Page images
PDF
EPUB

LETTER FROM THE REV. J. WESLEY, TO THE REV. E. C. OF PHILADELPHIA ;

Taken from the London Methodist Magazine for 1804, written twenty-nine days before the death of that great man of God, and supposed to be the last that he wrote to America.

MY DEAR BROTHER,

Near London, Feb. 1, 1791.

THOSE that desire to write, or say any thing to me, have no time to lose, for time has shaken me by the hand, and death is not far behind. But I have reason to be thankful for the time that is past I felt few of the infirmities of old age for fourscore and six years. It was not till a year and a half ago that my strength and my sight failed. And still I am enabled to scrawl a little, and to creep, though I cannot run. Probably I should not be able to do so much, did not many of you assist me by your prayers. I have given a distinct account of the work of God, which has been wrought in Britain and Ireland, for more than half a century. We want some of you to give us a connected relation, of what our Lord has been doing in America, from the time that Richard Boardman accepted the invitation, and left his country to serve you. See that you never give place to one thought of separating from your brethren in Europe. Lose no opportunity of declaring to all men, that the Methodists are one. people in all the world, and that it is their full determination so to Continue.

"Tho' mountains rise, and oceans roll,
"To sever us in vain."

To the care of our common Lord I commit you, and am, your affectionate Friend and Brother, JOHN WESLEY.

VINDICATION OF THE METHODIST HARMONIST.

Not long since we received an anonymous letter from Philadelphia, containing some criticisms upon the Harmonist lately published by us. Though the writer has thought proper to conceal his name, yet, supposing that others might have similar objections, we thought it advisable to submit his remarks to the Committee who selected the tunes, that they might have an opportunity of offering any explanations or defence which they might deem necessary. And as the writer of the above letter is not known to us, nor, as far as we know, to any one else as being the author of such a communication, we presume he cannot consider it improper to give this kind of publicity to his objections to the Music Book, and the reply to them.

The following letter, from one of the members of the abovementioned Committee, is a reply to the remarks of the anonymous writer.

New-York, 2d January, 1823.

DEAR BRETHREN,

HAVING lately seen an anonymous letter from Philadelphia, signed "A Methodist," containing some severe remarks on the new music book, lately published under the direction of the Book-Agency, (designed for the use of our own Church,) I consider it a duty we owe to ourselves, to lay before you a plain' statement of transactions connected with the work in question. When the work was proposed to the Committee, we saw many of the difficulties that lay in the untrodden path before us. We had a tolerable acquaintance with our own city, and could probably make such a selection as would answer here; but when we looked at our Connection, extended as it is throughout the United States, such a vast number to please, and such a diversity of taste as well as interest to encounter, it was truly appalling; and yet, if the thing succeeded, there was pleasure in the prospect; thus we stood hesitating and fearing to undertake it for some months. At length the new stereotype hymn-book was commenced, and the name of the tunes being required to the hymns, we could hesitate no longer. The members of the Committee being actively engaged in business, they could only devote from one to two evenings in the week (except occasionally) to the work. In this way they completed the work in about twelve months, which afforded them time for reflection and for application to every source that might direct their lonely way.

Among the "best authors," we place Handel, Haydn, Leach, Thomas Clark, Walker, Husband, Shoel, Breillat, Bond, Isaac Smith, G. Davis, Dr. Miller, Dr. Burney, Dr. Madan, Calcott, Mr. J. Cole of Baltimore, &c. &c. The best and most popular works in our country have been particularly consulted, because we considered them the most natural streams that we could follow; and among them we are indebted to Templi Carmina, Mr. Samuel Dyer's excellent books, Wesleyan Harmony, presented to the Committee by the Agents, David's Companion, and supplement, David's Harp, &c. The Committee were also favoured with Clark's sixth book received from Europe, by the Rev. John Emory.

From all the above, and about thirty others, selections were made, and this will show whether the "best authors" were con sulted. But whether the "best tunes" were selected, competent judges must determine. Perhaps if that brother had had a little of the burthen,-had he sat with the Committee till late at night, and seen them anxiously desiring to meet the wishes of their brethren; and had he kneeled with them at the throne of grace for wisdom and the Divine blessing on their labours, I believe he would, at least, have exercised more of that charity which "hopeth all things."

But with all our faults on what can he ground the charge of "Pedantry," unless it be on the dictionary of musical terms; but I believe every candid person will acknowledge it the best that has been published in so small a compass. For this excellent part of our work, we are indebted to Mr. Dyer, who kindly permitted us to copy it from his book.

We are charged with making "alterations." In answer to this we reply, that the Committee have not altered or amended a single tune in the name or notes (except those noticed below) in the whole book. He, however, marks out Clarendon, on page 33, on which he brings his criticism particularly to bear. We are aware that this tune is called Condescension in some books; but in Templi Carmina, from which we copied it, it is called Clarendon, and omits three notes in the last line, which were to be sung twice, thus, (in won-der) "In wonder, love and praise," the notes in brackets being left out. Thus altered, I consider the tune much improved for Congregational use, particularly among us, as we wish the people to sing. The tune, however, had not, as far as we knew, been introduced in our congregations before, and as the work we copied from was used at the South, we supposed the difference would be equally balanced. In my opinion, our friends in this city have the most cause of complaint; for in the tune called Chesterfield, copied from the book used by our friends in Baltimore, one passage differs very much from the way we have always sung it, being changed from the major to the minor.Whether those copies varied or not from the original text, to them we refer our friend for the variation, as we do not consider ourselves responsible for it.

