Rev. 15. 3. They sing the Song of Moses, the Servant of God, and the Song of the Lamb; that is, a Song for temporal and for spiritual Deliverances; or, a Song for all antient or all later Salvations of the Church. As Moses was a Redeemer from the House of Bondage, and a Teacher of Divine Worship with Harps and Ceremonies; so the Lamb is a Redeemer from Babylon and spiritual Slavery, and he is the great Prophet to teach his Church the spiritual Worship of the Gospel. The Church now, under the Salvations and Instructions of the Lamb, sings with the Voice to the Glory of the Vengeance and the Grace of God, as Israel under the Conduct of Moses sung with Harps; for we must observe, that these Visions of the Apostle John often represent Divine Things in a Gospel-Church, in Imitation of the Ranks and Orders of the Jewish Camp and Tribes, and by the Rites and Figures used in the time of Moses; and it would be as unreasonable to prove from this Text, that we must sing the very words of the 15th of Exodus in a Christian Church, as to prove from this Book of the Revelations that we must use Harps and Altars, Censers, Fire and Incense. But 'tis plain that the 15th of Exodus cannot be here intended, because the Words of the Song are mention'd just after, (viz.) Great, and marvellous are thy Works, Lord God Almighty, just and true are thy Ways, thou King of Saints. Yet after all, if it could be proved, that the very Song which Moses sung is here design'd, still it must be confest that the Song of the Lamb is also to be sung; and if the following Words in this Text are not to be esteem'd the Song of Moses, then neither are they to be esteem'd the Song of the Lamb; because there is not any express mention of the Lamb, or his Death, or Resurrection, or Redemption; nor is there any other Song in Scripture that bears that title and consequently it must signifie a Song compos'd to the praise of God for our deliverance by the Lamb, in imitation of the Joy composed for deliverance by the Hand of Moses: And thus at least we are to suit part of our Psalmody to the Gospel-State as well as borrow part from the Old Testament, which is the chief point I designed to prove.
The next Enquiry then proceeds thus: How must the Psalms of David and other Songs borrowed from Scripture, be translated in order to be sung in Christian Worship? Surely, it will be granted, that to prepare them for Psalmody under the Gospel, requires another sort of Management in the Translation, than to prepare them merely for Reading as the Word of God in our Language, and that upon these two accounts:
First, If it be the duty of the Churches to sing Psalms, they must necessarily be turned into such a sort of Verse and Metre as will best fit them for the whole Church to join in the Worship: Now this will be very different from a Translation of the original Language word for word; for the Lines must be confined to a certain number of Syllables, and the Stanza or Verse to a certain number of Lines, that so the Tune being short the people may be acquainted with it, and be ready to sing without much difficulty; whereas if the Words were merely translated out of the Hebrew as they are for reading, every Psalm must be set through to music, and every Syllable in it must have a particular musical Note belonging to itself, as in Anthems that are sung in Cathedrals: But this would be so exceeding difficult to practise, that it would utterly exclude the greatest part of every Congregation from a Capacity of obeying God's Command to sing. Now, in reducing a Hebrew or a Greek Song to a Form tolerably fit to be sung by an English Congregation, here and there a Word of the Original must be omitted, now and then a Word or two superadded, and frequently a Sentence or an Expression a little alter'd and chang'd into another that is something a-kin to it: And yet greater Alterations must the Psalm suffer if we will have any thing to do with Rhime; those that have labour'd with utmost Toil to keep very close to the Hebrew have found it impossible; and when they have attain'd it most, have made but very poor Music for a Christian Church. For it will often happen, that one of the most affectionate and most Spiritual Words in the Prose will not submit to its due Place in the Metre, or does not end with a proper Sound, and then it must be secluded, and another of less proper Sense be put in the Room of it: Hereby some of the chief Beauties and Excellencies of David's Poetry will be omitted and lost, which if not reviv'd again, or recompenc'd by some lively or pathetic Expression in the English, will necessarily debase the Divine Song into Dullness and Contempt: And hereby also it becomes so far different from the inspired Words in the Original Languages, that it is very hard for any Man to say, that the Version of Hopkins and Sternhold, the New-England or the Scots Psalms, are in a strict Sense the Word of God. Those Persons therefore that will allow nothing to be sung but the words of inspiration or Scripture ought to learn the Hebrew Music, and sing in the Jewish Language; or at least I can find no Congregation with which they can heartily join according to their own Principles, but the Congregation of Choristers in Cathedral Churches, who are the only Levites that sing Praise unto the Lord with the Words of David and Asaph the Seer, 2 Chron. 29. 30.
Secondly, Another Reason why the Psalms ought not to be translated for Singing just in the same manner as they are for Reading, is this, that the Design of these two Duties is very different: By Reading we learn what God speaks to us in his Word; but when we sing, especially unto God, our chief Design is, or should be, to speak our own Hearts and our Words to God. By Reading we are instructed what have been the Dealings of God with Men in all Ages, and how their Hearts have been exercis'd in their Wandrings from God, and Temptations, or in their Returns and Breathings towards God again; but Songs are generally Expressions of our own Experiences, or of his Glories; we acquaint him what Sense we have of his Greatness and Goodness, and that chiefly in those Instances which have some Relation to us: We breath out our Souls towards him, and make Addresses of Praise and Acknowledgment to him. Tho I will not assert it unlawful to sing to God the Words of other Men which we have no Concern in, and which, are very contrary to our Circumstances and the Frame of our Spirits; yet it must be confest abundantly more proper, when we address God in a Song, to use such Words as we can for the most part assume as our own: I own that 'tis not always necessary our Songs should be direct Addresses to God; some of them may be mere Meditations of the History of Divine Providences, or the Experiences of former Saints; but even then, if those Providences or Experiences cannot be assum'd by us as parallel to our own, nor spoken in our own Names; yet still there ought to be some Turns of Expression that may make it look at least like our own present Meditation, and that may represent it as a History which we our selves are at that time recollecting. I know not one Instance in Scripture, of any later Saint singing any part of a Composure of former Ages, that is not proper for his own Time, without force Expressions that tend to accommodate or apply it. But there are a multitude of Examples amongst all the Scriptural Songs, that introduce the Affairs of preceding Ages in the Method I have described. Psal. 44. 1, &c. When David is recounting the Wonders of God in planting the Children of Israel in the Land of Canaan, he begins his Song thus, We have heard with our Ears O God, our Fathers have told us what Works thou didst in their Days, in times of old, how thou didst drive Out the Heathen with thy Hand, and plantedst them, how thou didst afflict The People, and cast them out. Psal. 78. 2, &c. I will open my Mouth in a Parable, I will utter dark Sayings of old which we have heard and known, and our Fathers have told us, we will not hide them from their Children, shewing to the Generation to come the Praises of the Lord. So he relates the Converse and Covenant of God with Abraham, Isaac and Israel, as a Narration of former Providences and Experiences, Psal. 105. 8, 9, 10, &c. So in the Virgin Mary's Song, and the Song of Zecharia. And I know not any thing can be objected here, but that a Prophet perhaps in some instances may assume the Words of Christ or the Saints in following Ages; but it should be observed that this is almost always in such Respects wherein Persons or Circumstances present were typical of what is future, and so their Cases become parallel.
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