3.
Mention is made in this extract of the Psalmody which Ambrose adopted about this time. The history of its introduction is curiously connected with the subject before us, and interesting, inasmuch as this was the beginning of a change in the style of Church music, which spread over the West, and continues even among ourselves to this day; it is as follows;—
Soldiers had been sent, as in the former year, to surround his church, in order to prevent the Catholic service there; but being themselves Christians, and afraid of excommunication, they went so far as to allow the people to enter, but would not let them leave the building. This was not so great an inconvenience to them as might appear at first sight: for the early Basilicas were not unlike the heathen temples, or our own collegiate chapels, that is, part of a range of buildings, which contained the lodgings of the ecclesiastics, and formed a fortress in themselves, which could easily be fortified from within or blockaded from without. Accordingly, the people remained shut up within the sacred precincts for some days, and the bishop with them. There seems to have been a notion, too, that he was to be seized for exile, or put to death; and they naturally kept about him to "see the end," to suffer with him or for him, according as their tempers and principles led them. Some went so far as to barricade the doors of the Basilica;[364] nor could Ambrose prevent this proceeding, unnecessary as it was, because of the good feelings of the soldiery towards them, and indeed impracticable in such completeness as might be sufficient for security.
Some persons may think that Ambrose ought to have used his utmost influence against it, whereas in his sermon to the people he merely insists on its uselessness, and urges the propriety of looking simply to God, and not at all to such expedients, for deliverance. It must be recollected, however, that he and his people in no sense drew the sword from its sheath; he confined himself to passive resistance. He had violated no law; the Church's property was sought by a tyrant: without using any violence, he took possession of that which he was bound to defend with his life. He placed himself upon the sacred territory, and bade them take it and him together, after St. Laurence's pattern, who submitted to be burned rather than deliver up the goods with which he had been intrusted for the sake of the poor. However, it was evidently a very uncomfortable state of things for a Christian bishop, who might seem to be responsible for all the consequences, yet was without control over them. A riot might commence any moment, which it would not be in his power to arrest. Under these circumstances, with admirable presence of mind, he contrived to keep the people quiet, and to direct their minds to higher objects than those around them, by Psalmody. Sacred chanting had been one especial way in which the Catholics of Antioch had kept alive, in Arian times, the spirit of orthodoxy. And from the first a peculiar kind of singing—the antiphonal or responsorial, answering to our cathedral chanting—had been used in honour of the sacred doctrine which heresy assailed. Ignatius, the disciple of St. Peter, was reported to have introduced the practice into the Church of Antioch, in the doxology to the Trinity. Flavian, afterwards bishop of that see, revived it during the Arian usurpation, to the great edification and encouragement of the oppressed Catholics. Chrysostom used it in the vigils at Constantinople, in opposition to the same heretical party; and similar vigils had been established by Basil in the monasteries of Cappadocia. The assembled multitude, confined day and night within the gates of the Basilica, were in the situation of a monastic body without its discipline, and Ambrose rightly considered that the novelty and solemnity of the oriental chants, in praise of the Blessed Trinity, would both interest and sober them during the dangerous temptation to which they were now exposed. The expedient had even more successful results than the bishop anticipated; the soldiers were affected by the music, and took part in it; and, as we hear nothing more of the blockade, we must suppose that it thus ended, the government being obliged to overlook what it could not prevent.
It may be interesting to the reader to see Augustine's notice of this occurrence, and the effect of the Psalmody upon himself, at the time of his baptism.
"The pious populace (he says in his Confessions) was keeping vigils in the church prepared to die, O Lord, with their bishop, Thy servant. There was my mother, Thy handmaid, surpassing others in anxiety and watching, and making prayers her life.
"I, uninfluenced as yet by the fire of Thy Spirit, was roused however by the terror and agitation of the city. Then it was that hymns and psalms, after the oriental rite, were introduced, lest the spirits of the flock should fail under the wearisome delay."—Confess. ix. 15.
In the same passage, speaking of his baptism, he says:—
"How many tears I shed during the performance of Thy hymns and chants, keenly affected by the notes of Thy melodious Church! My ears drank up those sounds, and they distilled into my heart as sacred truths, and overflowed thence again in pious emotion, and gushed forth into tears, and I was happy in them."—Ibid. 14.