The reign of Hezekiah appears a suitable opportunity to introduce a few remarks on the importance which the chronicler attaches to the music of the Temple services. Though the music is not more prominent with him than with some earlier kings, yet in the case of David, Solomon, and Jehoshaphat other subjects presented themselves for special treatment; and Hezekiah's reign being the last in which the music of the sanctuary is specially dwelt upon, we are able here to review the various references to this subject. For the most part the chronicler tells his story of the virtuous days of the good kings to a continual accompaniment of Temple music. We hear of the playing and singing when the Ark was brought to the house of Obed-edom; when it was taken into the city of David; at the dedication of the Temple; at the battle between Abijah and Jeroboam; at Asa's reformation; in connection with the overthrow of the Ammonites, Moabites, and Meunim in the reign of Jehoshaphat; at the coronation of Joash; at Hezekiah's feasts; and [pg 441] again, though less emphatically, at Josiah's passover. No doubt the special prominence given to the subject indicates a professional interest on the part of the author. If, however, music occupies an undue proportion of his space, and he has abridged accounts of more important matters to make room for his favourite theme, yet there is no reason to suppose that his actual statements overrate the extent to which music was used in worship or the importance attached to it. The older narratives refer to the music in the case of David and Joash, and assign psalms and songs to David and Solomon. Moreover, Judaism is by no means alone in its fondness for music, but shares this characteristic with almost all religions.
We have spoken of the chronicler so far chiefly as a professional musician, but it should be clearly understood that the term must be taken in its best sense. He was by no means so absorbed in the technique of his art as to forget its sacred significance; he was not less a worshipper himself because he was the minister or agent of the common worship. His accounts of the festivals show a hearty appreciation of the entire ritual; and his references to the music do not give us the technical circumstances of its production, but rather emphasise its general effect. The chronicler's sense of the religious value of music is largely that of a devout worshipper, who is led to set forth for the benefit of others a truth which is the fruit of his own experience. This experience is not confined to trained musicians; indeed, a scientific knowledge of the art may sometimes interfere with its devotional influence. Criticism may take the place of worship; and the hearer, instead of yielding to the sacred suggestions of hymn or anthem, may be distracted by his æsthetic judgment as to the [pg 442] merits of the composition and the skill shown by its rendering. In the same way critical appreciation of voice, elocution, literary style, and intellectual power does not always conduce to edification from a sermon. In the truest culture, however, sensitiveness to these secondary qualities has become habitual and automatic, and blends itself imperceptibly with the religious consciousness of spiritual influence. The latter is thus helped by excellence and only slightly hindered by minor defects in the natural means. But the very absence of any great scientific knowledge of music may leave the spirit open to the spell which sacred music is intended to exercise, so that all cheerful and guileless souls may be “moved with concord of sweet sounds,” and sad and weary hearts find comfort in subdued strains that breathe sympathy of which words are incapable.
Music, as a mode of utterance moving within the restraints of a regular order, naturally attaches itself to ritual. As the earliest literature is poetry, the earliest liturgy is musical. Melody is the simplest and most obvious means by which the utterances of a body of worshippers can be combined into a seemly act of worship. The mere repetition of the same words by a congregation in ordinary speech is apt to be wanting in impressiveness or even in decorum; the use of tune enables a congregation to unite in worship even when many of its members are strangers to each other.
Again, music may be regarded as an expansion of language: not new dialect, but a collection of symbols that can express thought, and more especially emotion, for which mere speech has no vocabulary. This new form of language naturally becomes an auxiliary of [pg 443] religion. Words are clumsy instruments for the expression of the heart, and are least efficient when they undertake to set forth moral and spiritual ideas. Music can transcend mere speech in touching the soul to fine issues, suggesting visions of things ineffable and unseen.
Browning makes Abt Vogler say of the most enduring and supreme hopes that God has granted to men, “'Tis we musicians know”; but the message of music comes home with power to many who have no skill in its art.
Chapter IX. Manasseh: Repentance And Forgiveness. 2 Chron. xxxiii.
In telling the melancholy story of the wickedness of Manasseh in the first period of his reign, the chronicler reproduces the book of Kings, with one or two omissions and other slight alterations. He omits the name of Manasseh's mother; she was called Hephzi-bah—“My pleasure is in her.” In any case, when the son of a godly father turns out badly, and nothing is known about the mother, uncharitable people might credit her with his wickedness. But the chronicler's readers were familiar with the great influence of the queen-mother in Oriental states. When they read that the son of Hezekiah came to the throne at the age of twelve and afterwards gave himself up to every form of idolatry, they would naturally ascribe his departure from his father's ways to the suggestions of his mother. The chronicler is not willing that the pious Hezekiah should lie under the imputation of having taken delight in an ungodly woman, and so her name is omitted.
The contents of 2 Kings xxi. 10-16 are also omitted; they consist of a prophetic utterance and further particulars as to the sins of Manasseh; they are virtually replaced by the additional information in Chronicles.