We see, therefore, the reasons why music and poetry were introduced as a means of impressing revealed truth, both under the old and the new dispensations. Moses not only made the laws, but he made, likewise, the songs of the nation. These songs, in some instances, all the people were required to learn, in order that their memory might retain, and their heart feel, the influence of the events recorded in their national anthems.
Music held a conspicuous place in the worship of the temple; and under the new dispensation, it is sanctioned by the express example of Jesus, and specifically commanded by the apostles; the example is given in connection with the institution of the eucharist, which was to commemorate the most affecting scene in the history of God’s love; and the command is in such words as indicate the effects of music upon the heart: ‘Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord; giving thanks always for all things unto God and the Father, in the name of our Lord Jesus Christ.’ Upon this subject, as upon some others, the apostolic churches fell into some abuses; yet the high praises of God and the Lamb have always been celebrated in poetry and music by the church of Christ. One of the first notices of the Christians by pagan writers speaks of them as ‘singing a hymn to Christ, as to a God;’ thus showing that the principles established in the preceding views were recognised by the early disciples, who used music as a means of fostering in their hearts love to the Saviour.
As in the case of the primitive Christians, so every regenerated heart delights in such spiritual songs as speak of Christ as an atoning Saviour. And those only are qualified to write hymns for the church whose hearts are affected by the love of Jesus. On this account some of the hymns of Cowper, Charles Wesley, Watts, and Newton, will last while the church on earth lasts, and perhaps longer. Thousands of Christian hearts have glowed with emotion, while they sang,
‘There is a fountain fill’d with blood,
Drawn from Immanuel’s veins;
And sinners plunged beneath that flood
Lose all their guilty stains.’
Or,
‘Rock of ages, cleft for me,
Let me hide myself in thee.’
Thousands have been awakened to duty and to prayer, by that solemn hymn,
‘Lo, on a narrow neck of land,
’Twixt two unbounded seas I stand,
Yet how insensible!’
And it would not have been possible for any but a Christian poet to have written the lines,
‘Her noblest life my spirit draws
From his dear wounds and bleeding side.’