earth is all the Lord's, with all her store and furniture; Yea, his is all the work, and all that therein doth endure: For he hath fastly founded it above the seas to stand, And placed below the liquid floods, to flow beneath the land. Tate and Brady ('New Version') First published in 1696, the New Version of the Psalms of David was the work of Nahum Tate (who was later named poet laureate) and Nicholas Brady. A second edition was published in 1698, and supplements were issued in 1700, 1702, 1704 (twice) and 1708. Their Augustan version shows somewhat more polish than the 17th century versions. The hymn Through all the changing scenes of life is the setting of Psalm 34 from the New Version, and As pants the hart for cooling streams is a setting of Psalm 42. Other versified psalms in English During the period of the English Reformation, many other poets besides Sternhold and Hopkins wrote metrical versions of some of the psalms. The first was Sir Thomas Wyatt, who in around 1540 made verse versions of the six penitential Psalms. His version of Psalm 130, the famous De profundis clamavi, begins: From depth of sin and from a deep despair, From depth of death, from depth of heart's sorrow From this deep cave, of darkness deep repair, To thee have I called, O Lord, to be my borrow. Thou in my voice, O Lord, perceive and hear My heart, my hope, my plaint, my overthrow. Sir Philip Sidney made verse versions of the first 43 psalms. After he died in 1586, his sister, Mary Sidney Herbert, the Countess of Pembroke, completed the translation of the final two-thirds of the psalter. Together they used a dazzling array of stanza forms and rhyme schemes—as many as 145 different forms for the 150 psalms. The Sidney Psalter was not published in its complete form until the twentieth century, but it was widely read in manuscript, and influenced such later poets as John Donne and George Herbert. However, poetry remains a matter of private devotion unless given a musical setting for trained choirs or for congregational singing. Rather than iambic pentameter, in England and Scotland in the 16th and 17th centuries, the overwhelming preference in rural congregations was for iambic tetrameters (8s) and iambic trimeters (6s), ridiculed in Shakespeare's A Midsummer Night's Dream, in which Nick Bottom and the