cherub rode and flew; yea, he flew on the wings of winde. 11. His secret place hee darkness made his covert that him round confide.

I cannot understand why they did not sing the psalms of David just as they were printed in the English Bible; it would certainly be quite as practicable as to sing this latter selection.

President Dunster's improving hand and brain evolved this rendition:—

"Likewise the heavens he down-bow'd and he descended: also there Was at his feet a gloomy cloud and he on cherubs rode apace. Yea on the wings of wind he flew he darkness made his secret place His covert round about him drew."

Though the grotesque wording and droll errors of these old psalm-books can, after the lapse of centuries, be pointed out and must be smiled at, there is after all something so pathetic in the thought of those good, scholarly old New England saints, hampered by poverty, in dread of attack of Indians, burdened with hard work, harassed by "eighty-two pestilent heresies," still laboring faithfully and diligently in their strange new home at their unsuited work,—something so pathetic, so grand, so truly Christian, that when I point out any of the absurdities or failures in their work, I dread lest the shades of Cotton, of Sewall, of Mather, of Eliot, brand me as of old, "in capitall letters," as "AN OPEN AND OBSTINATE CONTEMNER OF GOD'S HOLY ORDINANCES," or worse still, with that mysterious, that dread name, "A WANTON GOSPELLER."

The second edition of the "New England Psalm-Book" was published in 1647; the one copy known to exist has sold for four hundred and thirty-five dollars. The third edition was the one revised by President Dunster and Mr. Lyon, and was printed in 1650. In 1691 the unfortunate book was again "pollished" by a committee of ministers, who thus altered the last two stanzas of the Song of Deborah and Barak:—

28. Out of a window Sisera His mother look'd and said The lattess through in coming why So long's chariot staid? His chariot-wheels why tarry they? Her ladies wise reply'd 29. Yea to herself the answer made, 30. Have they not speed? she cry'd.

31. The prey to each a maid or twain Divided have not they? To Sisera have they not shar'd A divers-colour'd prey? Of divers-colour'd needle-work Wrought curious on each side Of various colours meet for necks Of those who spoils divide?

Rev. Elias Nason wittily says of "The Bay Psalm-Book," "Welde, Eliot, and Mather mounted the restive steed Pegasus, Hebrew psalter in hand, and trotted in warm haste over the rough roads of Shemitic roots and metrical psalmody. Other divines rode behind, and after cutting and slashing, mending and patching, twisting and turning, finally produced what must ever remain the most unique specimen of poetical tinkering in our literature."

Other editions quickly followed these "pollishings" until, in 1709, sixteen had been printed. Mr. Hood stated that at least seventy editions in all were brought out. Some of these were printed in England and Scotland, in exceedingly fine and illegible print, and were intended to be bound up with the Bible; and occasionally duodecimo Bibles were sent from Scotland to New England with "The Bay Psalm-Book" bound at the back part of the book. Strange as it may seem, the poor, halting New England version was used in some of the English dissenting congregations and Scotch kirks, instead of the smoother verses composed in England for the English churches.

The Reverend Thomas Prince, after two years of careful work thereon, published in 1758 a revised edition of the much-published book, and it was adopted by his church, the Old South, of Boston, the week previous to his death. It was used by his congregation until 1786. He clung closely to the form of the old editions, changing only an occasional word. In his preface Dr. Prince says that "The Bay Psalm-Book" "had the honor of being the first book printed in North America, and as far as I can find, in this New World." We have fuller means of information now-a-days than had the reverend reviser, and we know that as early as 1535 a book called "The Book of St. John Climacus or The Spiritual Ladder" had been printed in the Spanish tongue, in Mexico; and no less than one hundred and sixteen other Spanish works in the sixteenth century, as the "Bibliografia Mexicana" testifies.

If the printing of all these various editions was poor, and the diction worse, the binding certainly was good and could be copied in modern times to much advantage. No flimsy cloth or pasteboard covers, no weak paper backs, no ill-pasted leaves, no sham-work of any kind was given; securely sewed, firmly glued, with covers of good strong leather, parchment, kid, or calfskin, these psalm-books endured constant daily (not weekly) use for years, for decades, for a century, and are still whole and firm. They were carried about in pockets, in saddle-bags, and were opened, and handled, and conned, as often as were the Puritan Bibles, and they bore the usage well. They were distinctively characteristic of the unornamental, sternly pious, eminently honest, and sturdily useful race that produced them.

Judge Sewall makes frequent mention in his famous diary of "the New Psalm Book." He bought one "bound neatly in Kids Leather" for "3 shillings & sixpence" and gave it to a widow whom he was wooing. Rather a serious lover's gift, but characteristic of the giver, and not so gloomy as "Dr. Mathers Vials of Wrath," "Dr. Sibbs Bowels," "Dr. Preston's Church Carriage," and "Dr. Williard's Fountains opened," all of which he likewise presented to her.

The Judge frequently gave a copy as a bridal gift, after singing from it "Myrrh aloes," to the gloomy tune of Windsor, at the wedding.

8. Myrrh Aloes and Cussias smell all of thy garments had Out of the yvory pallaces whereby they made thee glad:

9. Amongst thine honourable maids kings daughters present were The Queen is set at thy right hand in fine gold of Ophir.

But his most frequent mention of the "new psalm-book" is in his "Humbell acknowledgement" made to God of the "great comfort and merciful kindness received through singing of His Psalmes;" and the pages of the diary bear ample testimony that whatever the book may appear to us now, it was to the early colonists the very Word of God.

As years passed on, however, and singing-schools multiplied, it became much desired, and even imperative that there should be a better style and manner of singing, and open dissatisfaction arose with "The Bay Psalm-Book;" the younger members of the congregations wished to adopt the new and smoother versions of Tate and Brady, and of Watts. Petitions were frequently made in the churches to abolish the century-used book. Here is an opening sentence of one church-letter which is still in existence; it was presented to the ministers and elders of the Roxbury church September 11th, 1737, and was signed by many of the church members:—

"The New England Version of Psalms however useful it may formerly have been, has now become through the natural variableness of Language, not only very uncouth but in many Places unintelligible; whereby the mind instead of being Raised and spirited in Singing The Praises of Almighty God and thereby being prepared to Attend to other Parts of Divine Service is Damped and made Spiritless in the Performance of the Duty at least such is the Tendency of the use of that Version," etc., etc.

Great controversy arose over the abolition of the accustomed book, and church-quarrels were rife; but the end of the century saw the dearly loved old version consigned to desuetude, uever again to be opened, alas! but by critical or inquisitive readers.

There is owned by the American Antiquarian Society, and kept carefully locked in the iron safe in the building of that Society in Worcester, a copy of the first edition of "The Bay Psalm Book." It is a quarto (not octavo, as Thomas described it in his "History of Printing") and is in very good condition, save that the titlepage is missing. It is in the original light-colored, time-stained parchment binding, and contains the autograph of Stephen Sewall. It also bears on the inside of the front cover the book-plate of Isaiah Thomas, and at the back, in the veteran printer's clear and beautiful handwriting, this statement: "After advertising for another copy of this book and making enquiry in many places in New England &c. I was not able to obtain or even hear of another. This copy is therefore invaluable and must be preserved with the greatest care. Isaiah Thomas, Sep. 20. 1820." His "History of Printing," was published in 1810, and the Society had acquired through the gift of "the rev. mr. Bentley" the copy which Thomas mentioned in his book.

