Part 17

XIV.

Other Old Psalm-Books.

There are occasionally found in New England on the shelves of old libraries, in the collections of antiquaries, or in the attics of old farm-houses, hidden in ancient hair-trunks or painted sea-chests or among a pile of dusty books in a barrel,--there are found dingy, mouldy, tattered psalm-books of other versions than the ones which we know were commonly used in the New England churches. Perhaps these books were never employed in public worship in the new land; they may have been brought over by some colonist, in affectionate remembrance of the church of his youth, and sung from only with tender reminiscent longing in his own home. But when groups of settlers who were neighbors and friends in their old homes came to America and formed little segregated communities by themselves, there is no doubt that they sung for a time from the psalm-books that they brought with them.

A rare copy is sometimes seen of Marot and Beza's French Psalm-book, brought to America doubtless by French Huguenot settlers, and used by them until (and perhaps after) the owners had learned the new tongue. Some of the Huguenots became members of the Puritan churches in America, others were Episcopalians. In Boston the Fancuils, Baudoins, Boutineaus, Sigourneys, and Johannots were all Huguenots, and attended the little brick church built on School Street in 1704, which was afterwards occupied by the Twelfth Congregational Society of Boston, and in 1788 became a Roman Catholic church.

The pocket psalm-book of Gabriel Bernon, the builder of the old French Fort at Oxford, is one of Marot and Beza's Version, and is still preserved and owned by one of his descendants; other New England families of French lineage cherish as precious relics the French psalm-books of their Huguenot ancestors. There has been in France no such incessant production of new metrical versions of the psalms as in England. From the time of the publication of the first versified psalms in 1540, through nearly three centuries the psalm-book of all French Protestants has been that of Marot and Beza. This French version of the psalms is of special interest to all thoughtful students of the history of Protestantism, because it was the first metrical translation of the psalms ever sung and used by the people; and it was without doubt one of the most powerful influences that assisted in the religious awakening of the Reformation.

Clement Marot was the "Valet of the Bed-chamber to King Francis I.," and was one of the greatest French poets of his time; in fact, he gave his name to a new school of poetry,--"Marotique." He had tried his hand at an immense variety of profane verse, he had written ballades, chansons, pastourelles, vers équivoques, eclogues, laments, complaints, epitaphs, chants-royals, blasons, contreblasons, dizains, huitains, envois; he had been, Warton says, "the inventor of the rondeau and the restorer of the madrigal;" and yet, in spite of his well-known ingenuity and versatility, it occasioned much surprise and even amusement when it was known that the gay poet had written psalm-songs and proposed to substitute them for the love-songs of the French court. I doubt if Marot thought very deeply of the religious influence of his new songs, in spite of Mr. Morley's belief in the versifier's serious intent. He was doubtless interested and perhaps somewhat infected by "Lutheranisme," though perhaps he was more of a free-thinker than a Protestant. He himself said of his faith:--

"I am not a Lutherist Nor Zuinglian and less Anabaptist, I am of God through his son Jesus Christ. I am one who has many works devised From which none could extract a single line Opposing itself to the law divine."

And again:--

"Luther did not come down from heaven for me Luther was not nailed to the cross to be My Saviour; for my sins to suffer shame, And I was not baptized in Luther's name. The name I was baptized in sounds so sweet That at the sound of it, what we entreat The Eternal Father gives."

In the year 1540, at the instigation of King Francis, Marot presented a manuscript copy of his thirty new psalm-songs to Charles V., king of Spain, receiving therefor two hundred gold doubloons. Francis encouraged him by further gifts, and so praised his work that the author soon published the thirty in a book which he dedicated to the king; and to which he also prefixed a metrical address to the ladies of France, bidding these fair dames to place their

"doigts sur les espinettes Pour dire sainctes chansonnettes."

These "sainctes chansonnettes" became at once the rage; courtiers and princes, lords and ladies, ever ready for some new excitement, seized at once upon the novel psalm-songs, and having no special or serious music for them, cheerfully sang the sacred words to the ballad-tunes of the times, and to their gailliards and measures, without apparently any very deep thought of their religious meaning. Disraeli says that each of the royal family and each nobleman chose for his favorite song a psalm expressive of his own feeling or sentiments. The Dauphin, as became a brave huntsman, chose

"Ainsi qu'on vit le cerf bruyre,"

"As the hart panteth after the water-brook,"

and he gayly and noisily sang it when he went to the chase. The Queen chose

"Ne vueilles pas, ô sire, Me reprendre en ton ire."

"Rebuke me not in thine indignation."

Antony, king of Navarre, sung

"Revenge moy prens la querelle,"

"Stand up, O Lord! to revenge my quarrel,"

to the air of a dance of Poitou. Diane de Poictiers chose

"Du fond de ma pensée."

"From the depth of my heart."

But when from interest in her psalm-song she wished to further read and study the Bible, she was warned from the danger with horror by the Cardinal of Lorraine. This religious awakening and inquiry was of course deprecated and dreaded by the Romish Church; to the Sorbonne all this rage for psalm-singing was alarming enough. What right had the people to sing God's word, "I will bless the Lord at all times, His praise shall be continually in my mouth"? The new psalm-songs were soon added to the list of "Heretical Books" forbidden by the Church, and Marot fled to Geneva in 1543. He had ere this been under ban of the Church, even under condemnation of death; had been proclaimed a heretic at all the cross-ways throughout the kingdom, and had been imprisoned. But he had been too good a poet and courtier to be lost, and the king had then interested himself and obtained the release of the versatile song writer. The fickle king abandoned for a second time the psalm versifier, who never again returned to France.

The austere and far-seeing Calvin at once adopted Marot's version of the Psalms, now enlarged to the number of fifty, and added them to the Genevan Confession of Faith,--recommending however that they be sung with the grave and suitable strains written, for them by Guillaume Frane.

The collection was completed with the assistance of Theodore Beza, the great theologian, and the demand for the books was so great that the printers could not supply them quickly enough. Ten thousand copies were sold at once,--a vast number for the times.

But Marot was not happy in Geneva with Calvin and the Calvinists, as we can well understand. Beza, in his "History of the French Reformed Churches" said, "He (Marot) had always been bred up in a very bad school, and could not live in subjection to the reformation of the Gospel, and therefore went and spent the rest of his days in Piedmont, which was then in the possession of the king, where he lived in some security under the favor of the governor." He lived less than a year, however, dying in 1544.

These psalms of Marot's passed through a great number and variety of editions. In addition to the Genevan publications, an immense number were printed in England. Nearly all the early editions were elegant books; carefully printed on rich paper, beautifully bound in rich moroccos and leathers, often emblazoned with gold on the covers, and with corners and clasps of precious metals,--they show the wealth and fashion of the owners. When, however, it came to be held an infallible sign of "Lutheranisme" to be a singer of psalms, simpler and cheaper bindings appear; hence the dress of the French Psalm-Book found in New England is often dull enough, but invariably firm and substantial.