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from being enemies to pleasantry. They rather seem to relish jokes with a zest, which would be astonishing, if one did not recollect that the cause of this probably is, that their habits of close application leave the mind in such a state as to be more open to any thing smart or ridiculous, which comes easily and rapidly across it. Their pleasantry however has little of the manner of the world about it. They have more humour than wit. As their humorous sallies partake rather of the nature of recreations than of exertions, they are but little fastidious about the channel. Minds which have been braced up by vigorous habits of exertion, have also a greater spring and force in their merriment than minds of mere sensibility or refinement. The authors of whom we speak are not likely to be nice of risking, in their convivial eloquence, a few fescenine freedoms and lax figures of conception. They never apparently give way to that vain and delusive stinginess and sensitive caution which, after a few years of confident hopings and unreserved trustings, men of feeling and fancy are forced to adopt in self-defence. They have always suffered less from ridicule, too, than these men,and live, therefore, less habitually under the fear of that grinding scourge. They can also afford to be more candid then vehement and fanciful men. They have not expected more from the world than the world can at any time give, and have thus, perhaps, fewer generous errors to regret than the others. But, at all events, their doctrine of utility has taught them to economise the exertions of intercourse: and directness of purpose is held with them to infer directness of means. Their vigour is not wasted by the fires of eloquence; nor is their attention distracted by a nice regard to the more delicately poised beauties of expression. While it is a peculiar feature of their character that they always know how far, and for how much, they can draw on their knowledge, they gain an additional power and vantage-ground, by being enabled to adjust their means and their faculties. Their powers are

"Fescennina per hunc invecta licentia

morem

Versibus alternis opprobria rustica fuit, Libertasque recurrentis accepta per annos Lusit amabiliter." Horat. Ep. ad August.

thus set free, and they can do a great deal more in the way of judgment than men with wayward imaginations and fancies, which are too often coming thick on them, with teazing distrusts of their capacities, and perplexing estimates of occasions. Their works are not composed with that eager haste which characterizes men of sanguine temperaments. Their opinions are not expressed with that ardency, or warmth, or provoking amour propre, which attaches to the opinions of men of more sensitive natures. They know very well that opinions which are to last are not personal but general. Of course, they would never think of propagating belief by fire and sword. But they go farther than this, and a step farther than many of the best hearts can go; for they never attempt to cram down a sentiment or a dogma, by a bustling vigour, in the circle of their immediate influence. They do not love the spectacle of a muscular man, strongly agitated with the fervour of belief, enforcing or maintaining it to the inconvenience of the nervous systems which are nearest to him. All this is, because the empire of judgment is complete in them.

Thus we find the beautiful, the universal, though humbling principle of compensation asserted through all the various chances that make up the sum of moral existence, and modify the action of physical causes. The man of fancy is checked in his fine bursts of conception by shortcomings of judgment. The cool-headed thinker is rewarded for his comparative passiveness of existence, by fullness of conviction, and the delights of completeness and simplicity of view.

From all this, it must not be inferred that the men of whom we have been speaking are destitute of the finer affections, or wanting in that indescribable kindliness of nature, for which, in English, there is no other word than the emphatic and expressive monosyllable-heart. On the contrary, those of them that we know have had natures admirably turned to friendship. If they were not cold as friends, neither were they cold as patriots. We have uniformly found among them that settled love of civil liberty, which the best minds are most apt to venerate as the result of conviction, and to love as the product of taste. This too, was the more valuable, as

it seemed to flow from a deliberate induction of solid thought,-not from any dreams of perfectibility, but from the belief that, taking human nature as it is, under all the checks and disadvantages which prevent it from getting fair play, it can never be respect able, except where civil liberty is well understood.

But we must have a summing-up with the author, of whom it is our more immediate business to speak personally.

M. Say is as correct and learned as a German compiler; and while he has that force and precision which distinguish the thinkers of our own country, with as much directness and honesty of intention as the best of them, he has yet a portion of the gayety and gracefulness of his illustrious countrymen, who wrote during the old monarchy, before a republic and the struggles of military ambition had, with the occasional sacrifice of these qualities, given force, vehemence, and restlessness, to the tone of French literature. There certainly must be something in the opinion so current among the continental literati, that the French is, above all other languages, the one most suited for elegant criticism and subjects of the belles lettres. And this little volume is another reason with us, for a deference to established opinions, which, in matters of taste at least, we are but little disposed to concede to them.

METRICAL VERSIONS OF THE PSALMS.