In making this selection the Committee have frequently given up a favourite opinion and local feeling, when good reasons have -been given that it would be for the general good; and it was a standing rule that every tune selected must be such as might be easily learned by a congregation.

I will here mention wherein we have ventured to alter. After we had selected a sufficient number of tunes it was thought proper to examine them carefully again. If we found one objectionable, another was selected in its place, and the first name being inserted in the hymn-book both names were retained--the tune thus altered is Adisham or Litchfield, page 76. Again we had three tunes by the name of Derby, viz. two long measures, and one P. M. It was thought necessary to vary the name of one; this will explain Hudson or Derby, page 83. Again, a friend from Bristol, England, presented us with a manuscript book of popular tunes used by the Methodist choirs there; many of these tunes were numbered 1, 2, 3, &c. without names, we took one of these and called it Ithaca, see page 100. Again: There is a little piece at page 224, by Handel, it was set to the 148th Psalm, and called 148th only, (as far as we then knew.) This piece we

called John-Street. Once more. To every tune in the book, words have been taken from the new hymn-book, (with one exception) and the number of the hymn put over the tune. In consequence of this, the words will vary from almost every other book.

I am pleased, however, that though the anonymous writer gives us no credit, yet he does acknowledge that it is well printed, and on good paper. Permit me here to express the gratification I feel in your liberality, and, I trust, wise policy, in putting the book at such a price that no individual can complain that he cannot afford to purchase it. I am aware that in pursuing this course little or nothing will be made on the first edition; but we hope the after editions will amply repay you; and while it will advance the science of sacred music, will also spread the gospel of our common Lord, as the profits will be applied to that object. - Where your Committee are best known, their work has been received with approbation; which affords them consolation; and they have had the pleasure to see it well introduced in our congregations in this city. I have just received a letter (not anonymous) from a brother residing in a sister state, whose judgment I value very much, who says, As you have made such an ample apology in the preface to this work with regard to the choice of tunes, I am left without any room to find fault; and without sacrificing my candour, I can say that it is worthy of every patronage." If this plain statement should ever be seen by the brother who wrote the anonymous letter, I hope it will enable him to make some defence at least, whenever the book may be "assailed in his presence."

Affectionately yours, &c.

DANIEL AYRES.

To the above remarks we will just say, if we may judge from the large demand which is made for the Harmonist, both in this city and elsewhere, we should conclude that it meets very general approbation, and is likely to be of extensive utility in promoting the knowledge and practice of sacred music.

Communicated for the Methodist Magazine.

FAITH A FRAGMENT.

FAITH is commonly understood to be a divine conviction of spiritual realities, through which we discover those mysterious truths that encircle man within the limits of salvation. Where it works upon the heart according to its nature and design, it produces a progressive assimilation to the divine perfections, till lost in vision, the transforming change shall be carried on by the open

gaze of Eternal Excellence. To trace the gradations of this powerful principle from its first spring in the soul, to its entire influence there, we shall find, even in its effects in this life, a vast subject for contemplation.

Through faith, how do the low conceptions of the Infinite Good expand into the most sublime realities! Whereas He was once barely acknowledged in the works of creation, He is now seen in the ways of his providence, and powerfully felt in the Word of Inspiration. Once He was as a man that hideth himself, often retiring behind the dark clouds of adversity, leaving the disconso late soul to the sorrows of uncertainty and the variety of woe; now, by the constant light of His Spirit, He shines in all the ills of life, and gives a firm support against the threatenings of the elements, or in the actual decease of nature. Once the rankling passions of a dæmon haunted the breast, and corroding cares drank up the spirits; now, not a jarring string moves in discordance to the sway of love, and every fear is hushed as the "calm surface of a summer's sea." Once profligate or vain associates delighted, and carnal mirth was called to fill the dread vacuity of time; now is hailed the society of a simple few whose breasts glow with the same celestial fire, or enclosed in the silent sweetness of retirement, he dwells in "audience with the Deity." He looks no longer with admiration upon the glare of human greatness, or with contempt upon the dull scenes of humble life; the Uncreated Beauty hath stained the glory of the one, and given a Godlike condescension to the other. He weighs the good and ill of life in a just balance, and considers them duly apportioned by the Wise Father to suit the states of all his dependencies. He traces distinctly the lines between virtue and vice, truth and deceit, and places an impassable bar between the slightest differences. He glories in nothing save what will declare the honour of his God, and while he is raised to participate with Cherubs before the Throne, he abases himself to the lowest of his species, and views all with that equal eye, which would include them in the same gracious privileges and glorious inheritance with himself.

These, O Faith, are some of thy trophies, but thy votaries are few! Many profess to know thee, but few penetrate thy secret. The systematic divine as frequently mistakes thee, as the fantastic visionary. Thou art revealed only to the poor and contrite in spirit, and such as tremble at the word of the Lord. Z.

ANECDOTE.

WHEN Virgil was asked why he studied so much accuracy in the plan of his poems, the propriety of his characters, and the purity of his diction, he replied, "I am writing for eternity." What can be a more weighty consideration to justify and enforce the utmost vigilance and circumspection of life than this, "I am living for eternity."

« PreviousContinue »