Hilary’s own opinion concerning the use of hymns can best be learnt from his Homilies of Psalms 64 and 65. In the former (§ 12) the Church’s delightful exercise of singing hymns at morning and evening is one of the chief tokens which she has of God’s mercy towards her. In the latter (§ 1) we are told that sacred song requires the accompaniment of instrumental harmonies; that the combination to this end of different forms of service and of art produces a result acceptable to God. The lifting of the voice to God in exultation, as an act of spiritual warfare against the devil and his hosts, is given as an example of the uses of hymnody (§ 4). It is a means of putting the enemy to flight; ‘Whoever he be that takes his post outside the Church, let him hear the voice of the people at their prayers, let him mark the multitudinous sound of our hymns, and in the performance of the divine Sacraments let him recognise the responses which our loyal confession makes. Every adversary must needs be affrighted, the devil routed, death conquered in the faith of the Resurrection, by such jubilant utterance of our exultant voice. The enemy will know that this gives pleasure to God and assurance to our hope, even this public and triumphant raising of our voice in song.’ Original composition, both of words and music, is evidently in Hilary’s mind; and we can see that he is rather recommending a useful novelty than describing an established practice. It is a remarkable coincidence that the five hymns which are called his are, in fact, a song of triumph over the devil, and a hymn in praise of the Resurrection, which are, so their editor thinks, actually alluded to in the Homily cited above; a confession of faith; and a morning hymn and one which has been taken for an evening hymn. These are exactly the subjects which correspond to Hilary’s description.