Ode, or song, is a more general term, qualified and limited by the epithet ‘spiritual,’ and may be regarded as justifying our use of many modern hymns which a severe or narrow taste would reject. Bishop Beveridge understood it to include ‘all sorts of songs upon any spiritual subject.’
Probably the three terms were not very rigidly distinguished, though they are convenient for describing various classes of devotional poetry. In the title of Ps. lxxv. the LXX. gives the three words: ‘among hymns, a psalm for Asaph, an ode concerning the Assyrian.’[12]
The variety of form which the songs of the Christian temple may assume is seen to be of the utmost value when we consider how large a part the ministry of song has in Christian life and worship. Although Jehovah is ‘exalted above all blessing and praise,’[13] yet does He sit ‘enthroned upon the praises of Israel.’[14] ‘Praise waiteth for God in Zion.’ The ancient summons to worship is—
Enter into His gates with thanksgiving,
And into His courts with praise.
c. 4.
The walls of the city of God are called Salvation, and her gates Praise.[15] The mystic Jerusalem is the true ‘city of praise.’[16] The one offering of the Christian temple is its perpetual eucharist,[17] ‘the sacrifice of praise.’[18] The high praises of God are in the mouth of His saints because His love is shed abroad in their hearts, and they ‘cannot from His praise forbear.’
Jerusalem makes melody
For simple joy of heart,
An organ of full compass she,