essed in such
compositions varied with time and place, but they show a general
tendency toward a monolatrous or henotheistic point of view and toward
higher ethical and spiritual feeling. Many of the Egyptian hymns seem to
be substantially monotheistic, and the same thing is true of the
Babylonian, the Assyrian, and the Vedic. The Babylonian hymns so far
recovered (belonging in their present form mostly to the seventh century
B.C.) are chiefly penitential[1995] and show a close resemblance to some
Hebrew psalms. In the Veda traces of philosophical thought, pantheistic
and other, are not lacking. The poems of the Old Testament Psalter vary
greatly in breadth and elevation of thought--some, dealing generally
with national affairs (occasionally with individual experiences), are
narrow and ethically low; others show exalted conceptions of the deity
and fine moral feeling. The Avestan ritual is concerned largely with
physical details, but is not lacking in a good ethical standard; the
Gathas, particularly, though not free from national coloring, give a
noteworthy picture of the government of the world according to moral
law. Of Greek ritual hymns we have few remains, and these are of no
great interest.

+1088+. Everywhere the temple-hymns, as is natural, deal chiefly with
the desires and hopes of the worshiper, and often do not rise above mere
egoism. Their object is to secure blessing, and the blessing is often,
perhaps generally, of a nonmoral character--wealth, children, triumph
over enemies. Desire for moral purity appears in some Hebrew hymns, and
perhaps in some Babylonian. Of the modes of presenting liturgical poems
to the deity we have few details. In the Second Temple at Jerusalem
there were choruses of ministrants (Levites), and some of the titles of
the psalms contain what seem to be names of musical instruments and
melodies; but of this temple-music nothing further is known than that it
was sometimes sung antiphonally, but without harmony.[1996] In some
parts of Greece boys were trained to render hymns musically in the daily
service and on special occasions. The general character of old Greek
music is indicated in the Delphian hymn to Apollo discovered in
1893;[1997] the melody is simple but impressive--there is no harmony.

+1089+. The temple-music doubtless tended to heighten devotional feeling
among the worshipers, and possibly a similar popular effect was produced
by the festivals that were common in the anc