Sabbath in Puritan New England

by Alice Morse Earle

It is a square quarto of three hundred and forty-eight closely printed pages, bound in time-stained but well-preserved parchment, and even the parchment itself is interesting, and lovely to the touch. The titlepage is missing, but I know that this is the edition printed, as was Priscilla's, in Amsterdam in 1612 (not "in England in 1600" as a note written in the last blank page states). The full title was "The Book of Psalms. Englished both in Prose and Metre. With annotations opening the words and sentences by conference with other Scriptures. Eph. v: 18,19. Bee yee filled with the Spirit speaking to yourselves in Psalms and Hymns and Spiritual-Songs singing and making melodie in your hearts to the Lord." The book contains besides the Psalms and Annotations, on its first pages, a "Preface declaring the reason and use of the Book;" and at the last pages a "Table directing to some principal things observed in the Annotations of the Psalms," a list of "Hebrew phrases observed which are somewhat hard and figurative," and also some "General Observations touching the Psalms."

I can well imagine what a pious delight this book was to our Pilgrim Fathers; and what a still greater delight it was to our Pilgrim Mothers, in that day and country of few books. They possessed in it, not only a wonderful new metrical version of the Psalms for singing, but a prose version for comparison as well; and the deeply learned and profoundly worded annotations placed at the end of each Psalm were doubtless of special interest to such "scripturists with all their hearts" as they were.

There were also, "for the use and edification of the saints," printed above each psalm the airs of appropriate tunes. The "rough-hewn, angular notes" are irregularly lozenge-shaped, like the notes or "pricks" in Queen Elizabeth's "Virginal-Book," and are placed on the staff without bars. Ainsworth, in his preface, says, "Tunes for the Psalms I find none set of God: so that ech people is to use the most grave decent and comfortable manner that they know how, according to the general rule. The singing notes I have most taken from our Englished psalms when they will fit the mesure of the verse: and for the other long verses I have also taken (for the most part) the gravest and easiest tunes of the French and Dutch psalmes." Easy the tunes certainly are, to the utmost degree of simplicity.

Great diversity too of type did the Pilgrims find in their Psalm-book: Roman type, Italics, black-letter, all were used; the verse was printed in Italics, the prose in Roman type, and the annotation in black-letter and small Roman text with close-spaced lines. This variety though picturesque makes the text rather difficult to read; for while one can decipher black-letter readily enough when reading whole pages of it, when it is interspersed with other type it makes the print somewhat confusing to the unaccustomed eye.

One curious characteristic of the typography is the frequent use of the hyphen, compound words or rather compound phrases being formed apparently without English rule or reason. Such combinations as these are given as instances: "highly-him-preferre," "renowned-name," "repose-me-quietlie," "in-mind-uplay," "turn-to-ashes," "my-alonely-soul," "beat-them-final," "pouring-out-them-hard," "inveyers-mak-streight," and "condemn-thou-them-as-guilty,"--which certainly would make fit verses to be sung to the accompaniment of Master Mace's "excellent-large-plump-lusty-fullspeaking-organ."

Ainsworth's Version when read proves to be a scholarly book, exhibiting far better grammar and punctuation and more uniformity of spelling than "The New England Psalm-book," which at a later date displaced Ainsworth in the affections and religious services of the New England Puritans and Pilgrims. Both versions are somewhat confused in sense, and of uncouth and grotesque versification; though the metre of Ainsworth is better than the rhyme. It is all written in "common metre," nearly all in lines of eight and six syllables alternately.

The name of the author of this version was Henry Ainsworth; he was the greatest of all the Holland Separatists, a typical Elizabethan Puritan, who left the church in which he was educated and attached himself to the Separatists, or Brownists, as they were called. He went into exile in Amsterdam in 1593, and worked for some time as a porter in a book-seller's shop, living (as Roger Williams wrote) "upon ninepence in the weeke with roots boyled." He established, with the Reverend Mr. Johnson, the new church in Holland; and when it was divided by dissension, he became the pastor of the "Ainsworthian Brownists" and so remained for twelve years. He was a most accomplished scholar, and was called the "rabbi of his age." Governor Bradford, in his "Dialogue," written in 1648, says of Ainsworth, "He had not his better for the Hebrew tongue in the University nor scarce in Europe." Hence, naturally, he was constantly engaged upon some work of translating or commentating, and still so highly prized is some of his work that it has been reprinted during this century. He also, being a skilful disputant, wrote innumerable controversial pamphlets and books, many of which still exist. It is said that he once had a long and spirited controversy with a brother divine as to whether the ephod of Aaron were blue or green. I fear we of to-day have lost much that the final, decisive judgment from so learned scholars and students as to the correct color has not descended to us, and now, if we wish to know, we shall have to fight it all over again.

