which constitute the essence and the glory of free-agency. It would begin with certain self-evident truths, certain pure abstractions, and, by a course of rigid reasoning, or necessary inference from them, would fix and settle, beforehand, definitely and undeniably, the whole course of duty under all possible circumstances; so that after a man has been once initiated into this system of theoretic perfection, and has adopted it for his standard and guide, he will have no more need of his reason or conscience, but only of an unchangeable will, in all the progress of his life. It is excessively afraid of leaving any thing to be modified by circumstances, any thing to be determined upon, or done in detail. It flies to extremes, because they are definite and cannot be mistaken; it avoids the medium, because it is impossible to fix its position with mathematical exactitude, by any formula of words. The very names of so indefinite things as prudence and common sense, the very epithets judicious and moderate, are a smoke in its nose, which it cannot away with. This disposition to bind men to their duty by demonstrated abstract principles; to eschew the guidance of conscience in particular cases, and in view of modifying circumstances, as a dangerous laxity in morals; seems to us to be the peculiar characteristic, and the principle of Radical ethics.

The spirit of Radicalism manifests itself, not only in the religious efforts, but in the theories of education, in the political discussions, and in the great moral enterprises of the day. It has imperceptibly, and by its specious insinuations, become almost a habit of the public mind. We propose, at another time, to examine further, and in different aspects, the deceptive nature and dangerous tendency of Radical opinions. And here, once for all, we wish it to be distinctly understood, that, in the statements we have made, and shall hereafter make, we are ready to admit all proper modifica tions. It is only with such modifications implied that we make the statements, or admit their correctness ourselves. If we speak of danger from one quarter, we do not deny that there is danger-equal, greater danger, if you pleasefrom another. When we find fault with Rradical opinions, with pushing abstract principles beyond their proper practical limits, with excessive simplifications, and extravagant or ignorant zeal; we are ready to admit-we maintainthat there is an opposite extreme: we deprecate it with all our hearts, and, on a proper occasion, would enter at large

into a reprobation of it. We are no advocates for loose opinions, for unsettled, or changeling principles, for vague and inapplicable generalities, for a temporising, pettifogging code of morals, and for inactive speculation, or stupid and sluggish indifference. Far from it. We maintain, that there is a medium; and, though it cannot be precisely defined by any universal proposition, that we ought, in the specific relations, and under the varying circumstances of daily practice, conscientiously to seek for it, and studiously to keep it.

ART. V. SACRED MUSIC.

By Rev. JOHN A. ALBRO, Cambridge, Mass.

1. The Boston Handel and Haydn Society's Collection of Music; edited by Lowell Mason.

2. The Choir, or Union Collection of Church Music, by Lowell Mason.

3. The Boston Collection of Anthems, Choruses, &c, by Lowell Mason, and George J. Webb.

4. The Boston Adademy's Collection of Church Music, published under the direction of the Boston Academy of Music.

5. The Ancient Lyre, by Charles Zeuner.

THE publications indicated at the head of this article, have followed each other in quick succession, and have met with a rapid and extensive sale. They are, in many respects, worthy of the patronage they have received. In publishing them, the accomplished and indefatigable editors have rendered to the church of Christ a service, for which they merit our warmest thanks. We heartily wish them success in the great and necessary work in which they are engaged.

It is not our intention to discuss the merits of the books referred to; we leave that task to those more deeply skilled in the science of which the editors are so able professors. Our object, at this time, is to consider what place Sacred Music should occupy among our serious pursuits, and the degree of attention which it justly demands of Christians. We are induced to hazard a few remarks upon this subject, not only by its obvious importance, but by a conviction that it has not been, and is not now generally regarded in its true light. Every one, at all acquainted with the history of our churches, knows that Sacred Music, although it has always constituted a

part of our public and social worship, has, nevertheless, held but a low rank among us. If it has found a place in the Temple, it has been practically regarded, rather as an alien, than a daughter of Zion. Its rank is that of a slave. It is tolerated, but not loved and honoured. We have often been compelled to mourn over its degradation among the friends, and its deep disgrace among the foes of Zion; when, like Sampson, shorn of its strength, fettered and blind, it has been brought out on solemn occasions to make sport for the Philistines. Secular Music has been most assiduously cultivated, and brought to a wonderful degree of perfection. In the theatre, the ball-room, and in the concert-room, you may hear strains, that will "take the tranced soul and lap it in elysium." But Church music-the very name has almost become a proverb and a by-word. The time has been-a better day, we trust, is dawning-when professed attachment to this degraded and neglected science was, to say the least, of no advantage to a man's reputation. We remember more than one work of fiction, in which the most ridiculous and worthless character, was a "singing master," with his pitch-pipe. Of so little worth or dignity has Sacred Music been deemed, even by Christians, that a little more than ordinary skill in it, has been supposed to indicate in the unfortunate singer, a mental or moral disqualification for higher and more valuable pursuits. The religious community, with strange infatuation, first exiled this child of God, and then looked with suspicion, and almost contempt, upon those who loved and protected her. Many ministers of the Gospel, have, therefore, felt it to be their duty, earnestly to disclaim all acquaintance with such an outcast, and others confess their interest in her welfare with much misgiving and many qualifications. The result has been, that this part of Divine service, which both ministers and people acknowledge to be indispensable, has, to a great extent, been committed to those who are least competent to perform it aright, and whose best recommendation is, that they have pleasant voices, or can play well upon an instrument, or are not ashamed to sit in "the gallery." Under their management, Sacred Music has become worthy of the contempt, which it at first innocently incurred. Denied its proper place in the affections of the Church, it sought aid elsewhere; and, by its foreign alliance, was soon fitted for the menial station to which it was condemned. Against such