THE Psalmody has always formed an essential part of the sacred service in the Protestant Church. In the following paper, we mean neither to enter upon the peculiar nature of these Lyric Hymns to discuss the various methods in which this portion of devotional worship is performed-or to enumerate the almost innumerable at tempts, in Protestant countries, to furnish appropriate translations for the different churches. All that we intend, is to give a summary and collected view of what can now be ascertained respecting the Psalmody, in so far as its history relates to Scotland;-of its first introduction at the Reformation:-and some account of the versions that have since been in use. Before this can be done, however, it is necessary to consider its primary introduction into the

Reformed Church of Geneva, and its adoption by that of England; as well as to make a slight mention of the versions that were first appointed for their use. Scotland received the form and substance of her entire service from the one; and to the other she stands indebted for the version which long constituted the basis of this delightful portion of divine worship.

The singular fact has often been remarked, of the Protestants owing the use of the Psalmody to a body of men from whom they least might have expected such an obligation. Clement Marot is usually styled the Prince of the Poets of France, or, to use other words (the commencement of the epitaph which was on his tomb), "Icy gist des François le Virgile et l'Homere." He certainly deserves to rank high in the class of Ancient French Poets, and is the oldest of them whose works can be read with pleasure. After a long residence in the Court of France, where his life had been spent in the greatest profligacy, he commenced a translation of the Psalms into French verse. This was towards the close of 1536, and in 1539 he published thirty (not the first thirty, as they stand in the regular order, as has been said, but merely thirty in point of number) of the Psalms, which he dedicated to Francis I., bearing the sanction of the Sorbonne, that they contained nothing contrary to sound doctrine. The reception they met with was favourable in the highest degree, they eclipsed the brilliancy of his madrigals and sonnets,-and repeated editions were called for; while they were sung in public and in private with the most rapturous delight. They certainly received at that time an undue share of praise and admiration. From his own testimony it appears he was encouraged to complete the versification of the whole, by the king himself.

Puis que voulez, que ie poursuivre ô sire,
L'oeuvre Royal du Psaultier commencé, &c.

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Suspected, however, of secretly favouring Lutheran principles, for his safety he was forced to leave his native country, when he retired to Geneva. There, after residing for some time, it is said, for a cause of a very different kind, he was obliged to fly rather hastily; he returned back to France, and was again received into favour. Marot did not live to finish the task he undertook, as he only added other twenty to the number he first published. The current belief is, that he first was directed to, and assisted in, this employment, by his friend Vatablus, Professor of Hebrew in Paris, who furnished him with a Latin translation. Be this as it may, it was no doubt an exercise of his powers, better fitting his advanced age, and more becoming his religious sentiments, than the subjects of his Muse in his earlier years. Baillet, and other critics, imagine, that at this time he had renounced his gallantry; and they consider what he performed, or intended to finish, as a token of repentance, and an act of contrition for the follies of his youth, and the excesses of his life. His death took place in 1546; but, alas! he died as he had lived-in the most unlicensed debauchery.

This version accorded with the sentiments of Calvin, who published an edition, during Marot's life, (of the fifty Psalms, in 1543,) with a preface, addressed "to all Christians and Lovers of the Word of God." Indeed, it is supposed considerably to have aided in forwarding his views; and that by it he sought to effectuate a change in this part of divine worship, by introducing the practice of singing the Psalmody, and in making it a stated portion of the Protestant Service. These suppositions may be carried too far, but still they may bear some truth. The choral anthems (or musical compositions, sung in different parts) of the Catholics, he considered as too complicate and difficult for general use. He finally adopted a practice, the simplicity of which corresponded with the rest of his ecclesiastical discipline. For some time," says Sir John Hawkins, "Calvin stood in doubt whether to adopt the Lutheran choral form of singing in consonance, or to institute a plain unisonous melody, in which all might join: at length he resolved on the latter, &c. (vol. iii. p. 450.)

Before this, the use of Marot's Psalms had been interdicted the Catholics, under the severest penalties, till, at last, psalm-singing and heresy became nearly synonymous.

