[178:1] This sharp antithesis is quoted at second hand from Charles Kingsley. The stories of little children frightened into screaming, and then dragged (at four years of age, says Jonathan Edwards) through the agitating vicissitudes of a "revival experience," occupy some of the most pathetic, not to say tragical, pages of the history of the Awakening.
[179:1] McConnell, pp. 144-146; W. G. Andrews, Lecture III.
CLOSE OF THE COLONIAL ERA--THE GERMAN CHURCHES--THE BEGINNINGS OF THE METHODIST CHURCH.
The quickening of religious feeling, the deepening of religious conviction, the clearing and defining of theological opinions, that were incidental to the Great Awakening, were a preparation for more than thirty years of intense political and warlike agitation. The churches suffered from the long distraction of the public mind, and at the end of it were faint and exhausted. But for the infusion of a "more abundant life" which they had received, it would seem that they could hardly have survived the stress of that stormy and revolutionary period.
The religious life of this period was manifested in part in the growth of the New England theology. The great leader of this school of theological inquiry, the elder Edwards, was born at the opening of the eighteenth century. The oldest and most eminent of his disciples and successors, Bellamy and Hopkins, were born respectively in 1719 and 1721, and entered into the work of the Awakening in the flush of their earliest manhood. A long dynasty of acute and strenuous argumentators has continued, through successive generations to the present day, this distinctly American school of theological thought. This is not the place for tracing the intricate history of their discussions,[182:1] but the story of the Awakening could not be told without some mention of this its attendant and sequel.
Not less notable than the new theology of the revival was the new psalmody. In general it may be said that every flood-tide of spiritual emotion in the church leaves its high-water mark in the form of "new songs to the Lord" that remain after the tide of feeling has assuaged. In this instance the new songs were not produced by the revival, but only adopted by it. It is not easy for us at this day to conceive the effect that must have been produced in the Christian communities of America by the advent of Isaac Watts's marvelous poetic work, "The Psalms of David Imitated in the Language of the New Testament." Important religious results have more than once followed in the church on the publication of religious poems--notably, in our own century, on the publication of "The Christian Year." But no other instance of the kind is comparable with the publication in America of Watts's Psalms. When we remember how scanty were the resources of religious poetry in American homes in the early eighteenth century, and especially how rude and even grotesque the rhymes that served in the various churches as a vehicle of worship, it seems that the coming of those melodious stanzas, in which the meaning of one poet is largely interpreted by the sympathetic insight of another poet, and the fervid devotion of the Old Testament is informed with the life and transfigured in the language of the New, must have been like a glow of sunlight breaking in upon a gray and cloudy day. Few pages of biography can be found more vividly illustrative of the times and the men than the page in which Samuel Hopkins recites the story of the sufferings of his own somber and ponderous mind under the rebuke of his college friend David Brainerd. He walked his solitary room in tears, and (he says) "took up Watts's version of the Psalms, and opened it at the Fifty-first Psalm, and read the first, second, and third parts in long meter with strong affections, and made it all my own language, and thought it was the language of my heart to God." There was more than the experience of a great and simple soul, there was the germ of a future system of theology, in the penitential confession which the young student "made his own language," and in the exquisite lines which, under the figure of a frightened bird, became the utterance of his first tremulous and faltering faith: