Likewise, all mine iniquities,
Oh! do thou clean deface.'
The musical critic may sneer at the peculiar metre and simple versification, but it is probable the true design of sacred music was far more readily attained in those days and in this homely garb, than it can be by the high pretensions and meretricious ornaments of its modern masters.
The position of Mr. Willard was one of painful embarrassment. He had publicly declared his dissent from the prevalent opinions, and in this advanced stage of the popular delusion, when its early opposers were every day falling into the ranks of its believers, it required no small share of moral courage to maintain his ground. It was expected he would now make known his opinions without reserve, and that these opinions would appear greatly modified, if not totally changed. In this expectation, the church was thronged by multitudes who were anxious to quote his name and authority in support of the wild theories, which were now so generally adopted and believed.
The prayer which followed the music was distinguished for its fervency and pathos, and as the pastor carried up the desires of the congregation in his own affecting and impressive language, the fixed and solemn attention of the audience, indicated that it was no formal service, but one in which all the powers of the soul were deeply absorbed. At the close of the prayer, another psalm was sung, in the following words:
'Thou hid'st in wrath and us pursuest,
Thou slay'st and dost not rue;
Thou so with clouds dost hide thyself,
Our prayer cannot pass through.