It is strange that Thomas should have been ignorant of the existence of other copies of the first edition of "The Bay Psalm-Book," for there were at that time six copies belonging to the Prince Library in the possession of the Old South Church of Boston. One would fancy that the Prince Library would have been one of his first objective points of search, save that a dense cloud of indifference had overshadowed that collection for so long a time. Five of those copies remained in the custody of the deacons and pastor of the Old South Church until 1860, and they were at one time all deposited in the Public Library of the City of Boston. Two still remain in that suitable place of deposit; they are almost complete in paging, but are in modern bindings. The other three copies were surrendered by Lieut-Gov. Samuel Armstrong (who, as one of the deacons of the Old South Church, had joint custody of the Prince Library), severally, to Mr. Edward Crowninshield of Boston, Dr. Nathaniel B. Shurtleff of Boston, and Mr. George Livermore of Cambridge. Governor Armstrong surrendered these three books in consideration of certain modern books being given to the Prince Library, and of the modern bindings bestowed on the two other copies; which seems to us hardly a brilliant or judicious exchange.

In Dr. Shurtleff "The Bay Psalm-Book" found a congenial and loving owner; and under his careful superintendence an exact reprint was published in 1862 in the Riverside Press at Cambridge. He wrote for it a preface. It was published by subscription; one copy on India paper, fifteen on thick paper, and fifty on common paper. Copies on the last named paper have sold readily for thirty dollars each. All the typographical errors of the original were carefully reproduced in this reprint.

At Dr. Shurtleffs death, his "Bay Psalm-Book" was catalogued with the rest of his library, which was to be sold on Dec. 2, 1875; but an injunction was obtained by the deacons of the Old South Church, to prevent the sale of the old psalm-book. They were rather late in the day however, to try to obtain again the too easily parted with book, and the ownership of it was adjudged to the estate. The book was sold Oct. 12, 1876, at the Library salesroom, Beacon Street, Boston, for one thousand and fifty dollars. It is now in the library of Mrs. John Carter Brown, of Providence, Rhode Island. Special interest attaches to this copy, because it was "Richard Mather, His Book" as several autographs in it testify; and the author's own copy is always of extra value. Cotton Mather, a grandson of Richard, was the close friend of the Reverend Thomas Prince, who founded the Prince Library, and who left it by will to the Old South Church in 1758. Mr. Prince's book-plate is on the reverse of the titlepage of this copy of "The Bay Psalm-Book," and is in itself a rarity. It reads thus:—

"This Book belongs to The New England Library Begun to be collected by Thomas Prince upon his ent'ring Harvard-College July 6 1703, and was given by said Prince, to remain therein forever."

There was a sixth copy of "The Bay Psalm-Book" in the Prince Library in 1830 when Dr. Wisner wrote his four sermons on the Old South Church of Boston,—a copy annotated by Dr. Prince and used by him while he was engaged on his revision. It has disappeared, together with many other important books and manuscripts belonging to the same library. The vicissitudes through which this most valuable collection has passed—lying neglected for years on shelves, in boxes, and in barrels in the steeple-room of the Old South Church, depleted to use for lighting fires, injured by British soldiery, but injured still more by the neglect and indifference of its custodians—are too painful to contemplate or relate. They contribute to the scholarly standing and honor of neither pastors nor congregations during those years. It is enough to state, however, that it is to the noble and ill-requited forethought of Dr. Prince that we owe all but three of the copies of the Bay Psalm-Book which are now known to be in existence.

There is also a perfect copy of the first edition of the old book in the Lenox Library in New York, and the manner in which it was acquired (and also some further accounts of two of our old friends of the Prince Library, the acquisitions of Messrs. Crowninshield and Liverraore) is told so entertainingly by Henry Stevens, of Vermont, in his charming book, "Recollections of Mr. James Lenox" that it is best to quote his account in full:—

"For nearly ten years Mr. Lenox had entertained a longing de to possess a perfect copy of 'The Bay Psalm Book.' He gave me to understand that if an opportunity occurred of securing a copy for him I might go as far as one hundred guineas. Accordingly from 1847 till his death, six years later, my good friend William Pickering and I put our heads and book-hunting forces together to run down this rarity. The only copy we knew of on this side the Atlantic was a spotless one in the Bodleian Library, which had lain there unrecognized for ages, and even in the printed catalogue of 1843 its title was recorded without distinction among the common herd of Psalms in verse. I had handled it several times with great reverence, and noted its many peculiar points, but, as agreed with Mr. Pickering, without making any sign or imparting any information to our good and obliging friend Dr. Bandinel, Bodley's Librarian. We thought that when we had secured a copy for oursel it would be time enough to acquaint the learned Doctor that he was entertaining unawares this angel of the New World.

"Under these circumstances, therefore, only an experienced collector can judge of my surprise and inward satisfaction, when on the 12 January, 1855, at Sotheby's, at one of the sales of Pickering's stock, after untying parcel after parcel to see what I might chance to see, and keeping ahead of the auctioneer, Mr. Wilkinson, on resolving to prospect in one parcel more before he overtook me, my eye rested an instant only on the long-lost Benjamin, clean and unspotted. I instantly closed the parcel (which was described in the Catalogue as Lot '531 Psalmes, other editions, 1630 to 1675 black letter, a parcel') and tightened the string just as Alfred came to lay it on the table. A cool-blooded coolness seized me, and advancing to the table behind Mr. Lilly I quietly bid, in a perfectly natural tone, 'Sixpence,' and so the bids went on increasing by sixpence until half a crown was reached, and Mr. Lilly had loosened the string. Taking up this very volume he turned to me and remarked that 'This looks a rare edition, Mr. Stevens, don't you think so? I do not remember having seen it before,' and raised the bid to five shillings. I replied that I had little doubt of its rarity though comparatively a late edition of the Psalms, at the same time gave Mr. Wilkinson a six-penny nod. Thenceforth a 'spirited competition' arose between Mr. Lilly and myself, until finally the lot was knocked down to 'Stevens' for nineteen shillings. I then called out with perhaps more energy than discretion, 'Delivered!' On pocketing this volume, leaving the other seven to take the usual course, Mr. Lilly and others inquired with some curiosity, 'What rarity have you got now?' 'Oh, nothing,' said I, 'but the first English book printed in America.' There was a pause in the sale, while all had a good look at the little stranger. Some said jocularly, 'There has evidently been a mistake; put up the lot again.' Mr. Stevens, with the book again safely in his pocket, said, 'Nay, if Mr. Pickering, whose cost mark of [3s] did not recognize the prize he had won, certainly the cataloguer might be excused for throwing it away into the hands of the right person to rescue, appreciate, and preserve it. I am now fully rewarded for my long and silent hunt of seven years.'

"On reaching Morley's I eagerly collated the volume, and at first found it right witli all the usual signatures correct. The leaves were not paged or folioed. But on further collation I missed sundry of the Psalms, enough to fill four leaves. The puzzle was finally solved when it was discovered that the inexperienced printer had marked the sheet with the signature w after v, which is very unusual.

"This was a very disheartening disappointment, but I held my tongue, and knowing that my old friend and correspondent, George Liverm of Cambridge, N. E., possessed an imperfect copy, which he and Mr. Crowninshield, after the noble example of the 'Lincoln Nosegay,' had won from the Committee of the 'Old South' together with another and perfect copy, I proposed an advantageous exchange and obtained four missing leaves. Mr. Crowninshield strongly advised Mr. Livermore against parting with his four leaves, because, as he said, 'They would enable Stevens to complete his copy and to place it in the library of Mr. Lenox, who would then crow over us because he also had a perfect copy of "The Bay-Psalm Book."'

"Having thus completed my copy and had it bound by Francis Bedford in his best style, I sent it to Mr. Lenox for L80. Five years later I bought the Crowninshield Library in Boston for $10,000, mainly to obtain his perfect copy of 'The Bay Psalm Book,' and brought the whole library to London. This second copy, after being held several months, was at the suggestion of Mr. Thomas Watts, offered to the British Museum for L150. The Keeper of the Printed Books, however, never had the courage to send it before the Trustees for approval and payment; so after waiting five or six years longer the volume was withdrawn, bound by Bedford, taken to America in 1868, and sold to Mr. George Brinley for 150 guineas. At the Brinley sale, in March, 1878, it was bought by Mr. Cornelius Vanderbilt for $1200, or more than three times the cost of my first copy to Mr. Lenox."

