The cares and business of life not merely pre-occupy the mind, and exclude the thoughts of religion, but augment our addictedness to earthly objects, and render progressively the mind more insensible to lessons of piety. In old age avarice or sensuality are often at the highest pitch; the man has become more impatient and irritable, tenacious even of his errours, and averse to changes, no change can be looked for but the great one, when the messenger arrives, who brings a scythe in his hand.
To defer conversion till death, that its terrors may dissolve the charms of the world, besides the hazard of surprise, is unreasonable, as it supposes mercy when we have persisted in rebellion as long as we can; it is to expect that God’s Spirit shrill always strive with man; it is highly presumptuous; and it exposes also to self-deception, as religion in that late hour must be the effect of necessity, and destitute of the fruits and proofs of holiness.
[21]. I come now to say somewhat of the antiquity of Musical Instruments. But that these were not used in the Christian Church in the primitive times, is attested by all the ancient writers with one consent. Hence they figuratively explain all the places of the Old Testament, which speak of Musical Instruments; as I might easily shew by a thousand testimonies, out of Clement of Alexandria, Basil, Ambrose, Jerom, Augustine, Chrysostom, and many others. I can hardly forbear laughing, when I meet with some of their allegorical interpretations. Thus an Instrument with ten strings, according to them, signifies the Ten Commandments, as the unknown author of the Commentary upon the Psalms, among Jerom’s works, often explains it, In Ps. xxxii. 2. xliii. 4, &c. But the pleasantest fancy is the explication of those words: Praise him with stringed Instruments and Organs. Ps. cl. 4. “That the guts being twisted by reason of abstinence from food, and so all carnal desires being subdued, men are found fit for the kingdom of God, to sing his praises.” But Chrysostom talks more handsomly; “As the Jews praised God with all kind of Instruments; so we are commanded to praise him with all the members of our bodies, our eyes, &c.” In Ps. cl. And Clement of Alexandria talks much to the same purpose. Pædag. lib. ii. c. 4.
Besides, the ancients thought it unlawful to use those Instruments in God’s worship. Thus the unknown author of a Treatise, among Justin Martyr’s works: “Q. If songs were invented by unbelievers with a design of deceiving, and were appointed for those under the Law, because of the childishness of their minds; why do they, who have received the perfect instructions of grace, which are most contrary to the foresaid customs, nevertheless sing in the Churches, just as they did, who were children under the Law? Answ. Plain Singing is not childish, but only the Singing with lifeless Organs, with Dancing and Cym-bals, &c. Whence the use of such Instruments, and other things fit for children, is laid aside, and Plain Singing only retained.” Resp. ad Orthodox. Q. 107.
Chrysostom seems to have been of the same mind, and to have thought, the use of such Instruments was rather allowed the Jews in consideration of their weakness, than prescribed and commanded. In Ps. cl. But that he was mistaken, and that Musical Instruments were not only allowed the Jews, as he thought, and Isidorus of Pelusium, (whose testimony I shall mention presently) but were prescribed by God, may appear from the Texts of Scripture I have before referred to.
Clement, as I have mentioned already, thought these things fitter for beasts, than for men. And though Basil highly commends, and stifly defends the way of Singing by turns; yet he thought musical Instruments unprofitable and hurtful. He calls them, the inventions of Jubal of the race of Cain. And a little after, he thus expresses himself: “Laban was a lover of the harp, and of music, with which he would have sent away Jacob: If thou hadst told me, said he, I would have sent thee away with mirth, and musical instruments, and an Harp. But the Patriarch avoided that music, as being a thing that would hinder his regarding the works of the Lord, and his considering the works of his hands.” Comment. in Is. c. v. p. 956, 957. And a little before, he says thus “In such vain arts, as the playing upon the Harp, or Pipe, or dancing, as soon as the action ceases, the work itself vanishes. So that really, according to the Apostle’s expression, The end of these things is destruction.” page 955.
Isidore of Pelusium, who lived since Basil, held, music was allowed the Jews by God, in a way of condescension to their childishness: “If God” says he, “bore with bloody sacrifices, because of men’s childishness at that time; why should you wonder, he bore with the music of an harp and a psaltery?” Epist. lib. 2. ep. 176.
Nay, there are some ecclesiastical officers in the Church of England, who, for their very profession and employment, would have been kept from the communion of the Church, except they desisted from it. So we are informed by the Apostolical Constitutions: “If any come to the mystery of godliness, being a player upon a pipe, a lute, or an harp; let him leave it off, or be rejected.” Lib. viii. c. 32.
From what has been said, it appears, no musical instruments were used in the pure times of the Church. It became Antichristian, before they were received. Bellarmine himself does not deny, they were late brought into the Church. “The second ceremony,” says he, “are the Musical Instruments, which began to be used in the service of the Church, in the time of Pope Vitalian, about the year 660, as Platina relates out of the Pontifical; or, as Aimonius rather thinks, lib. iv. De gestis Francorum, c. 114. after the year 820, in the time or Lewis the Pious.” De Missa, lib. ii. c. 15. Item, De bon. Oper. lib. i. c. 17.
Dr. N. would hardly have denied, the Church of Rome was become Antichristian, when they were first brought in; even though we should allow Bellarmine’s first date of them to be the true one. But a Reformed Divine may well be ashamed of that antiquity, that does not exceed the rise of Antichrist. But I am fully satisfied both Bellarmine’s dates are false, and that instrumental music, in the worship of God, is much later than either of those accounts allow. For as to Platina, he seems to suspect the truth of what he wrote: “Vitalian,” says he, “being careful about the worship of God, made an ecclesiastical rule, and ordered the singing, with the addition (as some think) of organs.” In Vital. Again, Bellarmine’s Aimonius is not the true Aimonius. For (as Dr. Cave says) Aimonius of Fleury, who wrote, De gestis Francorum, flourished about the year 1000; and his History, which begins at the destruction of Troy, is brought down as far as the coronation of King Pipin, or to the year 752. For what comes after that, and makes up the fifth book, and the latter part of the fourth, is the continuation of another hand. Hist. Liter. p. 597.