esift of Prof. 9. 17. Ropaca, J.D., (1445) Entered according to Act of Congress, in the year 1831, in the Clerk's Office of the District Court of Massachusetts. 781 M399ch 1831 PREFACE. IN presenting to the public such a work as this, it is obviously proper that something should be said of the object and expectation of its compilers. These may be stated in a few words. It has been their aim and hope to make a selection of psalms and hymns of a highly lyrical character, in respect to sentiment, imagery, language, and structure; possessing sufficient elevation and dignity to render them specially adapted to public worship on the Sabbath, and possessing, at the same time, such a variety of subjects and metres, and such a degree of simplicity, warmth, and animation, as should render them suitable for use in all social religious meetings, and in families. They have aimed, also, to render the selection particularly copious in those classes of hymns which are specially adapted to this period of revivals and of religious benevolent institutions and labors, and to various important occasions. The two things to be regarded in hymns for use in public worship, and by which their lyrical character is to be tested, are their Mutter and their Structure. In both these respects they may be faulty. Some remarks on the requisites of good lyric poetry will be made under each of these heads. As to the MATTER proper for lyric poetry. 1. The aim of all lyric poetry should be to express emotion, and the sentiments should be such as are adapted to this end. This is the original and natural office of all poetry; and it is more especially the natural office of all poetry which is designed to be used in connection with music. Poetry itself is the language of emotion; and that only is good lyric poetry, which requires the aid of music to produce its full effect. A kindred office of lyric poetry is to excite or increase emotion in the hearer or performer. Sacred lyric poetry may express every class of emotions which it is proper for man to express in acts of worship; but especially such as are implied in ascriptions of praise. It should generally be addressed directly to God, or else it should consist of rehearsals of truths and events, or exhortations and appeals to the hearts of men, which are directly adapted to turn the thoughts to God, and fill the soul with emotions towards him. A judicious German writer, treating on the character of lyric poetry, remarks that "The church secures human sanctification by two means-teaching or preaching, and the worship of God. In both these exercises the intellect and heart are employed, and act together, but not equally. Preaching is chiefly designed to enlighten the understanding, while the principal aim of worship is to warm and purify the heart, and express its emotions." To the first of these divisions of the services of the sanctuary belong the reading of the Scriptures, exposition, exhortations, and sermons. To the second belong prayer and singing. Though these divisions should be kept distinct, yet it very often happens, that exhortation or preaching occupies a large place in the prayers and hymns. "Modern hymns," says the author referred to above," are not lyrical, but didactic. They only preach in rhyme; and thus they reach the head, but not the heart. If, now, the sermon preaches, and the singing preaches, and the prayer preaches, the monotony of the service will occasion weariness; but if the sermon preaches, and the hymn sings, and the prayer prays, there will be a beautiful variety, to exercise and interest all the faculties of the soul." One author of hymns has filled a large book with pieces, most of which were written as supplements to sermons, and seem to be little more than abstracts, expressed in rhyme, of the sentiments which had just been delivered. As such, they may be very good; but they can scarcely be considered as better adapted to musical effect, than a table of contents, or the synopsis of an argument. They may be set to music, so that each syllable shall correspond to a note of a tune, but they cannot be sung. This forcibly bringing syllables and notes into contact, and pronouncing them together, is not singing, any more than noise is music. Such hymns may contain excellent statements and discussions of Christian doctrines, expressed in an attractive form, and may be highly valuable to be read and treasured up in the memory; but they are in no degree adapted to musical effect. All truly lyrical poetry, of a religious character, has one of these two objectseither to be a channel through which the full soul may pour forth its strong and holy emotions, or to bring before the mind objects which, in their nature and aspect, are adapted to awaken these elevated emotions;-it is to express emotion, or to excite it. 2. The sentiments and imagery should be grave, dignified, and conformed to the taste and habits of the age. What would be suited to one nation or age, or to one state of society, might be wholly unsuited to another. When the feelings are addressed, no allowance can be made for difference of age, or nation, or habits, as there may be when the understanding is addressed. Whatever, then, is unscriptural, grovelling, minute in detail, light, fanciful, incongruous, or offensive to the taste and feelings, checks the flow of the soul, and detracts seriously from the effect, and should therefore be avoided. If the prevailing taste is opposed to the precepts and doctrines of the Bible, it should not, of course, be humored. But, so far as manner, imagery, and illustration are concerned, it should be regarded scrupulously. Much, in these respects, which would be appropriate and powerful in an oration, or a heroic poem, would be utterly unfit for the dignity and holy excitement which should always attend a hymn set to music. All familiar and fondling epithets, or forms of expression, applied to either person of the Godhead, should be avoided, as bringing with them associations highly unfavorable to pure |