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He discarded at once the whole machinery of ancient poetry. him the heathen mythology was of no avail. Instead of its and distant deities interfering in the concerns of men, he had urse to higher, nobler instruments. He looked at man,―stuthe human heart, in all its lofty aspirations and its guilty hs, and employed the magic of powerful passion, and those ilas which it suggested, in his vivid descriptions,-descriptions man's higher nature, which will continue to be read and admias long as that nature he has so admirably portrayed shall tinue to exist.

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poetry should concern itself with human happiness; if it ld comprehend man's higher life, and present it to the world its deeper meaning, then indeed does christianity exert a happy uence upon poetry. That influence carries the poet beyond ere the eye of sense can penetrate, or the lamp of reason shine, brings life and immortality to light, and thus fills his soul with

"grandeur, melody and love.”

its all-chastening and subduing influence, it awakens in his bom the purest feelings and the deepest sympathies for man,—

"A sweet, expansive brotherhood of being."

Bursting the bonds of his hitherto imprisoned energies, it turns his houghts upward to the joys and pleasures of our home in the kies, and thus throws around the character of man, a dignity and Eportance unknown to the heathen world.

The remarks of Prof. Tholuck on this subject, are so just and appropriate, that we cannot refrain from transcribing them.

'The powers of feeling, in the stricter sense, remained undeveloped ong the heathen. The affections of man receive their highest improvement, when he lives in constant intercourse with his God. This ward panting of the heart after a higher and better sphere; the g energies and joy in the Holy Ghost, which flow from that world, into the otherwise cold and desolate heart of man; it is these which ford the deepest incitements to the world of our affections, and awaten the most elevated and noble feelings in our bosoms.

But of such feelings the heathen knew nothing. They knew neither a boly God, who can unite us to himself, and make us happy, nor did they know any thing of the celestial home of the soul, for which it incessantly pants and strives. It was, therefore, the spirit of christianity which gave rise to romantic and sentimental poetry. While the poetry of the ancients constantly exhibited only the relation of man to the external world, the poetry of christianity directed itself to the interior of the breast, and sang the sorrows and the joys of the human heart.' Bibl. Repos. No. 7. 1832.

The poet who would attain to the "height of this great argu

ment," must draw from the bible, the fountain of fiery inspira as Schlegel calls it. The fire of pure devotion must exist a same time with that of the muse, kindled to as intense a glow blazing as high. He must drink in a sacred influence from pages of the inspired prophets, and attain to a sympathy with minds, in the feelings of highest elevation and deepest humilit If it be objected, as it often has been, that religious subject not fit themes for poetry of the highest character, we adduce, Mr. Montgomery, "the fact that three out of the only four. poems, which are daily re-printed for every class of readers ar us, are decidedly religious. That fact ought forever to silenc cuckoo-note, which is echoed from one mocking-bird of Parn: to another, that poetry and devotion are incompatible. No in his right mind, who knows what both words mean, will a the absurdity for a moment." "That man has neither ear heart, nor imagination, to know genuine poetry, or to enjo sweetest, sublimest influences, who can doubt the supremac such passages, as the song of the angels in the third, and morning hymn of Adam and Eve in the fifth book of Para Lost."

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"The hymn at the close of the Seasons,' is unquestion: one of the most magnificent specimens of verse in any langu and only inferior to the inspired prototype in the book of Psa. And Pope's Messiah leaves all his original productions imme rably behind it, in combined elevation of thought, affluence of agery, beauty of diction, and fervency of spirit."

The influence of christianity is necessary to the poet b self. To be a poet, and at the same time a happy being man must, we believe, be religious. We speak here of gion as a conservative principle in this life. The follies misfortunes of this class of men are well known. Their mi are so peculiarly constructed, that nothing but religious princi can save them from total bankruptcy of heart. The celes element of poetry in their minds is above this earth, and destroyed by the grossness of vice. If God be not the c tral sun, from which such bodies receive their light and che ing warmth, and around which they revolve, and to wh they are bound by a sweet attractive influence; the disturb force through which they must pass, will most assuredly fore hurl them from their true and proper orbits. The names Burns and Byron occur to our minds as mournful examples of t fact, names which we cannot mention without sorrow of he These men had the soul of poetry in them; their hearts w tremblingly alive with adoration,-but "there was no temple their understandings." They were most unhappy men,-mir they had of the very first order, but they wanted the balanci

er of religious principle,-truly splendid were the efforts of genius, but these could not hush the mad turbulence of their ans."Like moonlight on a troubled sea," they only brightthe storm which they had no power to calm.

The influence, then, of christianity on poetry is most happy. is it to the twilight of knowledge, or the mists of superstition, twe are to look for the most splendid examples of poetic invenand diction. Light and purity exalt this divine art. What, would ask,—if a single doubt remain in the minds of our readen this subject,—what produced those examples of unequaled finity," that bright constellation of Hebrew poetry," which down from its celestial elevation on all the productions of the man intellect? What but the clear manifestation of truth to the nds of Isaiah, Job, David, Habakkuk, and Nahum, called forth se inimitable strains of poetry? What but the clear and full mmunication of truth

"To the prophet's eye-that nightly saw,
While heavy sleep fell down on other men,
In holy vision tranced, the future pass
Before him, and to Judah's harp attuned

Burdens that made the pagan mountains shake,
And Zion's cedars bow ?"