We hear the expression of a book being "worth its weight in gold." "The Bay Psalm-Book," in the Library of the American Antiquarian Society, weighs nine ounces, hence Mr. Vanderbilt paid at least seven times its weight in gold for his precious book. Lowndes's "Bibliographers' Manual" says, "This volume, which is extremely rare and would at an auction in America produce from four to six thousand dollars, is familiarly termed 'The Bay Psalm Book.'" This must have been intended to be printed four to six hundred dollars, and is about as correct as the remainder of the description in that manual.

The copy which is spoken of by Mr. Stevens as being in the Bodleian Library at Oxford was once the property of Bishop Tanner, the famous antiquary. Thus it is seen that there are seven copies at least of the first edition of "The Bay Psalm-Book" now in existence in America, instead of "five or at the most six," as a recent writer in "The Magazine of American History" states.

And of all the manifold later editions of the New England Psalm-Book comparatively few copies now remain. Occasionally one is discovered in an old church library or seen in the collection of an antiquary. It is usually found to bear on its titlepage the name of its early owner, and often, also, in a different handwriting, the simple record and date of his death. Tender little memorial postils are frequently written on the margins of the pages: "Sung this the day Betty was baptized"—"This Psalm was sung at Mothers Funeral" "Gods Grace help me to heed this word." Sometimes we see on the blank pages, in a fine, cramped handwriting, the record of the births and deaths of an entire family. More frequently still we find the familiar and hackneyed verses of ancient titlepage lore, such as are usually seen on the blank leaves of old Bibles. This script was written in a "Bay Psalm-Book" of the sixteenth edition, and with the characteristic indifference of our New England forefathers for tiresome repetition, or possibly with their disdain of novelty, was seen on each and every blank page of the book:—

"Israel Balch, His Book, God give him Grace theirin to look And when the Bell for him doth toal May God have mearcy on his Sole."

What the diction lacked in variety is quite made up, however, in the spelling, which was painstakingly different on each page.

Another Psalm-Book bore, inscribed in an elegant, minute handwriting, these lines, which were probably intended for verse, since the first word of each line commenced with a capital letter:—

"Abednego Prime His Book When he withein these pages looks May he find Grace to sing therein Seventeen hundred and forty-seven."

This is certainly pretty bad poetry,—bad enough to be worthy a place in "The Bay Psalm Book,"—but is also a most noble, laudable, and necessary aspiration; for power of Grace was plainly needed to enable Abednego or any one else to sing from those pages; and our pious New England forefathers must have been under special covenant of grace when they persevered against such obstacles and under such overwhelming disadvantages in having singing in their meetings.

Another copy of the old New England Psalm-Book was thus inscribed:—

"Elam Noyes His Book You children of the name of Noyes Make Jesus Christ your only choyse."

The early members of the Noyes family all seemed to be exceedingly and properly proud of this rhyming couplet; it formed a sort of patent of nobility. They wrote the pious injunction to their descendants in their Psalm-Books and their Bibles, in their wills, their letters; and they, with the greatest unanimity of feeling, had it cut upon their several tombstones. It was their own family motto,—their totem, so to speak.

In a New England Psalm-Book in the possession of the American Antiquarian Society there is written in the distinct handwriting of Isaiah Thomas these explanatory words:—

"This was the Pocket Psalm-book of John Symmons who died at Salem at 100 years. He was born at North Salem went a-fishing in his youth was a prisoner with the Indians in Nova Scotia afterwards followed his labours in a Shipyard and till great old age laboured upon his lands and died without pain Aet 100. 31 October, 1791. He was a worthy conscientious and well-informed man and agreeable until the last hour of his life."

I can think of no pleasanter tribute to be given to the character of any one than the simple words, "He was agreeable until the last hour of his life." What share in the production and maintenance of that amiable and enviable condition of disposition may be attributed to the ever-present influence of the Pocket Psalm-Book cannot be known; but the constant study of the holy though clumsy verses may have largely caused that sweet agreeability which so characterized John Symmons.

There lies now before me a copy of one of the early editions of "The Bay Psalm-Book." As I open the little dingy octavo volume, with its worn and torn edges, I am conscious of that distinctive, penetrating, old-booky smell,—that ancient, that fairly obsolete odor that never is exhaled save from some old, infrequently opened, leather-bound volume, which has once in years far past been much used and handled. A book which has never been familiarly used and loved cannot have quite the same antique perfume. The mouldering, rusty, flaky leather comes off in a yellow-brown powder on my fingers as I take up the book; and the cover nearly breaks off as I open it, though with tender, book-loving usage. The leather, though strong and honest, has rotted or disintegrated until it has almost fallen into dust. Across the yellow, ill-printed pages there runs, zig-zagging sideways and backwards crab-fashion on his crooked brown legs, one of those pigmy book-spiders,—those ugly little bibliophiles that seem flatter even than the close-pressed pages that form their home.

Fair Puritan hands once held this dingy little book, honest Puritan eyes studied its ill-expressed words, and sweet Puritan lips sang haltingly but lovingly from its pages. This was "Cicely Morse Her Book" in the year 1710, and bears on many a page her name and the simple little couplet:—

"In youth I praise And walk thy ways."

And pretty it were to see Cicely in her praiseful and godly-walking youth, as she stood primly clad in her sad-colored gown and long apron, with a quoif or ciffer covering her smooth hair, and a red whittle on her slender shoulders, a-singing in the old New England meeting-house through the long, tedious psalms, which were made longer and more tedious still by the drawling singing and the deacons' "lining." Truly that were a pretty sight for our eyes, and for other eyes than ours, without doubt. Staid Puritan youth may have glanced soberly across the old meeting-house at the fair girl as she sung the Song of Solomon, with its ardent wording, without any very deep thought of its symbolic meaning:—

"Let him with kisses of his mouth be pleased me to kiss, Because much better than the wine thy loving-kindness is. To troops of horse in Pharoahs coach, my love, I thee compare, Thy neck with chains, with jewels new, thy cheeks full comely are. Borders of gold with silver studs for thee make up we will, Whilst that the king at's table sits my spikenard yields her smell.

Like as of myrrh a bundle is my well-belov'd to be, Through all the night betwixt my breasts his lodging-place shall be; My love as in Engedis vines like camphire-bunch to me, So fair, my love, thou fair thou art thine eyes as doves eyes be."

Love and music were ever close companions; and the singing-school—that safety-valve of young New England life—had not then been established or even thought of, and I doubt not many a warm and far from Puritanical love-glance was cast from the "doves-eyes" across the "alley" of the old meeting-house at Cicely as she sung.

But Cicely vas not young when she last used the old psalm-book. She may have been stately and prosperous and seated in the dignified "foreseat;" she may have been feeble and infirm in her place in the "Deaf Pue;" and she may have been careworn and sad, tired of fighting against poverty, worn with dread of fierce Indians, weary of the howls of the wolves in the dense forests so near, and home-sick and longing for the yonderland, her "faire Englishe home;" but were she sad or careworn or heartsick, in her treasured psalm-book she found comfort,—comfort in the halting verses as well as in the noble thoughts of the Psalmist. And the glamour of eternal, sweet-voiced youth hangs around the gentle Cicely, through the power of the inscription in the old psalm-book,—

"In youth I praise And walk thy ways,"—

the romance of the time when Cicely, the Puritan commonwealth, the whole New World was young.



XIII.

Sternhold and Hopkins' Version of the Psalms.



