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PAUL GERHARDT 
 
 AS A HYMN WRITER 
 
 AND HIS 
 
 INFLUENCE ON ENGLISH 
 
 HYMNODY 
 
 HEWITT 
 
A portion of the expense of printing this thesis has been 
 borne by the Modern Language Club of Yale University 
 from funds placed at its disposal by the generosity of Mr. 
 George E. Dimock, of Elizabeth, N. J., a graduate of Yale 
 in the class of 1874. 
 
Paul Gerhardt as a Hymn Writer 
 
 and his Influence on 
 
 English Hymnody 
 
 By 
 Theodore Brown Hewitt, Ph.D. 
 
 Assistant Professor of German 
 Williams College 
 
 Yale 
 
 ^niverfityj 
 
 ^refs. 
 
 New Haven 
 
 Yale University Press 
 
 London: Humphrey Milford 
 
 Oxford University Press 
 
 Mdccccxviii 
 
COPYRIGHT, 19 1 8, BY 
 YALE UNIVERSITY PRESS 
 
 First published, April, 1918 
 
PREFACE 
 
 Das deutsche Lied ist einsig, 
 Ein Schatz fur Geist und Hers, 
 Gehoben aus den Tiefen, 
 Wo Freude wohnt und Schmerz. 
 Kein andres Volk auf Erden 
 Genosz des Schicksals Gunst, 
 Solch einen Schatz zu sammeln, 
 Reich an Natur und Kunst* 
 
 So far as is known to the writer of this thesis there has appeared hitherto 
 no attempt to treat comprehensively and in detail the subject of the direct 
 and indirect influence of Paul Gerhardt's hymns upon English and American 
 sacred song. That there exists a very real influence is universally known, 
 but how widely it has made itself felt is apparently a matter of little concern 
 on the part of many, because we often find hymnals accrediting a hymn to 
 the English translator with no mention of its original author. The present 
 dissertation has been prompted by a desire to make some contribution to 
 the subject of the relation of English and German hynmody in general, and 
 in particular to show the great debt which the hymnody of England and 
 America owes to the poetry of Paul Gerhardt. It was presented to the 
 Faculty of the Graduate School of Yale University in candidacy for the 
 degree of Doctor of Philosophy in June, 1917. 
 
 For great assistance rendered to me by way of suggestion of sources I 
 am under obligation to Dr. Bernard C. Steiner of the Enoch Pratt Free 
 Library of Baltimore, Professor Gustav Gruener of Yale University, Pro- 
 fessor Waldo S. Pratt of the Hartford Theological Seminary, Professor 
 H. C. G. von Jagemann of Harvard University and to Professor John G. 
 Robertson of the University of London; for help not only in this phase 
 
 * Stanza i of Das Deutsche Lied, a poem of six stanzas by Professor A. H. Palmer, 
 1915- 
 
viii PAUL GERHARDT AS A HYMN WRITER 
 
 of the work but also in the general treatment of the subject I am deeply 
 indebted to the counsel of my father, Professor Emeritus John H. Hewitt 
 of Williams College and to Professor Arthur H. Palmer of Yale University. 
 
 New Haven, Connecticut, 
 
 April 9, 1918. 
 
CONTENTS 
 
 PAGE 
 
 Bibliography xi 
 
 PART I 
 Chapter 
 
 I Gerhardt's Life and Times i 
 
 II Gerhardt's Relation to Earlier Hymnody of Germany 6 
 
 III Characteristics of Gerhardt as a Hymn Writer 13 
 
 PART II 
 
 I History of English Hymnody and the German Influence upon 
 English Hymn writing from the Early XVIth through the XlXth 
 Century 27 
 
 II English Versions of Gerhardt's Hymns 35 
 
 APPENDIX 
 
 Biographical Sketches of Translators 144 
 
 Tabulation of Alliteration, Assonance, etc 149 
 
 Index by Subjects 158 
 
 Index of English Versions 160 
 
 Index of Gerhardt's Hymns 167 
 
BIBLIOGRAPHY^ 
 
 Allg. deutsche Biographic, 1875 ff : article by Berthau. 
 
 Bachmann, D. J. F. : Paul Gerhardt. Vortrag im Evangel. Verein f iir kirchliche 
 
 Zwecke. Nebst 18 Liedern v. P. Gerhardt. Berlin, Schlawitz, 1863. 
 Bachmann, J. F. : Gerhardts Gedichte : Historisch-kritische Ausgabe. Berlin, 1866, 
 
 1886. 
 Benson, L. F. : The English Hymn. New York, 1915. 
 Blatter fiir Hymnologie: A. F. W. Fischer and J. Linke, 1883-1889. 
 Bode, Wilhelm : Quellennachweis uber die Lieder des hannoverschen und des lune- 
 
 burgischen Gesangbuches, samt den dazu gehorigen Singweisen. Hannover, 1881. 
 Botticher, G. : Die Literatur d. 17. Jh. Angew. u. erlautert, 3 verb. Auflage. (Denk- 
 
 maler e. alteren dtsch. Lit. IV, i.) 
 Bunsen, Chr. Karl Josias, Freiherr von : Versuch eines allgemeinen Gesang- u. Gebet- 
 
 buchs. Hamburg, 1833. AUgemeines evang. Gesang- u. Gebetbuch. Hamburg, 
 
 1846. 
 Burdach, A. : A monograph, in Deutsch-Evangelische Blatter 32. pp. 179-84 (giving 
 
 reasons for fixing May 27, 1676, as the date of Gerhardt's death). 
 Cruger, Johann : Geistliche Kirchenmelodien, 1649. 
 " " : Praxis Pietatis Melica, 1648 etc. 
 
 " " : Geistliche Andachten, pub. by Ebeling, 1666-1667. 
 
 Cunz : Geschichte des Kirchenliedes. Leipzig, 1855. 
 Deutsche Nationallitteratur by J. Kiirschner : Vol. 31, — Das deutsche Kirchenlied des 
 
 16. u. 17. Jahrhunderts. 
 Dietz: Tabellarische Nachweisung des Liederbestandes. Marburg, 1904. 
 Ebeling, J. G. : Pauli Gerhardi Geistliche Andachten. Berlin, 1667 etc. 
 
 Eckart, R. : P. Gerhardt — Bibliographie. 
 
 " " : Stimmen u. Schriften iiber P. Gerhardt. 
 " " : Ein Nachklang z. Jubilaumsjahr, 1907. 
 Feustking, Job. Heinr. : Gerhardts Geistreiche Haus- und Kirchenlieder. Zerbst, 1707. 
 Fischer-Tumpel : Das deutsche evangel. Kirchenlied des 17. Jahrh. Gutersloh, 1906. 
 Gerok, Karl : Gedichte von P. Gerhardt, mit Einleitung u. Lebensabrisz. 6. Auflage. 
 
 Leipzig, 1907. 
 Gervinus, G. G. : Geschichte der deutschen Nationalliteratur. ed. 1842, pt. IH, p. 366. 
 
 " " : Geschichte der deutschen Dichtung, 1871, vol. Ill, p. 460 ff. 
 
 Geyer, P. : Paul Gerhardts Geistliche Lieder, in Neue Kirchliche Zeitschrift 18, pp. 
 
 177-199. 1907. 
 
 ^ Owing to the European war it has been impossible to extend this bibliography 
 beyond the year 1913. 
 
xii PAUL GERHARDT AS A HYMN WRITER 
 
 Goedeke, Karl : Gedichte von Paul Gerhardt mit Einleitung und Anmerkungen, in 
 Deutsche Dichter des 17. J ahrhunderts , vol. XII. Leipzig, 1877. 
 " : Zur Geschichte der deutschen Dichtung III, p. 182. Dresden. 
 " : Grundrisz zur Geschichte der deutschen Dichtung', vol. II, III. Dres- 
 den, 1884, 1887. 
 Giinther, R. : Uber Deutung und Anderung einiger Stellen in Paul Gerhardts Liedern, 
 
 in Monatsschriff fur Gottesdienst und Kunst 11, pp. 343-348- 
 Hahne, F. : P. Gerhardt u. A. Buchner, in Euphorion 15, PP- 19-34- I907- (A good 
 
 article on Gerhardt's metre.) 
 Haupt, E. : Der Konflikt zwischen P. Gerhardt u. d. Groszen Kurf ursten, in Deutsch- 
 
 Evangelische Blatter, 32, pp. 80-98. 
 Herford, C. H.: Studies in the literary relations of England and Germany in the 
 
 sixteenth century. Cambridge, 1886. 
 Herrmann, P. : Deutsche Dichter u. Gedichte auf Island, in Unterhaltungsbeilage der 
 
 Tdglichen Rundschau. Berlin, 1907, N. 147-8. (Das Lied v. Kaiser Friedrich Rot- 
 
 bart— Paul Gerhardt— F. de la Motte-Fouque.) 
 Jahresberichte fiir neuere deutsche Literaturgeschichte. Stuttgart, Leipzig, Berlin, 
 
 1890 ff. 
 Julian, J. : Dictionary of Hymnology. Scribners, New York, 1892. 
 Kaiser, Her. v. P.: Paul Gerhardts samtl. Lieder. (Hessische Volksbiicherei, vol. 
 
 339-345- ) 
 Kawerau, G. : Paul Gerhardt: ein Erinnerungsblatt, in Schriften des Vereins fur 
 
 Reformationsgeschichte, pp. 92-97. Halle, 1907. 
 Kelly, J. : Paul Gerhardt's Spiritual Songs. London, 1867. 
 Kirchner, J. : Die Lieder P. Gerhardts, in Evangelisches Schulblatt SS, pp. 31 fl. 
 
 " : P. Gerhardts Gattin und Sohn: ib. pp. 236-242. (Anna Maria geb. 
 Berthold u. Paul Friedrich Gerhardt.) 
 
 " " : Gerhardt inmitten seiner Leidensgenossen. In Studierstube 5, pp. 
 
 184-193. 
 
 " " : P. Gerhardt. In Beitrdge zur Literaturgeschichte, Heft 51. Leipzig, 
 
 1907. 
 Knipfer, P. : Paul Gerhardt. Leipzig, 1906. 
 Koch, E. E. : Geschichte des Kirchenliedes und Kirchengesangs der christlichen ins- 
 
 besondere der deutschen evangelischen Kirche. 1847, 1852, 1866-9. 
 Kraft : an article in Ersch u. Gruber's Allg. Ensyklop'ddie. 1855. 
 Krapp, L. : a monograph in Gottesminne 5, pp. 540-560. 
 Krummacher, F. W. : an article in Piper's Evangelische Kalender, pp. 204 ff. Berlin, 
 
 1866. 
 Kiibler, Theodore: Historical Notes to the Lyra Germanica. London, 1865. 
 Langbecker, E. Chr. C. : Leben und Lieder von Paulus Gerhardt. Berlin, 1842. 
 Lippelt, W. : Ein eigenhandiger Brief P. Gerhardts nach Lubben im Autographen- 
 
 handel. Niederlausitz Mitt. 10, pp. 61-62. 
 Massie, R. : Lyra Domestica. London, i860, 1864. 
 Monatsschrift fiir Gottesdienst und Kunst. (Paul Gerhardt Heft.) 1907, 12. N. 3. 
 
 (Monographs on the relation of composers and artists to Gerhardt.) 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY xiii 
 
 Nelle, W. : Gerhardt, Rist, Tersteegen, Gellert in unseren heutigen Gesangbiichern, in 
 Monatsschrift fur Gottesdienst und Kunst lo, pp. 141-151 ; 189-191 ; 250. 
 
 Niebeling, F. : Paul Gerhardt u. seine Lieder nach Text u. Melodie, in Deutsch-evan- 
 gelische Rundschau, 1907. 
 
 Pachaly, P. : Die Form der Gerhardtschen Lyrik. In Euphorion 14, pp. 502-506. 
 1907. 
 
 Pahnke, K. H. : Paul Gerhardt, ein Idealist des Glaubens, in Idealisten u. Idealismus 
 
 des Christentums, pp. 100-128. Tiibingen, 1903. 
 Petrich, Hermann : Paul Gerhardt, seine Lieder u. seine Zeit. Giitersloh, 1907. 
 
 " " : Der Dichter u. seine Kunst. Giitersloh, Bertelsmann, pp. 267-304. 
 
 " " : Paul Gerhardt. Ein Beitrag z. Gesch. d. deutschen Geistes. 
 
 Giitersloh, Bertelsmann XIV, 360 p. 
 
 Pick, B. : Lyra Gerhardti ; or selection of P. Gerhardt's spiritual songs : a memorial 
 
 leaf. Burlington, Iowa, German Literary Board, 12°, 1907. 
 Reclam, Ph. : Gerhardts Gedichte, in the "Universal-Bibliothek." 
 Ritschl, A. : Geschichte des Pietismus. Bonn, 1880, 1884, 1885. 
 Rogge, B. : P. Gerhardt, der christl. Liederdichter. In Deutsch-evangel. Charakter- 
 
 bilder. 2. Aufl. Altenburg, 1903, pp. 151-160. 
 Roth, E. G. : P. Gerhardt, nach seinem Leben und Wirken. Leipzig, 1829. 
 Schaff-Gilman : Library of Religious Poetry. 1881. 
 Schafif-Herzog : Encycl. of Religious Knowledge. New York, 1894. 
 Scherer, Wilhelm: Geschichte der deutschen Literatur. Berlin, 1899. 
 Schirks, W. : Paul Gerhardt, ein Lebens- und Charakterbild. In Theol. Stud. u. 
 
 Kritik, 1855. 
 Schmidt, Friedrich: Paul Gerhardts Geistliche Lieder. Leipzig, Reclam, 1884. 
 Schultze, O. : Paul Gerhardt und der grosze Kurfurst. Berlin, 1840. 
 
 " " : Paul Gerhardts Geistliche Andachten. Berlin, 1842. 
 
 Smend, J. : Paul Gerhardt u. das evangelische Kirchenlied. In Der Protestantismus 
 
 am Ende des jp. Jahrh. I, p. 301 ff. 
 Spitta, F. : Paul Gerhardt und S. Bach, in Monatsschrift fur Pastoraltheologie. 
 Steinhausen, H. : P. Gerhardt u. sein Denkmal, in Kunstwart 161, pp. 538-541. 
 Trepte, E. W. H. : Paul Gerhardt : Eine biographische Skizze. Delitzsch, 1829. 
 Wackernagel, Philipp : Paul Gerhardts Geistliche Lieder, herausgegeben von Ph. 
 
 Wackernagel. Stuttgart, 1843. (9. Aufl. herausg. v. W. Tiimpel. Giitersloh, 
 
 1907.) 
 Wackernagel, Ph. : Das deutsche Kirchenlied von der altesten Zeit bis zu Anf ang 
 
 des XVII Jahrhunderts. Leipzig, 1864-1877. 
 Wackernagel, Wilhelm: Geschichte d. deutschen Litteratur. Basel, 1894. 
 Waldberg, M. F. : Renaissance-Lyrik. Heidelberg, 1888. 
 
 Wernle, P. : Paulus Gerhardt, in Religionsgeschichtl. Volksbucher IV, Heft 2. Tiibin- 
 gen, 1907. 
 
 Wildenhahn, K. A. : Paul Gerhardt, Kirchengeschichtliches Lebensbild aus der Zeit 
 des groszen Kurfiirsten. 1845. (This has been translated by Mrs. Stanley Carr, 
 1856.) 
 
xiv PAUL GERHARDT AS A HYMN WRITER 
 
 Wimmer, C. : Gerhardts Leben. Altenburg, 1723. 
 
 Winkworth, Catherine: Lyra Germanica. First Series, 1855. Second Series, 1858. 
 : Chorale Book for England, 1863. 
 " : Christian Singers of Germany. Macmillan, 1869. 
 Zschnarack : Paul Gerhardt, in Religion in Geschichte und Gegenwart 2, pp. 1314-1317. 
 
 For a complete list of the biographical sketches, monographs, etc., which appeared 
 in 1907 on the occasion of the 300th anniversary of Gerhardt's birth, cf. Jahresberichte 
 fiir neuere deutsche Literaturgeschichte, Vols. XVI-XVII, 1906-1907. 
 
 MUSICAL SETTINGS' 
 
 Paul Gerhardts Geistliche Lieder in neuen Weisen von Fr. Mergner. 30 ausgewahlte 
 Lieder von Karl Schmidt. Leipzig, C. Deichert, 1907. 
 
 ' Cf. also p. 21. 
 
CHRONOLOGICAL TABLE 
 
 1607 (Mar. 12) Paul Gerhardt born at Grafenhainichen near Wittenberg. 
 
 1622-1627 At school at Grimma. 
 
 i628-i642(?) Student at Wittenberg. Teachers: Rober, Martini. 
 
 1637 Grafenhainichen set on fire by Swedish soldiers. 
 
 1642-1651 ( ?) At Berlin; where he wrote Gelegenheitsgedichte, 18 of which 
 
 Criiger published in his "Praxis pietatis melica." 
 165 1 Proposed as minister at Mittenwalde. 
 1651 (Nov.) Ordained as Probst at Mittenwalde. 
 
 1655 (Feb. 11) Marriage with Anna Maria Barthold. 
 
 1656 (Oct.) Called to Berlin to the Nicolaikirche. 
 
 1657 (Summer) Entered upon work in Berlin. 
 
 1662 Elector issues edict. 
 
 1666 (Feb. 6th or i6th) Summoned to Consistory and threatened with 
 deposition. 
 
 1668 (Mar. 5) Death of wife. 
 
 1668 (Autumn) Called to Liibben. ^' 
 
 1676 (May 27?) Death at Liibben. 
 
PART ONE 
 
 CHAPTER I. 
 
 Gerhardt's Life and Times. 
 
 ALTHOUGH Paul Gerhardt's poems have been so great a power in the 
 l\ world, nevertheless facts concerning his own life are few. A fire set 
 by the Swedish soldiers in 1637^ destroyed all records which might enlighten 
 us, yet from indirect sources and from his poems, we are certain of some 
 facts of his biography. 
 
 He was born in Grafenhainichen a few miles southwest of Wittenberg 
 in the direction of Halle on March 12th in the year 1607 probably. In this 
 small town, of the electorate of Saxony, which was surrounded by a high 
 mediaeval wall, Paul Gerhardt spent the first fifteen years of his life. His 
 father. Christian Gerhardt, was burgomaster of Grafenhainichen where the 
 citizens earned their living by cattle-raising, agriculture and hopgrowing. 
 His mother was Dorothea Starke, granddaughter of Gallas Dobler, a 
 Lutheran pastor. Both of his parents died probably when he was very 
 young; and of his many brothers and sisters little is known. 
 
 At the age of fifteen having passed the examinations and being especially 
 well prepared in Latin Gerhardt entered the Fiirstenschule at Grimma. The 
 school was noted for its pious atmosphere and stern discipline: its chief 
 aim vv as to inculcate in the pupils "Gottesfurcht und gute Sitte." 
 
 It is natural that Gerhardt on completing his course at Grimma in 1627 
 should choose Wittenberg as his university, for it was situated almost at 
 the gates of his native town. Furthermore since this was the place where 
 Luther and Melanchthon had worked, the Protestant world looked toward 
 Wittenberg with great hopes. He entered the university in 1628. Two of 
 the teachers in particular had great influence on him, Paul Rober and Jacob 
 Martini. These men were guardians of Lutheranism, and Rober besides 
 composing hymns wrote many Latin disputations and polemics against 
 Rome and Calvinism; in his sermons he often took his text, not from 
 the Bible but from some religious poem, preaching for example on "Was 
 mein Gott will, das gescheh allzeit." In this way Gerhardt was taught the 
 
 ^ Cf . pp. 2 and 3. 
 
2 PAUL GERHARDT AS A HYMN WRITER 
 
 full use and purpose o£ hymn writing. Beside Rober and Martini another 
 Wittenberg professor was of influence on Gerhardt, the philologist August 
 Buchner, one of the most esteemed members of the faculty. He had inti- 
 mate friendship with Opitz and had warmly advocated the latter's Von der 
 Deutschen Poeterei and had himself written Anleitung zur deutschen 
 Poeterey. As this book was easily copied^ by many of the students, it is 
 reasonable to assume that this effort toward spreading Opitz' rules for 
 rhythmic measure had its due influence on Gerhardt. 
 
 More is not known concerning his university career. A Latin epigram 
 of the year 1642 points to the probability of his being still at Wittenberg, 
 while the certainty of his being in Berlin the next year 1643 is proved by a 
 Hochzeitsode.^ Gerhardt was undoubtedly tutor in the house of Andreas 
 Barthold then "Kammergerichtsadvokat," whose daughter wedded Joachim 
 Fromme, the archdeacon of the Nicolaikirche in Berlin ; this wedding was 
 the occasion of the congratulatory Hochzeitsode. During this period in 
 Berlin from his thirty-seventh to his forty-sixth year he wrote a number of 
 "Gelegenheitsgedichte" which show us Gerhardt as quite at home moving 
 in a circle of educators and clergymen. Among his friends was the well 
 known choirmaster of the Nicolaikirche, Johann Criiger, who first intro- 
 duced Gerhardt's hymns into common worship by publishing eighteen* of 
 them with other poems in his Praxis pietatis melica. In these early poems 
 Gerhardt's depth of feeling and natural warmth of character are present. 
 Since his twelfth year the Thirty Years' War, a period of destruction 
 unparalleled in Germany history, had been going on. The horrors of the 
 epoch made deep impression upon his imaginative mind, and the strife, the 
 struggle for freedom of the conscience enlisted his sympathy and strength- 
 ened his determined resistance to all religious compulsion. The hope and 
 joy in this life were taken away and confidence in another world was needed. 
 Gerhardt even in these early hymns gave fully that deep assurance in the 
 guidance of God. 
 
 He himself had suffered individual loss. The Swedes in 1637 determined 
 to punish Johann Georg, the Elector of Saxony, because he, in spite of a 
 signed contract with them, had deserted the Protestant cause, and in their 
 ravages they appeared before Grafenhainichen and demanded a war tax of 
 3000 Gulden. It was paid, but notwithstanding the payment the Swedish 
 
 'In 1665 there was published an authentic edition. 
 ° Cf. Goed. 10 : "Der aller Herz und Willen lenkt." 
 * Among these 18 were : 
 
 "Ein Lammlein geht und tragt die Schuld" Goed. 68. 
 
 "O du allersiiszte Freude" Goed. 76. 
 
 "O Welt sieh hier dein Leben" Goed. yi. 
 
 "Wach auf, mein Herz, und singe" Goed. 59. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 3 
 
 soldiers set fire to the town. The Gerhardt house and the church with its 
 many records were among the four hundred buildings destroyed. 
 
 Whether Gerhardt felt the pinch of distress of the war, or hesitated to 
 enter a field already crowded with a superabundance of young clergymen, 
 or for what reason he stayed so long in Berlin as tutor is not known, but 
 he was already forty-five years old when he began his first church work. 
 In a letter of the clerical cabinet ("Geistliches Ministerium") of Berlin to 
 the magistrate of Mittenwalde (Sept. 165 1) Gerhardt was proposed as 
 minister and he is characterized as being of "well known diligence and 
 scholarship, of peace loving disposition and blameless life, besides being 
 loved and esteemed by both high and low in Berlin." Upon the successful 
 outcome of this recommendation Gerhardt was ordained "Propst"'' of Mit- 
 tenwalde on the 1 8th of November, 1651, entering his new office in December 
 of that year. At his ordination he pledged his support especially of the 
 Lutheran Book of Concord {Concordienformel). 
 
 The community of Mittenwalde had suffered severely in 1637 as had 
 Grafenhainichen from the Swedish marauders and attacks of pestilence, 
 and Paul Gerhardt undertook his duties here with full understanding of 
 this universal suffering, and fulfilled them with all his strength. The poems 
 which he wrote at this time give evidence of a tender, yet strong pastoral 
 care. He was a spiritual guide and comforter, yet in spite of his ardent 
 work in Mittenwalde he apparently yearned for Berlin, and often returned 
 thither to visit. On February nth, 1655, at the age of forty-eight he mar- 
 ried Anna Maria Barthold, daughter of Andreas Barthold and sister of 
 Frau Fromme." Their first child, born to them in 1656, died in infancy 
 and a memorial tablet in the church in Mittenwalde shows their grief. 
 That same year Gerhardt accepted the deaconry at the Nicolaikirche in Ber- 
 lin, and began his work in the summer of 1657. He seems to have had 
 some hesitation about leaving Mittenwalde, because it was only "after 
 fervent prayer and mature deliberation," that he accepted the call to Berlin. 
 However, without doubt he and Frau Gerhardt were glad to be again 
 among such friends as Georg Lilius and Michael Schirmer whose tastes 
 were so similar to their own. 
 
 When Gerhardt came to Berlin he entered a city full of sharp strife 
 between the Lutheran and the Reformed clergy ; the Great Elector was by 
 inheritance and by education in the Netherlands where he spent four years 
 strongly in favor of the Reformed Church. Gerhardt on the other hand 
 
 "In Mittenwalde, 9 English miles south of Berlin, there were in the church two 
 clerical positions, the first of which was known as the "Propstei," since its occupant 
 was entrusted with the supervision of the clergy of the vicinity. Propst (or Probst) 
 is from the Latin propositus. 
 
