In smiling over this rude psalmody of England, Scotland, and America, it is always to be remembered that these versions were not a literary endeavor. Their ambition was to secure ‘purity,’ loyalty to the rather prosaically conceived doctrines of the originals. There was no thought of poetry or of literary finish. The meter and rhyme were practical devices to make congregational singing possible. _Chapter XIV_ THE ENGLISH HYMN BEFORE WATTS I. THE EARLIEST ENGLISH HYMN Just as Gregory the Great did not create the music that bears his name, nor Luther the congregational hymnody, so Isaac Watts did not originate the English hymnody of which he is often termed the father. The Lollards, or Wickliffites, sang metrical psalms, and also hymns, in the Low Countries, as well as in England, long before Luther, or Marot, or Sternhold. Moreover, the emphasis of the Psalms was an ecclesiastical, clerical attitude, while the people at large to whom the Scriptures had been a closed book, and the Psalms an unknown language, sang such vernacular hymns as sprang up among them; so, while we cannot doubt but that they sang some metrical psalms, based on the Wickliffe English Bible, the body of their singing was presumably hymnic. Indeed, we must go back much farther to find the spring of religious song that was to become a great river of praise. Caedmon, a monk, originally a swineherd, of the early seventh century, supplied the earliest recorded English hymns: “Now must we hymn the Master of heaven, The might of the Maker, the deeds of the Father, The thought of his heart.” Undoubtedly the times before Caedmon were resonant with earlier songs, for the Venerable Bede (673-735) in the next generation records the fact of a great deal of singing among the people. Indeed, he himself wrote hymns in Anglo-Saxon, as well as in Latin. Patrick and Colombo sang psalms and hymns and made them a means of converting the pagans of Ireland and Scotland. II. ENGLISH HYMNODY SUBMERGED BY REFORMED PSALMODY The urge, not only for versifying all parts of the Scriptures, including genealogies, but of actually singing them with fervor, submerged the native impulse of song. The religious loyalty to the letter of the Scriptures that followed closed the door against the development of the English hymn.[1] Professor Reeves in his _The Hymn as Literature_ remarks: “As vigorous and variegated and prevalent as this union of popular poetry and popular music was in England, it strangely weakened and paled at the one time in English history when it might have been expected most to flourish. The Reformation, born of that new freedom of thought and worship which produces the best hymnody, did not in England, as it gloriously did in Germany, speak out richly in the native vernacular hymn.”[2] III. ENGLISH LITERARY IDEALS UNFAVORABLE TO HYMN-WRITING