The metrical translation of the Psalms known as Sternhold and Hopkins' Version was doubtless used in the public worship of God in many of the early New England settlements, especially those of the Connecticut River Valley, though the old register of the town of Ipswich is the only local record that gives positive proof of its use in the Puritan church. In 1693 an edition of Sternhold and Hopkins was printed in Cambridge, Massachusetts. It was not a day nor a land where a whole edition of such a book would be printed for reference or comparison only; and to thus publish the work of the English psalmists in the very teeth of the popularity of "The Bay Psalm Book" is to me a proof that Sternhold and Hopkins' Version was employed far more extensively in the colonial churches and homes than we now have records of, and than many of our church historians now fancy. Certainly the familiar English psalm-books must have been brought across the ocean and used temporarily until the newly landed colonists could acquire the version of Ainsworth or of the New England divines.

An everlasting interest attaches to this metrical arrangement of the Psalms, to Americans as well as to Englishmen, because it was the earliest to be adopted in public worship in England. According to Strype, in his Memorial, the singing of psalms was allowed in England as early as 1548, but it was not until 1562 that the versified psalms of Sternhold and Hopkins were appended to the Book of Common Prayer. Sternhold and Hopkins' Version was also the first to give all the psalms of David in English verse to the English public.

Very little is known of the authors of this version. Sternhold was educated at Oxford; was Groom of the Robes to Henry VIII. and Edward VI., was a "bold and busy Calvinist," and died in 1549. The little of interest told of John Hopkins is that he was a minister and schoolmaster, and that he assisted the work of Sternhold.

The full reason for Sternhold's pious work is thus given by an old English author, Wood: "Being a most zealous reformer and a very strict liver he became so scandalyzed at the loose amorous songs used in the court that he forsooth turned into English metre fifty-one of Davids Psalms, and caused musical notes to be set to them, thinking thereby that the courtiers would sing them instead of their sonnets; but they did not, only some few excepted." The preface printed in the book stated Sternhold's wish and intention that the verses should be sung by Englishmen, not only in church, but "moreover in private houses for their godly solace and comfort; laying apart all ungodly Songs & Ballads which tend only to the nourishment of vice & corrupting of youth."

The first edition contained nineteen psalms only, which were all versified by Sternhold. It was published in 1548 or 1549, under this title, "Certayn Psalmes chosen out of the Psalter of Daid and drawen into English Metre by Thomas Sternhold Groom of ye Kynges Maiesties Roobes." I believe no copy of this edition is now known to exist.

The praise which Sternhold received for his pious rhymes had the same effect upon him as did similar encomiums upon his predecessor, the French psalm-writer Marot,—it encouraged him to write more psalm-verses.

The second edition was printed in 1549, and contained thirty-seven psalms by Sternhold and seven by Hopkins. It bore this title, "Al such Psalmes of David as Thomas Sternehold late grome of his maiesties robes did in his lyfe tyme drawe into English metre." It was a well-printed book and copies are still preserved in the British Museum and the Public Library of Cambridge, England. This second and enlarged edition was dedicated, in a four-page preface, to King Edward VI., and a pretty story is told of the young king's interest in the verses. The delicate and gentle boy of twelve heard Sternhold when "singing them to his organ" as Strype says, and wandered in to hear the music and listen to the words. So great was his awakened interest in the sacred songs that Sternhold resolved to write in verse for him still further of the psalms. The dedication reads: "Seeing that your tender and godly zeale dooth more delight in the holye songs of veritie than in any fayncd rymes of vanytie, I am encouraged to travayle further in the said booke of Psalmes." This young king restored to the English people the free reading of the Bible, which his wicked father, Henry VIII., had forbidden them, and he was of a sincerely religious nature. He also was a music-lover, and encouraged the art as much as his short life and troubled reign permitted.

Hopkins also wrote a preface for his share of the work, in which he spoke with much modesty of himself and much praise of Sternhold. He said his own verses were not "in any parte to bee compared with his [Sternhold's] most exquisite dooynges." He thinks, however, that his owne are "fruitfull though they bee not fyne."

The third edition, in 1556, contained fifty-one psalms; the fourth, in 1560, had sixty-seven psalms; the fifth, in 1561, increased the number to eighty-seven; and in 1562 or 1563 the whole book of psalms appeared. Other authors had some share in this work: Norton, Whyttyngham (a Puritan divine who married Calvin's sister), Kethe, who wrote the 100th Psalm, "All people that on earth do dwell," which is still seen in some of our hymn-books. Of all these men, sly old Thomas Fuller truthfully and quaintly said, "They were men whose piety was better than their poetry, and they had drunk more of Jordan than of Helicon."

For over one hundred years from the first publication there was a steady outpour of editions of these Psalms. Before the year 1600 there were seventy-four editions,—a most astonishing number for the times; and from 1600 to 1700 two hundred and thirty-five editions. In 1868 six hundred and one editions were known, including twenty-one in this nineteenth century and doubtless there were still others uncatalogued and forgotten. Among other editions this version had in the time of Charles II. two in shorthand, one printed by "Thos. Cockerill at the Three Legs and Bible in the Poultry." Two copies of these editions are in the British Museum. They are tiny little 64mos, of which half a dozen could be laid side by side on the palm of the hand. Sternhold and Hopkins' Version had also in 1694 the honor of having arranged for it a Concordance.

Upon no production of the religious Muse in the English tongue has greater diversity of criticism been displayed or more extraordinary or varied judgment been rendered than upon Sternhold and Hopkins' Psalms. A world of testimony could be adduced to fortify any view which one chose to take of them. At the time of their early publication they induced a swarm of stinging lampoons and sneering comments, that often evince most plainly that a difference in religious belief or scorn for an opposing sect brought them forth. The poetry of that and the succeeding century abounds in allusions to them. Phillips wrote:—

"Singing with woful noise Like a crack'd saints bell jarring in the steeple, Tom Sternhold's wretched prick-song for the people."

Another poet, a courtier, wrote:—

"Sternhold and Hopkins had great qualms When they translated David's psalms."

But I see no signs of qualmishness; they show to me rather a healthy sturdiness as one of their strongest characteristics.

Pope at a later day wrote:—

"Not but there are who merit other palms Hopkins and Sternhold glad the heart with psalms. The boys and girls whom charity maintains Implore your help in these pathetic strains. How could devotion touch the country pews Unless the gods bestowed a proper muse."

Wesley sneered at this version, saying, "When it is seasonable to sing praises to God we do it, not in the scandalous doggrel of Hopkins and Sternhold, but in psalms and hymns which are both sense and poetry, such as would provoke a critic to turn Christian rather than a Christian to turn critic."

The edition of 1562 was printed with the notes of melodies that were then called Church Tunes. They formed the basis of all future collections of psalm-music for over a century. They soon were published in harmony in four parts, "which may be sung to all musical instrumentes set forth for the encrease of vertue and abolyshing of other vayne and tryfling ballads." In 1592 a very important collection of psalm-tunes was published to use with Sternhold and Hopkins' words. It is called "The Whole Booke of Psalmes: with their wonted tunes as they are sung in Churches composed into four parts." This book is noteworthy because in it the tunes are for the first time named after places, as is still the custom. The music contained square or oblong notes and also lozenge-shaped notes. The square note was a "semy-brave," the lozenge-shaped note was a "prycke" or a "mynymme," and "when there is a prycke by the square note, that prycke is half as much as the note that goeth before."

Music at that time was said to be pricked, not printed,—the word being derived from the prick or dot which formed the head of the note. Any song which was printed in various parts was called a prick-song, to distinguish it from one sung extemporaneously or by ear. The word prick-song occurs not only in all the musical books, but in the literature of the time, and in Shakespeare. "Tom Sternhold's" songs were entitled to be called prick-songs because they had notes of music printed with them. Many of the tunes in this collection were taken from the Genevan Psalter and Luther's Psalm-Book, or from Marot and Beza's French Book of Psalms. Hence they were irreverently called "Genevan Jiggs," and "Beza's Ballets."