unworthy treatment, we enter our earnest and decided protest. We claim for Music a high and honourable place in the temple of God, and in those schools of the prophets where the future ministers of the Gospel are preparing for their work. We demand of the Church, in the language of the woman at Tekoa, that" means be devised that our banished be not expelled from us." And we do this upon the ground that this subject is intimately connected with our best interests as moral and intellectual beings.

In order to show the dignity and importance of Music, we shall attempt to develop its relation to eloquence. If we can show that Music and eloquence are nearly related, or rather, that they are identical, our object will be accomplished; for, as to the place which eloquence should occupy in the church, or in our seminaries of learning, there is happily but one opinion. All agree, that a truly eloquent ministry is one of the choicest blessings of Heaven.

We should infer, that eloquence and Music are intimately related, from the fact, that they have generally flourished or declined together; and that the causes which have exalted or degraded one, have produced the same effect upon the other. The nature of this relation will be seen if we consider their origin, the means by which their effects are produced, and their legitimate design. Let us cast a rapid glance at these three topics.

What is the origin of eloquence? When and where, and by whom, was it invented? How was it discovered? and in what school was it first taught? It was not invented or discovered by man. It was not taught by man. Every one has within him its elements, and the hiding of its power. Its birth-place is the heart. It is born of those emotions which belong to our moral nature. The true orator, like the poet, nascitur, non fit; and eloquence is a flame which, though it may be cherished and directed, is kindled by no human art. It is the work of Him who breathed into man a living soul, and gave him the inspiration of knowledge.

And what is the origin of Music? To solve this question, learned men have framed very many and very absurd theories. One tells us, that a man walking upon the sea-shore, accidentally struck his foot against the shell of a dead tortoise, and from the sound emitted by the tendons, which had become dry, and tuned like the strings of a harp, he derived the idea of Music. If this be not a fable-and that man re

er.

ally was indebted to accident for the discovery of Music, he must have been drier than the shell that became his instructAnother tells us, that the sighing of the wind among the reeds of the Nile, furnished men with the elements out of which they constructed an artificial system of music. Another maintains, that as the groves were man's first temples, so the birds of heaven were the first choristers, and the original teachers of this delightful art. It would be about as near the truth to reverse these two last theories, and say, that the wind learned to sigh, and the birds to sing, of man. We wonder that those who have searched, with so much diligence, to discover the origin of music, did not look for it within themselves. Why did they not listen to the music of their own spirits? Why did they not hear the murmuring of those chords in their own bosoms, which are tuned by the hand of Him who is the great Source of Harmony?

Music is the offspring of the heart. Like eloquence, it has its elements in our moral nature; it is vain to look for them elsewhere. If man had no music in his own soul, he could never have been taught it by art. Nature might have poured around him her voice of gladness, but his heart would have been tuneless; it would have sent back no echo to the universal joy. Music begins with the earliest feelings of childhood. It rises from the soul as spontaneously as incense from the flowers. It breaks forth like the glad song of the birds. It does not stay for the formation of articulate speech. It wakes with those creations which need not the aid of words to make them understood. The child at play, ignorant of language and of song, gives utterance to his heartfelt joy in tones which embody the spirit of melody. His heart gives out its tremulous response to every touch of nature, as the statue of Memnon sent forth its mysterious harmony, as soon as the first beams of morning fell upon it.

Let us next inquire, What are the means, or the instru ments, by which eloquence produces its effects?

The emotions of our hearts must be made known to others by some outward sign. It is of little consequence what that sign is. There is eloquence in the smile which beams from a heart rejoicing in the attainment of some longsought blessing. There is eloquence in the sparkling of the eye which love has lighted up with its own unquenchable fire. There is eloquence in the tear which trembles upon the pale cheek of the mourner. Only let your feelings be VOL. III.

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