 ' Cf . p. 2. 
 
4 PAUL GERHARDT AS A HYMN WRITER 
 
 held the security of the Lutheran faith very dear. When hostilities between 
 the clergy began to disturb the peace, the Elector issued on the 2d of June, 
 1662, an edict' the purpose of which was to maintain harmony between 
 Reformed and Lutheran clergymen. Its only effect was, however, to fan 
 the flames of the very conflagration he sought so hard to quench. The 
 unconciliatory spirit was encouraged from Wittenberg, too, where Theology 
 of Controversy had reached its highest pitch through Calovius, whose advice 
 and judgment Gerhardt prized. His inclination toward Wittenberg is seen 
 also in various Latin poems for special occasions. 
 
 Gerhardt did not seek the quarrel, but was drawn forcibly into it ; he was 
 concerned throughout the controversy in keeping a clear conscience and 
 preserving the confession of the Lutheran Church. In all the documents 
 that were issued in this period between the Magistrate, the "Stande" and 
 the Elector it is said of him that he was always pacific and conciliatory. 
 Being a strong adherent of all the symbolic books, including the Book of 
 Concord, he could not conscientiously sign the edict. He was accordingly 
 dismissed. The citizens of Berlin espoused his cause and appealed to the 
 Magistrate who testified that Gerhardt had never "scorned nor rebuked 
 the faith of the Elector." Also his influential patron. Mayor Zarlang, tried 
 to reinstate him, but Gerhardt could not renounce his adherence to the 
 Concordienformel, so in 1666 his position was filled by another. Nor on the 
 other hand can the Elector be blamed for his stand ; he wished only to have 
 peace between the adherents of the two beliefs, and was sincere in the 
 thought that the Concordienformel merely fomented strife. 
 
 For some years Gerhardt lived in Berlin without any position, supfK>rted 
 by his friends in his congregation. He was, however, the victim of inevit- 
 able circumstances, for although within a few months of his resignation the 
 edict was withdrawn, his patroness, Electress Luise Henriette, had died. 
 All of his children had died in infancy except Paul Friedrich who survived 
 him, and in March, 1668, his wife died who had been as strong a follower 
 of the Lutheran Faith as he, and had encouraged him in his stand of not 
 signing the edict.* Her death was the fulfillment of a wish that "the dear 
 Lord might soon come and release her." 
 
 Gerhardt took into his home as housekeeper the widow of his brother-in- 
 law Fromme.^ His household was reasonably large for one in his condition, 
 
 ' This mandate was a renewal of the edict issued by his grandfather on Feb. 24, 
 1614, demanding "moderation and modesty in the pulpit." 
 
 ' The attitude of the women in this time of religious strife who urged their husbands 
 to sign the edict is satirized in the following lines : 
 
 Schreibt, liebe Herre, schreibt, 
 dasz Ihr in der Pfarre bleibt. 
 " Cf. pp. 2 and 3. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 5 
 
 a preacher without office ; he speaks of three, or even of four servants, and 
 mentions at times some business matters in Berlin that seem to be of moment. 
 Although he must also have had pupils whom he tutored during these years, 
 he evidently wished for some definite occupation, and it came. On the 14th 
 of October, 1668, Paul Gerhardt preached a trial sermon ("Gastpredigt") 
 in Liibben. The city council the following day with the unanimous consent 
 of the citizens offered him the vacant charge and Gerhardt accepted it as a 
 divine gift. The formal call under date of October 29th was sent to him 
 at Berlin. Owing to various circumstances, such as the delay incident to 
 necessary repairs on the parsonage, and also the serious illness of his son, 
 Paul Friedrich, he did not enter his duties till Trinity Sunday, 1669. He 
 was at this time sixty-three years old, and for seven years he worked 
 faithfully in this new field. 
 
 Gerhardt died the 27th of May, 1676, with the prayer on his lips : 
 
 Kann uns doch kein Tod nicht todten, 
 
 Sondern reiszt unsern Geist 
 
 Aus viel tausend Noten; 
 
 Schleuszt das Thor der bittern Leiden 
 
 Und macht Bahn, Da man kann 
 
 Gehn zur Himmelsfreuden."' 
 
 He was buried in the vault of the Lubben church. 
 
 Shortly before his death, in his seventieth year, he composed a sort of 
 testament or will of a moral nature for his own Paul in which he hoped to 
 leave little of this world's goods, but an honorable name of which his son 
 might not be ashamed. He commends to the boy the study of theology at 
 reputable universities and also the avoidance of the Syncretists,^^ on the 
 ground that they aimed at temporal things and were loyal to neither God 
 nor man. 
 
 In a memorial service to Gerhardt in 1876, a tablet was put up on the 
 north wall of the chancel of the church at Liibben; and his portrait hung 
 there bears this inscription : 
 
 Theologus in cribro Satanae versatus.^^ 
 The Nicolaikirche in Berlin and the other churches where he held charge 
 have portraits of Gerhardt on their walls. Also among the many memorials 
 to him are charitable foundations in Mittenwalde, Wittenberg and Berlin 
 bearing his name. To these tributes the present generation, now, three 
 centuries later, adds its praise and gratitude. 
 
 " This is stanza VIII of his poem : 
 
 "Warum soUt ich mich denn gramen" (cf. Goed. 122). 
 " The S3Ticretists sought to effect an agreement between the Reformed and Lutheran 
 doctrines. 
 " "A divine sifted in Satan's sieve." Cf. St. Luke XXII, 31. 
 
CHAPTER II. 
 
 GERHARDT'S RELATION TO EARLIER HYMNODY OF 
 
 GERMANY. 
 The Mediaeval Period. 
 
 THE history of hymnody in Germany up to the time of Gerhardt falls 
 naturally into two periods which might be called the Mediaeval Period, 
 extending from the beginning of the eighth century to the end of the 
 fifteenth century, and the Reformation Period covering the sixteenth and 
 the first half of the seventeenth centuries. 
 
 The Hymns used in the services of the early church in Germany were, 
 for obvious reasons, Latin hymns, for St. Boniface, the Apostle of Ger- 
 many, though of English birth, entered Germany by the way of Rome. It 
 was a Latin Christianity which he preached and the church services were, 
 of course, those of the Mother Church. While the general use of the Latin 
 language was favorable to preserving the unity of the Church and facilitated 
 literary intercourse among scholars, this circumstance prevented for a long 
 time the free and full development of a hymnody in the vernacular. The 
 innate love of poetry, however, produced many sacred lyrics for private 
 devotion and caused to be made metrical translations of Latin hymns and 
 portions of the Psalter. In the consideration of the earlier period of 
 hymnody reference will be made to a few Latin hymns, which though not 
 of German authorship were yet used in the religious services of the Germans 
 and had some influence in the development of the German vernacular 
 hymnody. And in this consideration of hymns and hymn writers it will be 
 convenient in the main to follow the chronological order. 
 
 Probably it cannot be known what and when Latin hymns were first 
 translated into modem languages. If the statement made by Dean Milman 
 in a footnote of his Latin Christianity, that the hymns of Ambrose w^ere 
 translated into German in the ninth century, is well founded, then probably 
 the "Deus Creator omnium" and "Aeteme rerum Conditor," which are 
 undoubtedly by Ambrose, were among the earliest of Latin poems to be so 
 translated. 
 
 The oldest German poet is the Benedictine monk, Otfrid of Weissenburg, 
 who was born about the beginning of the ninth century, according to some 
 authorities in Franconia, according to others near the Lake of Constance. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 7 
 
 He settled as a monk and priest at Weissenburg, where he wrote and com- 
 pleted (about 865) his Evangelienbuch, a versified gospel history, and a 
 most interesting work from a philological as well as a hymnological point 
 of view. This is the earliest example of a long German poem in rhyme. 
 Of the rhymed prayers which some on doubtful authority have ascribed to 
 him two have been translated by Miss Winkworth, "Du himlisco trohtin" 
 ("Thou Heavenly Lord of Light") and "Got thir eigenhaf ist" ("God, it is 
 thy property").^ 
 
 A celebrated Latin hymn of early date, which is known to have been used 
 as early as 898, is the "Veni Creator Spiritus" ; it has been constantly sung 
 throughout Christendom at the consecration of kings and at great eccle- 
 siastical solemnities. It has been ascribed to Charlemagne, Charles the Bald, 
 Gregory the Great and various others.^ 
 
 To this early period belongs Notker of St. Gall, called Balbulus, the 
 "Stammerer," who was bom in Switzerland about 840 and died in 912. 
 He wrote in Latin and was the originator of a form of Latin hymnody 
 called "sequentia" or "prosa," which, when translated into German, gave 
 rise to the earliest German hymns with which we are acquainted. When- 
 ever in the eucharistic service a "Hallelujah" was introduced it had been 
 customary to prolong the last syllable and to sing on the vowel "ah" a 
 series of elaborate passages to represent an outburst of jubilant feeling. 
 These were termed "sequences" because they followed the "Hallelujah" 
 and repeated its notes. They were of course without words and what 
 Notker did was to write words for them. Notker was characterized as a 
 man of gentle, contemplative nature and "accustomed to find spiritual and 
 poetical suggestions in common sights and sounds." One of the most 
 remarkable of his sequences, "Media vita in morte sumus," is said to have 
 been suggested to him while observing some workmen constructing a bridge 
 in a precipitous and most dangerous place. This sequence was long used 
 as a battle-song; one of Luther's funeral hymns, "Mitten wir im Leben 
 sind," is a translation of it and portions of the Burial Service of the Church 
 of England are taken from it. St. Gall, Which was for a long time the 
 especial seat of German religious literature, produced besides Notker 
 several distinguished sequence-writers, presumably his pupils, Hartmann, 
 Hermann, and Gottschalk. To Gottschalk has been ascribed the "Alleluiatic 
 Sequence ("Cantemus cuncti") well known in England by the translation, 
 "The strain upraise of joy and praise." 
 
 ^This latter is regarded by some authorities as from the pen of St. Gregory the 
 Great. 
 
 ' For a scholarly discussion of the authorship of this famous hymn cf . Julian : 
 Dictionary of Hymnology, p. 1206 ff. 
 
8 PAUL GERHARDT AS A HYMN WRITER 
 
 An early example of the change of sequences from a rhythmical to a 
 metrical form is seen in the so-called "Golden Sequence," "Veni Sancte 
 Spiritus," called by Archbishop Trench "the loveliest of all the hymns in 
 the whole circle of Latin sacred poetry." Tradition assigns its authorship 
 to Robert II, King of France (997-1031 ) . Its merit is attested by the many 
 translations made of it into German, English and other languages. 
 
 By the beginning of the tenth century the impulse given to the arts by 
 Charlemagne had gradually died out and the state of society had become so 
 disorganized that for two centuries after the time of Notker the field of 
 literature was comparatively barren. The twelfth and thirteenth centuries, 
 however, mark a great change and form an era of rapid growth. Germany 
 was now ruled by the Hohenstauffens, whose dream it was to prove them- 
 selves true heirs of Charlemagne by re-establishing the Empire of the West. 
 As a result of their participation in the common life of Christendom, very 
 largely through the influence of the crusades, came the development of 
 chivalry and a national literature, the first great outburst of German poetry 
 and song. A large class (more than two hundred) of minnesingers sprang 
 up who glorified earthly and heavenly love and the Virgin Mary as the 
 type of pure womanhood. In the church too the voice of native song now 
 made itself heard. The "Kyrie eleison" and "Christe eleison" which 
 passed from the Greek church into the Latin, as a response of the people, 
 to be repeated over and over again, especially on the high festivals, were 
 popularly enlarged, and these brief poems were called from the refrain 
 "Kirleison" or "Leisen," also "Leichen."^ These sequences, for such 
 they were, were the first specimens of German hymns which were sung by 
 the people. The oldest dates from the end of the ninth century and is called 
 the "Leich vom heiligen Petrus." It has three stanzas, of which the first 
 
 reads : 
 
 Unser trohtin hat farsalt 
 
 sancte Petre giwalt 
 
 Daz er mag ginerjan 
 
 zeimo dingenten man. 
 
 Kyrie eleyson! Christe eleison.* 
 
 The twelfth century produced the "Salve Caput cruentatum" of Bernard 
 of Clairvaux, — a hymn which has come to us by Paul Gerhardt,^ whose own 
 hymn writing is wonderfully affected by Bernard. 
 
 ' It is possible that instead of being a corruption of the Greek phrase the word may 
 have denoted at first a certain dance measure. Cf. Grimm: Deutsches Worterbuch, 
 Vol. VI. 
 
 * "Our Lord hath given St. Peter power that he may preserve the man who hopes 
 in him." 
 
 ° Cf . p. 86 and note. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 9 
 
 In the following century appeared two widely celebrated compositions, 
 the "Dies irae" and the "Stabat Mater dolorosa." These, as well as many 
 others of the best Latin hymns, such as the "Te Deum" and the "Gloria 
 in excelsis," were repeatedly translated. Occasionally words of the original 
 Latin were introduced into the vernacular as in the Christmas hymn : 
 
 In dulci j'ubilo 
 
 Nu singet und seyt fro ! 
 
 Unsres Herzens Wonne 
 
 Leyt in presipio 
 
 Und leuchtet in gremio. 
 
 Alpha es et O. 
 
 The mystic school of Tauler, in the fourteenth century produced a number 
 of hymns full of glowing love to God. Tauler is the author of the Christ- 
 mas poem, "Uns kommt ein Schiff geladen" and the hymn of Self Renun- 
 ciation, "Ich musz die Creaturen fliehen," both of which have passed into 
 English, the best versions being those of Miss Winkworth.* 
 
 Of unusual sweetness and abiding worth are the hymns of Heinrich von 
 Laufenburg, the most important and prolific hymn writer of the fifteenth 
 century. Many are in intricate metres, while others are transformations of 
 secular songs into religious songs. His cradle hymn, "Ach lieber Herre 
 Jesu Christ," is a beautiful prayer of a mother for her infant child, and 
 has become well known in England through Miss Winkworth's translation. 
 
 German hymnody of the Middle Ages is, like the Latin, overflowing 
 with the worship of the saints and the Virgin who is even clothed with 
 divine attributes and is virtually accorded the place of Christ as the fountain 
 of grace. In characterizing the period Wackemagel says'' 
 
 "Through all the centuries from Otf rid to Luther we meet with the idol- 
 atrous worship of the Virgin Mary. There are hymns which teach that 
 she pre-existed with God at the creation, that all things are created in her 
 and for her and that God rested in her on the seventh day." 
 
 One of the favorite hymns to the Virgin, "Dich Frau von Himmel, ruf 
 ich an," Hans Sachs subsequently changed into "Christum vom Himmel 
 ruf ich an," a change strikingly characteristic of the effect which the 
 Reformation exerted upon the worship of the Virgin Mary. It substituted 
 for it the worship of Christ as the sole Mediator through whom men 
 attain eternal life. 
 
 The Reformation Period, i 500-1648. 
 Guizot in his History of European Civilization calls the Reformation an 
 insurrection of the human mind against the absolute power of spiritual 
 
 ' Cf . Christian Singers of Germany. 
 ''Das deutsche Kirchenlied, II, p. 13. 
 
lo PAUL GERHARDT AS A HYMN WRITER 
 
 order. In the changes that then occurred few things are more noteworthy 
 than the new privileges granted to the individual worshipper. There was 
 revived the primitive idea of the priesthood of all believers. Instead of the 
 Latin Mass, the Reformation introduced a sermon in the vernacular, and 
 for the chanting of priests and choirs it substituted congregational singing. 
 Among the means which contributed to the large benefits which then came 
 to the church the writing of hymns was not the least important. It is inter- 
 esting to note that the leader of the Reformation was also the first evangelical 
 hymnist." To Luther belongs the extraordinary merit of having given to 
 his people in their own language not only the Bible and the Catechism, but 
 also the hymn book, so that they might directly answer the word of God in 
 their songs. No sooner had there been felt the want of German psalms and 
 hymns to take the place of the Latin hymns and sequences than Luther 
 set about to supply the want. He was intensely fond of poetry and song 
 and was himself a poet by nature. His estimate of the value of music is 
 revealed in his words : "He who despises music, as all fanatics do, will never 
 be my friend." He wished that all children might be taught to sing; "for," 
 he says, "I would fain see all arts, especially music, in the service of Him 
 who has bestowed and created them."* 
 
 He began to write hymns soon after he had completed his New Testament 
 translation and from this time on he was an active reformer of church 
 music and hymns, enlisting in the same work the large circle of friends 
 whom he gathered about him. Luther had recourse to the Latin hymns, 
 adapting and translating many of those which would lend themselves best 
 to his purposes. Altogether he wrote thirty-seven hymns, most of them dat- 
 ing from the year 1524; more are frequently ascribed to him though on 
 doubtful authority. Luther's hymns which are characterized by simplicity 
 and strength, had a popular churchly tone; his style is plain and often 
 rugged and quaint but he throws into his poems all his own fervent faith 
 and deep devotion. His most famous hymn "Ein' feste Burg ist unser 
 Gott," written in 1529 when the German princes made their formal Protest 
 against the revocation of their liberties, thus gaining the name of Protestants, 
 has passed into English hymnody in no less than sixty-three versions.^" 
 
 Of the many hymnists inspired by Luther's example the more eminent 
 were Justus Jonas, Luther's friend and colleague in the preparation of 
 metrical German versions of the Psalms, Paul Eber, the faithful assistant 
 of Melanchthon, Markgraf Albrecht of Brandenburg, Hans Sachs, the 
 shoemaker, and later Gerhardt. 
 
 'But cf. L. F. Benson: The English Hymn, N. Y. 1915, p. 20 ff. 
 
 ° Cf. Tischreden: "Von der Musica" and "Die Musicam sol man nicht verachten." 
 
 " Cf . Julian : Dictionary of Hymnology, pp. 324-5. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY ii 
 
 The German hymnody of the Refonnation period was enriched by the 
 hymns of the Bohemian and Moravian Brethren, who as followers of John 
 Huss, had in 1467 formed themselves into a separate and organized church ; 
 their archbishop Lucas in 1501 collected hymns and published the first hymn 
 book in the vernacular to be found in Bohemia or Germany. The adherents 
 of this cult are commonly called Moravians, because the first founders of 
 the settlement in Saxony immigrated from Moravia. They assumed this 
 name in England and America and it is very largely through their hymn 
 book^^ that German hymns have found their way into English hymnody. 
 
 The Lutheran hymnody which followed closely upon the Moravian con- 
 tributions concluded its productive period with the Formula of Concord^'' 
 in 1577 which gave final shape to the Lutheran creed. In this period there 
 were over a hundred poets whose verses have expressed the highest Christian 
 praises. It is an era which, for its productiveness, may be compared with 
 the time of Watts and Doddridge and their immediate successors in England. 
 
 The hjmins from this time to the close of the Thirty Years' War are of 
 a more subjective^^ experimental type of sacred poetry, that is, writers made 
 their songs more and more expressive of personal feelings. In point of 
 refinement and grace of style the hymn writers of the period of the Thirty 
 Years' War, whose taste was chiefly formed by the influence of Martin 
 Opitz^* the fovmder of the First Silesian School of German poetry, excelled 
 their predecessors. His finest hymn, "O Licht, geboren aus dem Lichte" 
 is a special favorite in Silesia where he was bom, and has passed into Eng- 
 lish in several translations, notably that of Miss Winkworth, "O Light, 
 who out of Light wast bom."^^ 
 
 Near the close of the war, when the hope of peace had begun to dawn, 
 Martin Rinckart (1586-1649) composed that noble expression of trust and 
 praise, "Nun danket alle Gott." It has been translated many times and is 
 included in nearly all American and English hymnals. The hymn of trust 
 in Providence by Netmiarck (1621-1681), "Wer nur den lieben Gott laszt 
 walten," is hardly inferior to that of Gerhardt on the same theme.^* 
 
 The two most famous and most copious hymn writers of this time were 
 however Rist and Heermann ; the former wrote between 600 and 700 hymns, 
 such as were intended to supply every possible requirement of public wor- 
 ship or private experience. In so great a mass of writings it is inevitable 
 that there should be much that is poor, but over 200 may be said to be in 
 
 " Cf. the frequent references to the Moravian Hymn Book, p. 38 ff. 
 
 "Cf. p. 4. 
 
 -Cf. p. 14. 
 
 "For his influence on Gerhardt cf. pp. 2, 14, 18. 
 
 " Cf. Christian Singers of Germany, p. 173. 
 
 " "Befiehl du deine Wege," cf. p. 114 ff. 
 
12 PAUL GERHARDT AS A HYMN WRITER 
 
 common use in Germany and at least fifteen have appeared in the hymn 
 books of English-speaking countries. Not so prolific as Heermann and 
 Rist but superior to them in poetical genius was Simon Dach (1605-1659), 
 who was Professor of Poetry at Konigsberg and the most important poet 
 of the Konigsberg School.^' 
 
 While the Lutheran churches were superior to the Reformed churches 
 of Germany and Switzerland in original hymnody, they were inferior to 
 them in the matter of psalmody. Zwingli and Calvin held firmly to the 
 principle that in public worship the word God should have supreme 
 dominion, a principle which raised the Psalter to new dignity and power. 
 Versified versions of the Psalms became the first hymn books of the 
 Reformed Churches.^* The first German Reformed hymn book appeared 
 at Ziirich, 1540. It contained not only versified psalms but also hymns, with 
 a preface in defense of congregational singing. The most popular collec- 
 tion however was the versified Psalter of Lobwasser of Konigsberg. While 
 its poetry is but a poor translation of the French Psalter of Marot and 
 Beza,^° its pious contents made it a rich source of devotion for a hundred 
 years. It is a parallel to the Scottish Psalter of 1641 by Francis Rous.^° 
 
 Simon Dach was the last poet of any note to write in the Reformation 
 period of German hymnody. After him a new era of poetry, the Confes- 
 sional (1648-1680), opens and it is at this time that Paul Gerhardt appears. 
 He, however, although living in the midst of this churchly atmosphere, 
 profound in Lutheran orthodoxy, feels the tendencies of a still later period, 
 that of the Devotional era. Like many other great men he saw beyond his 
 time. He combined in his poems all the strong qualities of the century in 
 which he lived, and of the later epoch, the period of the Pietists. 
 
 " Of the 165 hymns that he wrote, five have found places in modern English h3minals. 
 One of the best known popular songs is his love-song written in East Prussian 
 dialect "Anke von Tharaw." This is made familiar to English readers through Long- 
 fellow's translation, "Annie of Tharaw.'' 
 
 "* For their effect on English hymnody of. p. 28 S. 
 
 " Cf. p. 29. 
 
 ^ Cf . Julian : Dictionary of Hymnology, p. 1023. 
 
CHAPTER III. 
 
 Characteristics of Gerhaedt as a Hymn Writer. 
 
 FROM the close of the Thirty Years' War until 1680 there occurred in 
 German hymnody a transition from the churchly and confessional to 
 the pietistic and devotional hymns.^ It is during this transitional period 
 that the religious song of Germany finds its purest and sweetest expression 
 in the hymns of Paul Gerhardt, who is as much the typical poet of the 
 Lutheran, as Herbert is of the English church. In Gerhardt more than 
 in any other author all the requisites for the religious poem are united. 
 He possessed a firm conviction of the objective truth of the Christian doc- 
 trine of salvation and also a genuine sentiment for all that is purely human. 
 His deep Christian feeling together with sterling good sense, and a fresh 
 and healthy appreciation of life in the realm of nature and in the intellectual 
 world are the sources for his splendid work. His hymns are among the 
 noblest contributions to sacred poetry, giving him a place second only to 
 Luther and even surpassing Luther's work in poetic fertility. Gervinus 
 says of him:^ 
 
 "He went back to Luther's most genuine type of hymn in such a manner 
 as no one else had done, only so far modified as the requirements of his time 
 demanded. In Luther's time the belief in Free Grace and the work of 
 the Atonement in Redemption and the bursting of the gates of Hell was the 
 inspiration of his joyful confidence; with Gerhardt it is the belief in the 
 Love of God. With Luther the old wrathful God of the Romanists assumed 
 the heavenly aspect of grace and mercy; with Gerhardt the merciful 
 Righteous One is a gentle loving man. Like the old poets of the people 
 he is sincerely and unconstrainedly pious, naive and hearty; the blissfulness 
 of his faith makes him benign and amiable; in his way of writing he is as 
 attractive, simple and pleasing as in his way of thinking." 
 
 Scherer^ gives an even clearer characterization of the two hymn writers : 
 
 "Geistlicher Ernst des Vortrags schlieszt Heiterkeit des Gemutes nicht 
 aus, und diese bildet in der That den sittlichen Grundcharakter von Ger- 
 hardts Poesie. Wenn bei Luther die Welt voll Sturm und Gewitter ist, 
 so liegt sie bei Gerhardt in bestandigem Sonnenglanz; die Wohltaten des 
 
 ^ Or as the German says : From the "Bekenntnislied" to the "ErbauungsUed." 
 ' GescMchte d. d. Nationallitteratur, ed. 1842, Pt. Ill, p. 366. 
 ' Geschichte d. d. Literatur, 1899, pp. 340-341. 
 
14 PAUL GERHARDT AS A HYMN WRITER 
 
 Schopfers erfreuen das Herz ; alles ist so schon zum Besten der Menschen 
 eingerichtet; Tod und Holle haben langst ihre Macht verloren; die Seele 
 frohlockt in der Gewiszheit der Erlosung; Gnade geht vor Recht, Zorn 
 musz der Liebe weichen. Luther steht wie ein Mann dem Bosen, Gerhardt 
 sieht wie ein Jiingling dariiber hinweg ; und schlieszlich weisz er zu trosten 
 und Zufriedenheit, Geduld zu predigen, das rechte Mittelmasz zu preisen 
 und auch dem Uebel gute Seiten abzugewinnen ; selbst die Siinde dient zum 
 Heil. Bei Luther ruft die Gemeinde zu Gott, bei Gerhardt redet der Ein- 
 zelne. Seine Lyrik ist nicht mehr Chorpoesie ; sie beschrankt sich nicht auf 
 das, worin alle betenden Christen einig sind; sie holt aus der Tiefe des 
 individuellen Seelenlebens ihre Schatze; sie macht (um die Schulausdrucke 
 zu gebrauchen) den Uebergang vom objektiven Bekenntnisliede zum sub- 
 jektiven ErbauungsHed." 
 
 Gerhardt sings his hymns with conviction, embodying in them such 
 phases of feehng as might be experienced by any large body of sincere 
 Christians. In all the religious lyrics even in the congregational hymns 
 from the middle of the seventeenth century on we note a more personal 
 and individual tone and with it a tendency to reproduce special forms of 
 Christian experience often of a mystical character. Gerhardt's whole tone 
 and style of thought belong to the confessional school, but the distinct 
 individuality and expression of personal sentiment which are impressed on 
 his poems already point to the devotional school. 
 
 Many of our poet's hymns show the influence of Opitz' Trostgedichte in 
 Widerwdrfigkeit des Krieges. Critics* have gone so far as to say that 
 "without Opitz there would be no Gerhardt." There can be no doubt but 
 that the smoothness and elegance of form, the complete mastery of technique 
 and the purity of language are a distinct heritage from him. But without 
 consciously differing from Opitz and his school, Gerhardt has brought into 
 prominence the popular expression of feeling, using the popular form of 
 verse in which there prevails the natural flow of rhythm, so that no striving 
 after correctness of form is evident. 
 
 Compared with most authors of his time Gerhardt wrote but little. His 
 contemporary, Rist (1607-1667), and his successor, Schmolk (1672-1737), 
 composed respectively 659 and 1188 hymns, while Gerhardt has the modest 
 number of 132 poems in all.^ Yet a complete hymnal might be compiled 
 from them, so thoroughly do they embrace all religious and domestic experi- 
 ences. They appeared at intervals from the year 1649 on, many of them 
 for the first time in the Praxis pietatis melica, a collection of hymns and 
 tunes by Johann Criiger, the famous organist and composer of chorals. 
 
 * Cf. J. Smend : "P. Gerhardt u. das evangel. Kirchenlied" in "Der Protestantismus 
 am Ende des jp. Jahrh." I, pp. 301, ff. 
 
 "Among them are 18 poems for occasions, 27 founded on Psalms and 24 founded 
 on other parts of Holy Scripture. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 15 
 
 Criiger died in the year 1662 and Cristoph Runge took over further edi- 
 tions of the book. Gerhardt made no further contributions to these publica- 
 tions because henceforth he became more intimately associated with Johann 
 Georg Ebeling, Criiger's successor in his church and organ work. Ebeling 
 was so much pleased with Gerhardt's hymns, that he at once began to set 
 them to music and eventually he pubUshed them dividing them by "dozens"" 
 into separate books. Gerhardt put at Ebeling's disposal the first copy of 
 his hymns hitherto published and also thirty-one separate strophes which 
 had for various reasons been omitted in previous editions. Finally he turned 
 over to him twenty-six more poems which the Praxis pietatis melica had 
 not published up to this time. Among them are a number which in all 
 probability belong to his early period of poetic activity, such as: "O Tod, 
 O Tod, du greulichs Bild," a paraphrase of one of Rober's' hymns. Also 
 among them are several which from content and form must be regarded 
 as products of his mature years, and from which the poet himself derived 
 much comfort and strength.* 
 
 * The tenth and last "dozen" of Gerhardt's hymns which Ebeling had set to music 
 for four voices and with an accompaniment of two violins and a bass, appeared in 
 1667. The full title, characteristic of Ebeling, reads : Paul Gerhardt's spiritual devo- 
 tions, consisting of one hundred and twenty hymns, collected into one volume, at the 
 request of a number of eminent and distinguished gentlemen; first to the honor of 
 the Divine Majesty and then also for the consolation of esteemed and distressed 
 Christendom, and for the increase of the Christianity of all believing souls — in sets 
 by dozens, embellished with melodies for six parts." With such eagerness were these 
 hymns sought after that Ebeling had to publish a new edition two years later. The 
 melodies which proved most popular were those set to "VoUer Wunder, voUer Kunst," 
 "Schwing dich auf zu deinem Gott" and "Warum soUt' ich mich denn gramen." 
 Each single dozen was again dedicated to a particular class of men with a character- 
 istic preface. The first dozen he dedicated "to the prelates, counts, lords, knights, 
 and estates of the Electorate of Brandenburg, this side the Oder and beyond the 
 Elbe"; the second dozen, "To the high, noble-born, honored, and virtuous women 
 of Berlin" and so on. 
 ' Cf . pp. I and 2. 
 
 ' "Die giildne Sonne" Goed. 293. 
 
 "Der Tag mit seinem Lichte" Goed. 296. 
 
 "Wie schon ists doch, Herr Jesu Christ" Goed. 302. 
 
 "VoUer Wunder, voUer Kunst" Goed. 304. 
 
 "Gib dich zufrieden und sei stille" Goed. 274. 
 
 "Ich bin ein Gast auf Erden" Goed. 2Si^. 
 
 "Herr, du erforschest meinen Sinn" Goed. 287. 
 
 "Herr Gott, du bist ja fiir und fiir" Goed. 315. 
 
 "Ich danke dir mit Freuden" Goed. 333. 
 
 "Ich, der ich oft in tiefes Leid" Goed. 298. 
 
 "Johannes sahe durch Gesicht" Goed. 319. 
 
 "Mein Seel ist in der Stille" Goed. 307. 
 
 "Merkt auf, merkt Himmel, Erde" Goed. 278. 
 
1 6 PAUL GERHARDT AS A HYMN WRITER 
 
 The most important fact about the Ebeling edition is this, that the per- 
 sonality of Gerhardt, the poet, was for the first time presented to the German 
 people's heart and mind. Hitherto his poems had been grouped together 
 in collections of hymns with those of other and perhaps better known 
 authors. Ebeling's publication placed Gerhardt's works on their own merit. 
 The texts of the hymns in the editions of Criiger and Ebeling and later 
 of Feustking' in 1707 have often different readings so that it is difficult to 
 determine which the authentic version may be. It is quite within the limits 
 of possibility that Gerhardt himself undertook revisions, as Feustking's title 
 indicates. 
 
 Of these 132 poems a large proportion have become embodied in church 
 music of Germany and many of them may be counted among the most 
 beautiful in German hymnody. How widely they have been adopted into 
 general use is shown by the fact that in modern hymnals in Germany there 
 appear either in expanded or cento form,^" altogether 78 of his hymns, 
 while in the Schaff-Gilman "Library of Religious Poetry," which may be 
 regarded as a representative collection of universal hymnody, the propor- 
 tion among German hymn writers is as follows: — Luther 10, Goethe 8, 
 Gerhardt 7,^'- Spitta 6, Scheffler 4, Schmolk 4, etc. Pietism and rationalism 
 transferred the centre of gravity in hymnody to a different point; that is, 
 it changed the type of hymn or required of it other features, and thus it is 
 that during the XVIIIth century, while Gerhardt's hymns lived on with 
 others they are rarely accorded a leading place. It was only the reawaken- 
 ing of a life of faith that needed worship and strong evidence of reverence 
 such as followed the wars of liberation that brought his hymns into the 
 forefront once more and prompted further publications of them. 
 
 Rarely has there been, taking all in all, a time when there existed a 
 greater gulf between poets and their effusions than in the XVIIth century. 
 Most poets of that time gave forth what they had learned and what they 
 knew, — ^not what they really were. Theirs was a play of the intellect and 
 imagination on objects outside them. Hence their works displayed a uni- 
 versal lack of inner truth. In the biographical sketch of Gerhardt we have 
 given a broken account of his life. Different from this is the story of the 
 individual in his poems which are his very personality. His work is not 
 what he learned from others. Instead, he gives us his own life unadorned 
 
 • Johann Heinrich Feustking : Ausgabe, Zerhst, 1707, text ''nach des seligen Autors 
 eigenhandigem revidirten Exemplar mit Fleisz iibersehen." 
 
 " Cf. Dietz : "Tabellarische Nachweisung des Liederbestandes,'' Marburg, 1904. 
 Fischer-Tiimpel : "Das deutsche evangelische Kirchenlied des 17. Jahrhs." (Giitersloh, 
 1906) includes 116 of Gerhardt's hymns. 
 
 "There is an exact total of 10 of Gerhardt's poems, different versions being given 
 of "O Haupt voll Blut und Wunden," and "Befiehl du deine Wege." 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 17 
 
 and true, and for the very reason that he leads a rich inner life is he able 
 to give it. He wrote preeminently as a living member of Christ's church. 
 vThe same quiet sincerity, depth of feeling and warmth that are seen in his 
 face, stand out in his poetry. 
 
 Luther sang : "Ein' f este Burg ist unser Gott," but Gerhardt has : "1st 
 Gott fiir mich, so trete,"^^ and "Ich singe dir mit Herz und Mund.^^ Thus, 
 as has been said in the early part of this chapter,^* the h)mins no longer 
 acknowledge the truths of the Gospel as in the days of the Reformation, but 
 the poet lives them. Approximately one-eighth^' of Gerhardt's hymns begin 
 with "Ich," while not one of Luther's begins this way. Gerhardt's hymns, 
 then, proclaim, his jJwn j)ersonal experiences, many of them haying their 
 inspiration in the intimate circle of his own family and friends. Yet 
 observe that in none of them is there any personal experience that is not 
 enlightened by its relation to the external truths of Christian Belief so that i 
 it has a universal significance. Assuming that one takes for granted the 
 incontestable truth of evangelistic Philosophy of Life as does Gerhardt, 
 one may find one's own thoughts and feelings expressed in these poems. 
 Every pious worshipper can follow Gerhardt, every one may find in himj 
 peace for the soul, the consecration of happiness and comfort in dark hours. 
 Universal life and not merely the life of one reared in the church is unfolded 
 in his hymns. 
 
 Mention has several times been made of Luther^' in connection with 
 Gerhardt. Every Protestant hymn writer must undergo comparison with 
 the great father of German hymnody and none can stand the test better 
 than Gerhardt. Let us take the hymns cited above : "Ein' f este Burg," and 
 "Ist Gott fiir mich." In the very choice of material the likeness is striking. 
 In Luther's song of defiance the XLVIth Psalm is born anew. In Gerhardt 
 it is the triumphant song of Paul that they who are in Christ are free from 
 condemnation. We see, then, that while the one is concerned with the 
 congregation of God's church, the other treats of life's experiences. In the 
 form of the verse Luther displays the greater strength and Gerhardt 
 the greater art. 
 
 Although Gerhardt's hymns are written in the vernacular of the XVIIth^ 
 century, at a time when many of the forms characteristic of the writers of 
 the two preceding centuries still survived, nevertheless his hymns are 
 remarkably free from the tendency of this period to use words coined from 
 foreign tongues. He belongs to no poetic school or literary circle of the' 
 
 "^ Goed. 229. 
 "Go^rf. 118. 
 " Cf . p. 14. 
 
 " There are 16 beginning with "ich."' 
 " Cf. pp. I and 13. 
 2 
 
1 8 PAUL GERHARDT AS A HYMN WRITER 
 
 XVIIth century. He never sought any laurels. He goes on his way writ- 
 ing because his heart is so full, and not from any desire or intention to 
 devote himself to poetry. A fine feeling for rhythm schooled under the 
 principles of Opitz, language taken from the best sacred literature including 
 Luther's Bible and almost entirely free from foreign words/^ avoidance of 
 bombast and coarseness^^ of which so many contemporary writers were 
 guilty, richness in figures and analogies, tenderness which on occasion yields 
 to sternness, are all attributes of his writing. The mother of Hippel" says 
 of him : 
 
 "Er war ein Gast auf Erden^" und iiberall in seinen 120 Liedern ist Son- 
 nenwende gesaet. Diese Blume dreht sich bestandig nach der Sonne" 
 und Gerhardt nach der seligen Ewigkeit." 
 
 ^Gerhardt's poems are all permeated with this hope for future happiness 
 in Heaven and with a childlike joy in this hope. He may sing of the beau- 
 ties of summer, yet with that his thoughts go further and he soon begins 
 to reflect upon the greater beauties of Heaven. In his "Reiselied" (Goed. 
 248) he begins by urging on his horse; suddenly he changes from the 
 beauties of the hill and vale to the joy of eternity. Even in an uncouth 
 poem about health (Goed. 244) appear the lines: 
 
 "Gib mir meine Lebenszeit 
 
 Ohne sonderm Leide, 
 
 Und dort in der Ewigkeit 
 
 Die voUkommene Freude!" 
 
 We have said that biblical phraseology plays a large part in Gerhardt's 
 hymns. In fact many lines are a direct translation of passages in scripture. 
 In two or three of them a single dogma appears very plainly, but elsewhere 
 pure doctrine is the basis of each poem. God is a friendly and gracious 
 God, not a "bear or lion,"^^ but a Father reconciled by Christ's death, — 
 entirely a New Testament conception. He even addresses the Almighty 
 as a good companion : 
 
 "SoUt aber dein und unser Feind 
 
 An dem, was dein Herz gut gemeint, 
 
 Beginnen sich zu rachen: 
 
 Ist das mein Trost, dasz seinen Zorn 
 
 Du leichtlich konnest brechen.'"' 
 
 "He uses the following: Clerisei, Fantasei, Victoria, Policeien, Regiment, Summa, 
 Ranzion, Compagnie, Regente, studieren, formieret, vexieren, juhilieren. 
 
 ^ Lines such as "Trotz sei dir, du trotzender Kot!" {Goed. S, 65) were compara- 
 tively inoffensive to XVIIth century standards. 
 
 " Cf. Frau Th. v. Hippel, " S'dmmtliche Werkef Berlin, 1827, I, 27 ff. 
 
 "» Cf. "Ich bin ein Gast auf Erden" Goed. 284. 
 
 '^ Sonnenwende, "heliotrope,"' from the Greek, literally "turning toward the sun." 
 
 ^ Cf. Goed. 62, 17— "Er ist ja kein Bar noch Leue." 
 
 ^ Cf. Goed. 217, 56-60. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 19 
 
 The Redeemer is mentioned in barely half of Gerhardt's poems. It has 
 therefore been often said that the poet esteemed the graces of Redemption 
 less than those of Creation. He is fully conscious of the former, hence he 
 can resign himself to the latter and dwell upon them in all their phases. On 
 the basis of the Atonement there springs up in his mind the whole Christian 
 life with all its experiences of salvation, consolation, patience, mastery of 
 sin and suffering. Since he does not sing solely for church worship, but 
 for family devotion and for personal edification, he necessarily must observe 
 and discourse upon the various vicissitudes of life in sickness and health, 
 in strife and peace. 
 
 Inasmuch as Gerhardt is a poet of unusually fine feeling for the rhythmical 
 and melodious peculiarities of the German tongue, he appreciates the inter- 
 dependence of verse rhythm and thought showing always a nicety in choos- 
 ing the right word to suit the measure. The lines : 
 
 "Nun ruhen aller Walder, 
 Vieh, Menschen, Stadt, und Felder . . ."" 
 
 are at once suggestive of Nature in repose. The harmonious connection of 
 words of kindred meaning, "Ruh und Rast," "Gnad und Gunst,"^° and 
 frequent use of assonance, "Not und Tod," "Fiill und Hiill," etc. are 
 introduced not merely to catch the ear, but to accentuate the artistic effect, 
 which shows us that Gerhardt is more than a master of the language, that 
 he writes with an inexhaustible naturalness. He intended his style to be 
 popular in the sense of appealing to the people, and it is here that he mani- 
 fests the intimate relation of his poetry to the Volkslied without forsaking 
 the proper limits of artistic poetry. 
 
 In observing certain defects such as the awkwardness and imperfect 
 
 rhyme in the couplet: 
 
 "Aber nun steh ich 
 Bin munter und froHch."" 
 
 even Gerhardt's most devoted admirers must regret that he did not feel the 
 necessity of giving to his verses the final rounding-ofif, or did not possess 
 the ability to do so. Yet what msiny critics have regarded as faults, must, 
 when fairly analyzed, be recognized as contributing much to the effect and as 
 being in accord with the Sprachpoesie of the people. For example, the rich- 
 ness in alliteration, "Ich mein Heil und Hiilfe hab,"^^ "Ich lechze wie ein 
 Land,"^* the juxtaposition of words of the same root, "Erbarm dich, o 
 
 " Goed. 60, I and 2. 
 
 ^°For a tabulation of Alliteration, Assonance, etc., cf. Appendix, pp. 149 ff. 
 
 ^ Goed. 293, 8 and 9. 
 
 "" Goed. 93, 6. 
 
 ^ Goed. 6s, 46. 
 
20 PAUL GERHARDT AS A HYMN WRITER 
 
 barmherzigs Herz,"^» "Ich lieb ihr liebes Angesicht,"^" as well as the fre- 
 quent repetition of words or use of refrains^^ show the power of his lan- 
 guage and offer a striking method of expressing inmost sympathy. What 
 real fervor is indicated in the lines : 
 
 "Dasz ich dich moge fiir und fur 
 In, bei und an mir tragen.'"^ 
 
 Just as Gerhardt was a loyal devotee to his mother-tongue, so also he stood 
 aloof from the tendency of his time to adopt foreign characteristics in 
 verse. Only twice^^ has he employed the Alexandrine so fashionable in 
 the period, and other foreign verse-forms he avoids entirely. On the other 
 hand in so comparatively small a number of poems the variety of his verse 
 structure is unusual. Gerhardt knew Buchner^* in his Wittenberg student 
 days and owes to him his technical training in versification which his 
 / strophes show. He uses in them iambic, trochaic and especially dactyllic- 
 V-anapaestic metres which Buchner had declared permissible. Hahne'^ enu- 
 merates in Gerhardt's poems fifty-one kinds of strophe among which six are 
 quite complicated. Three of these, as appear in the poems, "Frolich soil 
 mein Herze springen," Goed. 155; "Gib dich zufrieden," 274; and "Die 
 giildne Sonne," 293, must be regarded as original with Gerhardt. While 
 these three are not artistic and harmonious, they are, nevertheless, in exact 
 accord with the type of melody prevalent in the XVI Ith century. 
 
 Our poet has shown preference for the older German strophes which 
 
 belong to popular poetry and had most firmly held their own in the spiritual 
 
 song because of its relation to the Volkslied and also for the Nibelungen 
 
 Astrophe of eight lines. Eighteen^' times he uses the well known seven-line 
 
 ' ballad strophe and twice^^ the six-lined strophe of the Wanderlied "Inns- 
 
 \ bruck, ich musz dich lassen"^' which even as early as the Reformation had 
 
 come into wide use in hymnody. He has also frequently employed the 
 
 Vjrhymed couplet in the four-lined stanza. The verse-structure in the 
 
 remainder of his poems may generally be traced back to lays long since 
 
 ^ Goed. 7, 76. 
 "" Goed. 260, 41. 
 
 ""Cf. the refrains in Goed. 106; 139; 235. 
 =" Goed. 158, 94- 
 
 "^"Du Hebe Unschuld du, wie schlecht wirst du geacht!" {Goed. 3) and "Herr 
 Lindholtz legt sich hin und schlaft in Gottes Namen" (Goed. 252). 
 " Cf . p. 2. 
 
 '" Hahne, F., P. Gerhardt und A. Buchner in Euphorion 15, p. 19-34. 
 ^Goed. 10; 21; 23; 51; I2S; 134; 158; 171; 190; 209; 253; 271; 298; 315; 3I7; 325; 
 
 331 ; 335- 
 " Goed. 60 and 71. 
 "^ Regarding this melody cf. p. 100. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 21 
 
 native to the church, though one strophe "Sollt ich meinem Gott nicht 
 singen"'® appears for the first time, as far as we know, in Johann Rist's** 
 hymns. Reahzing, furthermore, that a composition becomes truly a poem 
 only through its harmony Gerhardt clung to the well known melodies, 
 adapting his new text to them that through the music his hymns might the 
 more easily become familiar. Thus he composed "Ein Lammlein geht und 
 tragt die Schuld" to the melody "An Wasserflussen Babylon," and "O 
 Welt, sieh hier dein Leben" and "Nun ruhen alle Walder" to "Innsbruck,*-^ 
 ich musz dich lassen,"*^ and in fact his hymns were known at first only 
 through their musical setting. Like Luther, he wished to teach the people 
 song*^ and it is evident that in composing he usually had some definite 
 melody in mind, and what Johann Walther had been to Luther, Criiger*^ was 
 to Gerhardt. To this choir master we owe the first significant publication 
 of our poet's hymns. Many musicians have adapted his hymns to music; 
 Bach made use of them in a number of his cantatas and his Passion music,** 
 and five*' times in his raptiurous W eihnachtsoratorium do we find Ger- 
 hardt's words. Of recent musicians who have been interested in his poetry 
 as a basis for their compositions mention must be made of Albert Becher 
 (d. 1899), H. von Herzogenberg (d. 1900) and especially the Bavarian 
 clergyman, Friedrich Mergner*^ (1818-1891), who has so thoroughly caught 
 the spirit of Gerhardt. As early as 1732-1800 six Catholic hymn books in 
 quite general use throughout Germany had included in all, thirteen of Ger- 
 hardt's hymns, and "O Haupt voU Blut und Wtmden" can be heard in 
 many Catholic churches to-day, even in the Cologne Cathedral.*'' ^ 
 
 Gerhardt was essentially a "Gelegenheitsdichter," a poet of occasions, 
 choosing for his themes the various vicissitudes of life and such events 
 as would present themselves to an earnest pastor devoted to the flock under ' 
 his care. We may define him more precisely as a poet of consolation, for I 
 at least seventeen of his hymns are to be classed as "Songs of the Cross and / 
 Consolation,"** and fully half his work contains much that is intended as a 
 source of comfort in the many afflictions of the troublous times in which 
 
 " Goed. 235. 
 "Rist, 1607-1667. 
 "Cf. p. 100. 
 " Cf. p. 10. 
 « Cf . p. 2. 
 
 "Cf. p. 43. 
 
 *From Goed. 25; 310; 150; 155; 158. 
 
 " Cf. P. Gerhardfs Geistl. Lieder in neuen Weisen von Fr. Mergner. 30 ausgewdhlte 
 Lieder von Karl Schmidt, Leipzig, C. Deichert, 1907. 
 
 " Cf . J. Smend: P. Gerhardt u. das evangel- Kirchenlied in Der Protestantismus 
 am Ende des 19. Jahrh. I, pp. 301, fF. 
 
 "Cf. Index by subjects. Appendix, pp. 158 ff. 
 
2 2 PAUL GERHARDT AS A HYMN WRITER 
 
 he lived. An enumeration of "Trost" words shows the use of "Trost" 
 51 times, "getrost" 11, "trosten" 10, "trostlos," "trostlich" 2, besides 
 numerous phrases such as "Erschrecke nicht,"*'' "Sei unverzagt,"^" "Sei 
 ohne Furcht,"^^ "Gott hat mich nicht verlassen."^^ In this connection we 
 should consider Gerhardt's use of the word "Trost." With him it seems 
 often to have a wider meaning than merely solace, or comfort. At times it 
 approaches even its English cognate trust, or at least that comfort or 
 assurance which is born of trust.^^ In the poem beginning "Schwing dich 
 auf zu deinem Gott" the word seems clearly to be used in this sense in 
 line 7: 
 
 Merkst du nicht des Satans List? 
 
 Er will durch sein Kampfen 
 
 Deinen Trost," den Jesus Christ 
 
 Dir erworben, dampfen. 
 