There is much difference shown in the wording of these various editions of Sternhold and Hopkins' Psalms. The earlier ones were printed as Sternhold wrote them; but with the Genevan editions began great and astonishing alterations. Warton, who was no lover of Sternhold and Hopkins' verses, calling them "the disgrace of sacred poetry," said of these attempted improvements, with vehemence, that "many stanzas already too naked and weak like a plain old Gothic edifice stripped of its signatures of antiquity, have lost that little and almost only strength and support which they derived from ancient phrases." Other old critics thought that Sternhold, could he return to life, would hardly know his own verses.

This is Sternhold's rendering of the Psalm in the edition of 1549:—

1. The heavens & the fyrmamente do wondersly declare The glory of God omnipotent his workes and what they are.

2. Ech daye declareth by his course an other daye to come And By the night we know lykwise a nightly course to run.

3. There is no laguage tong or speche where theyr sound is not heard, In al the earth and coastes thereof theyr knowledge is conferd.

4. In them the lord made royally a settle for the sunne Where lyke a Gyant joyfully he myght his iourney runne.

5. And all the skye from ende to ende he compast round about No man can hyde hym from his heate but he wll fynd hym out

In order to show the liberties taken with the text we can compare with it the Genevan edition printed in 1556. The second verse of that presumptuous rendering reads,—

"The wonderous works of God appears by every days success The nyghts which likewise their race runne the selfe same thinges expresse."

The fourth,—

"In them the lorde made for the sunne a place of great renoune Who like a bridegrome rady-trimed doth from his chamber come."

The expression "rady-trimed," meaning close-shaven, is often instanced as one of the inelegancies of Sternhold, but he surely ought not to be held responsible for the "improvements" of the Genevan edition published after his death.

The Genevan editors also invented and inserted an extra verse:—

"And as a valiant champion who for to get a prize With joye doth hast to take in hande some noble enterprise."

The fifth verse is thus altered:—

"And al the skye from ende to ende he compasseth about, Nothing can hyde it from his heate but he wil finde it out."

I cannot express the indignation with which I read these belittling and weakening alterations and interpolations; they are so unjust and so degrading to the reputation of Sternhold. It seems worse than forgery—worse than piracy; for instead of stealing from the defenceless dead poet, it foists upon him a spurious and degrading progeny; there is no word to express this tinkering libellous literary crime.

Cromwell had a prime favorite among these psalms; it was the one hundred and ninth and is known as the "cursing psalm." Here are a few lines from it:—

"As he did cursing love, it shall betide unto him so, And as he did not blessing love it shall be farre him fro, As he with cursing clad himselfe so it like water shall Into his bowels and like oyl Into his bones befall. As garments let it be to him to cover him for aye And as a girdle wherewith he may girded be alway."

Another authority gives the "cursing psalm" as the nineteenth of King James's version; but there is nothing in "The heavens declare the glory of God," &c. to justify the nickname of "cursing."

It is said when the tyrannical ruler Andros visited New Haven and attended church there that (Sternhold and Hopkins' Version being used) the fearless minister very inhospitably gave out the fifty-second psalm to be sung. The angry governor, who took it as a direct insult, had to listen to the lining and singing of these words, and I have no doubt they were roared out with a lusty will:—

1. Why dost thou tyrant boast thyself thy wicked deeds to praise Dost thou not know there is a God whose mercies last alwaies?

2. Why doth thy mind yet still deuise such wisked wiles to warp? Thy tongue untrue, in forging lies is like a razer sharp.

* * * * *

4. Thou dost delight in fraude & guilt in mischief bloude and wrong: Thy lips have learned the flattering stile O false deceitful tongue.

5. Therefore shall God for eye confounde and pluck thee from thy place. Thy seed and root from out the grounde and so shall thee deface;

6. The just when they behold thy fall with feare will praise the Lord: And in reproach of thee withall cry out with one accord.

When the unhappy King Charles fled from Oxford to a camp of troops he also was insulted by having the same psalm given out in his presence by the boorish chaplain of the troops. After the cruel words were ended the heartsick king rose and asked the soldiers to sing the fifty-sixth psalm. Whenever I read the beautiful and pathetic words, as peculiarly appropriate as if they had been written for that occasion only, I can see it all before me,—the great camp, the angry minister, the wretched but truly royal king; and I can hear the simple and noble song as it pours from the lips of hundreds of rude soldiers:

1. Have mercy Lord on mee I pray for man would mee devour. He fighteth with me day by day and troubleth me each hour.

2. Mine enemies daily enterprise to swallow mee outright To fight against me many rise O thou most high of might

* * * * *

5. What things I either did or spake they wrest them at thier wil: And all the councel that they take is how to work me il.

6. They all consent themselves to hide close watch for me to lay: They spie my pathes, and snares have layd to take my life away.

7. Shall they thus scape on mischief set, thou God on them wilt frowne: For in his wrath he will not let to throw whole kingdomes downe.

It would perhaps be neither just nor conducive to proper judgment to gather only a florilege of noble verses from Sternhold and Hopkins' Version and point out none of the "weedy-trophies," the quaint and even uncouth lines which disfigure the work. We must, however, in considering and judging them, remember that many words and even phrases which at present seem rather ludicrous or undignified had, in the sixteenth century, significations which have now become obsolete, and which were then neither vulgar nor unpoetical. I also have been forced to take my selections from a copy of Sternhold and Hopkins printed in 1599, and bound up with a "Breeches Bible;" for I have access to no earlier edition. Sternhold and Hopkins themselves may not be in truth responsible for many of the crudities. Hopkins, in his rendition of the 12th verse of the seventy-fourth Psalm, thus addresses the Deity:—

"Why doost withdraw thy hand abacke and hide it in thy lappe? O pluck it out and bee not slacke to give thy foes a rap."

"Rap" may have meant a heavier, a mightier blow then than it does now-a-days.

Here is another curious verse from the seventieth psalm,—

"Confounde them that apply and seeke to make my shame And at my harme doe laugh & crye So So there goeth the game."

The sixth verse of the fifty-eighth psalm is rendered thus:—

"O God breake thou thier teeth at once within thier mouthes throughout; The tuskes that in thier great jawbones like Lions whelpes hang out."

Another verse reads thus:—

"The earth did quake, the raine pourde down Heard men great claps of thunder And Mount Sinai shooke in such state As it would cleeve in sunder."

One verse of the thirty-fifth psalm reads thus:—

"The belly-gods and flattering traine that all good things deride At me doe grin with greate disdaine and pluck thier mouths aside. Lord when wilt thou amend this geare why dost thou stay & pause? O rid my soul, my onely deare, out of these Lions clawes."

The word tush occurs frequently and quaintly: "Tush I an sure to fail;" "Tush God forgetteth this."

"And with a blast doth puff against such as would him correct Tush Tush saith he I have no dread."

Here are some of the curious expressions used:—

"Though gripes of grief and pangs full sore shall lodge with us all night."

"For why their hearts were nothing lent to Him nor to His trade."

"Our soul in God hath joy and game."

"They are so fed that even for fat thier eyes oft-times out start."

"They grin they mow they nod thier heads."

"While they have war within thier hearts." as butter are thier words."

"Divide them Lord & from them pul thier devilish double-tongue."

"My silly soul uptake."

"And rained down Manna for them to eat a food of mickle-wonder."

"For joy I have both gaped & breathed."

