Protestantism and Psalmody had gone hand in hand together. A want was now felt in the English Church. The Old Version, written by Sternhold, and altered by Hopkins and others, sometimes for the better, oftener for the worse, had been in general use from the time of its publication. It was now thought that the advance our language had made, demanded a version more in accordance with the taste of the age, and that smoothness of versification which was more and more aimed at by our poets. Hence we exchanged the rugged strength and occasional doggrel of Sternhold and Hopkins for the more level mediocrity of Brady and Tate.
What brought about the literary partnership, which has been so often made a target for the shafts of sarcasm, we have no means of ascertaining or conjecturing, unless it were the tie of a common nationality. Dr. Nicholas Brady was Tate's fellow-countryman. He was educated at Westminster, and showed very early a talent for writing verse. He was an active politician and a popular preacher, and took a busy part in the Revolution of 1688, for which at the time he severely suffered. He lived, however, to be rewarded for his exertions, for at his death, in 1726, he was the incumbent of three benefices. He outlived his coadjutor eleven years, and could, with a better grace, have preached the funeral sermon of the unfortunate Psalmodist than that of sack-drinking Shadwell, whose name, until heard from the pulpit, had been mainly associated with taverns and theatres. Dr. Brady, however, could have quoted a precedent for his funeral oration; for the praises of Nell Gwynne had been sounded from the pulpit.
They at first printed a version of twenty Psalms, as an "Essay," as they termed it, and in the following year appeared the completed work, "A New Version of the Psalms of David," fitted to the tunes used in churches, by N. Brady, D.D., Chaplain in Ordinary to Her Majesty,