 At Other times the meaning is apparently the ground of confidence or reli- 
 ance, as in the line : "Dein Arm ist mein Trost gewesen."^^ Since joy is 
 to Gerhardt innately associated with the theme of comfort, we find in his 
 verses a host of phrases embodying cheer and joy: 
 
 Lasz deine Frommigkeit 
 
 Sein meinen Trost und Freud."* 
 
 By enumeration we find the use of "Freude" 161 times ; of "Freudenlicht" 
 (-quell, -schein, etc.) 33 times; of "freuen" and "erfreuen" 22 times; 
 of "f'roh," "fro(h)Hch," "freudig," "freudenvoU," "selig," etc. 50 times; 
 of other kindred expressions, such as "Lust," "Wonne," "Seligkeit," 
 "Freudigkeit," etc. 8 times. Stanza VI of the "Adventgesang" (Goed. 
 108) is a fair example of Gerhardt's fondness for singing of joys both 
 temporal and spiritual: 
 
 AUer Trost und aller Freude 
 Ruht in dir, Herr Jesu Christ; 
 Dein Erfreuen ist die Weide, 
 Da man sich recht frolich iszt. 
 Leuchte mir, o Freudenlicht, 
 Ehe mir mein Herze bricht ; 
 Lasz mich, Herr, an dir erquicken ! 
 Jesu, komm, lasz dich erblicken ! 
 
 " Goed. 271, 8. 
 " Goed. 185, 42. 
 " Goed. 289, 3. 
 '" Goed. 296, 31. 
 
 •^ Cf. the meaning of the modern German "getrost." 
 
 "Goed. 13s, 7; cf. also Goed. 135, 132; 30, 127; 150, 74; 217, 59; 317, 40. 
 " Goed. 145, 19 ; cf . also Goed. 46, 16 ; 150, 43. 
 
 ^Goed. 65, 22. For the frequent use of "Trost und Freude" and "Freude und 
 Trost," cf. Appendix, p. 155 and p. 153. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 23 
 
 Compare with this the lines from the hymn based on Johann Arndt's 
 "Gebet um Geduld in groszem Creutz" (Goed. 209) : 
 
 St. XIV. "O heilger Geist, du Freudenol, 
 Das Gott vom Himmel schicket, 
 Erfreue mich, gib meiner Seel 
 Was Mark und Bein erquicket! 
 Du bist der Geist der Herrlichkeit, 
 Weiszt, was fiir Freud und Seligkeit 
 Main in dem Himmel warte." 
 
 A pastor and poet whose spirit amidst the hardships of the war can not 
 only remain undaunted but bring so large a measure of cheer to his flock 
 is indeed destined to have an immortal name. It was the everpresent hard- 
 ships of war, however, that made him long not merely for an earthly peace 
 but also for spiritual rest. As an advocate of peace and contentment he 
 has among his contemporaries no equal. Having hoped and prayed during 
 the war for a cessation of hostilities and horrors he could at last burst 
 forth at the conclusion of the Peace of Westphalia in his magnificent 
 
 Gott Lob! nun ist erschoUen 
 
 Das edle Fried- und Freudenswort." 
 
 Furthermore he preaches patience and contentment with life's experiences. 
 Notably does this appear in the poem "Gib dich zufrieden" (Goed. 274) 
 where each stanza has these words as the refrain. Taking as his theme 
 "Rest in the Lord, and wait patiently for him" (Ps. XXXVII, 7) he reveals 
 to his fellow-men the joys and comforts that await the true believers even 
 though they must pass through pain, anxiety, and even death. As their 
 tears are counted and their sighs are heard, so a day of rest is at hand 
 when God shall receive the meek in the abundance of peace, and 'they 
 shall then be exalted to inherit the land.''* But how very deeply GerhardtX 
 felt this yearning for spiritual as well as material peace is best seen from \ 
 the constant recurrence of the root "Friede." Of this word and its com- ) 
 pounds we note 33 examples, and of "Ruhe," "Stille," Rast" and similar/ 
 words, 16. 
 
 Aside from the hymns of Cross and Consolation discussed above,'* which 
 among Gerhardt's poems are by far the most numerous, and which gave 
 him the widest opportunity to grasp the inner life of the Christian believer 
 in its different tendencies and phases, the subjective development of his 
 spiritual songs is shown in two directions— in the poetic glorification of 
 
 " Goed. 95. 
 
 " Cf . also the poem "Geduld ist euch vonnoten" (Goed. 267), where each of the 
 14 stanzas begins with the word "Geduld." 
 "•Cf. p. 21. 
 
24 PAUL GERHARDT AS A HYMN WRITER 
 
 nature and of family life. Gerhardt's knowledge of nature is limited to 
 the ideas set forth in Johann Arndt's^" Viertes Buck vom wahren Christen- 
 tum. Following Arndt, Gerhardt believes the material as well as the spirit- 
 ual phenomena on earth are influenced in a mysterious way by the heavens 
 and their constellations ; hence the prophetic significance of comets which 
 he mentions in two poems.*^ In the year 1618 just such a threatening 
 "torch" had appeared to announce the frightful war. Fourteen years later 
 another comet was regarded as prophecy of the death of the Swedish King. 
 Naturally, then, in 1652 Gerhardt is terrified with all others at the appear- 
 ance in the sky of the third "Flammenrute" (Goed. 104). 
 
 However, within this limited knowledge nature appears to him as of inde- 
 pendent grandeur, wholly subservient to God and freely enjoyed by all 
 Christians. In his life, too, as well as in his songs, Gerhardt is open to all 
 the world and is at all times sensible to the appreciation of nature. It is 
 a noteworthy characteristic of him that in one glance he includes with 
 sense of fitness and artistic certainty both large and small, the most sublime 
 and the most commonplace. In this wise he sings : 
 
 Die Erd ist fruchtbar, bringt herfiir 
 Korti, Oel, Most, Brot, Wein und Bier, 
 Was Gott gef allt. 
 
 (Goed. 139, 49 if.) 
 
 To Gerhardt the world lies in continual sunshine.*^ He scorns trouble, 
 distress seems merely to accentuate happiness; from the horrors of the 
 Thirty Years' War he turns to thank God for the return of peace,°^ and 
 to inspire his people with gratitude for the infinite mercy of the Most High. 
 He celebrates evening and morning and takes us in summer through the 
 flowering gardens of God, portrays rain and sunshine, earth's sorrows and 
 joys. 
 
 The other direction of the subjectivity of Gerhardt's writing is that of 
 the family life. In a time so bereft of virtues as the XVIIth century the 
 firmly grounded idea of the home must be given first place. His own family 
 life, cheered by domestic felicity, and the many contributions he made to 
 occasional poetry bear testimony to this. For married life he sings the 
 
 °°Joh. Arndt, a Protestant theologian, 1555-1621. The "Vier Biicher" appeared in 
 1605.- Cf. the references on pp. 63 ff. to his Paradissgartlein aller christl. Tugenden, 
 1612. 
 
 " Goed. 104 and 142. 
 
 " Even no. 15 which begins with a seemingly very pessimistic complaint about the 
 disastrous weather and consequently meagre harvest closes with a prayer full of hope 
 for the future. 
 
 ™ Goed. 95- 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 25 
 
 praise of quiet domesticity/* picturing the Christian housewife in the midst 
 of her surroundings, bringing joy and cheer to her husband, faithful in her 
 tasks, ministering to the poor and teaching her children the Word of God. 
 He closes the poem with the eulogy: 
 
 Die Werke, die sie hie verrichtt, 
 Sind wie ein schones helles Licht; 
 Sie dringen bis zu Himmelspfort 
 Und werden leuchten hier und dort. 
 
 Before Gerhardt, Mathesius'^ had sung the praises of domestic happiness 
 in "Wem Gott ein ehrlich Weib beschert," but the sincere note of Ger- 
 hardt's "Wie schon ist's doch, Herr Jesu Christ" {Goed. 302) placed Ger- 
 man home-life in a poetic light it had not known before. 
 
 For the dying he allays the fear of death; man is but a stranger on 
 earth°° and has spent many a day in distress and care ; his home is yonder 
 where hosts of angels praise the Mighty Ruler. The sympathetic pastor 
 takes his place with the parents beside the bier of their deceased child.*^ 
 He speaks as a father who has lost his son, and he imagines the child in 
 heaven joining the chorus of the angels. But Gerhardt has written very 
 few hymns of death or of penitence. When he does speak of sin and its 
 curse of death with its terrors, he still contrives at once to take from them 
 the sting. The poem beginning "O Tod, O Tod, du greulichs Bild,"°* 
 bears the title "Freudige Empfahung des Todes," and concludes with the 
 lines: 
 
 Was soils denn nun, O Jesu, sein, 
 
 Dasz mich der Tod so schrecket? 
 
 Hat doch Elisa Todtenbein, 
 
 Was todt war, auferwecket : 
 
 Viel mehr wirst du, den Trost hab ich, 
 
 Zum Leben kraftig riisten mich; 
 
 Drum schlaf ich ein mit Freuden. 
 
 In hymnody both before and since Gerhardt there has often been a vivid 
 portrayal of the tortures of hell to terrify the soul. Gerhardt scrupulously 
 avoids this and is therefore able to reduce everything to the simplicity of 
 beauty. Every pain and every punishment in which his poems abound at 
 once lose their bitterness because on them is reflected the sunlight of God's 
 love. Gerhardt towers above his time in that amid all his despondent fel- 
 low-men he is always fearless and shows a cheerful heart reliant on God; 
 
 "Goed. 242. 
 
 ®Johann M., a Lutheran theologian, 1504-1565. His Leben Luthers (1566) is his 
 most famous work. 
 ""Ich bin ein Cast auf Erden" {Goed. 284). 
 ""Weint; und weint gleichwol nicht zu sehr" {Goed. 335). 
 " Goed. 317. 
 
26 PAUL GERHARDT AS A HYMN WRITER 
 
 just because the severe afflictions of his own life cannot break his spirit, 
 he has in his power the cure for others. 
 
 The candid reader must admit that there is evident in some passages of 
 Gerhardt's poetry a certain dogmatic constraint, ("Gebundenheit"). The 
 devil** is to him a terrible reality, the Christchild in the manger is the 
 creator'" of the world, and the problem of the Trinity is dismissed without 
 consideration. The Atonement, too, of the Savior is easily understood on 
 the theory of punishment, while the resurrection'^ of the flesh is an undeni- 
 able truth. But in other respects Gerhardt is far less dogmatic than Luther. 
 
 Critics have sought in vain for traces of poetic development in Gerhardt's 
 work. Such findings as have been claimed can be regarded only as more 
 or less probable conjecture, a fact which shows that his personality was 
 immediately poetically endowed, giving itself out whenever it composed 
 poetry. If his individuality shows no development as such, his poetry can 
 bear no marks of development. 
 
 It has often been said that "Gerhardt had and sought no laurels" ; nor 
 was he ever "hailed as the Homer or Vergil of his time." As he knew 
 neither himself nor the greatness of his gift, so his contemporaries failed 
 to appreciate him. He never regarded himself as a poet by calling as did 
 Opitz, Johann Franck and Rist, but only a poet by avocation. To quote 
 Goethe, he sang "as the bird sings that lives in the branches." In the same 
 proportion that Gerhardt's poetry brought strength and comfort in the 
 grievous period of the Thirty Years' War and later eras of confusion, it is 
 destined through the present world disaster to bring its message of hope. 
 
 ""Cf. "Will Satan mich verschlingen" {Goed. 60, 46); "Dazu kommt des Teufels 
 Lugen" {Goed. 108, 17); also 62, 55; 122, 31; 135, 41; 171, 40; 173, 40; 185, 33; 
 232, 18; 256, 34; 312, 6; 328, 14. 
 
 ''" Cf. "Es wird im Fleisch hier fiirgestellt, 
 
 Der alles schuf und noch erhalt;" (Goed. 310, 37-38). 
 
 "Cf. Goed. SI. 
 
PART TWO. 
 
 CHAPTER I. 
 
 History of English Hymnody and the German Influence upon 
 English Hymn Writing from the Early XVIth 
 
 THROUGH the XIXtH CeNTURY.^ 
 
 ANY direct traces of literary intercourse between Germany and England 
 L before the XVIth century are hard to find ; however, with the invention 
 of printing, the establishment of the universities, the Renaissance and the 
 Reformation the literary relations were increased and became important. 
 In the wide region of satire which was at that time serious and often 
 steeped in theological ideas Germany's works left enduring traces. Brant's 
 "NarrenschifF" translated in the first years of the century helped essentially 
 in accelerating the development of this type of literature in England: 
 reprinted there after an interval of sixty years it was still an inexhaustible 
 model of satire. Another source of dramatic effect destined to have great 
 success on the English stage was found in some hero endowed with super- 
 natural powers, such as Faustus. Thus by introducing a new class of 
 situations into English drama the unusually gifted Germany of the sixteenth 
 century was of great moment for its neighbor, England. Not a little of the 
 quality of the Minnelied, too, reappears in much of the verse of the English 
 lyric writers of this century, when the rose, the nightingale and daisy serve 
 as interpretations of the play of love. In the Mystery Plays there existed 
 doubtless germs of the Meistersanger school: the occasional strophic pas- 
 sages in the Towneley plays resembled to a great extent the normal Meister- 
 gesang. This germ, however, did not develop markedly because in England 
 the cultivation of poetry never became a serious occupation. These literary 
 influences from Germany in satire, in Minnelied and in Meistergesang had 
 direct effect upon English intellectual life, and continued uninterrupted 
 through the centuries. The record, on the other hand, of German influence 
 in History, Lyrics and Hymns was more broken and disconnected. 
 
 ^Inasmuch as Gerhardt's influence was not fully felt in England till the middle of 
 the XlXth century, this chapter deals with the development of the English hjfmn up 
 to that period. 
 
28 PAUL GERHARDT AS A HYMN WRITER 
 
 In order to get the story of the development of the hymn we must go 
 back a little. Church music in the mediaeval times belonged to the choir, 
 not to the congregation. The choral hymns in England, as in Germany, 
 were in Latin and many of them were exceedingly beautiful. Although the 
 early English Church received from the continent the most of the Latin 
 hymns used in its service, nevertheless there were a few English authors 
 of Latin hymns. Among this number were Bede, commonly called Vener- 
 able Bede (673-735?) who wrote "Adeste, Christi, vocibus," and Anselm 
 of Canterbury, a great architect and theologian, and Thomas a Becket. 
 While psalms and hymns have been used by the Christian Church since its 
 beginning, the particular form of psalms and hymns now in use originated 
 with the Reformation. A wonderful development of this religious lyric 
 poetry sprang up in England and Germany at the beginning of the XVIth 
 century. The reformers in both countries were chiefly concerned in simpli- 
 fying religious worship, and in giving to the laity a more active participation 
 in it ; the choir and anthem, the old liturgic hymn and antiphonal chant gave 
 way to a great extent to hymns in the vernacular, set to the simplest music 
 and sung by the whole congregation. This change was first made by Luther 
 and eagerly copied in England. 
 
 When Miles Coverdale in his ungifted way translated Luther's hymns 
 into English his unpoetical and lumbering versions were ill received and 
 were soon proscribed by the Crown. Sternhold and Hopkins who were 
 translators of the psalms became more noticed, but their versions too seem 
 to have been deficient in taste and feeling of lyric poetry. The criticism 
 of the poet Campbell seems to be justified when he says of the authors that 
 "with the best intentions and the worst taste they degraded the spirit of 
 Hebrew Psalmody by flat and homely phraseology ; and mistaking vulgarity 
 for simplicity turned into bathos what they found sublime." Although these 
 bleak translations were read in England for a time, they soon disappeared 
 leaving only small traces which were picked up by Wesley more than two 
 centuries later. 
 
 So with the royal proscription of Coverdale's work,^ the dying out ol 
 Sternhold and Hopkins' and other similar attempts at translation, the 
 
 ^ It must be remembered, however, that although Coverdale's writings had little 
 influence upon the people of his own time, they have been appreciated by later 
 generations and are among the most sincere monuments to Luther in the English 
 language. Cf. A. Mitchell: The Wedderbwns, Edinb., 1868. 
 
 An example will show the nature and degree of Coverdale's imitation. Here is the 
 first stanza of his version of "Ein' feste Burg" : 
 
 "Oure God is a defence and towre 
 A good armour and good weapen, 
 He hath ben ever oure helpe and sucoure 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 29 
 
 imaginative poetry of German Protestantism which had been caught up in 
 England with such momentary enthusiasm was as rapidly forgotten. 
 Church music was again sung by the choir. The first effort, therefore, in 
 the early XVth century to introduce Lutheran hymnody into the English 
 world contributed little. 
 
 This disappearance in England of the work of the Reformers in church 
 music was due not only to the lack of great translators but also to many 
 other causes. Early in the Renaissance England came to think of the Refor- 
 mation as her own movement, and therefore casting aside all suggestions 
 from other coimtries wished to study history and hymns of English sources 
 only. The few men at this time who recognized Germany as the mother 
 country of the Reformation and a seat of literary accomplishments had no 
 wide influence in Epgland. All German residents in England belonged 
 exclusively to the commercial class and brought no literary influence with 
 them; also a reason for the literary alienation at this time was the fact 
 that Germany did not enter the religious wars in which Englishmen were 
 so deeply interested. To men like Jonson and Fletcher Germany was 
 famous only as a land of magicians and conjurers such as Paracelsus and 
 Dr. Faustus. In short, for nearly two centuries England knew little of 
 Germany except what booksellers found it to their profit to advertise on their 
 sign directories as the "wonderful strange Newes from Germany," and the 
 satires of Brant, Dedekind, and Fischart.^ 
 
 Another most vital cause of the retardation of the development of hym- 
 nody in Great Britain so soon after the Reformation was the example and 
 influence of Geneva. Calvin was organizing his ecclesiastical system at 
 Geneva, and introduced into it Marot's Psalter* which was then very 
 fashionable. This example produced in England the translation commonly 
 known as the Old Version of the Psalms begtm in the reign of Henry VIII 
 (1509-1547). In this collection are eleven metrical versions of the "Te 
 Deum" and "Da pacem, Domine," two original hymns of praise, two 
 
 In all the troubles that we have ben in. 
 
 Therefore wyl we never drede 
 
 For any wonderous dede 
 
 By water or by londe 
 
 In hilles or the sea-sonde. 
 
 Our God hath them al i his hond." 
 
 'For a good account of contemporary German drama and satire in England, cf. 
 Herford: The Literary Relations of England and Germany in the XVIth. Century. 
 Ch. IV- VII. 
 
 * Clement Marot, valet de chambre to Francis I of France, collaborated with 
 Theodore Beza on a metrical translation of the Old Testament Psalms. The work 
 appeared about 1540. 
 
30 PAUL GERHARDT AS A HYMN WRITER 
 
 penitential and a hymn of faith. The tunes which accompanied the words 
 were German.^ Therefore, although the rehgious influence of the Refor- 
 mation was always strong in England from the beginning of the movement, 
 the influence of Luther from a literary standpoint early in the Renaissance 
 ceased to exist in England and was replaced by Calvin's stern rule. These 
 narrower canons admitting nothing but paraphrases of scripture and even 
 of scripture little outside the Psalms became the firm fashion of English 
 hymnody for the next century and a half. 
 
 In spite of the fact that Luther had littie influence on English literature 
 in the early Reformation his hymns came to their own in England in the 
 middle of the XVIIIth century. In the meantime, although the English 
 people used the stern canons of Calvin, they began to feel the want of a 
 more lyric hymn. While German Protestantism had developed at once a 
 rich hymnody there was actually no English hymnody until the XVIIIth 
 century. Isaac Watts, a representative of the English Independents, may 
 be justly considered the real founder of modern English hymnody. He was 
 the first to understand the nature of the want, and by the publication of his 
 Hymns in 1707-1709 and Psalms (hymns founded on psalms) he led the 
 way in providing for this want. His immediate followers were Simon 
 Browne and Doddridge ; and later in the century Grigg, Miss Steele, Bed- 
 dome and Swain succeeded them. Of these writers Watts and Doddridge 
 are certainly preeminent, the hymns of the former are of unusual fervor 
 and strong simplicity, and those of Doddridge while perhaps more artificial 
 in general than those of his predecessor Watts are nevertheless distinguished 
 by their graceful style. 
 
 About 1738 came the "Methodist" movement which afterward became 
 divided into three sects, the Arminian under John Wesley, those who 
 adhered to the Moravians,® and the Calvinists of whom Whitfield was the 
 leader. Each of these factions had its own hymn writers, some of whom 
 did, and others did not, secede from the Church of England. These are 
 the years when a renewed strong current of influence from Germany is 
 felt. The translation movement first sprang up in the middle of this cen- 
 tury when Count Zinzendorf and A. G. Spangenberg came to England'' and 
 established a branch of the Moravian Church there. The Gesangbuch, the 
 first of the hymn books for the congregation at Herrnhut, had been published 
 in 1735 by Count Zinzendorf. The Moravians in England began to trans- 
 late many of the hymns contained in the German Moravian Hymn Book.^ 
 
 ° Cf . Barney : History of Music. 
 
 " The Moravians were a vigorous religious cult established in Herrnhut, Saxony. 
 
 ' In 1737 and 1741, respectively. 
 
 »Cf. p. II. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 31 
 
 These translations, however, were for the most part poor, mere doggerel, 
 but in later editions they were somewhat improved, especially in the one 
 revised in the XlXth century by James Montgomery, the well known hymn 
 writer, who was for a long time a member of the English Moravian 
 Church. Among these many English hymn writers at this time whether 
 writing entirely from English sources, or influenced by German ideas and 
 philosophy or merely translators of the German hymn, the Wesley brothers 
 are deserving of the first place. 
 
 After determining upon missionary lives John and Charles Wesley 
 embarked on October 14, 1735, for the new colony of Georgia. Among 
 their fellow passengers were twenty-six Moravian colonists, who in all the 
 changes of weather, especially during storms, made a great deal of hymn 
 singing. John Wesley was much impressed with the fervor and piety of 
 these hymns and with their spiritual possibilities. One of the German 
 sources which had great influence upon Wesleyan hymnody was Freyling- 
 hausen's Geist-reiches Gesang-Buch (Halle 1704 and 1714). John Wesley 
 introduced hymn singing into the "companies" formed in Georgia and his 
 first hymn book appeared as a Collection of Psalms and Hymns. Charles-, 
 Toiim 1737, without his name. Of the seventy lyrics in the book, one half 
 are from Watts, fifteen of the remainder are hymns of the Wesleys, five of 
 which were translated from the German by John Wesley. In his third 
 collection printed in England in 1750 the immediate impression the hymns 
 produce is that of foreignness because of the many lengthy stanzas and the 
 unusual metres. The reason for this is the fact that the authorities insisted 
 that the melodies sung at Herrnhut be kept, irrespective of the language in 
 which they might be sung. Although Charles Wesley knew no German, 
 and therefore derived his impressions of the Moravism hymnody indirectly, 
 nevertheless he caught much of its tone and maimer and its atmosphere of 
 confiding love. In all he wrote about 6500 hymns, through a large portion 
 of which may be traced this Moravian influence. 
 
 Of great value to English hymnody are the contributions of the Cal- 
 vinistic Methodists, and few writers of hymns have had higher gifts than 
 A. M. Toplady, the author of "Rock of Ages." His hymns have the same 
 warmth, richness and spirituality as German hymns, and are meditations 
 after the German manner, owing direct obligation to German originals. 
 During the first quarter of the nineteenth century came the practice of 
 hymnodists of altering without scruple the compositions of other men, nota- 
 bly Latin and German hymn writers, to suit their own doctrines and tastes, 
 with the result all too often of spoiling the originals thus altered, though 
 English hymnody was undoubtedly enriched by this process of adaptation. 
 
 Two publications in 1827, Bishop Heber's Hymns and Keble's Christian 
 Year introduced a new epoch into English hymnody, destroying the barrier 
 
32 PAUL GERHARDT AS A HYMN WRITER 
 
 which had previously existed between the different theological schools of 
 the Church of England. This movement received a great additional impulse 
 from the publication in 1833 of Bunsen's Gesangbuch. From this time 
 h)rmns and hymn Mnriters multiplied not only in the Church of England, but 
 in Scotland and America also. With such influences as we have mentioned 
 the more recent collections have evidenced an improved standard of taste, 
 and there has been a larger and more liberal admission of good hymns from 
 the German. In this XlXth century when the study of the German lan- 
 guage and literature became so much more common than before it is 
 natural that an impulse be given also to translation of German hymns. 
 
 Beside the improvement in the standard of taste, additional interest in 
 hymnody had been aroused by the prominence given to congregational 
 singing in English churches. "To love hymns in eighteenth century Scot- 
 land was to be accused of heresy:' in England, it was to be convicted of 
 that worse thing, 'enthusiasm.' " Since the days of Luther Germany had 
 given her hymns general esteem, but in England it was the middle of the 
 nineteenth century before hymns won anything like popular favor. The 
 congregational hymn in England is the direct although exceedingly slow 
 outgrowth of the German Reformation but it must be borne in mind that 
 the foundations of congregational singing were laid even before Luther. 
 When the Hussites in Bohemia created this hymnody in the vernacular 
 their hymns were designed for worshippers rather than for the choir." 
 While German Protestantism developed at once a rich hymnody there was 
 actually no English hymnody until the XVIIIth century. 
 