But it is useless to multiply these selections, which, viewed individually, are certainly absurd and inelegant. They often indicate, however, the exact thought of the Psalmist, and are as well expressed as the desire to be literal as well as poetic will permit them to be. Sternhold's verses compare quite favorably, when looked at either as a whole or with regard to individual lines, with those of other poets of his day, for Chaucer was the only great poet who preceded him.

I must acknowledge quite frankly in the face of critics of both this and the past century that I always read Sternhold and Hopkins' Psalms with a delight, a satisfaction that I can hardly give reasons for. Many of the renderings, though unmelodious and uneven, have a rough vigor and a sweeping swing that is to me wonderfully impressive, far more so than many of the elegant and polished methods of modern versifiers. And they are so thoroughly antique, so devoid of any resemblance to modern poems, that I love them for their penetrating savor of the olden times; and they seem no more to be compared and contrasted with modern verses than should an old castle tower be compared with a fine new city house. We prefer the latter for a habitation, it is infinitely better in every way, but we can admire also the rough grandeur of the old ruin.



XIV.

Other Old Psalm-Books.



There are occasionally found in New England on the shelves of old libraries, in the collections of antiquaries, or in the attics of old farm-houses, hidden in ancient hair-trunks or painted sea-chests or among a pile of dusty books in a barrel,—there are found dingy, mouldy, tattered psalm-books of other versions than the ones which we know were commonly used in the New England churches. Perhaps these books were never employed in public worship in the new land; they may have been brought over by some colonist, in affectionate remembrance of the church of his youth, and sung from only with tender reminiscent longing in his own home. But when groups of settlers who were neighbors and friends in their old homes came to America and formed little segregated communities by themselves, there is no doubt that they sung for a time from the psalm-books that they brought with them.

A rare copy is sometimes seen of Marot and Beza's French Psalm-book, brought to America doubtless by French Huguenot settlers, and used by them until (and perhaps after) the owners had learned the new tongue. Some of the Huguenots became members of the Puritan churches in America, others were Episcopalians. In Boston the Fancuils, Baudoins, Boutineaus, Sigourneys, and Johannots were all Huguenots, and attended the little brick church built on School Street in 1704, which was afterwards occupied by the Twelfth Congregational Society of Boston, and in 1788 became a Roman Catholic church.

The pocket psalm-book of Gabriel Bernon, the builder of the old French Fort at Oxford, is one of Marot and Beza's Version, and is still preserved and owned by one of his descendants; other New England families of French lineage cherish as precious relics the French psalm-books of their Huguenot ancestors. There has been in France no such incessant production of new metrical versions of the psalms as in England. From the time of the publication of the first versified psalms in 1540, through nearly three centuries the psalm-book of all French Protestants has been that of Marot and Beza. This French version of the psalms is of special interest to all thoughtful students of the history of Protestantism, because it was the first metrical translation of the psalms ever sung and used by the people; and it was without doubt one of the most powerful influences that assisted in the religious awakening of the Reformation.

Clement Marot was the "Valet of the Bed-chamber to King Francis I.," and was one of the greatest French poets of his time; in fact, he gave his name to a new school of poetry,—"Marotique." He had tried his hand at an immense variety of profane verse, he had written ballades, chansons, pastourelles, vers equivoques, eclogues, laments, complaints, epitaphs, chants-royals, blasons, contreblasons, dizains, huitains, envois; he had been, Warton says, "the inventor of the rondeau and the restorer of the madrigal;" and yet, in spite of his well-known ingenuity and versatility, it occasioned much surprise and even amusement when it was known that the gay poet had written psalm-songs and proposed to substitute them for the love-songs of the French court. I doubt if Marot thought very deeply of the religious influence of his new songs, in spite of Mr. Morley's belief in the versifier's serious intent. He was doubtless interested and perhaps somewhat infected by "Lutheranisme," though perhaps he was more of a free-thinker than a Protestant. He himself said of his faith:—

"I am not a Lutherist Nor Zuinglian and less Anabaptist, I am of God through his son Jesus Christ. I am one who has many works devised From which none could extract a single line Opposing itself to the law divine."

And again:—

"Luther did not come down from heaven for me Luther was not nailed to the cross to be My Saviour; for my sins to suffer shame, And I was not baptized in Luther's name. The name I was baptized in sounds so sweet That at the sound of it, what we entreat The Eternal Father gives."

In the year 1540, at the instigation of King Francis, Marot presented a manuscript copy of his thirty new psalm-songs to Charles V., king of Spain, receiving therefor two hundred gold doubloons. Francis encouraged him by further gifts, and so praised his work that the author soon published the thirty in a book which he dedicated to the king; and to which he also prefixed a metrical address to the ladies of France, bidding these fair dames to place their

"doigts sur les espinettes Pour dire sainctes chansonnettes."

These "sainctes chansonnettes" became at once the rage; courtiers and princes, lords and ladies, ever ready for some new excitement, seized at once upon the novel psalm-songs, and having no special or serious music for them, cheerfully sang the sacred words to the ballad-tunes of the times, and to their gailliards and measures, without apparently any very deep thought of their religious meaning. Disraeli says that each of the royal family and each nobleman chose for his favorite song a psalm expressive of his own feeling or sentiments. The Dauphin, as became a brave huntsman, chose

"Ainsi qu'on vit le cerf bruyre,"

"As the hart panteth after the water-brook,"

and he gayly and noisily sang it when he went to the chase. The Queen chose

"Ne vueilles pas, o sire, Me reprendre en ton ire."

"Rebuke me not in thine indignation."

Antony, king of Navarre, sung

"Revenge moy prens la querelle,"

"Stand up, O Lord! to revenge my quarrel,"

to the air of a dance of Poitou. Diane de Poictiers chose

"Du fond de ma pensee."

"From the depth of my heart."

But when from interest in her psalm-song she wished to further read and study the Bible, she was warned from the danger with horror by the Cardinal of Lorraine. This religious awakening and inquiry was of course deprecated and dreaded by the Romish Church; to the Sorbonne all this rage for psalm-singing was alarming enough. What right had the people to sing God's word, "I will bless the Lord at all times, His praise shall be continually in my mouth"? The new psalm-songs were soon added to the list of "Heretical Books" forbidden by the Church, and Marot fled to Geneva in 1543. He had ere this been under ban of the Church, even under condemnation of death; had been proclaimed a heretic at all the cross-ways throughout the kingdom, and had been imprisoned. But he had been too good a poet and courtier to be lost, and the king had then interested himself and obtained the release of the versatile song writer. The fickle king abandoned for a second time the psalm versifier, who never again returned to France.

The austere and far-seeing Calvin at once adopted Marot's version of the Psalms, now enlarged to the number of fifty, and added them to the Genevan Confession of Faith,—recommending however that they be sung with the grave and suitable strains written, for them by Guillaume Frane.

The collection was completed with the assistance of Theodore Beza, the great theologian, and the demand for the books was so great that the printers could not supply them quickly enough. Ten thousand copies were sold at once,—a vast number for the times.

But Marot was not happy in Geneva with Calvin and the Calvinists, as we can well understand. Beza, in his "History of the French Reformed Churches" said, "He (Marot) had always been bred up in a very bad school, and could not live in subjection to the reformation of the Gospel, and therefore went and spent the rest of his days in Piedmont, which was then in the possession of the king, where he lived in some security under the favor of the governor." He lived less than a year, however, dying in 1544.

These psalms of Marot's passed through a great number and variety of editions. In addition to the Genevan publications, an immense number were printed in England. Nearly all the early editions were elegant books; carefully printed on rich paper, beautifully bound in rich moroccos and leathers, often emblazoned with gold on the covers, and with corners and clasps of precious metals,—they show the wealth and fashion of the owners. When, however, it came to be held an infallible sign of "Lutheranisme" to be a singer of psalms, simpler and cheaper bindings appear; hence the dress of the French Psalm-Book found in New England is often dull enough, but invariably firm and substantial.