In spite of his power of argument (or perhaps on account of it) the most prominent part which Ainsworth seemed to take in Amsterdam for many years was that of peacemaker, as many of his contemporaries testify: for they quarrelled fiercely among themselves in the exiled church, though they had such sore need of unity and good fellowship; and they had many church arguments and judgments and lawsuits. They quarrelled over the exercise of power in the church; over the true meaning of the text Matthew xviii. 17; whether the members of the congregation should be allowed to look on their Bibles during the preaching or on their Psalm-books during the singing; whether they should sing at all in their meetings; over the power of the office of ruling elder (a fruitful source of dissension and disruption in the New England congregations likewise) and above all, they quarrelled long and bitterly over the unseemly and gay dress of the parson's wife, Madam Johnson. These were the terrible accusations that were brought against that bedizened Puritan: that she wore "her bodies tied to the petticote with points as men do their doublets and hose; contrary to I Thess. v: 22, conferred with Deut. xx: 11;" that she also wore "lawn coives," and "busks," and "whalebones in the petticote bodies," and a "veluet hoode," and a "long white brest;" and that she "stood gazing bracing and vaunting in the shop dores;" and that "men called her a bounceing girl" (as if she could help that!). And one of her worst and most bitterly condemned offences was that she wore "a topish hat." This her husband vehemently denied; and long discussions and explanations followed on the hat's topishness,--"Mr. Ainsworth dilating much upon a greeke worde" (as of course so learned a man would). For the benefit of unlearned modern children of the Puritans let me give the old Puritan's precise explanation and classification of topishness. "Though veluet in its nature were not topish, yet if common mariners should weare such it would be a sign of pride and topishness in them. Also a gilded raper and a feather are not topish in their nature, neither in a captain to weare them, and yet if a minister should weare them they would be signs of great vanity topishness and lightness." I wonder that topish hat had not undone the whole Puritan church in Holland.

In settling all these and many other disputes, in translating, commentating, and versifying, did Henry Ainsworth pass his days; until, worn out by hard labor, and succumbing to long continued weakness, he died in 1623. This romantic story of his death is told by Neal. "It was sudden and not without suspicion of violence; for it is reported that, having found a diamond of very great value in the streets of Amsterdam, he advertised it in print; and when the owner, who was a Jew, came to demand it, he offered him any acknowledgment he would desire, but Ainsworth though poor would accept of nothing but conference with some of his rabbis upon the prophecies of the Old Testament relating to the Messiah, which the other promised, but not having interest enough to obtain it he was poisoned." This rather ambiguous sentence means that Ainsworth was poisoned, not the Jew. Brooks's account of the story is that the conference took place, the Jews were vanquished, and in revenge poisoned the champion of Christianity afterwards. Dexter most unromantically throws cold water on this poisoning story, and adduces much circumstantial testimony to prove its improbability; but it could hardly have been invented in cold blood by the Puritan historians, and must have had some foundation in truth. And since he is dead, and the thought cannot harm him, I may acknowledge that I firmly believe and I like to believe that he died in so romantic a way.

The Puritans were psalm-singers ever; and in Holland the Brownist division of the church came under strong influences from Geneva and Wittenberg, the birth-places of psalm-singing, that made them doubly fond of "worship in song." Hence the Pilgrim Fathers, Brewster, Bradford, Carver, and Standish, for love of music as well as in affectionate testimony to their old pastor and friend, brought to the New World copies of his version of the Psalms and sang from it with delight and profit to themselves, if not with ease and elegance.