fluences. Musical distinctions are often unconsciously blended, and temptations are always on the side of misdirection. But the prevalence of a Christian spirit may ensure the detection of improprieties, where their existence would not otherwise be suspected.

CHAPTER XVI.

SPECIFIC CLAIMS OF DEVOTIONAL MUSIC.

WE have frequently intimated in the preceding pages, that the principles of taste in devotional music are essentially modified by the claims of vital religion. This topic has seldom received that measure of attention which its importance demands. Critical writers have too often passed it by, as foreign to the nature of their subject. Taste is one thing, and religion another; and why should the two be blended in a discussion which is professedly of a critical nature? But we are not of the number who regard devotional music as of little importance. We live in a land where religion is something more than a system of outward observances; and where its obligations are extensively acknowledged and appreciated. If these obligations are to have a governing influence upon devotional music, then the nature and the extent of that influence cannot be a matter of indifference, even in a critical point of view. The claims of taste, as well as the interests of religion, require that they should be investigated.

The great Author of our religion has established

the office of praise for the celebration of his own glory. We have no right, therefore, to question either the wisdom or the utility of the institution: nor to treat it with practical neglect. Nor yet have we any right to abuse it through misguided principles of cultivation. In either of these cases we are liable to become offenders. The music of the parlor, the field, or the drama, we are at liberty to neglect or to cultivate, to any extent not incompatible with other duties and obligations. We can here maintain conflicting opinions and endless diversities of sentiment, without violating the laws of society or departing from the rules of criticism. But the case is different with regard to devotional music. Here, obligations are imperative and principles inviolable. We are bound to praise God, not merely because he has commanded us to do so; but because he is worthy, infinitely worthy of the sincere homage of created intelligences. All are bound to praise him. The duty is just as universal as are the obligations to love and gratitude. The Psalmist calls upon all of every age and rank and nation to unite in the work of praise; and the apostles leave the same duty in charge of future generations to the end of time. The methods of praise are indeed various; but there is one which has been constituted for this specific purpose; and to this the exhortations which relate to the subject, seem chiefly to refer.

We have seen also, that all have been endowed by

nature with the necessary gifts-all, it is true, have not been equally favored. Some have ten talents, some have five, and some have one. To say nothing in this connection of music as a fine art, requiring peculiar genius and susceptibility, we may venture to affirm that nature has been sufficiently bountiful to all for the purposes here under consideration.

The consecrated themes of song are pre-eminent for spirituality. The utterance of these should be distinct, melodious and impressive; and be accompanied always with sincere, devout affections. All this is implied in the very nature of the case. The idea of an insincere, unintelligible offering, is at variance with the whole tenor of the Scriptures. Let heathenism continue her heartless offerings and senseless rites, for she worships only the imaginary deities of her own creation; but the worshippers of the true God claim no such license, for they serve a Being who requires the purest affections of the heart, and who abhors every appearance of dissimulation. When the themes are merely didactic or hortatory, they imply all this responsibility, for then the singer is to become as a preacher of righteousness in the solemn congregation; but when they are penitential or supplicatory, or are expressive of faith, hope, joy and holy exultation, what mockery must it be to offer them with careless lips and irrelevant sympathies and affections! Yet, have we not seen, that this very abuse is extensively prevalent in the churches?

Our observations under this head have perhaps been too limited. Let us here extend them in pursuit of farther discoveries.

We are met at the anniversary of some moral or religious society which enlists the deepest sympathies of the community. Here is a numerous, well-trained choir, who have made special preparations for the interesting occasion. They themselves are conscientious worshippers, disposed to sing the praises of God to edification; yet they are treated in every respect just as if they had been a mere secular band of instruments. In the midst of the noise and bustle, and before the assembly are fairly seated, they are requested to sing for the purpose of promoting silence; and hesitating to obey, the distinguished individual who presides cries out, "music! music!" just as if he were speaking to the leader of an orchestra. Again; at the close of some speech or report, the audience are respectfully notified that the singers will be "so kind as to perform another beautiful piece of music,” and then, perchance, he will direct that the contribution-box be immediately circulated, that there may be no unnecessary waste of time! Scenes of this nature have often been witnessed, where we might have hoped for better influences.

But again, we are assembled in different circumstances. We are at church on the Sabbath, where there is a splendid organ and a well-disciplined choir. The organist, a conscientious man, is neither adver