These psalms of Marot's are written in a great variety of song-measures, which seem scarcely as solemn and religious as the more dignified and even metres used by the early English writers. Some are graceful and smooth, however, and are canorous though never sonorous. They are pleasing to read with their quaint old spelling and lettering.

In the old Sigourney psalm-book the nineteenth psalm was thus rendered:—

"Les cieux en chaque lieu La puissance de Dieu Racourent aux humains Ce grand entour espars Publie en toutes parts L'ouvrage de ses mains.

"Iour apres iour coulant Du Saigneur va parlant Par longue experience. La nuict suivant la nuict, Nous presche et nous instruicst De sa grad sapience"

Another much-employed metre was this, of the hundred and thirty-third psalm:—

"Asais aux bors do ce superbe fleuve Que de Babel les campagnes abreuve, Nos tristes coeurs ne pensoient qu' a Sion. Chacun, helas, dans cette affliction Les yeux en pleurs la morte peinte au visage Pendit sa harpe aux saules du rivage."

A third and favorite metre was this:—

"Mais sa montagne est un sainct lieu: Qui viendra done au mont de Dieu? Qui est-ce qui la tiendra place? Le homine de mains et coeur lave, En vanite non esleve Et qui n'a jure en fallace."

Marot wrote in his preface to the psalms:—

"Thrice happy they who shall behold And listen in that age of gold As by the plough the laborer strays And carman 'mid the public ways And tradesman in his shop shall swell The voice in psalm and canticle, Sing to solace toil; again From woods shall come a sweeter strain, Shepherd and shepherdess shall vie In many a tender Psalmody, And the Creator's name prolong As rock and stream return their song."

Though these words seem prophetic, the gay and volatile Marot could never have foreseen what has proved one of the most curious facts in religious history,—that from the airy and unsubstantial seed sown by the French courtier in such a careless, thoughtless manner, would spring the great-spreading and deep-rooted tree of sacred song.

Little volumes of the metrical rendering of the Psalms, known as "Tate and Brady's Version," are frequently found in New England. It was the first English collection of psalms containing any smoothly flowing verses. Many of the descendants of the Puritans clung with affection to the more literal renderings of the "New England Psalm-Book," and thought the new verses were "tasteless, bombastic, and irreverent." The authors of the new book were certainly not great poets, though Nahum Tate was an English Poet-Laureate. It is said of him that he was so extremely modest that he was never able to make his fortune or to raise himself above necessity. He was not too modest, however, to dare to make a metrical version of the Psalms, to write an improvement of King Lear, and a continuation of Absalom and Achitophel. Brady—equally modest—translated the Aeneid in rivalry of Dryden. "This translation," says Johnson, "when dragged into the world did not live long enough to cry."

Such commonplace authors could hardly compose a version that would have a stable foundation or promise of long existence. But few of Tate and Brady's hymns are now seen in our church-collections of Hymns and Psalms. To them we owe, however, these noble lines, which were written thus:—

"Be thou, O God, exalted High, And as thy glory fills the Skie So let it be on Earth displaid Till thou art here as There obeyed."

The hymn commencing,—

"My soul for help on God relies, From him alone my safety flows,"

is also of their composition.

The first edition of these psalms was printed in 1696, and bore this title, "The Book of Psalms, a new version in metre fitted to the tunes used in Churches. By N. Tate and N. Brady." It was dedicated to King William, and though its use was permitted in English churches, it never supplanted Sternhold and Hopkins' Version. In New England Tate and Brady's Psalms became more universally popular,—not, however, without fierce opposing struggles from the older church-members at giving up the venerated "Bay Psalm-Book."

Another version of Psalms which is occasionally found in New England is known as "Patrick's Version." The title is "The Psalms of David in Metre Fitted to the Tunes used in Parish Churches by John Patrick, D.D. Precentor to the Charter House London." A curious feature of this octavo edition of 1701, which I have, is, "An Explication of Some Words of less Common Use For the Benefit of the Common People." Here are a few of the "explications:"—

"Celebrate—Make renown'd. Climes—Countries differing in length of days. Detracting—Lessening one's credit. Fluid—Yielding. Infest—Annoy. Theam—Matter of Discourse. Uncessant—Never ceasing. Stupemlious—Astonishing."

Baxter said of Patrick, "His holy affection and harmony hath so far reconciled the Nonconformists that diverse of them use his Psalms in their congregation." I doubt if the version were used in New England Nonconformist congregations. Some of his verses read thus:—

"Lord hear the pray'rs and mournfull cries Of mine afflicted estate, And with thy Comforts chear my soul, Before it is too late.

"My days consume away like Smoak Mine anguish is so great, My bones are not unlike a hearth Parched & dry with heat.

"Such is my grief I little else Can do but sigh and groan. So wasted is my flesh I'm left Nothing but skin and bone.

"Like th' Owl and Pelican that dwell In desarts out of sight, I sadly do bemoan myself, In solitude delight.

"The wakeful bird that on Housetops Sits without company And spends the night in mournful cries Leads such a life as I.

"The Ashes I rowl in when I eat Are tasted with my bread, And with my Drink are mixed the tears I plentifully shed."

A version of the Psalms which seems to have demanded and deserved more attention than it received was written by Cotton Mather. He was doomed to disappointment in seeing his version adopted by the New England churches just as his ambitions and hopes were disappointed in many other ways. This book was published in 1718. It was called "Psalterium Americanum. A Book of Psalms in a translation exactly conformed unto the Original; but all in blank verse. Fitted unto the tunes commonly used in the Church." By a curious arrangement of brackets and the use of two kinds of print these psalms could be divided into two separate metres and could be sung to tunes of either long or short metre. After each psalm were introduced explanations written in Mather's characteristic manner,—a manner both scholarly and bombastic. I have read the "Psalterium Americanum" with care, and am impressed with its elegance, finish, and dignity. It is so popular, however, even now-a-days, to jibe at poor Cotton Mather, that his Psalter does not escape the thrusts of laughing critics. Mr. Glass, the English critic, holds up these lines as "one of the rich things:"—

"As the Hart makes a panting cry For cooling streams of water, So my soul makes a panting cry For thee—O Mighty God."

I have read these lines over and over again, and fail to see anything very ludicrous in them, though they might be slightly altered to advantage. Still they may be very absurd and laughable from an English point of view.

So superior was Cotton Mather's version to the miserable verses given in "The Bay Psalm-Book" that one wonders it was not eagerly accepted by the New England churches. Doubtless they preferred rhyme—even the atrocious rhyme of "The Bay Psalm Book." And the fact that the "Psalterium Americanum" contained no musical notes or directions also militated against its use.

Other American clergymen prepared metrical versions of the psalms that were much loved and loudly sung by the respective congregations of the writers. The work of those worthy, painstaking saints we will neither quote nor criticise,—saying only of each reverend versifier, "Truly, I would the gods had made thee poetical." Rev. John Barnard, who preached for fifty-four years in Marblehead, published at the age of seventy years a psalm-book for his people. Though it appeared in 1752, a time when "The Bay Psalm Book" was being shoved out of the New England churches, Barnard's Version of the Psalms was never used outside of Marblehead. Rev. Abijah Davis published another book of psalms in which he copied whole pages from Watts without a word of thanks or of due credit, which was apparently neither Christian, clerical nor manly behavior.

Watts's monosyllabic Hymns, which were not universally used in America until after the Revolution, are too well known and are still too frequently seen to need more than mention. Within the last century a flood of new books of psalms of varying merit and existence has poured out upon the New England churches, and filled the church libraries and church, pews, the second-hand book shops, the missionary boxes, and the paper-mills.



XV.

The Church Music.