Psalms were translated in a similar At Calvin's request, the rest of the manner by Beza;* when they were, at length, appointed to be used in the exercise of devotion. On the entire version some writers have bestowed unqualified commendation, while others have spoken of it with undue respect. We cannot agree with the opinion, that these

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travestis." Though it would be out Cantiques sont bizarrement of place to dilate much on the respective merits of this, or any of the versions hereafter to be mentioned, we may be indulged in hazarding a few remarks. The French language is universally allowed to be unfit for expressing the grandeur and sublimity so characteristic of the Psalms of David. Marot and Beza's translation possesses great freedom and ease of versification, with not a small portion of beauty and elegance, but is too paraphrastic. And the objections urged against Sternhold's and Hopkins's come with equal, or even additional force, namely, the frequent use of low and unmeaning expressions,-the feebleness of diction,-the want of energy, -as also, the occasional misconception of the meaning of the Psalmist. In Marot's portion, the pleasing naiveté of his style is incompatible with the subject, and a forced and inefficient endeavour after the sublime is too often visible.t

This entire version is said, by Dr Burney, originally to have been published at Strasburgh, in 1545; while Senebier, in his life of Beza, informs us, his portion was not completed till about eighteen years after that date.

been frequently put into a metrical form by + The Psalms have at subsequent periods other French poets. That of Phillippe des Portes, is among the most remarkable, It possesses merit, so far as metre is concerned, but is also much too paraphrastic; the very spirit and substance often evaporates in his attempts to fill up a stanza with smooth flowing words. There was another paraphrase made by A. Godeau, Paris, 1648, 4to, of which, according to Du Pin (not the most impartial or best informed writer), "les proà la place de la traduction de Marot, qui testans n'ont pas fait difficulté de sen servir, paroissoit consacrée parmi eux.”

The Reformation in the Church of England for a time was productive of a great alteration in the general system of study; and brought about a decided change in the character and subjects of our poetry. Metrical translations of parts of the Scriptures were the usual themes chosen; while enthusiasm and devotion usurped the places of inspiration and genius. The Psalmody was introduced into the English Church after the example of that of Geneva. The timely appearance of Sternhold's translation of part of the Psalms, afforded the means of getting a perfect version of the whole, every way adapted to general use.*

Sternhold only lived to complete about a third of the whole. His translations were printed by themselves in a separate form; and, like Marot's, the praise they received induced him' to resolve on translating the rest; as appears from his dedication of those he did publish, inscribed to King Edward. There, he says, "Seeing that youre tender and godly zeale dooeth more delight in the holye songes of veritie then in any fayned rymes of vanytie, I am encouraged to trauayle further in the said booke of Psalms, &c. And yf I maye perceyue youre maiestie wyllynglye to accept my wyl herein, where my doyng is no thanke worthy, and to favour so this my beginning, that my labour be acceptable in perfourming the residue, I shall endeuoure myself with diligence, not only to enterpryse that which better learned ought more iustlye to doe, but also to perfourme that without faulte, which your maiestie will receyue with iuste thanke."

The poets (if such a name they are suffered to get) who chiefly contributed, besides John Hopkins, to complete the adopted version begun by Thomas Sternhold, were, William

Before this time, some of the Psalms, and other portions of the Scriptures, were translated by the Earl of Surrey, and his friend, Sir Thomas Wyatt. And about the same time, various versions of the Psalter appeared, by Robert Crowley, William Hunnis, John Hall, and other English poets. Surrey and Wyatt's, however, are the only that merit much praise. And these have lately become more accessible to the public in the hugely-ponderous edition of their works, by Dr Nott. The Penitential Psalms (as they are called), by Wyatt, were first printed in 1549.

VOL. III.

Whittyngham, Thomas Norton, and William Kethe. There were others who furnished a quota, but it is not our wish unnecessary to dilate on this point.*

Hopkins would seem to have acted as editor in the first complete edition that was printed by John Daye, in 1562. Some that had previously been printed in this, he revised and altered, or replaced with others. The early editions are found to vary considerably with each other, but no full and accurate notice of these variations has yet been given. In this edition, at length, like that of its French prototype, they received musical accompaniments,-the Psalms being set to simple or unisonous melodies, to render them fit for public service,-and the entire version was joined as a necessary addition to the English Liturgy.

The long and critical account of Sternhold and Hopkins's Psalms, given by Warton, has been highly praised. On this, as on almost every other topic, we have to lament his oversight and want of accuracy, which would seem to be the inseparable attendant of his otherwise admirable work. His account of this version is almost wholly derived (and that without due acknowledgment) from his predecessor, Sir John Hawkins. Nor do we consider his sentiments (judicious and sensible as they generally are) to deserve over-much regard; for he is unduly prejudiced against, not only the translators of this version, but the whole class of those who imitated their example; those, to wit, whom he speaks of as indulging "in a species of poetry, if it may be so called, which even impoverishes prose, or rather, by mixing the style of prose with verse, and of verse with prose, destroys the character and effect of both,"-or those he designates as "the mob of religious most unfeigned piety, devoutly larhymers, who, from principles of the