 German hymns and chorals had a place in the Church Psalter and Hymn 
 Book of William Mercer of Sheffield (1854). One who took much inter- 
 est in its preparation was James Montgomery of whom mention has already 
 been made.^" This was the most successful of all the books of the decade 
 for the reason that it aided in placing the hymnody back in the people's 
 hands and making it congregational. Thus we see that the success of con- 
 gregational singing of the better type required a return to the Reformation 
 practice of including the tunes, as well as words, in the people's hymn books. 
 
 If general congregational singing after the manner that prevailed in 
 Germany for so long has been an incentive to the development of English 
 hymnody, the interest in German hymnody has at the same time been 
 quickened by the good work done in Frances E. Cox's Sacred Hymns from 
 the German (1841) and Henry J. Buckoll's Hymns translated from the 
 
 'The earliest extant hymn book is that in the Bohemian Museum at Prague, and 
 bears the date Jan. 13, 1501, but this hymn book is, singularly, never mentioned among 
 the works of the Brethren (Moravians). 
 
 " Cf. p. 31. For Gerhardt's influence on Montgomery of. p. 139. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 33 
 
 German (1842). This also found expression in the Psalms and Hymns, 
 partly original, partly selected (Cambridge 185 1) of Arthur T. Russell, in 
 which the German hymns played a very large part, the Latin a very small 
 one; even the arrangement of the hymns is based on an old Lutheran 
 hymn book. In 1854 appeared Richard Massie's Martin Luther's Spiritual 
 Songs, and the first four parts (1854-1862) of Hymns from the Land of 
 Luther by Jane Borthwick and her sister Mrs. Findlater. In 1855 ^"^ 1858 
 Catherine Winkworth published the first and second series of her Lyra 
 Germanica, following them in 1863 with the Chorale Book for England, and 
 Christian Singers of Germany (1869). The work of this group of trans- 
 lators which has secured so firm a place in English hymnody for a number 
 of German hymns and more particularly those of Paul Gerhardt will be 
 discussed in the following chapter. 
 
34 PAUL GERHARDT AS A HYMN WRITER 
 
 ABBREVIATIONS AND EXPLANATIONS. 
 Bachmann := Bachmann: Gerhardts Geistliche Lieder, 1866. 
 C.B. = Chorale Book for England, by Catherine Winkworth, 1863. 
 C.P.&H.Bk. = Mercer's Church Psalter and Hymn Book, 1854 etc. 
 Crii.Praxis = Cruger's Praxis pietatis melica, Berlin and Frankfurt a/M. 1648 etc. 
 Crii. — Runge = Runge's edition of the above. 
 Ebeling = P. Gerhardi Geistliche Andachten, 1667 etc. (The numbers following 
 
 the date refer to the "dozen" in which the poem appeared. Cf. p. 15 and 
 
 note 6.) 
 G.B. = Gesangbuch. 
 G.L.S. =: Geistlicher Liederschatz, 1832. 
 Goed. = Goedeke: Gedichte von Paulus Gerhardt, 1877. (In this thesis the 
 
 poems are numbered according to the page on which they begin in this 
 
 Goedeke text) 
 H.L.L. = Hymns from the Land of Luther, by Mrs. Findlater and Miss Jane 
 
 Borthwick, 1854 etc. 
 H.Bk. = Hymn Book. 
 
 Kelly = J. Kelly: Paul Gerhardt's Spiritual Songs, 1867. 
 Lib.R.P. = Library of Religious Poetry, 1881. 
 Lyra Gar. = Lyra Germanica, by Miss Winkworth, 1855 etc. 
 Songs of G. and G. =^ Songs of Grace and Glory, by Charles B. Snepp, 1872. 
 St. = stanza. 
 
 Unv.L.S. =: Unverfalschter Liedersegen, Berlin, 1851. 
 Wackernagel = Wackernagel: Gerhardts Geistliche Lieder, 1843. 
 
 When merely the translator's name is given, the complete title of the work is usually 
 to be found in the respective biographical note in the Appendix, pp. 144 ff. 
 
 The citation of hymn books is by no means exhaustive. Selections from Gerhardt's 
 hsonns are to be found in nearly all modern hymnals. The aim has been to give 
 mainly those which first included versions of his hsonns. 
 
 As a rule, the German stanzas are indicated by the Roman numerals I, II, III, etc., 
 the English stanzas by the Arabic i, 2, 3, etc. 
 
CHAPTER II. 
 
 English Versions of Gerhaedt's Hymns. 
 
 WHILE the first influence of Gerhardt on English hymnody dates from 
 the earlier part of the XVHIth century it was not until the middle 
 of the following century^ that his influence was most fully felt. For it was 
 then that the whole subject of church music and congregational singing in 
 England received renewed and special attention. The English hymn writers 
 and compilers of hymn books naturally appropriated all embodiment of 
 Christian experience and devotion that Germany, a country so nearly akin 
 to their own, could offer. The translators of all German hymns were sub- 
 jected to certain limitations the observance of which affected the character 
 of the rendering. The accompanying versions of Gerhardt's poems are 
 illustrations of this statement. 
 
 A parallel arrangement of these various versions reveals the following 
 interesting facts. First, that literalness has been rarely attained for the 
 reason that a certain measure of freedom has to be used in any metrical 
 rendering. Some, as for example. Dr. J. Kelly, have striven to maintain 
 fidelity to the sense of the original and thereby have often sacrificed euphony 
 to fidelity. Secondly, there has been made necessary the frequent use of 
 the double rhymes which are as common in the German language, on account 
 of its peculiar structure, as monosyllabic rhymes are in English. The limited 
 number of double rhymes in English has presented a serious obstacle in the 
 way of rendering German hymns with their native force and simplicity 
 without which qualities the hymns cannot become truly naturalized. In so 
 many cases have the German hymns and tunes been considered as one and 
 inseparable, that the translators have sought to preserve the original metres 
 for the sake of the tunes which would not of course admit of any deviation 
 without harm to their characteristic beauty. 
 
 In the following pages we shall discuss those of Gerhardt's hymns (84 
 in number) which have been translated into English, and cite in most cases 
 the hymn books which have been among the first to recognize the excellence 
 of the English versions.^ 
 
 ^ Cf . p. 27 and note. 
 
 " The hymns selected for discussion with their respective English versions are 
 arranged according to the sequence in the Goedeke text (Gedichte von Paulus Ger- 
 hardt, Leipzig 1877). The ten most widely translated hymns (nos. 25, 49, 59, 60, 68, 
 
36 PAUL GERHARDT AS A HYMN WRITER 
 
 Du liebe Unschuld du, wie schlecht wirst du geachtt! — {Goed. 3.) 
 Appeared in the Crii. Praxis, 1656, p. 650. 
 English Version: 
 
 I. By /. Kelly, under the heading, "Under the vexations of the wicked 
 prosperous world," the first stanza as follows : 
 
 Ah! lovely innocence, how evil art thou deemed, 
 How lightly oft thy work by all the world's esteem'd ! 
 Thou servest God, thy Lord, and to His word thou cleavest. 
 For this, from men thou nought but scorn and hate receivest. 
 
 This translation is somewhat labored as is especially evident in line 4 above 
 for the German : 
 
 "Dariiber hohnt man dich und driickt dich aller Orten." 
 
 Goedeke in his note to this hymn points out that from the use of the 
 Alexandrine verse, the freedom from biblical phraseology and from the 
 generality of the expressions it is probable that this is one of Gerhardt's 
 earliest poems composed at a time when he patterned his writings after the 
 model of Opitz.^ 
 
 Wie ist so grosz und schwer die Last. — {Goed. 7.) 
 Appeared in Cru. — Runge, 1653, no. 299. 
 
 This fervent appeal for protection during the Thirty Years' War has been 
 translated into English only by /. Kelly 1867, p. 246. In line 36 he renders 
 (from the Wackernagel text which he used) : 
 
 "Behold! my heart, on every hand." 
 
 As mein Herr is very evidently the proper reading from the sense of the 
 context and the character of the other stanzas, it is unfortunate that his 
 otherwise excellent rendering should be made to suffer by this one weak 
 stanza. 
 
 "Protection of God in hitherto dangerous times of war." 
 
 Stanza i. How heavy is the burden made 
 
 That Thou upon our backs hast laid, 
 O God! the Lord of Hosts, 
 O God, whose anger rises high 
 'Gainst workers of iniquity. 
 
 122, 150, 185, 229, 239) and hymns showing adaptations are treated in a separate part 
 of this chapter, pp. 82 ff. In some instances specimen stanzas selected from the 
 English versions have been added for comparison or reference. 
 
 'On Gerhardt's use of the Alexandrine of. p. 20 f, and on the influence of Opitz 
 cf. p. 18. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 37 
 
 O Herrscher in dem Himmelszelt. — (fioed. 15.) 
 Appeared in Cril. — Runge, 1653, no. 315. 
 
 This poem and "Nun ist der Regen hin" (cf. Goed. 17, below) were both 
 written during the Thirty Years' War and inspired by the same occasion. 
 Gerhardt in two instances uses the same set of rhymes: 
 
 Goed. IS Goed. 17 
 
 1. I zelt 1. 31 feld 
 
 2 feld 32 zelt 
 
 51 bekehrt 5 gekehrt 
 
 52 erhort 6 erhoret 
 
 The long metre lends itself well to English translation, and Kelly in his 
 English version has observed with precision the pleading and melancholy 
 tone of the original. 
 
 Stanza i. O God! who dost Heav'n's sceptre wield, 
 What is it that now makes our field, 
 And everything that it doth bear. 
 Such sad and ruined aspect wear?* 
 
 /. Kelly, 1867, p. 294. 
 
 His last stanza forms by its fervor an even stronger conclusion than Ger- 
 hardt's. The alteration from "bis in unsern Tod" to "as long as we may 
 live" is a decided improvement, and more consistent with the thought of 
 the context : 
 
 Verleih uns bis in unsern Tod And, Lord, as long as we may live 
 
 Alltaglich unser liebes Brot Our daily bread in bounty give 
 
 Und dermaleins nach diser Zeit And when the end of time we see 
 
 Das susze Brot der Ewigkeit! The bread give of eternity. 
 
 Nun ist der Regen hin. — (Goed. 17.) 
 First published in Crii. — Runge, 1653, no. 315. 
 
 This simple nature poem expressing to the Almighty thanks for gracious 
 sunshine after a storm has appeared but once in English verse, the version 
 of /. Kelly J 1867, p. 298. The many poetic allusions and references to 
 nature he has imitated very acceptably, at times even surpassing the thought 
 of the original. In the first stanza the rhymes "gekehret" and "erhoret" 
 have been especially aptly rendered by the accented ed in "turned" and 
 "spurned." 
 
 Stanza I. Now gone is all the rain, 
 Rejoice my heart again, 
 
 * On the pessimistic tone in this stanza cf . p. 24. 
 
38 PAUL GERHARDT AS A HYMN WRITER 
 
 Sing after times of sadness 
 
 To God thy Lord with gladness ! 
 
 Our God His heart hath turned 
 
 Our pray'r He hath not spurned. . . . 
 
 How successfully Kelly has caught the spirit of Gerhardt's nature descrip- 
 tion is evident in stanza 9 : 
 
 Die Baume werden schon 
 In ihrer Fiille stehen, 
 Die Berge werden flieszen, 
 Und Wein und Oele gieszen, 
 Das Bienlein wird wol tragen 
 Bei guten warmen Tagen. 
 
 The trees so very fair 
 Fruit-laden will stand there; 
 From hill-sides like a river 
 Will wine and oil flow ever 
 In warm and quiet weather 
 Will bees their honey gather. 
 
 Nun laszt uns gehn und treten. — (Goed. 19.) 
 [New Year.] 
 
 Evidently written during the Thirty Years' War. It first appeared in Crii. — Runge, 
 1653, no. 106, in IS stanzas of 4 lines; thence in Wackernagel: no. 12; Bachmann: 
 no. 24; Berlin G. L. S.: 1863, no. 200. 
 
 English Versions: 
 
 I. In prayer your voices raise ye. 
 
 In full, by /. Kelly, 1867, p. 4S. 
 Lutheran Hymnal, 1880. 
 
 From this 8 stanzas are included in the Ohio 
 
 2. Now let each humble creature. 
 
 In the Suppl. to Ger. Psal., 1765, p. 4, and Select Hymns from Ger. Psal, Tranquebar, 
 I7S4> P- 7- In the Moravian Hymn Bk., 1789, no. 507 (1849, no. 1106) greatly altered 
 and beginning, "Year after year commenceth." 
 
 3. O come with prayer and singing. 
 
 R. Massie in the British Herald, Jan., 1865, p. 8. 
 
 4. Christians all, with one accord. 
 
 E. Massie, 1867, p. 168. 
 
 5. With notes of joy and songs of praise. 
 
 Dr. R. Maguire, 1883, p. 24. 
 
 Noch dennoch must du drum nicht ganz. — (Goed. 23.) 
 Appeared in the Crii. Praxis, 1656, no. 814. 
 
 This hymn of consolation seems to refer to some particular disaster that 
 had befallen the community during the Thirty Years' War. The "drum" 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 39 
 
 in line i may possibly refer to some address or announcement made to the 
 congregation. 
 
 The poem has been well translated in full by /. Kelly, 1867, p. 230. He 
 makes no attempt to render the doubtful meaning above referred to in the 
 word "drum." On the other hand his interpretations of several rather 
 obscure lines (cf. lines 29 and 43 below) are undoubtedly correct. 
 
 Stanza i. Thou must not altogether be 
 O'ercome by sad vexation, 
 God soon will cause to shine on thee 
 The light of consolation. 
 In patience wait, and be thou still 
 And let the Lord do what He will, 
 He never can do evil. 
 
 Lines 29, 30^ are rendered : 
 
 God therefore all our joys doth blight. 
 Lets trials overtake us. 
 
 and lines 43, 44 :° 
 
 Afflicted band! oh, fall ye now 
 With contrite hearts before Him, 
 
 In this last citation Kelly is right in assuming it is not literally the "army" 
 but rather the congregation or community that Gerhardt is here addressing. 
 
 Wie soil ich dich empfangen. — (Goed. 25.) 
 (Cf. p. 82.) 
 
 Nun du lebest, unsre Krone. — (Goed. 28.) 
 
 This poem was appended to an address delivered in Berlin on the 23d of 
 March, 1648, at the funeral of Peter Fritzen, the President of the Consistory. 
 
 English Version: 
 
 I. On thy bier how calm thou'rt sleeping 
 Yet thou livest, oh our crown ! 
 Watch eternal art thou keeping, 
 
 " Gerhardt, lines 29, 30 : 
 
 Drum fahrt uns Gott durch unsern Sinn 
 
 Und laszt uns Weh geschehen; 
 "lines 43, 44: 
 
 Drum falle, du betriibtes Heer, 
 
 In Demut fur Ihm nieder ; 
 
4° PAUL GERHARDT AS A HYMN WRITER 
 
 Standing near thy Savior's throne. 
 Endless joy thy portion nowl 
 Why should tears so freely flow ? 
 What should thus in sorrow sink us? 
 Up ! aright let us bethink us ! 
 
 A complete translation by /. Kelly, 1867, p. 338. 
 
 Sei mir tausendmal gegriiszet. — (Goed. 40.) 
 
 Taken from the "Salve mundi salutare," ascribed to St. Bernard of Clair- 
 vaux.'^ The text of this beautiful poem is in St. Bernard's Opera Omnia, 
 Paris, 1609, cols. 1655-56. Here it is entitled "A rhythmical prayer to any- 
 one of the members of Christ suffering and hanging on the Cross," and is 
 divided into 7 parts viz : 
 
 I. Ssilve mundi salutare {to the Feet). 
 
 II. Salve Jesu, Rex sanctorum {to the Knees). 
 
 III. Salve Jesu, pastor bone {to the Hands). 
 
 IV. Salve Jesu, summe bonus {to the Side). 
 V. Salve salus mea, Deus {to the Breast). 
 
 VI. Summi Regis cor aveto {to the Heart). 
 VII. Salve caput cruentatum {to the Face). 
 
 The whole poem has been frequently translated into German. The best 
 known translations are those by Paul Gerhardt, which are free versions of 
 all the seven parts from the Latin text of 1609. Of Gerhardt's versions, 
 nos. I, V, VI, and VII have passed into English, as follows : 
 
 I. Sei mir tausendmal gegriiszet. — (Goed. 40.) 
 
 This appeared in the Sth ed., Berlin, 1653, and the Frankfort ed., 1656, of Cril. Praxis, 
 no. 150; thence in Wackernagel: no. 16; Bachmann: no. 48; Unv. L. S.: 1851, 
 no. 116. 
 
 English Versions: 
 
 1. Thousand times by me be greeted. 
 
 In pt. I of the Moravian H. Bk. 1754. Repeated in later editions. 
 
 2. Ever by my love be owned (st. I, III, IV). 
 
 A. T. Russell in his Psalms and Hymns, 1851. 
 
 ' Bernard of Clairvaux, saint, abbot, and doctor, was born in Burgundy in 1091, 
 entered the monastery of Citeaux in 11 13. In 1146 he spent much time in traversing 
 France and Germany to rouse the people to participate in the ill-fated second crusade. 
 He died in 1153. The hymns by which he is best known are (i) "Jesu dulcis 
 memoria," a long poem on the "Name of Jesus," and (2) "Salve mundi salutare," 
 an address to the various members of Christ on the cross. Hymns, translated from, or 
 founded on, St. Bernard's will be found in almost every modern hymnal. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 41 
 
 V. Gegriiszet seist du, Gott, mein Heil. — {Goed. 46.) 
 
 Appeared in the Frankf. ed., 1656, of Cm. Praxis; thence in Wackernagel: no. 20; 
 Bachmann: no. 52. 
 
 English Versions: 
 I. All hail to Thee, my Savior and my God. 
 
 Mrs. Stanley Carr in her translation of Wildenhahn's Paul Gerhardt, ed. 
 1856, p. 116. 
 
 a. All hail I my Savior and my God. 
 
 R. Massie in the British Herald, Feb., 1865, p. 18. 
 
 VI, O Herz des Konigs aller Welt,— (Goerf. 47.) 
 Appeared in the Frankf. ed., 1656, of Cru. Praxis, no. 155 ; thence in Wackernagel: 
 no. 21; Bachmann: no. 53; Berlin, G. L. S.: 1863, no. 258. 
 
 English Version: 
 
 I, O Heart of Him who dwells on high. 
 
 R. Massie in the British Herald, May, 1866, p. 260. 
 
 VII, O Haupt vol! Blut und Wundtn.— (Goed. 49.) 
 (Cf. p. 86 ff.) 
 
 Wach auf, mein Herz, und singe. — (Goed. 59.) 
 (Cf. p. 95 ff.) 
 
 Nun ruhen alle Walder. — (Goed. 60.) 
 (Cf. p. 98 ff.) 
 
 Weg, mein Herz, mit den Gedanken. — (Goed. 62.) 
 [Lent.] 
 
 Founded on St. Luke XV. Appeared in Crii. Praxis, 1648, no. 36 in 12 stanzas. 
 
 English Versions: 
 
 1. Let not such a thought e'er pain thee. 
 
 /. Kelly, 1867, p. 83. 
 
 2, Hence, my heart, with such a thought. 
 
 Miss Winkworth, 1869, p. 210. 
 
 Herr, hore, was mein Mund, — (Goed. 65.) 
 Appeared in Crii. Praxis, 1648, no. 37. 
 
 This prayer for favor in judgment is based on iPsalm CXLIII, It is 
 pervaded with deep humility and devoutness. 
 
42 PAUL GERHARDT AS A HYMN WRITER 
 
 English Versions: 
 
 I. Lord, lend a gracious ear 
 To my desire sincere 
 From heart all free from guile 
 And glad me with Thy smile, 
 Accept my petition. 
 
 /. Kelly, 1867, p. 92. 
 
 His rendering of the similes and metaphors of this hymn is especially 
 good. Cf . stanza VI : 
 
 Betrachte, wer ich bin, Consider what we he- 
 lm Hui fahr ich dahin, A moment, what are we? 
 Zerbrechlich wie ein Glas, As brittle as frail glass 
 Verganglich wie ein Gras As fading as the grass, 
 Ein Wind kann mich fallen. By a breath we're swept off. 
 
 and in stanza X : 
 
 Ich lechze wie ein Land, I'm like a thirsty land, 
 
 also stanza XI : 
 
 Gleich wie auf der Heid Like hart upon the heath . . . 
 
 Ein Hirsch . . . 
 
 Warum machet solche Schmerzen. — (Goed. 67.) 
 [New Year.] 
 
 Based on St. Luke II, 21. It appeared in Cru. Praxis, 1648, no. 97 in 4 stanzas. Bun- 
 sen, in his Versuch 1833, no. 120, gives stanzas III, IV, altered to "Freut euch, Sunder, 
 allerwegen." 
 
 English Versions: 
 
 1, Mortals, who have God ofiended. 
 
 Miss Cox, 1841, p. 21, from Bunsen. 
 
 2. Why should they such pain, e'er give Thee. 
 
 /. Kelly, 1867, p. 43. 
 
 Ein Lammldn geht und tragt die Schuld. — (Goed. 68.) 
 (Cf. p. 104 fif.) 
 
 O Welt, sieh bier dein Leben. — (Goed. 71.)' 
 [Passiontide.] 
 
 Cf. Koch IV, 161, 711, 787. First published in Crii. Praxis, 1648, no. 119, in 16 
 stanzas of 8 lines, reprinted in Wackernagel: no. 15; Bachm'ann: no. 8; Unv. L. S.: 
 
 ' For adaptations of this hymn cf . p. 137. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 43 
 
 1851, no. 113. Stanzas III-V were favorites with J. S. Bach and used by him in his 
 St. Matthew and St. John Passion Music." 
 
 English Versions: 
 
 1. Extended on a cursed tree. 
 
 A free translation in long metre by J. Wesley, of stanzas I, III, IV, VI, VIII-XI, 
 XVI, in Hymns and Sacred Poems, 1740 (P. Works, 1868-72, vol. I, p. 232), and 
 thence in the Wesleyan H. Bk., 1780, and since in other hymn books of the Methodists. 
 The translation of stanzas IX-XI, XVI, beginning "My Savior, how shall I proclaim" 
 were included in the American Sabbath Hymn Book, 1858, and the Baptist Service of 
 Song, Boston, 1871. 
 
 2. See, World, upon the bloody tree. 
 
 A translation by P. H. Molther of stanzas I-X in the Moravian H. Bk., 1742, 1754. 
 In the 1789 and 1886 eds. it is altered to "See, World, upon the shameful tree." The 
 hymn appears in several English hymn books in different abridged forms. 
 
 3. O, World! behold upon the tree. 
 
 A good translation omitting stanza VII, by Miss Winkworth, in the 2d Series, 1858, 
 of her Lyra Ger., and thence in Schaff's Christ in Song ed. 1869, p. 174, and slightly 
 altered and beginning : 
 
 "Lord, be Thy Cross before our sight." 
 
 In Kennedy, 1863. 
 
 4. Here, World, see thy Redeemer. 
 
 In the Suppl. to Ger. Psalmody, ed. 1765, p. 16. 
 
 5. O World I attention lend it. 
 
 J. Gambold, as no. 442 in pt. I of the Moravian H. Bk., 1754. Altered to "O World, 
 see thy Creator." (1886, no. 94.) 
 
 6. O World I see thy life languish. 
 
 J. D. Burns, in the Family Treasury, 1859, pt. I, p. 54, also in his Memoir and 
 Remains, 1869, p. 246. 
 
 7. See World! thy Life assailed. 
 
 /. Kelly, 1867, p. 54. 
 
 8. Here, World, thy great Salvation see. 
 
 Dr. J. Guthrie, 1869, p. 87. 
 
 g. O World! see here suspended. 
 
 In Reid's Praise Book, 1872, no. 1009. 
 
 10. Behold, O World, thy Life, thy Lord. 
 
 Dr. R. Maguire, 1883, p. 143. 
 
 Selected Stanzas: 
 
 J. Gambold in Part I of the 1734 edition of the Moravian Hymn Book. 
 
 I. O World! attention lend it. 
 Thy Life's on Cross suspended 
 
 ' Cf. p. 21. 
 
44 PAUL GERHARDT AS A HYMN WRITER 
 
 Thy Healer sinks in death : 
 
 The sov'reign Prince of Glory 
 
 (Tis no fictitious story) 
 
 With Shame and torment yields his Breath. 
 
 P. H. Molther in Part I of the 1754 edition of the Moravian Hymn Book. 
 
 1. See, world, upon the bloody tree 
 Thy Life there sinks in Death, 
 
 Cover'd with Stripes and wounds for thee 
 Thy Savior yields his breath. 
 
 2. Behold his Body swims in blood ; 
 Out of his tender Heart, 
 
 Deep sighs and Groans he sends to God 
 In his excessive smart. 
 
 Note in the above stanzas the inconsistencies in capitalization. 
 
 Miss Winkworth, in her Lyra Germanica, 1865. 
 I. Oh world ! behold upon the tree 
 Thy Life is hanging now for thee. 
 Thy Savior yields His dying breath; 
 The mighty Prince of glory now 
 For thee doth unresisting bow 
 To cruel stripes, to scorn and death. 
 