Of all the dismal accompaniments of public worship in the early days of New England, the music was the most hopelessly forlorn,—not alone from the confused versifications of the Psalms which were used, but from the mournful monotony of the few known tunes and the horrible manner in which those tunes were sung. It was not much better in old England. In 1676 Master Mace wrote of the singing in English churches, "'T is sad to hear what whining, toling, yelling or shreaking there is in our country congregations."

A few feeble efforts were made in America at the beginning of the eighteenth century to attempt to guide the singing. The edition of 1698 of "The Bay Psalm-Book" had "Some few Directions" regarding the singing added on the last pages of the book, and simple enough they were in matter if not in form. They commence, "First, observe how many note-compass the tune is next the place of your first note, and how many notes above and below that so as you may begin the tune of your first note, as the rest may be sung in the compass of your and the peoples voices without Squeaking above or Grumbling below."

This "Squeaking above and Grumbling below" had become far too frequent in the churches; Judge Sewall writes often with much self-reproach of his failure in "setting the tune," and also records with pride when he "set the psalm well." Here is his pathetic record of one of his mistakes: "He spake to me to set the tune. I intended Windsor and fell into High Dutch, and then essaying to set another tune went into a Key much to high. So I pray'd to Mr. White to set it which he did well. Litchfield Tune. The Lord Humble me and Instruct me that I should be the occasion of any interruption in the worship of God."

The singing at the time must have been bad beyond belief; how much of its atrocity was attributable to the use of "The Bay Psalm-Book," cannot now be known. The great length of many of the psalms in that book was a fatal barrier to any successful effort to have good singing. Some of them were one hundred and thirty lines long, and occupied, when lined and sung, a full half-hour, during which the patient congregation stood. It is told of Dr. West, who preached in Dartmouth in 1726, that he forgot one Sabbath Day to bring his sermon to meeting. He gave out a psalm, walked a quarter of a mile to his house, got his sermon, and was back in his pulpit long before the psalm was finished. The irregularity of the rhythm in "The Bay Psalm Book" must also have been a serious difficulty to overcome. Here is the rendering given of the 133d Psalm:—

1. How good and sweet to see i'ts for bretheren to dwell together in unitee:

2. Its like choice oyle that fell the head upon that down did flow the beard unto beard of Aron: The skirts of his garment that unto them went down:

3. Like Hermons dews descent Sions mountains upon for there to bee the Lords blessing life aye lasting commandeth hee.

How this contorted song could have been sung even to the simplest tune by unskilled singers who possessed no guiding notes of music is difficult to comprehend. Small wonder that Judge Sewall was forced to enter in his diary, "In the morning I set York tune and in the second going over, the gallery carried it irresistibly to St. Davids which discouraged me very much." We can fancy him stamping his foot, beating time, and roaring York at the top of his old lungs, and being overcome by the strong-voiced gallery, and at last sadly succumbing to St. David's. Again he writes: "I set York tune and the Congregation went out of it into St. Davids in the very 2nd going over. They did the same 3 weeks before. This is the 2nd Sign. It seems to me an intimation for me to resign the Praecentor's Place to a better Voice. I have through the Divine Long suffering and Favour done it for 24 years and now God in his Providence seems to call me off, my voice being enfeebled." Still a third time he "set Windsor tune;" they "ran over into Oxford do what I would." These unseemly "running overs" became so common that ere long each singer "set the tune" at his own will and the loudest-voiced carried the day. A writer of the time, Rev. Thomas Walter, says of this reign of concordia discors: "The tunes are now miserably tortured and twisted and quavered, in some Churches, into a horrid Medly of confused and disorderly Voices. Our tunes are left to the Mercy of every unskilful Throat to chop and alter, to twist and change, according to their infinitely divers and no less Odd Humours and Fancies. I have myself paused twice in one note to take breath. No two Men in the Congregation quaver alike or together, it sounds in the Ears of a Good Judge like five hundred different Tunes roared out at the same Time, with perpetual Interfearings with one another."

Still, confused and poor as was the singing, it was a source of pure and unceasing delight to the Puritan colonists,—one of the rare pleasures they possessed,—a foretaste of heaven;

"for all we know Of what the blessed do above Is that they sing and that they love."

And to even that remnant of music—their few jumbled cacophonous melodies—they clung with a devotion almost phenomenal.

Nor should we underrate the cohesive power that psalm-singing proved in the early communities; it was one of the most potent influences in gathering and holding the colonists together in love. And they reverenced their poor halting tunes in a way quite beyond our modern power of fathoming. Whenever a Puritan, even in road or field, heard at a distance the sound of a psalm-tune, though the sacred words might be quite undistinguishable, he doffed his hat and bowed his head in the true presence of God. We fain must believe, as Arthur Hugh Clough says,—

"There is some great truth, partial, very likely, but needful, Lodged, I am strangely sure, in the tones of an English psalm-tune."

Judge Sewall often writes with tender and simple pathos of his being moved to tears by the singing,—sometimes by the music, sometimes by the words. "The song of the 5th Revelation was sung. I was ready to burst into tears at the words, bought with thy blood." He also, with a vehemence of language most unusual in him and which showed his deep feeling, wrote that he had an intense passion for music. And yet, the only tunes he or any of his fellow-colonists knew were the simple ones called Oxford, Litchfield, Low Dutch, York, Windsor, Cambridge, St. David's and Martyrs.

About the year 1714 Rev. John Tufts, of Newbury, who had previously prepared "A very Plain and Easy Introduction to the Art of Singing Psalm-tunes," issued a collection of tunes in three parts. These thirty-seven tunes, all of which but one were in common metre, were bound often with "The Bay Psalm-Book." They were reprinted from Playford's "Book of Psalms" and the notes of the staff were replaced with letters and dots, and the bars marking the measures were omitted. To the Puritans, this great number of new tunes appeared fairly monstrous, and formed the signal for bitter objections and fierce quarrels.

In 1647 a tract had appeared on church-singing which had attracted much attention. It was written by Rev John Cotton to attempt to influence the adoption and universal use of "The Bay Psalm-Book." This tract thoroughly considered the duty of singing, the matter sung, the singers, and the manner of singing, and, like all the literature of the time, was full of Biblical allusion and quotation. It had been said that "man should sing onely and not the women. Because it is not permitted to a woman to speake in the Church, how then shall they sing? Much lesse is it permitted to them to prophecy in the church and singing of Psalms is a kind of Prophecying." Cotton fully answered and contradicted these false reasoners, who would have had to face a revolution had they attempted to keep the Puritan women from singing in meeting. The tract abounds in quaint expressions, such as, "they have scoffed at Puritan Ministers as calling the people to sing one of Hopkins-Jiggs and so hop into the pulpit." Though he wrote this tract to encourage good singing in meeting, his endorsement of "lining the Psalm" gave support to the very element that soon ruined the singing. His reasons, however, were temporarily good, "because many wanted books and skill to read." At that time, and for a century later, many congregations had but one or two psalm-books, one of which was often bound with the church Bible and from which the deacon lined the psalm.

So villanous had church-singing at last become that the clergymen arose in a body and demanded better performances; while a desperate and disgusted party was also formed which was opposed to all singing. Still another band of old fogies was strong in force who wished to cling to the same way of singing that they were accustomed to; and they gave many objections to the new-fangled idea of singing by note, the chief item on the list being the everlasting objection of all such old fossils, that "the old way was good enough for our fathers," &c. They also asserted that "the names of the notes were blasphemous;" that it was "popish;" that it was a contrivance to get money; that it would bring musical instruments into the churches; and that "no one could learn the tunes any way." A writer in the "New England Chronicle" wrote in 1723, "Truly I have a great jealousy that if we begin to sing by rule, the next thing will be to pray by rule and preach by rule and then comes popery."