It might make a small but curious volume, and not wholly destitute of interest, to give a distinct history of this version, its authors, the changes it successively underwent, and the various multiplication of impressions that are known still to exist. On this, nothing satisfactory has yet been done, if we except a partial attempt in an ac count of three of the earlier impressions, to be found in the pages of the Censura Literaria, vol. x. p. 5. I

boured to darken the lustre, and enervate the force, of the divine pages.' Warton's dislike to this version, arose not so much from contempt of its poetical merits, as from his disinclination to the use of the Psalmody,—or the introduction of a version at all, into the service of the English Church. The following are some of his reflections, which are followed by a few extracts, to establish the truth of his assertions. "It is certain (Wharton remarks) that every attempt to clothe the Sacred Scripture in verse will have the effect of presenting and debasing the dignity of the original; but this general inconvenience, arising from the nature of things, was not the only difficulty which our versifiers of the Psalter had to encounter, in common with all other writers employed on a similar task, allowing for the state of our language in the middle of the sixteenth sentrey, they appear to have been but little qualified either by genius or accomplishments for poetical composition. It is for this reason that they have produced a translation entirely destitute of elegance, spirit, and propriety; the truth is, that they

undertook this work not so much from an ambition of literary fame, or a consciousness of abilities, as from motives of piety, and in compliance with the cast of the times. I presume I am communicating no very new criticism, when I observe, that in every part of this translation, we are disgusted with a languor of versification, and a want of common prosody; the most exalted effusions of thanksgiving, and the most sublime imageries of the divine Majesty, are lowered by a coldness of conception, weakened by frigid interpolations, and disfigured by a poverty of phraseology."

However forcible these opinions of Warton, and strong his objections may seem to be, we can oppose them with those of another critic, who, it will be allowed, was as fully competent, from his learning and judgment, as well as his labours on this very portion of the Sacred Scriptures, to appreciate its merits with fairness and candour.

The following are the just and suitable remarks of Bishop Horsley:

"The metrical version of the old Singing Psalms, by Sternhold and Hopkins, is not (he says) what I believe it is now generally supposed to be, nothing better than an awkward versification of a former English translation; it was an original translation from the Hebrew text, earlier, by many years, than the prose translation in the Bible; and all that are in any degree paraphrastic, as all in verse in some degree must be, it is the best and most exact we have to put into the hands of the common people. The authors of this version considered the verse

merely as a contrivance to assist the memory. They were little studious of their numbers, or the elegance of their diction; but they were solicitous to give the full and precise sense of the Sacred text, according judgment, with the exception of some few to the best of their judgment; and their passages, was very good; and at the same time they adhered scrupulously to the letter, they contrived to express it in such terms as, like the original, might point clearly the spiritual meaning. It was a change much for the worse, when the pedantry of pretenders to taste in literary composition, thrust out this excellent translation from many of our Churches, to make room for what still goes by the name of the New Version, that of Tate and Brady, which, in many places where the Old Version is just, accurate, and dignified by its simplicity, is careless and inadequate, and, in the poverty and littleness of its style, contemptible. The innovation, when it was first attempted, was opposed, though in the end unsuccessfully, by the soundest divines, the most accomplished scholars, and the

men of the truest taste, at that time, in the It will be an alteration still more for the seat of authority in the Church of England. worst, if both these versions should be made to give place to another of later date, departing still farther from the strict letter of the text, and compensating its want of accuracy by nothing better than the meretricious ornaments of modern poetry."

Sternhold and Hopkins' version, as remarked by Bishop Horsley, was displaced by what is still called the New Version. This was the joint production of Dr Nicholas Brady and Naham Tate, and received the royal license, appointing it to be used in churches, December 3, 1696.*

We may, how

"It would be a hopeless task, and unprofitable, to undertake a specification of the va rious attempts to render the Psalms into metre. Portions, indeed, occur in the collected works of almost all the English poets, and, wonderful to say, are usually attended with a similar want of success. ever, cursorily notice those who, in the versification of certain Psalms, or in composing original Hymns and Sacred Songs, have had the best success, and are most worthy of praise. These are, Surrey and Wyatt, Sir Philip Sidney, Lord Bacon, Sir Edward Sandys, Withers, Dodd, Habington, Slatyer, Ravenscroft, Milton, Cowley, Blackmore, Addison, and Logan. And of the more remarkable translations of the entire Psalter, which ought not to be passed over in silence, we may mention those by Bishop Parker, Bishop King, George Sandys, Sir John Denham, Rouse, and Dr Watts, Bishop Parker's is chiefly remarkable for its curiosity and great rarity; it was printed for private use, and is characterised by a de

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