Pursued its multiplication still, And with the relics stuff'd twelve baskets full. Know Psyche, that thy wise Redeemer by A feast which shall increase upon its guests, That all the world may freely come and eat. Moses and Elías on the Mount of Transfiguration. As His disciples wonder'd at the sight They wistfully looked on them, musing who The men might be, and what they came to do. The first wore horned beams (though something dim A golden plate both deck'd and arm'd his breast In such attire, that they no longer are JOHN MASON. The other, sagely solemn in his look, But coarse and homespun in his garb appear'd; That vileness which in his poor raiment star'd; The serious beams which darted from his eye Two ravens, whose plumes taught blackness how to shine, And, ravenous now no more, did freely join Their services in purveying for his meat; Behind him stood a flaming chariot, These two grand prophets, whom the Lord gave leave Of His humanity's economy, With high ecstatic words displaying how At Salem He death's power should overthrow. 117 JOHN MASON. In his "Christian Poet," Mr Montgomery, noticing a volume entitled "Spiritual Songs; or, Songs of Praise, with Penitential Cries," &c., remarks: "The extracts hereunder given are from the twelfth edition, 1725. From the discreditable incorrectness of this copy, it cannot be supposed to have been printed under the eye of the author. Indeed, whoever he might be, it is probable that he had been long dead in that year. These compositions evidently belong to the preceding century; and the author probably flourished between the age of Quarles and that of Watts, his style being a middle tint between the raw colouring of the former and the daylight clearness of the latter. His talent is equally poised between both, having more vigour and less versatility than that of either his forerunner or his successor. That such writings should once have been exceedingly popular (as the multitude of editions proves), and now be nearly forgotten, is little creditable to the admirers of sacred literature in this country. Dr Watts, Mr Pope, and the Wesleys, appear to have been familiar with the contents of this volume, sundry lines and phrases in verses of theirs being evidently borrowed from passages in it." The author of the hymns which thus commended themselves to the taste and piety of the bard of Sheffield, was John Mason, the grandfather of the better-known John Mason who wrote the treatise on "Self-Knowledge." He died in 1694. His "Spiritual Songs" retained a measure of popular favour till the middle of last century. The edition which we have used is the fourteenth, dated 1750. Dr Watts's brother, Enoch, speaks of them as attaining only to a sort of "yawning indifferency;"* but a later critic speaks of them more generously, and much more truly, as "equalled by few writers of hymns," and "remarkable for a pure and sound, though high-toned devotion."+ † Cattermole's Sacred Poetry of the Seventeenth Century, vol. ii. p. 387. For He that is to be thy Judge, Thy Saviour is become. A Song of Praise for the Morning. My God was with me all this night, And gave me sweet repose: My God did watch, even whilst I slept, Or I had never rose. How many groan'd and wish'd for sleep, Until they wish'd for day; Measuring slow hours with their quick pains, Whilst I securely lay! Whilst I did sleep, all dangers slept, No thieves did me affright; Those evening wolves, those beasts of prey, Disturbers of the night. No raging flames nor storms did rend The house that I was in; I heard no dreadful cries without, What terrors have I 'scap'd this night, Which have on others fell! My body might have slept its last, My soul have waked in hell. Sweet rest hath gain'd that strength to me, Which labour did devour: My body was in weakness sown, But it is raised in power. Lord, for the mercies of the night, My humble thanks I pay; And unto Thee I dedicate The first-fruits of the day. Let this day praise Thee, O my God, And so let all my days: And, O let mine eternal day Be thine eternal praise. |