 Auf, Auf, main Herz mit Freuden. — (Goed. 74.) 
 [Easter.] 
 
 It appeared in Crii. Praxis, 1648, no. 141, in 9 stanzas. 
 English Versions: 
 
 1. Up! up! my heart with gladness, See. 
 
 /. Kelly, 1867, p. 71. / 
 
 2. Up, Up, my heart, with gladness, Receive. 
 
 H. L. Frothingham, in his Metrical Pieces, 1870, p. 228. 
 
 O du allersiiszste Freude! — (Goed. 76.) 
 [Whitsuntide.] 
 
 First published in the 3d ed., 1648, of Crii. Praxis, no. 155 in 10 stanzas of 8 lines; 
 thence in Wackernagel: no. 30; Bachmann: no. 10. Cf. Koch IV, 232. 
 
 This is a fine hymn of suppHcation to the Holy Spirit for His gifts and 
 graces. It is widely popular in Germany, and is included in the Berlin 
 G. B. S.: 1863, no. 366. Through the version of J. C. Jacobi it has also 
 been very largely used in various forms, in Great Britain and America. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 45 
 
 English Versions: 
 
 I. O Thou sweetest source of gladness. 
 
 A full and good translation by J. C. Jacobi, in his Psal. Ger., 1725, pt. II, p. 6. 
 Jacobi's stanzas I-IV, IX, X, were considerably altered, as "Holy Ghost, dispel our 
 sadness," by A. M. Toplady, in the Gospel Magazine, June, 1776. In Sedgwick's ed. 
 of Toplady's Hymns and Sacred Poems, i860, p. 169, these stanzas appear : 
 
 1. Holy Ghost, dispel our sadness ; 
 
 2. From that height which knows no measure. 
 
 3. Come, Thou best of all donations. 
 
 4. Known to Thee are all recesses. 
 
 5. Manifest Thy love for ever. 
 
 6. Be our Friend on each occasion. 
 
 The alteration in Sedgwick is, therefore, as follows : 
 
 Gerhardt: I II III IV V VI VII (VIII IX) X 
 Toplady: 13245 6 
 
 The hymn appears in many centos, though it usually begins with the first 
 stanza of the text above, "Holy Ghost, dispel our sadness." There are 
 many centos in the original metre, but other metre has been employed also, 
 as: 
 
 (i) 8.7.8.7.4.7 metre. Cf. a greatly altered version of stanzas I, III, in Bickersteth's 
 Christian Psalmody, 1883. 
 
 (2) 8.7.8.7. metre. 10 centos. Cf. Cong. H. Book, 1836, 2 stanzas, and Pennsyl- 
 vania Lutheran Ch. Book, 1868, in 3 stanzas of 8 lines. 
 
 Other centos are: 
 
 (i) Holy Spirit, Source of gladness, in the American Unitarian Bk. of Hymns 
 1848, and other collections. 
 
 (2) Come, Thou Source of sweetest gladness, in Stopford Brooke's Christian 
 Hymns, 1881. Both these centos are altered forms of the Jacobi-Toplady text. 
 
 2. Sweetest joy the soul can know. 
 
 A good translation, omitting stanzas VIII and IX, by Miss Winkworth, in her Lyra 
 Ger., 2d Series, 1858, p. SS) and again, altered in metre, as "Sweetest Fount of holy 
 gladness," in her C. B. for England, 1863, no. 73. In this, stanzas II and IV, as in 
 Lyra Ger., are omitted. From this text is derived no. 408 of the American Hymns of 
 the Spirit, 1864. Cf. also no. 108 in Stryker's Christian Chorals, N. Y., 1885, which is 
 taken from the Chorale Book text. 
 
 Selected Stanzas: 
 
 J. C. Jacobi, 1722, altered by A. M. Toplady, 1776, in the SchafF-Gilman 
 Library of Religious Poetry, 1881. 
 
 I. Holy Ghost, dispel our sadness. 
 Pierce the clouds of sinful night ; 
 Come, thou source of sweetest gladness. 
 
46 PAUL GERHARDT AS A HYMN WRITER 
 
 Breathe thy life and spread thy light ! 
 Loving Spirit, God of peace ! 
 Great distributer of grace 1 
 Rest upon this congregation, 
 Hear, oh, hear our supplication ! 
 
 Miss Winkworth, in her Chorale Book for England, 1863. 
 
 I. Sweetest Fount of holy gladness, 
 Fairest light was ever shed 
 Who alike in joy and sadness 
 Leavest none unvisited; 
 Spirit of the Highest God, 
 Lord, from whom is life bestow'd, 
 Who upholdest ev'rything. 
 Hear me, hear me, while I sing. 
 
 Nun danket all und bringet Ehr. — (Goed. 78.) 
 Appeared in Ebeling, 1648, no. 181. 
 
 It is based on the Apocryphal book Sirach L. 24, and inspired also of 
 course by the famous hymn of Martin Rinckart" "Nun danket alle Gott," 
 which may be called the German Te Deum. As a great part of Rinckart's 
 life, was, like Gerhardt's, spent amid the horrors of the Thirty Years' War 
 it is natural that Gerhardt should have been influenced by this voluminous 
 writer. Rinckart's hymn was translated by Miss Winkworth in her Chorale 
 Book, but for some reason she has passed over Gerhardt's verses. As 
 Rinckart was a good musician and his melody^^ was well calculated to please 
 the popular ear it is not strange that his hymn has maintained itself ahead 
 of Gerhardt's. 
 
 The only English version published is that of /. Kelly, 1867, p. 238. 
 
 Stanza i. In grateful songs your voices raise. 
 All people here below. 
 To Him whom angels ever praise 
 In heav'n His glory show. 
 
 The translation has much more flowery language than the original and is 
 far less direct, cf. "In grateful songs" as compared with "Nun danket all," 
 and in the second stanza a virtual repetition of this "with gladsome songs 
 now fill the air" for the very forceful reflexive construction "Ermuntert 
 
 "•Cf. p. II. 
 
 " The melody as it appeared in Cruger's Praxis, etc., is marked with Criiger's initials, 
 but it was quite likely adapted from a motet by Rinckart. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 47 
 
 euch." Throughout the poem the English version brings out more emphat- 
 ically than the German the idea of life in eternity. Ci. stanza 6 : 
 
 And may his blessing ever rest. 
 
 and the last two lines of stanza 8 : 
 
 Our portion when from earth we part, 
 To all eternity. 
 
 In the closing stanza the translation by losing the fervor of Gerhardt's 
 verses is almost anticlimactic. The German is a fervent prayer that God 
 may close our eyes and appear to us in eternity, while the English, in too 
 evident an effort to effect a rhyme with rest, would seem to assign to the 
 Deity a place almost secondary in importance to "our eyes." Cf. stanza 9.^^ 
 
 When sinks the heart, when strength decays, 
 By Him our eyes be press'd 
 Then may we see His open face, 
 In everlasting rest. 
 
 Zweierlei bitt ich von dir. — (Goed. 80.) 
 Appeared in Crii. Praxis, 1648, no. 240. Based on Proverbs, XXX, 7-9. 
 
 English Version: 
 
 I. Twofold, Father, is my pray'r, 
 Twofold the desire I there 
 Lay before Thee, who dost give 
 What's good for us to receive ; 
 Grant the pray'r that Thou dost know. 
 Ere my soul to Thee must go 
 From the body's bands below. 
 
 /. Kelly, 1867, p. 107. 
 
 The rhyme of the German has offered great difficulties in the last three 
 lines of each stanza. The translator's success in meeting this obstacle has 
 been indifferent. Cf . : 
 
 stanza 2 
 
 poverty 
 
 may 
 
 lay 
 
 stanza 3 
 
 mood 
 good 
 bestowed 
 
 stanza 4 
 
 swell 
 
 well 
 
 extol 
 
 stanza 5 
 
 artifice 
 practices 
 
 stanza 6 
 
 graciously 
 
 me 
 
 be 
 
 ^ Er driicke, wann das Herze bricht 
 Uns unsre Augen zu 
 Und zeig uns drauf sein Angesicht 
 Dort in der ewign Ruh. 
 
48 PAUL GERHARDT AS A HYMN WRITER 
 
 O Gott, mein Schopfer, edler Fiirst. — {Goed. 8i.) 
 Based on the Apocryphal. book Sirach, XXIII i-6. It appeared in Cril. Praxis, 1648, 
 no. 248. 
 
 English Versions: 
 
 1. Creator, Father, Prince of might! 
 Who life to me art giving. 
 Unless Thou guid'st my life aright 
 In vain here am I living. 
 
 For while I'm living I am dead, 
 To sin devoted pver; 
 Whose life in mire of sin is led. 
 The true life he hath never 
 Beheld one moment even. 
 
 /. Kelly, 1867, p. 109. 
 
 2. God, my Creator, and my Lord, 
 Thou Father of my spirit, 
 
 To me thy constant grace afford. 
 Or life — I well may fear it: — 
 Nay, e'en while living were I dead, 
 And in my sins must perish ; 
 Whose with Christ, the living bread. 
 Shall fail his soul to nourish. 
 Must sink to death eternal. 
 
 Dr. H. Mills in his Horae Germanicae, 1856. 
 
 Ich hab in Gottes Herz und Sinn. — {Goed. 83.) 
 [Resignation.l 
 
 It appeared in Cru. Praxis, 1648, no. 249, in 12 stanzas. 
 
 English Versions: 
 
 1. I into God's own heart and mind. 
 
 /. Kelly, '1867, p. 219. 
 
 2. To God's all-gracious heart and mind. 
 
 Miss Winkworth, 1869, p. 213. 
 
 Nicht so traurig, nicht so sehr. — {Goed. 89.) 
 [Christian Contentment.] 
 
 Founded on Psalm CXVI, 7; Psalm XLII, 6-12; i Tim. VI, 6. Appeared in the 
 3d ed., 1648, of Crii. Praxis, no. 251, in 15 stanzas of 6 lines; thence in Wackernagel: 
 no. 53; Bachmann: no. 16; Berlin G. L. S.: 1863, no. 851. 
 
 English Versions: 
 
 I. Ah! grieve not so, nor so lament. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 49 
 
 A free rendering by Mrs. Findlater and Miss Borthwick of stanzas I, II, VII-X, 
 XIII, XV, in the first Series, 1854, of the H. L. L., p. 48 (1884, p. 50). 
 
 2. Why this sad and mournful guise. 
 
 Miss Dunn, 1857, p. 85. 
 
 3. Not so darkly, not so deep. 
 
 Miss Warner, 1858 (1861, p. 58). 
 
 4. O my soul, why dost thou grieve. 
 
 /. Kelly, 1867, p. 155. 
 
 Selected Stanza: 
 
 Mrs. Findlater (and Miss Borthwick) in their Hymns from the Land of 
 Luther, 1884. 
 
 I. Ah ! grieve not so, nor so lament, 
 My soul ! nor troubled sigh. 
 Because some joys to others sent 
 Thy Father may deny; 
 Take all as love that seems severe — 
 There is no want if God is near. 
 
 Nach dir, O Herr, verlanget mich. — {Goed. 91.) 
 Based on Psalm XXV. Appeared in Crii. Praxis, 1648, no. 276. 
 
 English Version: 
 
 I. For thee, Lord, pants my longing heart. 
 My hope and confidence Thou art; 
 My hope can never shaken be. 
 Nor e'er be put to shame by Thee. 
 
 A full translation by /. Kell^, 1867, p. 88. This is one of the best pieces 
 of interpretation as regards harmony and rhythm and the spirit of the 
 original, that he has given us. Kelly is at his best in rendering the "long 
 metre" hymns (cf. Goed. 260, 287, etc.). Stanza 9 is especially noteworthy: 
 
 Nun, Herr, ich bin dir wolbekannt, Ah ! Lord full well Thou knowest me, 
 
 Mein Geist, der schwebt in deiner Hand; My spirit lives and moves in Thee; 
 
 Du siehst, wie meine Seele thrant Thou seest how my bleeding heart 
 
 Und sich nach deiner Hiilfe sehnt. Longs for the help Thou canst impart. 
 
 Ich erhebe, Herr, zu dir. — {Goed. 93.) 
 Based on Psalm CXXI. It appeared in Crii. Praxis, 1648, no. 279. 
 
 English Version: 
 
 I. Lordl to Thee alone I raise 
 Evermore mine eager eyes. 
 
50 PAUL GERHARDT AS A HYMN WRITER 
 
 Upturn'd is my constant gaze 
 To the hills that pierce the skies : 
 To the hills whence flow to me 
 Help and saving health from Thee! 
 
 Stanza i of the complete translation by /. Kelly, 1867, p. 135. 
 
 Gott Lob! nun ist erschollen. — (Goed. 95.) 
 [Thanksgiving for the Proclamation of the Peace of Westphalia in 1648 after 
 
 the Thirty Years' War.] 
 
 It appeared in CrU. Praxis, 1653, no. 401, 1656, no. 409, in 6 stanzas of 12 lines; 
 Wackernagel: no. 64; Bachmann: no. 84; Unv. L. S.: 1851, no. 589. 
 
 English Versions: 
 
 I. Thank God it hath resounded, 
 
 The blessed voice of joy and Peace 1 
 
 And murder's reign is bounded, 
 
 And spear and sword at last may cease. 
 
 Bright hope is breaking o'er us 
 
 Arise, my land once more, 
 
 And sing in full-toned chorus 
 
 Thy happy songs of yore; . . . 
 Miss Winkworth in her Lyra Ger., 1858, p. 156, and her Chorale Book, 1863. 
 Stanzas I, V, VI, form no. 49, in M. W. Stryker's Christian Chorals, 1885. 
 
 2. Praise God! for forth hath sounded. 
 /. Kelly, 1867, p. 251. 
 
 Du bist zwar mein tind bleibest mein. — {Goed. 100.) 
 [For the Bereaved.] 
 
 This is a beautiful hymn for consolation of parents on the loss of a son. 
 The occasion of the poem was the death of Constantin Andreas, younger 
 son of Johannes Berkov, pastor of St. Mary's Church, Berlin. It was first 
 printed as one of the Dulcia amicorum solatia at the end of the funeral 
 sermon by Georg Lilius, Berlin, 1650. Included in Ebeling, 1667, 6, no. 72, 
 in 12 stanzas. 
 English Versions: 
 
 1. Thou'rt mine, yes, still thou art mine own. 
 
 Miss Winkworth, in her Lyra Ger., 1858, p. 123. 
 
 2. Yes, thou art mine, still mine, my son. 
 
 J. D. Burns, in the Family Treasu/ry, p. 8, and his Remains, 1869, p. 249. 
 
 3. Mine art thou still, and mine shalt be. 
 
 /. Kelly, 1867, p. 333- 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 51 
 
 4. Thou art mine own, art still mine own. 
 Dr. J. Guthrie, 1869, p. 100. 
 
 Selected Stanza: 
 
 I. Thou'rt mine, yes, still thou art mine own ! 
 Who tells me thou art lost? 
 But yet thou art not mine alone, 
 I own that He who cross'd 
 My hopes, hath greatest right in thee; 
 Yea, though He ask and take from me 
 Thee, O my son, my heart's delight. 
 My wish, my thought, by day and night. 
 
 Miss Winkworth, 1858. 
 
 Lobet den Herren, alle die Ihn fiirchten! — (Goed. 106.) 
 
 [Morning.] 
 
 Included in the Crii. — Runge, 1653, no. 7, in 10 stanzas of S lines ; thence in IVacker- 
 nagel: no. 100; Bachmann: no. 21; Berlin G. L. S.: 1863, no. 1063. 
 
 English Versions: 
 
 1. Praise Godl revere Him) all ye men that fear Him! 
 
 This is from the version in Bunsen's Allg. G. B., 1846, no. 167; stanza I being from 
 Gerhardt and stanzas 2, 3, from "Lobet den Herren, denn er ist sehr freundlich" 
 (which Wackernagel quotes from a Nurnberg broadsheet about 1560). It appeared 
 in the Dalston Hospital H. Bk., 1848, no. 55, signed "A. G." 
 
 2. Our Lord be praising, All His glory raising. 
 
 H. J. Buckoll, 1842, p. 27. 
 
 3. Praise ye Jehovah, all ye men who fear Him. 
 
 /. Kelly, 1867, p. 279. 
 
 Warum willst du drauszen stehen. — {Goed. 108.) 
 [Advent.] 
 
 Suggested by Gen. XXIV, 31. It appeared in Crii. — Runge, 1653, no. 78, in 9 stanzas 
 of 8 lines ; viz. stanzas I-VII, XI, XII, of the full form ; stanzas VIII-X being added 
 in Ebeling, 1667, S, no. 50. The full text, in 12 stanzas, appeared also in Wackernagel: 
 no. 2; Bachmann: no. 23; Unv. L. S.: 1851, no. 20. 
 
 English Versions: 
 
 1. Wherefore dost Thou longer tarry. 
 
 Miss Winkworth, omitting stanzas VIII-X, in her Lyra Ger., 2d Series, 1858, p. 6. 
 In her C. B. for England, 1863, no. 153, the translation of stanzas III, V, XI, are 
 omitted. 
 
 2. Wherefore dost Thou, blest of God. 
 
 R. Massie, in Lyra Domestica, 1864, p. 90. 
 
52 PAUL GERHARDT AS A HYMN WRITER 
 
 3. Why, without, then, art Thou staying. 
 
 /. Kelly, 1867, p. 5. 
 
 Selected Stanza: 
 
 I. Wherefore dost Thou longer tarry 
 Blessed of the Lord afar? 
 Would it were Thy will to enter 
 To my heart, O Thou my Star, 
 Thou my Jesus, Fount of pow'r. 
 Helper in the needful hour ! 
 Sharpest wounds my heart is feeling, 
 Touch them, Savior, with Thy healing! 
 
 Miss Winkworth, 1858. 
 
 Zeuch ein zu deinen Thoren. — (Goed. iii.)" 
 [Whitsuntide.] 
 
 Cf. Koch IV, 231. Appeared in Crii. — Runge, 1653, no. IS7, in 12 stanzas, viz: 
 stanzas I-VIII, XII, XIII, XIV, XVI, of the full poem. Stanza XV was added in 
 Ebeling, 1666-67, no. LXXX, and stanzas IX-XI in /. H. Feustking's ed., 1707. The 
 full form in 16 stanzas is in Wackernagel: no. 32; and Bachmann: no. 25; and the 
 Unv. L. S.: 1851, no. 184. The hjTnn was undoubtedly written during the Thirty 
 Years' War. 
 
 English Versions: 
 
 1. Retake thy own Possession. 
 
 This is a free translation omitting stanzas X-XII, in pt. II, 1725, of J. C. Jacobi's 
 Psalmodia Germanica, p. 9. In his ed. of 1732, it is greatly altered, and begins "In 
 me resume thy dwelling." From this form the translations of stanzas I, VI, XVI, 
 were included unaltered in the Scottish Evang. Union H. Bk., 1856. 
 
 2. Come to Thy temple here on earth. 
 
 A good translation omitting stanza IV, by Miss Winkworth in her Lyra Ger., ist 
 Series, 1855, p. 113. From this the translations of stanzas I, II, VIII, XII, were 
 repeated in the Pennsylvania Luth. H. Bk., 1865. 
 
 3. O enter. Lord, Thy temple. 
 
 A good translation by Miss Winkworth in her Chorale Book, of stanza I, II, 
 V-VIII, XIV, XVI, based on her Lyra Ger. version. Included in full and unaltered 
 as no. 482, 483 in Dr. Thomas' Augustine H. Bk., 1866. No. 483 begins "All love is 
 thine, O Spirit" (stanza VII). In the Pennsylvania Luth. Ch. Bk., 1868, no. 250, is 
 stanzas I-III, VI, VIII, and in the Ohio Luth. Hyl., 1880, no. 106, is stanzas I, II, V, 
 XIV, XVI. 
 
 4. Retake thy own possession. Thou glorious Guest of Hearts. 
 
 In Select H. from Ger. Psal., Tranquebar, 1754, p. 43, and the Suppl. to Ger. Psalt., 
 ed. 1765, p. 26. 
 
 " For adaptations of this hymn cf. p. 136. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 53 
 
 5. Come, O Thou Holy Dove. 
 
 Miss Dunn, 1857, p. 104. 
 
 6. Come, enter Thine own portal. 
 
 Miss Cox, 1864, p. 117. 
 
 Stanzas i of Miss Winkworth's versions are given below: 
 
 Come to Thy temple here on earth, O enter, Lord, Thy temple, 
 
 Be Thou my spirit's guest. Be Thou my spirit's guest! 
 
 Who givest us of mortal birth Who at my birth didst give me 
 
 A second birth more blest; A second birth more blest. 
 
 Spirit beloved. Thou mighty Lord, Thou in the Godhead, Lord, 
 
 Who with the Father and the Son Though here to dwell Thou deignest, 
 
 Reignest upon an equal throne. Forever equal reignest. 
 
 Art equally adored ! Art equally adored. 
 
 Lyra Ger., 1855. Chorale Book, 1863. 
 
 Du Meine Seele, singe. — (Goed. 115.) 
 [Psalm CXLVL] 
 
 Appeared in CrU. — Runge, 1653, no. 183, in 10 stanzas. 
 
 English Version: 
 
 1. O Come, my soul with singing. 
 
 Miss Burlingham, in the British Herald, Jan., 1866, p. 207, and as no. 423 in Reid's 
 Praise Bk., 1872. 
 
 Ich singe dir mit Herz und Mund. — {Goed. 118.) 
 [ Thanksgiving.] 
 
 Cf. Koch IV, p. 95. First published in CriX. — Runge, 1653, no. 186, in 18 stanzas of 
 4 lines; thence in Wackernagel: no. 85; Bachmann: no. 27; Crii. Praxis: 1656; Ber- 
 lin G.L.S.: 1863. 
 
 English Versions: 
 
 1. O Lord! I sing with mouth and heart. 
 
 Translated in full by J. Kelly, 1867, p. 225. A cento in 6 stanzas is found in the 
 Ohio Lutheran Hymnal, 1880, no. 364. 
 
 2. He never yet has made mistakes. 
 
 Stanzas XVII, XVIII, as no. 475, in part I of the Moravian H. Bk., 1754. 
 
 3. I sing to Thee with Heart and Tongue. 
 
 Appeared in the Suppl. to Ger. Psalmody, ed. 1765, p. 65. Included in the Moravian 
 H. Bk., 1789, no. 802 (1886, no. 647), altered, and beginning: "I'll praise Thee with my 
 heart and tongue." 
 
 4. I'll sing to Thee with mouth and heart. 
 
 Miss Cox, 1864, p. 154. 
 
54 PAUL GERHARDT AS A HYMN WRITER 
 
 5. I'll sing to Thee with heart and mouth. 
 
 Miss Manington, 1863, p. 108. 
 
 6. My heart's warm gush breaks forth in mirth. 
 
 E. Massie, 1867. 
 
 Der Herr, der aller Enden. — (Goed. 120.) 
 Founded on Psalm XXIII. Appeared in the Cru.—Runge, 1653, no. 224. 
 
 English Version: 
 
 Stanza i. The Lord, the earth who ruleth, 
 And with His hand controUeth, 
 Whose goodness never endeth, 
 He watcheth me and tendeth. . . . 
 
 A good and full translation by /. Kelly, 1867, p. 266, with a rather unusual 
 combining of literality and metre, especially in stanza 9 : 
 
 Du salbst mein Haupt mit Oele My head with oil anointest 
 
 Und fiillest meine Seele, My empty soul appointest 
 
 Die leer und diirstig sasze, Of every good and pleasure 
 
 Mit voUgeschenktem Masze. A full o'erfiowing measure. 
 
 Warum sollt ich mich denn gramen. — {Goed. 122.) 
 (Cf. p. 108 ff.) 
 
 Wol dem Menschen, der nicht wandelt. — {Goed. 124.) 
 Appeared in Cru. — Runge, 1653, no. 241. 
 
 It would be inconceivable that Gerhardt should omit the first Psalm from 
 his themes, and his hymn adapts so well the biblical text that we should 
 expect more than the one English version of /. Kelly, 1867, p. 130. In his 
 rendering the translator has done well to infuse much of the poetic language 
 of the English Bible. 
 
 Stanza i. Bless'd is he who never taketh 
 
 Counsel of ungodly men! 
 Bless'd, the right who ne'er forsaketh, 
 Nor in sinners' paths is seen, 
 Who the scorners' friendship spurns, 
 From their seats away who turns. 
 Who delight in God's word taketh, 
 This his meditation maketh. 
 
 Stanza 2. Bless'd is he who pleasure taketh 
 
 (Lines i & 2.) In God's laws' most perfect way. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 55 
 
 Stanza 3. He will truly ever flourish 
 
 (Lines i & 2.) Who God's word delights to do. 
 
 Stanza 4. But he who in sin's ways goeth 
 
 (Lines I & 2) Is like chaff the wind before. 
 
 Wol dem, der den Herren scheuet. — {Goed. 130.) 
 Appeared in Cru. — Runge, 1653, no. 243. 
 