The bible, it is a remark of Schlegel, has exerted the same influnce upon the poetry of our more cultivated times, which Homer id among the ancients: it has become the fountain, the rule and nodel of all our figures and images. From this source, the great masters of painting and poetry have drawn their scenes, and kindied their sublimity. It was here, that the Florentine caught his nspiration. It was the habitual and yearning contemplation of the sacred volume, which furnished Milton with his finest images, and prepared and animated him for the noblest flight of human genius. It was on Zion's hill, and at Siloa's brook, that he caught that inspiration, which raised him above the Aonian mount. Yes, it was under the refining, elevating influence of the holy oracles, that he rose as on an angel's wing, and "soared, like the bird of morn, out of sight, amid the music of his own grateful piety."

The history of English poetry bears ample testimony to the ennobling influence of christianity on this divine art;-an influence that has produced some of the finest, sweetest strains to be found within the whole range of poetry. We would not undervalue the originality and elegance of the Grecian muse, but we cannot repress the feeling that in all the scenes of domestic tenderness or moral sublimity,-in all that is calculated to excite and agitate the soul, or to move the softer and more gentle affections of the heart, the British poets stand unrivaled. Homer may be more dramatic, and Virgil more correct; but in Milton there is a sub

limity, a moral grandeur of conception, which we believe i reached by any other uninspired poet.

Our English poetry, as a whole, is indeed a rich inheritance,tender legacy of the master spirits of by-gone days. But whil thus express our admiration, we must not forget that there are n things in this poetry which only move our abhorrence. Insta there are, and not a few either, of moral dignity coupled with dis ing coarseness;-strains that might seem to come from higher reg even from a seraph's lyre, are followed by scenes which vulg itself would not stoop to own! Genius is indeed an awful tr and most sincerely do we hope to see the day, when its crea powers shall be employed only in doing good, and in warn into higher and holier action the minds of men.

We hope the time is not far distant, when pure christianity pour its blessed influences into every mind and heart, and like fabled soul of the world, move and actuate the whole mas society; "when there will be a want of sympathy with works which have not been quickened by this heavenly influen when it shall be felt that the poet has known little of nature,—t he has seen it only under clouds, if he has not seen it under t celestial light; when, in fine, it shall be every where felt a acknowledged in our literature, that man, when viewed in sepa tion from his Maker and bis end, can neither be understood portrayed."

ART. IV.-SPIRITUAL SONGS FOR SOCIAL WORSHIP.

Spiritual Songs for Social Worship; adapted to the use of families and priv circles, in seasons of revival,-to missionary meetings, to the monthly conce and to other occasions of special interest. Words and Music arranged Thomas Hastings of New-York, and Lowell Mason of Boston.

THIS work was commenced about three years since, and designe to be published, as then announced, in a series of numbers, eight i the whole, comprising such tunes, with their appropriate hymns, a might appear to the editors adapted to the more private wants o American christians. From their high reputation as editors and composers of music, we were led to expect an interesting and valuable collection; and we are happy to say that these expectations have been fully realized. "In our larger and more dignified assemblies," say they, in their preface, " psalmody will continue and hold its appropriate place; but for social and private uses, something is needed which is more familiar, more melodious, and more easy of execution." This object, which Messrs. Hastings and Mason have for many years been laboring to accomplish, we cordially approve; and we are desirous to give our aid to sustain and

cure the reform which they have so happily begun. We de, therefore, in introducing this little volume to the notice of public, to point out some of its excellences, and its adaptation to wants of the christian community at the present time; and also avail ourselves of this opportunity, by some further remarks on general subject, to turn the attention of literary and scientific en to the cultivation of sacred music as a science.

We are aware, indeed, that "The Christian Lyre" has had extensive circulation in this country; and our notice of that rk soon after its appearance, may possibly have contributed, in me degree, to such a patronage. Our readers will recollect, that e of the points discussed in that review, had reference to the introuction of such airs into christian worship as had been devoted to ght and secular purposes. Some there are, we know, whose sceptibilities on this point are by no means languid; and who e wholly averse to the introduction of tunes of this character to sacred worship. We are not particularly solicitous, for the resent, at least, to weaken this aversion. That the Lyre has ad so extensive a circulation, we think need not give the friends f musical reform any just ground of alarm respecting the public aste. This fact shows most clearly, in our opinion, that the christian community is demanding a kind of music better fitted to its numerous and varied wants, than the more grave and cumbrous tunes heretofore so generally in use; music adapted to those seasons of revivals and peculiar interest with which the church has been, for some years past, so richly blest. The Lyre, as the only book designed to meet those wants, was of course necessarily introduced into very many congregations. Its influence, on the whole, has no doubt been of service to the cause of musical reform. One of the benefits which we think has attended its circulation, is, that many persons are now enabled to sing, who otherwise could not share in this part of worship. In some sections of the country, where protracted meetings have been attended with happy results, a large class of the converts, and choristers even, were acquainted with no other music than some of the tunes contained in the Lyre. These tunes, therefore, they must use, or not sing at all. And we think that none, even of those possessing the most delicate and refined taste, could object for a moment to these babes in Christ praising their Redeemer in songs such as they might chance to know, whether modeled according to a correct standard or not. The only alternative left to them, was, either to sing these tunes, or be deprived of this part of worship. We believe, therefore, that the publication of the Lyre has been productive of good, in this particular, if in no other. But the christian community, at least a portion of it, is now looking for and desiring a kind of music which is more elevated and chaste in its character,-muVOL. VI. 27

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