Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient PeoplesDickinson, Edward
History
Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient Peoples
Dickinson, Edward
Church music
above all human ordinances, until at last his own interpretations of
Scripture, which he made his sole guide in every public and private
relation of life, seemed to him guaranteed by the highest of all
sanctions. He thus became capable of trampling with a serene conscience
upon the rights of those who maintained opinions different from his own.
Fair and just in matters in which questions of doctrine or polity were
not involved, in affairs of religion the Puritan became the type and
embodiment of all that is unyielding and fanatical. Opposition to the use
of the surplice, the sign of the cross in baptism, the posture of
kneeling at the Lord’s Supper, and antiphonal chanting, expanded into
uncompromising condemnation of the whole ritual. Puritanism and
Presbyterianism became amalgamated, and it only wanted the time and
opportunity to pull down episcopacy and liturgy in a common overthrow.
The antipathy of the Puritans to artistic music and official choirs was,
therefore, less a matter of personal feeling than it was with Calvin. His
thought was more that of the purely religious effect upon the individual
heart; with the Puritan, hatred of cultured church music was simply a
detail in the general animosity which he felt toward an offensive
institution.
The most conspicuous of the agitators during the reign of Elizabeth was
Thomas Cartwright, Margaret Professor of Divinity in the University of
Cambridge, who first gained notoriety by means of public lectures read in
1570 against the doctrine and discipline of the established Church. The
coarseness and violence of this man drew upon him the royal censure, and
he was deprived of his fellowship and expelled from the University. His
antipathy was especially aroused by the musical practice of the
established Church, particularly the antiphonal chanting, “tossing the
psalms from one side to the other,” to use one of his favorite
expressions. “The devil hath gone about to get it authority,” said
Cartwright. “As for organs and curious singing, though they be proper to
popish dens, I mean to cathedral churches, yet some others also must have
them. The queen’s chapel and these churches (which should be spectacles
of Christian reformation) are rather patterns to the people of all
superstition.”
The attack of Cartwright upon the rites and discipline of the Church of
England, since it expressed the feeling of a strong section of the
Puritan party, could not be left unanswered. The defence was undertaken
by Whitgift and afterward by Richard Hooker, the latter bringing to the
debate such learning, dignity, eloquence, and logic that we may be truly
grateful to the unlovely Cartwright that his diatribe was the occasion of
the enrichment of English literature with so masterly an exposition of
the principles of the Anglican system as the _Laws of Ecclesiastical
Polity_.
Public-domain text, read in full here on John Shaqi.
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