 The CXIIth Psalm of David celebrating the prosperity of the godly is 
 the basis for Gerhardt's beautiful hymn which has found great popularity 
 in German hymn-books. The translation by /. Kelly, 1867, p. 132, is the 
 only English version published. While Gerhardt follows quite closely the 
 poetic language of the Bible, the translator departs often from what might 
 be expected as the normal English equivalent of Gerhardt's diction. In the 
 following stanzas the translation brings out excellently Gerhardt's simile 
 and metaphor. 
 
 Stanza i. Bless'd is he the Lord who loveth, 
 At His word doth tremble aye ! 
 Bless'd whose heart him freely moveth 
 God's commandments to obey. 
 Who the Highest loves and fears, 
 Findeth increase with the years. 
 Of all that to him is given 
 By the bounteous hand of Heaven. 
 
 Stanza 5. When the black clouds o'er them lighten, 
 And the pealing thunders shock 
 They shall sit and nought shall frighten, 
 Like the dove hid in the rock;" 
 They'll remain eternally. 
 And their memory shall be 
 Upon every side extending, 
 As their branches trees are sending.'" 
 
 Cf . also lines i and 2 of stanza 2 : 
 
 His dear children shall stand ever" 
 Like to roses in their blow ; . . . 
 
 Schwing dich auf zu deinem Gott. — {Goed. 135.) 
 Appeared in Cril. — Runge, 1653, no. 288, under the title "Trost in schwerer Anfech- 
 tung." 
 
 " Cf . line 36 : "Wie ein Voglein in der Kluft." 
 " Line 40 : "Wie die edlen Zweig ausbreiten." 
 
 " Seine Kinder werden stehen 
 Wie die Rosen in der Bliit. 
 
S6 PAUL GERHARDT AS A HYMN WRITER 
 
 The only English version of this fervent hymn of consolation in despon- 
 dency and temptation is that of /. Kelly, 1867, p. 195. Nearly every line 
 has the force and directness of the original especially in the verses addressed 
 to the Soul, charging it to defy the wiles of Satan and to seek strength and 
 consolation in Nature's bounties. Gerhardt's poem is one of close intro- 
 spection and self analysis, and the translator interprets with feeling its 
 spirit of "Trost." 
 
 IN DESPONDENCY AND TEMPTATION. 
 
 Stanza i. Look up to thy God again, 
 Soul, sunk in affliction ! 
 Shall He be reproach'd by men 
 Through thy sore dejection? 
 Satan's wiles dost thou not see? 
 By severe temptation. 
 Gladly would he keep from thee 
 Jesu's consolation. 
 
 Was Gott gefallt, main frommes Kind. — (Goed. 139.) 
 [Resignation to ''what pleases God."] 
 
 First appeared in Crii. — Runge, 1653, no. 290, in 20 stanzas of 5 lines ; thence in 
 Wackernagel: no. 60; Bachmann: no. 37; Unv. L. S.: 1851, no. 723. 
 
 English Versions: 
 
 1. What God decrees, child of his love. 
 
 A good rendering of stanzas I, II, V, VI, VIII, XII, XV, XVIII, XX, by Mrs. 
 Findlater in the 3d Series, 1858, of the H. L. L., p. 49 (1884, p. 170). Included in full 
 in Bishop Ryle's Collection, i860, no. 171, and abridged in Christian Hymns, Adelaide, 
 1872, and beginning "What God decrees, take patiently," in Kennedy, 1863, no. 1344. 
 
 2. What pleaseth God with joy receive. 
 
 Miss Dunn, 1857, p. 94. 
 
 3. What pleases God, O pious soul. 
 
 Miss Winkworth, 1858, p. 193. 
 
 4. What pleaseth God, my faithful child. 
 
 /. Kelly, 1867, p. 189. 
 
 Selected Stanzas: 
 
 Miss Winkworth, in her Lyra German- Mrs. Findlater in her Hymns from the 
 
 ica, 1865. Land of Luther, 1884. 
 
 I. What pleases God, O pious soul, i. What God decrees, child of his love, 
 
 Accept with joy; though thunders roll Take patiently, though it may prove 
 And tempests lower on every side. The storm that wrecks thy treasure 
 
 Thou knowest nought can thee betide here ; — 
 
 But pleases God. Be comforted ! thou needst not fear 
 
 What pleases God. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 57 
 
 2. 
 
 The best will is our Father's will, 2 
 And we may rest there calm and still, 
 Oh make it hour by hour thine own. 
 And wish for nought but that alone, 
 Which pleases God. 
 
 His thought is aye the wisest thought ; 
 How oft man's wisdom comes to nought ; 
 Mistake or weakness in it lurks. 
 It brings forth ill, and seldom works 
 What pleases God. 
 
 The wisest will is God's own will : 
 Rest on this anchor, and be still; 
 For peace around thy path shall flow, 
 When only wishing here below 
 What pleases God. 
 
 Die Zeit ist nunmehr nah. — (Goed. 142.) 
 [Day of Judgment — Second Advent.] 
 
 Based on Acts IH, 20. It first appeared in the Crti. — Runge, 1653, "O- 367, in 18 
 stanzas of 6 lines; thence in Wackernagel: 1843, no. 119 (1874, no. 124) ; Bachmann: 
 no. 40; Berlin G. L. S.: ed. 1863, no. 1517. 
 
 English Versions: 
 
 1. O Christ! how good and fair. 
 
 A translation of stanzas III, IV, VI, VII, X-XIII, XVII, by Mrs. Charles in her 
 Voice of Christian Life in Song, 1858, p. 242. 
 
 2. May I when time is o'er. 
 
 A translation of stanzas VII, VIII, in the Moravian H. Bk., 1789, (in later eds.) "I 
 shall when time is o'er." 
 
 3. The time is very near. 
 
 /. Kelly, 1867, p. 341. 
 
 Wir singen dir, Emanuel. — {Goed. 150.) 
 (Cf. p. no ff.) 
 
 O Jesu Christ! dein Kripplein ist. — {Goed. 153.) 
 [Christmas.'] 
 
 At the Manger in Bethlehem. It appeared in CriX. Praxis, 1653, 1656, no. loi, in 15 
 stanzas. 
 
 English Versions: 
 
 1. Be not dismay'd — in time of need. 
 
 (Stanza XI) in the Moravian H. Bk., 1789, no. 236. 
 
 2. O blessed Jesus I This. 
 
 Miss Winkworth, in her Lyra Ger., 1858, p. 18. 
 
 3. O Jesus Christ! Thy cradle is. 
 
 Miss Manington, 1864, p. 41. 
 
S8 PAUL GERHARDT AS A HYMN WRITER 
 
 4. Thy manger is my paradise.. 
 /. Kelly, 1867, p. 26. 
 
 Selected Stanza: 
 
 Miss Winkworth in her Lyra Germanica, 1858, p. 18. 
 
 GOD WITH US. 
 Stanza i. O Blessed Jesus ! This 
 Thy lowly manger is 
 
 The Paradise where oft my soul would feed : 
 Here is the place, my Lord, 
 Where lies the Eternal Word 
 Clothed with our flesh, made like to us indeed. 
 
 Frolich soil mdn Herze springen. — (Goed. 155.) 
 
 [Christmas.] 
 
 (Cf. Koch IV, p. 130.) 
 
 Appeared in Crii. Praxis, 1653 and 1656, no. 104, in 15 stanzas of 8 lines; reprinted 
 in Wackernagel: no. 5; and Bachmann: no. 44; Unv. L. S.: 1851, no. 35. 
 
 Lauxmann, in Koch, VIII, 26, thus analyses it: 
 
 "First a trumpet blast : Christ is born, God's Champion has appeared as 
 a Bridegroom from his chamber (I, II). In the following 4 stanzas the 
 poet seeks to set forth the mighty value of the Incarnation: is it not love 
 when God gives us the Son of His Love (III), the Kingdom of Joy (IV) 
 and His Fellowship (V) ? Yes, it is indeed the Lamb of God who bears 
 the sin of the world (VI). Now he places himself as herald by the cradle 
 of the Divine Child (VII). He bids, as in Matt. XT, 28, all men (VIII), 
 all they that labor (IX), all the heavy laden (X), and all the poor (XI), 
 to draw near. Then in conclusion he approaches in supplication like the 
 shepherds and the Wise Men (XII-XV). He adores the child as the 
 source of life (XII), his Lamb of God (XIII), his Glory (XIV), and 
 promises to be ever true to Him (XV). It is a glorious series of Christmas 
 thoughts, laid as a garland on the manger at Bethlehem." 
 
 Criiger gave the hymn an original melody in 1656 (as in L. Erk's Choral- 
 buch, 1863, no. 86), but the melody generally used (in Church Hymns called 
 "Bonn") is that by J. G. Ebeling in the Geistliche Andachten, 1666, to 
 "Warum sollt ich mich denn gramen."^'' The hymn is very beautiful, but 
 somewhat long, hence generally abridged. 
 English Versions: 
 
 I. Let the voice of glad thanksgiving. 
 
 A good translation of stanzas I-III, VI-IX, by A. T. Russell, as no. iS, in the 
 Dalston Hospital Hymn Bk., 1848, and repeated, in part, as no. 56, in his own Psalms 
 and Hymns, 1851. 
 
 " Cf. p. 108. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 59 
 
 2. All my heart this night rejoices. 
 
 A beautiful, but rather free translation omitting stanzas III-V, XIII, XIV, by Miss 
 Winkworth in the 2d series of her Lyra Ger., 1858, p. 13. In America it appeared in 
 the Dutch Reformed Hymns of the Church, 1869, the Hymns and Songs of Praise, 
 N. Y., 1874, etc. Parts have appeared also in the New Zealand Hymnal, 1872, the 
 Evangelistic Hymnal, N. Y., 1880, and Laudes Domini, N. Y., 1884, etc. It is very 
 generally included in cento form in nearly all current American hymnals. 
 
 3. All my heart with joy is springing. 
 
 A free translation by Dr. Kennedy in his Hymnologia Christiana, 1863, no. 100, 
 omitting stanzas III-V, IX, XIII, XIV. 
 
 4. Lightly bound my bosom, ringing. 
 
 A translation in full, by Dr. M. Loy, in the Ohio Luth. Hymnal, 1880. 
 
 5. Now in His manger He so humbly lies. 
 
 A translation of stanza V in the Moravian H. Bk., 1754, no. 435. 
 
 6. Up, my heart! rejoice with singing. 
 
 As a broadsheet for Christmas, 1770. 
 
 7. Rise, my soul, shake off all sadness. 
 
 P. H. Molther, in the Moravian H. Bk., 1789 and 1886. 
 
 8. Now with joy my heart is bounding. 
 
 /. Kelly, 1867, p. 18. 
 g. Up, with gladness heavenward springing. 
 
 E. Massie, 1867, p. 24. 
 10. Joyful be my spirit singing. 
 
 M. L. Frothingham, 1870, p. 260. 
 IX. Joyful shall my heart, upspringing. 
 
 M. W. Stryker, 1883, p. 30. 
 
 Selected Stanzas: 
 
 A. T. Russell, in his Psalms and Hymns, 1851. 
 
 I. Let the voice of glad thanksgiving 
 Upward rise, to the skies — 
 Praises from all living. 
 Hark I the angel-choirs from heaven 
 Hither fly I hark I they cry, 
 Christ to earth is given I 
 
 Miss Winkworth, 1858, in her Lyra Germanica. 
 
 I. All my heart this night rejoices. 
 As I hear, far and near. 
 Sweetest angel voices : 
 "Christ is born," their choirs are singing. 
 Till the air everywhere 
 Now with joy is ringing. 
 
6o PAUL GERHARDT AS A HYMN WRITER 
 
 Ich steh an deiner Kiippen hier. — (Goed. 158.) 
 [Christmas.]^ 
 
 Included in Crii. Praxis: 1653, no. 105, 1656, no. IDS, in 15 stanzas of 7 lines; 
 Wackernagel: no. 9; Bachmann: no. 45; Berlin G. L. S.: 1863, no. 167. 
 
 This is a beautiful hymn in which the poet puts himself in the place of 
 the shepherds and the wise men visiting Bethlehem; and in praise and 
 adoration tenders his devotion, his love and his all to the Infant Savior in 
 the manger. 
 
 English Versions: 
 
 1. Stanzas I, IV, VII, XV, have been translated by Rev. A. T. Russell in his Ps. 
 and Hys., 1851, no. 57. His translation of stanza I is as follows : 
 
 My faith Thy lowly bed beholds. 
 
 My Life and my Salvation; 
 
 Thee in my heart my faith enfolds, 
 
 And brings Thee her oblation. 
 
 My heart and soul, will, spirit, mind. 
 
 Oh, take them all, to Thee resign'd: 
 
 Make all to Thee well-pleasing. 
 
 2. I stand beside Thy manger-bed. 
 
 Miss Manington, 1864, p. 38. 
 
 3. Now at the manger here I stand. 
 
 /. Kelly, 1867, p. 32. 
 
 Hor an! mein Herz, die sieben Wort. — {Goed. 161.) 
 [Passiontide. (The seven words from the Cross.)] 
 
 Founded on the hymn of J. Boschenstein : "Da Jesus an dem Kreuze stund" (which 
 was called a translation from the Latin of Peter Bolandus, "Stabat ad lignum crucis"). 
 It appeared in Crii. Praxis, 1653, no. 137, 1656, no. 137, in 15 stanzas. 
 
 English Versions: 
 
 I. Come now, my soul, thy thoughts engage. 
 Dr. H. Mills, 1845, 1856, p. 309. 
 
 •^This is Gerhardt's third Christmas hymn (cf. also Goed. 150, 153, 155, 310, 312). 
 It is very probable that in composing it the poet had in mind the words of St. Jerome 
 of Strido, abbot of a monastic brotherhood in Bethlehem 386-420: "As often as I gaze 
 on this place (the manger at Bethlehem), so often does my heart converse with the 
 Infant Jesus which lay there in the manger ... I say ... "I must give Thee some- 
 thing. Dear Child! I will give Thee all my wealth," and the child answered — "Give 
 it to the poor, I will accept it as if it were given me." — cf. Koch IV, p. 137. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 6i 
 
 2. Seven times the Savior spake — ^my heart. 
 
 R. Massie, in the British Herald, Sept., 1865, p. 133. 
 
 3. My heart! the seven words hear now. 
 
 /. Kelly, 1867, p. 63. 
 
 Selected Stanza: 
 
 Dr. H. Mills in his Horae Germanic ae, 1856. 
 
 I. Come now, my soul, thy thoughts engage 
 On what by Christ was spoken. 
 When on the cross man's deadly rage 
 With griefs his heart had broken. 
 His words may prove A gift of love, 
 The best his love could offer ; 
 Keep them in store, And learn their pow'r, 
 When call'd thyself to suffer. 
 
 Sei frolich alles weit und breit. — (Goed. 171.) 
 Appeared in Cru. Praxis, 1656, no. 171.'" 
 
 English Version: 
 
 I. Be joyful all, both far and near. 
 Who lost were and dejected: 
 To-day the Lord of glory here. 
 Whom God Himself elected 
 As our Redeemer, who His blood 
 Upon the cross shed for our good, 
 Hath from the grave arisen. 
 
 /. Kelly, 1867, p. 75. 
 
 This is stanza i of a complete translation of the seven stanzas of Ger- 
 hardt's Easter hymn, keeping well the spirit and fervor of the original, at 
 the same time observing the literality in an unusually difficult metre. Cf. 
 stanza 7: 
 
 Nu Gott sei Dank, der uns den Sieg Now praised be God, who vict'ry hath 
 
 Durch Jesum hat gegeben To us through Jesus given, 
 
 Und uns den Frieden fiir den Kri^ Who peace for war, and life for death, 
 
 Und fiir den Tod das Leben With entrance into Heaven, 
 
 Erworben, der die Sund und Tod, Hath purchas'd, who death, sin, and woe. 
 
 Welt, Teufel, H611 und was in Not World, devil, what our overthrow 
 
 Uns stiirzet, iiberwunden. Would seek, for aye hath vanquish'd. 
 
 "Goedeke states in his note to this hymn (p. 171): "In Cruger's Praxis ist 
 Christ (ian) Bartholdi unterzeichnet, aber von Ebeling als Gerhardt's aufgenommen, 
 und auch wol von ihm selbst mitgetheilt. . . ." 
 
62 PAUL GERHARDT AS A HYMN WRITER 
 
 Gott Vater, sende deinen Geist. — (Goed. 173.) 
 Appeared in Cril. Praxis, 1656, no. 198. 
 English Version: 
 
 Stanza l. O Father ! send Thy spirit down, 
 Whom we are bidden by Thy Son 
 To seek, from Thy high heaven; . . . 
 
 A complete translation by /. Kelly, 1867, p. 78, a version of very varying 
 excellence. For example, stanza 15 seems hopelessly weak when compared 
 with the vigorous and simple German : 
 
 O selig, wer in dieser Welt Oh! happy are the souls and bless'd 
 
 Laszt diesem Gaste Haus und Zelt Who while on earth permit this Guest 
 
 In seiner Seel aufschlagen! To make in them His dwelling; 
 
 Wer Ihn aufnimmt in dieser Zeit Who now receive him joyfully. 
 
 Den wird er dort zur ewgen Freud He'll take up to God's house on high, 
 
 In Gottes Hiitte tragen. Their souls with rapture filling. 
 
 On the other hand in stanza 5 the translator has coped very successfully 
 with the many difficulties of rhyme and metre : 
 
 Und das ist auch ein Gnadenwerk This is a work of grace indeed, 
 
 Und deines heilgen Geistes Stark ; The Holy Spirit's strength we need. 
 
 In uns ist kein Vermogen. Our pow'r is unavailing; 
 
 Wie bald wiird unser Glaub und Treu, Our faith and our sincerity 
 
 Herr, wo du uns nicht stiindest bei Would soon, O Lord ! in ashes lie 
 
 Sich in die Aschen legen I Were not Thy help unfailing. 
 
 Was alle Weisheit in der Welt. — (Goed. 176.) 
 [Trinity Sunday.] 
 
 Appeared in Cru. Praxis: 1653, no. 206, 1656, no. 212, in 8 stanzas of 9 lines; thence 
 in Wackernagel: no. i; Bachmann: no. 59; Berlin G. L. S.: 1863, no. 50. 
 
 English Versions: 
 
 1. Scarce Tongue can speak, ne'er human ken. 
 
 A translation in full, by /. Kelly, 1867, p. i. 
 
 2. The mystery hidden from the eyes. 
 
 R. Massie, in his Lyra Domestica, 1864, p. 87. 
 
 Wie lang, O Herr, wie lange soil. — {Goed. 178.) 
 Appeared in Crii. Praxis, 1656, no. 365. 
 
 Translated by /. Kelly, 1867, p. 235, in seven stanzas of seven lines each. 
 The rhyme and metre have been altered after the first four lines in each 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 63 
 
 stanza, with the result that the version is one of this translator's least 
 successful contributions. 
 
 Stanza i. How long, Lord, in forgetfullness 
 And darkness wilt Thou leave me? 
 How long will sorrow on me press 
 And deep heart-anguish grieve me? 
 Wilt Thou Thy face, Lord, utterly 
 Turn from me? wilt ne'er look on me 
 In grace and in compassion? 
 
 Befiehl du deine Wege. — {Goed. 185.) 
 (Cf. p. 114 if.) 
 
 O Jesu Christ, main schonstes Licht. — (Goed. 200.) 
 [Love of Christ.] 
 
 Cf. Koch IV, 402, VIII, 294. Included in the 5th ed., Berlin, 1653, and the Frank- 
 furt ed., 1656, of Crii. Praxis, in 16 stanzas of 9 lines ; thence in Wackernagel: no. 45 ; 
 Bachmann: no. 73; Unv. L. S.: 1851, no. 771. This is one of the finest hymns on 
 the Love of Christ. It is founded on Prayer V of Class II in Johann Arndt's Para- 
 diszgdrtlein, 1612.'" 
 
 English Versions: 
 
 (A.) Wesley. 
 
 I. Jesus, Thy boundless love to me. 
 
 A full and very fine translation by J. Wesley in Hymns and Sacred Poems, 1739 
 (P. Works, 1868-72, vol. I, p. 138). In the Wesleyan Hymn Book, 1780, it was reduced 
 to 9 stanzas. 
 
 Centos of the Wesley version are : 
 
 (i.) O Love, how cheering is Thy ray. (Stanza III.) 
 
 Bk. of Hymns, Boston, U. S. A., 1848. 
 (2.) My Savior, Thou Thy love to me. (Stanza V.) 
 
 Moravian H. Bk., 1789. 
 
 (3.) More hard than marble is my heart. (Stanza VI.) 
 American Sabbath H. Bk., 1858. 
 
 (4.) O draw me. Savior, after Thee. (Stanza IX.) 
 
 Snepp's Songs of G. and G. Pennsylvania Luth. Ch. Bk., 1868. 
 
 " This hymn led Philipp Friedrich Hiller to think of turning all of these prayers in 
 the Faradiszgdrtlein into hymns. The result was his work entitled "Arndt's Paradisz- 
 gartlein ... in teutsche Lieder," Niirnb6rg (no date given). The book is in four 
 parts and contains 301 hymns, 297 being founded on Arndt and 4 original. 
 
64 PAUL GERHARDT AS A HYMN WRITER 
 
 (5.) O draw me, Father, after Thee. (Stanza IX altered.) 
 
 Bk. of Hymns, Boston, U. S. A., 1848. Amer. Unitarian H. Bk., 1869. 
 
 (6.) Still nigh me, O my Savior stand. 
 
 This stanza is taken from a hymn "Peace, doubting heart, my God's I am," by 
 C. Wesley. To this is added in Snepp's Songs of G. and G., stanzas XII, XIV, XVI, 
 and in J. L. Porter's Collection, 1876, stanzas XII, XV, XVI, of this translation of 
 J. Wesley. 
 
 (7.) Thou Friend of Sinners! Who hast bought. 
 
 This is stanzas V, IV, XVI, rewritten by E. Osier and published in the Mitre H. Bk., 
 1836. 
 
 (B.) Other English versions: 
 
 1. O Christ, my sweetest Life and Light. 
 
 In the Suppl. to German Psal., ed. 1765, p. 29, and the Moravian H. Bk., 1754 (and 
 with slight change in the ed. of 1789, and 1849), viz: In the 1746 ed. in part II there 
 appear as a separate hymn stanzas V-VII, beginning "Thou cam'st in love to my 
 relief." In the 1789, and 1849 ed., it begins "O Christ, my only Life and Light." 
 
 2. O Jesus Christ! my fairest Light. 
 
 /. Kelly, 1867, p. 122. 
 
 3. O Christ, my Light, my gracious Savior. 
 
 In the Moravian H. Bk., 1886. 
 
 Selected Stanzas: 
 
 In the Moravian Hymn Book, 1754 (author's name hot given). 
 
 I. O Christ my sweetest Life and Light! 
 Whose loving Condescension 
 Embraces me by day and night 
 Beyond my comprehension: 
 Lord I grant me to return thy Love 
 With due and true devotion, 
 
 That my notion 
 Of Mercy may improve 
 With ev'ry thought and motion. 
 
 J. Wesley, 1739, in the 1754 ed.. Part I, of the Moravian Hymn Book. 
 
 I. Jesu, thy boundless Love to me 
 
 No thought can reach, no tongue declare: 
 O knit my thankful heart to Thee 
 And reign without a rival there. 
 Thine wholly, thine alone I am : 
 Be thou alone my constant Flame. 
 
 J. Wesley, 1739, in Snepp's Songs of Grace and Glory, 1872. It is stanza 
 2 of a hymn beginning "Still nigh me, O my Savior stand" in Snepp, and 
 Gerhardt's stanza XII : "Was ists, o Schonster, dasz ich nicht / In deiner 
 Liebe habe?" etc. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 65 
 
 Stanza i. What in Thy love possess I not? 
 My star by night, my sun by day ; 
 My spring of life, when parched with drought, 
 My wine to cheer, my bread to stay. 
 My strength, my shield, my safe abode, 
 My robe before the throne of God ! 
 
 Ich danke dir demiitiglich. — (^Goed. 205.) 
 Appeared in the CrU. Praxis, 1656, no. 318. From Johann Arndt's Paradiszgdrtlein 
 (Goslar, 1621, 4), 3, 17, p. 294, "Gebet um zeitliche und ewige Wolfahrt." 
 
 English Version: 
 
 Stanza l. O God, my Father! thanks to Thee 
 I bring with deep humility. 
 That Thou Thine anger endest, 
 And that Thy Son 
 Our Joy and Crown 
 Into the world Thou sendest. . . . 
 
 A complete translation by /. Kelly, 1867, p. 117. In stanza 14 the trans- 
 lator has, in honor to Queen Victoria, altered the original which reads : 
 
 Insonderheit nimm wol in Acht 
 Den Ftirsten . . . etc. 
 to 
 
 Make Her Thy care especially, 
 
 Whom Thou as monarch hast raised high 
 
 This land and nation over ; . . . etc. 
 
 Ach! treuer Gott, barmherzigs Herz. — {Goed. 209.) 
 [Cross and Consolation.] 
 
 Founded on a prayer "for patience under great trial," no. XXV in Class III of 
 J. Arndt's" Paradiszgdrtlein, 1612. It appeared in Crii. Praxis, Frankfurt, 1656, no. 
 391, in 16 stanzas of 7 lines, and was included in many subsequent hymn books, as 
 recently as the Unv. L. S.: 1851, no. 693; also in Wackernagel: no. 57; and in Bach- 
 mann: no. 80. 
 
 English Versions: 
 
 I. O God most true, most merciful! 
 
 A good adaptation in 4 stanzas by Rev. A. T. Russell in his Psalms and Hymns, as 
 follows : 
 
 Gerhardt stanza I (II III) IV V (VI VII VIII IX) X XI 
 Russell stanza 123 4 
 
 This version appears in an altered form in Kennedy, 1863, no. 665. "O God of mercy 
 full and free.'' 
 
 "■ Cf. pp. 24 and 63. 
 
 5 
 
66 PAUL GERHARDT AS A HYMN WRITER 
 
 2. O faithful God! O pitying heart. 
 
 A good translation in ii stanzas by Miss Winkworth in the 2d Series, 1858, of her 
 Lyra Ger., and thence in the Gilman-Schaflf Lib. of R. P., 1883, p. 837. The corre- 
 spondence of stanzas is as follows : 
 
 Gerhardt stanzas I II (III) IV V VI VII VIII (IX) X (XI) XII (XIII) XIV XV XVI 
 Winkworth stanzas 12 34567 8 9 10 11 
 
 The translation of stanzas X, XII, XIV, XVI, beginning "O Thou, who diedst to 
 give us life," appear as no. 327, in Church Praise, 1883. 
 
 3. Ah! faithful God, compassionate heart. 
 
 /. Kelly, 1867, p. 169. 
 
 Barmherziger Vater, hochster Gott. — (Goed. 212.) 
 Based on Joh. Arndt's Creutzgebet. It appeared in Crii. Praxis, 1656, no. 382. 
 
 English Version: 
 
 Stanza i. Father of mercies ! God most high. 
 Deign graciously to hear me, 
 Thou sajf'st, "Knock at my door and cry. 
 In time of need draw near to me. 
 As urgently 
 Thou long'st, to thee. 
 That with thy mouth. 
 In very truth. 
 Thou joyfully may'st praise me.'' etc. 
 
 /. Kelly, 1867, p. 175. 
 
 Ich weisz, mein Gott, dasz all mein Thun. — {Goed. 217.) 
 [Supplication.] 
 
 A prayer for success in all Christian works and purpose; founded on Jeremiah X, 
 23, and Acts V, 38, 39. Cf. Koch IV, 98. Included in Crii. Praxis, 1653, no. 321, 1656, 
 no. 332, in 18 stanzas of 5 lines; thence in Wackernagel: no. 40; Bachmann: no. 71; 
 Berlin, G. L. S.: 1863. 
 
 In the Ebeling edition the hymn has the title: "Um Gluck und Segen 
 zu allem christlichen Thtin und Vorhaben." It has on many occasions been 
 given as a farewell injunction by parents to their children on leaving home. 
 
 English Versions: 
 
 1. I know, my God, and I rejoice. 
 
 (Stanzas I-III, VIII, XI, IX) by Miss Winkworth in her Chorale Book, 1863, no. 121. 
 
 2. My God! my works and all I do. 
 
 /. Kelly, 1867, p. 102. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 67 
 
 Selected Stanzas: 
 
 Miss Winkworth in her Chorale Book, 1863. 
 
 1. I know, my God, and I rejoice 
 
 That on Thy righteous will and choice 
 All human works and schemes must rest: 
 Success and blessing are of Thee, 
 What Thou shalt send is surely best. 
 
 2. It stands not in the power of man 
 To bring to pass the wisest plan 
 So surely that it cannot fail ; 
 
 Thy counsel, Highest, must ensure 
 That our poor wisdom shall avail. 
 
 Du bist ein Mensch, das weiszt du wol. — {Goed. 220.) 
 Appeared in Cru. Praxis, 1656, no. 330. 
 
 A hymn of self-abnegation, even self-denunciation, emphasizing the frailty 
 and insignificance of mortals, and closing with an admonition of resignation 
 to God's wise dispensations. Though Gerhardt frequently employs this 
 form of rhyme^^ only rarely does he combine it with this metre. Both have 
 been strictly observed by /. Kelly, 1867, p. 148 : 
 
 Stanza i. Thou art but man, to thee 'tis known. 
 Why dost thou then endeavor 
 To do what God should do alone. 
 Or can accomplish ever ? 
 A thousand griefs thou goest through, 
 In spite of all thy wit can do ; 
 Upon thine end thou pond'rest 
 What it will be thou wond'rest. 
 
 Ich habs verdient. Was vnW ich doch. — {Goed. 224.) 
 Appeared in the Crii. Praxis, 1656, 817, no. 374. 
 
 English Version: 
 
 Stanza i. I have deserv'd it, cease t'oppose 
 The Lord's will, shall I never? 
 Thou bitter cup, thou heavy cross. 
 Come hither to me ever ! 
 From pain all free 
 May never be 
 He 'gainst the Lord who fighteth, 
 
 '^ I.e. ab ab cc dd. Cf. nos. 62, 76, 100, 108, 124, 127, 130, 14s, 149, 256, 263, 307, 321. 
 
68 PAUL GERHARDT AS A HYMN WRITER 
 
 As I each day, 
 Who trod the way 
 Wherein the world delighteth. . . . 
 
 /. Kelly, 1867, p. 165. 
 
 This is one of the least adaptable poems of Gerhardt and it is evident 
 that the translator has struggled with the many difficulties of metre and 
 frequent rhyme. 
 
 Ich hab oft bei mir selbst gedacht — (Goed. 226.) 
 Appeared in Crti. Praxis, 1656, no. 331. 
 
 English Version: 
 
 Stanza i. Full often as I meditate 
 
 Upon the world's disordered state, 
 I ask myself if earthly life 
 Be good, and worthy of the strife. 
 Has he not acted for the best 
 Who laid himself betimes to rest? 
 
 /. Kelly, 1867, p. 143. 
 
 A free, but very acceptable rendering in which the easy colloquial style 
 of the original has been well retained. Cf . lines 7 and 8 : 
 
 "Denn, Lieber, denk und sage mir : "Reflect, my friend, say, if you know 
 
 Was fur ein Stand ist wol allhier." What station is there here below . . ." 
 
 1st Gott fiir mich, so trete. — {Goed. 229.) 
 (Cf. p. 126 flf.) 
 
 Auf den Nebel folgt die Sonne. — (Goed. 232.) 
 [Thanksgiving after great sorrow and affliction.] 
 
 It appeared in Crii. Praxis, 1653, no. 236, and 1656, no. 249, in 15 stanzas of 7 lines ; 
 thence in Wackernagel: no. 87; Bachmann: no. 64; Unv. L. S.: no. 402. Cf. Koch 
 IV, 545. 
 
 English Versions: 
 
 1.. Cometh sunshine after rain. 
 
 Miss Winkworth in her Lyra Ger., ist Series, 1855, p. 100 (omitting stanzas IV-VII, 
 X, XI). In her 1856 ed. the translation of stanzas X and XI is added. In the Chris- 
 tian H. Bk., Cincinnati, 1865, no. 799 begins with her stanza no. XIII "Now as long 
 as here I roam." 
 
 2. After clouds we see the sun. 
 /. Kelly, 1867, p. 261. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 69 
 
 Selected Stanzas: 
 
 Miss Winkworth in her Lyra Ger., 1855. 
 
 1. Cometh sunshine after rain. 
 After mourning joy again, 
 After heavy bitter grief 
 Dawneth surely sweet relief; 
 
 And my soul, who from her height 
 Sank to realms of woe and night, 
 Wingeth now to heav'n her flight. 
 
 2. He, whom this world dares not face, 
 Hath refreshed me with his grace. 
 And his mighty hand unbound 
 Chains of hell, about me wound; 
 Quicker, stronger, leaps my blood. 
 Since his mercy, like a flood. 
 Poured o'er all my heart for good. 
 
 Soil ich meinem Gott nicht singen. — (Goed. 235.) 
 [Thanksgiving.] Cf. Koch, IV, 91 flf. 
 
 One of Gerhardt's finest hymns, setting forth God's love in His creation, 
 redemption and sanctification of the world. His care in trouble. It closes 
 with a prayer which R. Massie renders : 
 
 Grant me grace, O God, I pray Thee, 
 That I may with all my might 
 Love and trust Thee and obey Thee, 
 All the day and all the night; 
 And when this brief life is o'er 
 Love and praise Thee evermore. 
 
 The hjrmn was included in the 5th ed., Berlin, 1653, and in the Frankfurt ed., 1656, 
 of Crii. Praxis, no. 230; thence in Wackernagel: no. 81; Bachmann: no. 60; Unv. 
 L. S.: 185 1, no. 722. 
 
 English Versions: 
 
 1. Shall I not his praise be singing. 
 
 Dr. Mills in his Horae Germanicae, 1845, p. 141, and 1856, p. 195. 
 
 This is a mediocre version, as it misses the characteristic points of the German. 
 His stanzas II, IV- VII beginning "As the eagle fondly hovers," were included in the 
 Amer. Luth. Gen. Synod's Collection, 1850-52, no. 35. 
 
 2. Shall I not sing praise to Thee. 
 
 A full and good translation by Miss Winkworth in her Lyra Ger., ist Series, 1855; 
 p. 200; also, omitting stanzas III-VI, VIII in her C. B. for England, 1863, no. 10. 
 Included in full in Cantate Domino, Boston, U. S. A., 1859. 
 
70 PAUL GERHARDT AS A HYMN WRITER 
 
 3. I will sing my Maker's praises. 
 
 A good translation omitting stanzas VI, VIII, contributed by R. Massie to the 1857 
 ed. of Mercer's C. P. & H. Bk., no. 185, reprinted in his own Lyra Domestica, 1864. 
 
 4. Can I fail my God to praise. 
 
 A translation of stanzas I, III, IV, by F. C. C, as no. 218, in Dr. Pagenstecher's 
 Collection, 1864. 
 
 5. Should I not, in meek adoring. 
 
 A translation of stanzas I-III by M. W. Stryker in his Hymns & Verses, 1883, p. 38, 
 and Christian Chorals, 1885, no. 36. 
 
 6. Can I cease, my God, from singing. 
 In Lyra Davidica, 1708, p. 22. 
 
 7. Shan't I sing to my Creator. 
 
 /. C. Jacobi, 1732, p. 153. Repeated in the Moravian Hymn Books, 1754-1886, in 
 some editions beginning, "I will sing to my Creator." 
 
 8. Shall I not my God be praising. 
 
 /. Kelly, 1867, p. 240. 
 
 Selected Stanzas: 
 
 Dr. Mills in his Horae Germanic ae, 1856. 
 
 I. Shall I not His praise be singing 
 Who in glory reigns above: — 
 Him my thanks and honors bringing, 
 For the blessings of his love? 
 Those, who with sincere endeavor 
 Keep the way that He has shown. 
 He will as his children own, 
 Yielding them a father's favor. 
 All things else their time will last 
 But His love, when Time is past. 
 
 Miss Winkworth, in her Chorale Book for England, 1863. 
 
 I. Shall I not sing praise to Thee, 
 Shall I not give thanks, O Lord? 
 Since for us in all I see 
 How thou keepest watch and ward ; 
 How the truest tend'rest love 
 Ever fills Thy heart, my God, 
 Helping, cheering, on their road 
 All who in Thy service move. 
 
 M. W. Stryker, 1882, in his Christian Chorals, 1885. 
 
 I. Should I not, in meek adoring. 
 Thank my gracious God above 
 Whom I see on all things pouring 
 Forth the sunshine of His love? 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 71 
 
 For 'tis naught but Love's own loving 
 In his constant heart, doth care 
 Endlessly to love and bear 
 Those their love, in service proving. 
 All things last their portioned day — 
 God's love to eternity. 
 
 Geh aus, mdn Herz, und suche Freud. — {Goed. 239.) 
 (Cf. p. 131 ff.) 
 
 Also hat Gott die Welt geliebt. — {Goed. 256.) 
 [Good Friday.] 
 
 Founded on John III, 16. It appeared in Crii. Praxis, 1661, no. 372, in 17 stanzas. 
 
 English Version: 
 I. Be of good cheer in all your wants. 
 P. H. Molther, of stanza 16, as no. 181 in the Moravian H. Bk., 1789 (1886, no. 217). 
 
 Herr, aller Weisheit Quell und Grund. — {Goed. 260.) 
 Appeared in Crii. Praxis, 1661, 576, no. 373. 
 
 English Version: 
 
 O God I from Thee doth wisdom flow, 
 All I can do Thou well dost know; 
 If Thine own grace doth not sustain, 
 Then all my labor is in vain. . . . 
 
 A complete and very good translation by /. Kelly. The long metre of 8 
 syllables seems to lend itself more readily to adaptation into English. In 
 the fourth stanza, first line, Kelly has resorted to a device common to trans- 
 lators, that of making up the extra accent where the corresponding English 
 cognate has lost the ending, by selecting instead of a monosyllabic adverb 
 an adverb of two syllables. Here, of course, "very" for "sehr" makes 
 liter ality and meter perfect. 
 
 Mein Leben ist sehr kurz und schwach 
 My life is very short and weak. 
 
 As exact and appropriate a translation as is possible word for word is 
 found in stanza 1 1 : 
 
 Ich lieb ihr^ liebes Angesicht, I love her lovely face so bright. 
 
 Sie ist meins Herzens Freud und Licht; She is my joy and heart's delight 
 
 Sie ist die schonste, die mich halt The fairest is that holdeth me 
 
 Und meinen Augen wolgefallt. Mine eyes she pleaseth wondrously. 
 
 ^'i.e. Weisheit. 
 
72 
 
 PAUL GERHARDT AS A HYMN WRITER 
 
 Jesu, allerliebster Bruder. — (Goed. 263.) 
 
 Based on Johann Arndt's Paradissgartlein, i, 33, 92. It appeared in Cru. Praxis, 
 1661, no. 374. 
 
 English Version: 
 
 I. Jesus I Thou, my dearest Brother, 
 Who dost well to me intend. 
 Thou mine Anchor, Mast, and Rudder 
 And my truest Bosom-Friend. 
 To Thee, ere was earth or heaven, 
 Had the race of man been given; 
 Thou, e'en me, poor guest of earth. 
 Chosen hadst before my birth. . . . 
 
 A complete translation by /. Kelly, 1867, p. 112. The translator has well 
 rendered a hymn of rather unusual difficulty of interpretation in a foreign 
 tongue. 
 
 An unavoidable weakening by translation appears in the last stanza : 
 
 Nun, Herr lasz dirs wolgefallen, 
 Bleib mein Freund bis in mein Grab! 
 Bleib mein Freund und unter alien 
 Mein getreuster starkster Stab ! 
 
 Gracious Savior ! let it please Thee, 
 Be my Friend in every hour 
 Be my Friend, till death release me 
 Be my faithful Staff of pow'r! 
 
 Geduld ist euch vonnoten. — {Goed. 267.) 
 Based on Hebrews X, 35-37. It appeared in Cru. Praxis, 16S1, no. 375. 
 
 English Version: 
 
 I. 'Tis patience must support you 
 When sorrow, grief, or smart, 
 Or whate'er else may hurt you 
 Doth rend your aching heart. 
 Belov'd and chosen seed ! 
 If not a death will kill you, 
 Yet once again I tell you 
 'Tis patience that you need. . . . 
 
 By /. Kelly, 1867, p. 184. A complete translation of the 14 stanzas, and 
 in general very true to the original. It is noteworthy that the first line of 
 each stanza contains the word "patience" as does the poem of Gerhardt 
 the word "Geduld." Kelly's rendering of the last four lines illustrates 
 as well as any the faithfulness of his version. 
 
 Kommt dann der letzte Zug, 
 So gib durch deine Hande 
 Auch ein geduldigs Ende ! 
 So hab ich alles gnug. 
 
 And in my dying hour. 
 Thy mercy still extending, 
 Oh! grant a patient ending 
 Then need I nothing more. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 73 
 
 Nun sei getrost und unbetiiibt. — (fioed. 271.) 
 Subjoined to a funeral address by Johann Meiszner. 
 
 This is one of Gerhardt's many "Trostgesange," and though less well 
 known than most of his hymns is deserving of wider recognition than it has 
 hitherto received. As far as is at present known there has been published 
 but one English version, that of /. Kelly, 1867, p. 329, the first stanza of 
 which is as follows: 
 
 "JOYFUL RESIGNATION TO A HAPPY DEPARTURE FROM 
 THIS WEARY WORLD." 
 
 Stanza i. Be glad, my heart ! now fear no more, 
 Let nothing ever grieve thee; 
 Christ lives, <irho lov'd thee long before 
 Thy being He did give thee. 
 And ere He made thy wondrous frame; 
 His love remaineth still the same. 
 It ne'er can change to hatred. 
 
 It is unfortunate that the translator has been satisfied with "glad" for 
 the forceful "getrost" which connotes "confidence" and "trust" (to which 
 it is indeed cognate)^* and even "comfort in that confidence" to the point 
 of being "courageous." More pardonable is his balking at the character- 
 istic alliterative "Geist und Gemiite" which must mean not only the "feel- 
 ings," but also "soul" and "intellect" as well. If "heart" be accepted 
 in this broadest sense it is undoubtedly the best English equivalent. The 
 psychology of language would presumably never allow in poetry a literal 
 word-for-word rendering of "Geblute, Fleisch, Haut," and the English 
 reader is denied the poetic force of "ward"^" also beautifully illustrated so 
 frequently in the German Bible. Again it must be accounted a defect that 
 the passive "ward zugericht" (i. 5) is changed to an active construction. 
 The German passive is never used without sufficient reason, and Gerhardt 
 chooses here to imply the divine mystery of birth. Here the English is too 
 specific. On the other hand where the German is direct, "Dein Jesus" 
 (i. 3), "Geblute, Fleisch, Haut," (i. 4, 5), "Der" (i. 6), the English 
 descends to the general. 
 
 Stanza 7 preserves more of the "Stimmung" of the original : 
 
 Thou Jesus ! O thou sweetest Friend, 
 My light and life art ever ! 
 Thou boldest me, dost me defend. 
 The foe can move Thee never. 
 
 "Cf. p. 22. 
 
 ** Und Fleisch und Haut ward zugericht ; line 5. 
 
74 PAUL GERHARDT AS A HYMN WRITER 
 
 In Thee I am, Thou art in me, 
 As we are here, we'll ever be, 
 Nought here or there can part us. 
 
 It is difficult to see, however, why "allerliebster Freund" (line 43) could 
 not have its logical equivalent "dearest Friend" ;^° and similarly in line 48, 
 "Und wie wir stehen," might equally be "And as we are," instead of "As 
 we are here," which seems rather forced. 
 
 Gib dich zufrieden, und sei stille. — {Goed. 274.) 
 [Cross and Consolation.^ 
 
 Founded on Psalm XXXVII, 7. It appeared in Ebeling, 1666, i, no. 11, in 15 stanzas. 
 
 English Versions: 
 
 1. Be thou content: be still before. 
 
 Miss Winkworth, 1855, p. 156, and in Bishop Ryle's Collection, i860, no. 269. 
 
 2. Be thou contented! aye relying. 
 
 /. Kelly, 1867, p. 202. 
 
 3. Tranquilly lead thee, peace possessing. 
 
 N. L. Prothingham, 1870, p. 246. 
 
 Selected Stanza: 
 
 Miss Winkworth in her Lyra Germanica, 1855, p. 156. 
 
 Stanza i. Be thou content; be still before 
 
 His face, at whose right hand doth reign 
 Fulness of joy forever more, 
 Without whom all thy toil is vain. 
 He is thy living spring, thy sun, whose rays 
 Make glad with life and light thy dreary days. 
 Be thou content. 
 
 Ich bin ein Gast auf Erden. — {Goed. 284.) 
 {Eternal Life.] 
 
 Based on Psalm XXXIX, 12, "I am a stranger with thee, and a sojourner, as all 
 my fathers were.'' Cf. also Psalm CXIX, "I am a stranger in the earth." It was 
 first published in Ebeling, Berlin, i666; reprinted in Wackernagel: 1843, no. 112; and 
 Bachmann: no. 98; and included as no. 824, in the Unv. L. S.: 1851. 
 
 English Versions:^'' 
 
 I. A pilgrim and a stranger, 
 I journey here below. 
 
 ^ Line 43 : "Thou Jesus ! O Thou sweetest Friend." 
 ^' For adaptations of this hymn cf. p. 140 flf. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 75 
 
 A good translation in 7 stanzas by Miss Jane Borthwick, in H. L. L., 3d Series, 1858, 
 p. 13, 1884, p. 139, as follows : 
 
 Gerhardt: I II III IV (V) VI VII VIII IX (X) XI XII XIII XIV 
 Borthwick: 123 4 5 6 7 
 
 2. A pilgrim here I wander. 
 On earth have no abode. 
 
 A translation in 10 stanzas by Miss Winkworth in her Lyra Ger., 2d Series, 1858, 
 p. 173, and in her Chorale Book, 1863, no. 148, altered by stanzas as follows: 
 
 Gerhardt: I II III (IV V VI VII) VIII IX X XI XII XIII XIV 
 Winkworth: 123 456789 10 
 
 In Holy Song, 1869, it begins : "As pilgrims here we wander." 
 
 3. A rest here have I never, 
 A guest on earth am I. 
 
 /. Kelly, 1867, p. 316. 
 
 4. On earth I'm but a pilgrim. 
 
 G. Wade in the U. P. Juvenile Missionary Magazine, 1859, p. 252. 
 
 Selected Stanzas: 
 
 Miss Winkworth in her Chorale 
 Book, 1863. 
 Stanza i. 
 A pilgrim here I wander, 
 On earth have no abode, 
 My fatherland is yonder, 
 My home is with my God, 
 For here I journey to and fro. 
 There in eternal rest 
 Will God his gracious gift bestow 
 On all the toil-oppress'd. 
 
 Miss Borthwick in her Hymns from 
 the Land of Luther, 1858, 1884. 
 Stanza i. 
 A Pilgrim and a stranger, 
 I journey here below; 
 Far distant is my country. 
 The home to which I go. 
 Here I must toil and travel, 
 Oft weary and opprest; 
 But there my God shall lead me 
 To everlasting rest. 
 
 Herr, du erforschest meinen Sinn. — (Goed. 287.) 
 Appeared in Ebeling, 1666, 2, no. 23. 
 
 English Version: 
 
 I. Lord, Thou my heart dost search and try. 
 /. Kelly, 1867, p. 138. 
 
 In his last stanza Kelly has nearly equalled the original in happily choosing 
 for many of the words the exact English cognate : 
 
 Erforsch, Herr, all mein Herz und Mut 
 Sieh, ob mein Weg sei recht und gut, 
 Und fiihre mich bald himmelan 
 Den ewgen Weg, die Freudenbahn. 
 
 Lord, search and know my heart and mood. 
 
 See if my way be right and good. 
 
 The everlasting joyful road 
 
 Lead me that brings me home to God. 
 
76 PAUL GERHARDT AS A HYMN WRITER 
 
 Was traurest du, mein Angesicht. — (Goed. 289.) 
 Appeared in Eheling, i656, 2, 24. 
 
 Of Gerhardt's hymns treating of Death, the Last Day, and Eternal Life, 
 this is one of the least well known, and has not been retained in many Ger- 
 man hymn books, mainly because of the mixed metaphor and the many 
 unpoetic lines. It is translated in full by /. Kelly, 1867, no. 322, in stanzas 
 of 7 lines, the long fifth line with the double rhyme being written as two 
 short lines, 
 
 Stanza i. My face, why should'st thou troubled be 
 When thou of death art hearing? 
 Know it, it cannot injure thee, 
 Contemplate it, ne'er fearing. 
 
 When thou dost know 
 
 Death, all its woe 
 Will soon be disappearing. 
 
 In Stanza 19 Kelly has made the first personal pronoun predominant with 
 the result that greater smoothness is obtained. He has, however, been 
 obliged to omit what in the German are the best touches, namely the thoughts 
 contained in "mein Hirt," "leiten" and "immergriin" : 
 
 O stisze Lust, o edle Ruh, O sweetest joy, O blessed rest! 
 
 O fromme Seelen Freude, To all true-hearted given, 
 
 Komm, schleusz mir meine Augen zu, Come, let mine eyes by Thee be pressed, 
 
 Dasz ich mit Fried abscheide In peace take me to heaven. 
 
 Hin, da mein Hirt mich leiten wird May I roam there 
 
 Zur immergrunen Weide. 'Mong pastures fair 
 
 Where day ne'er knoweth even. 
 
 Die giildne Sonne. — {Goed. 293.) 
 [Morning.] 
 
 First appeared in Ebeling, 1666, 3, no. 25, entitled "Morgensegen" ; thence in Wack- 
 ernagel: no. 98; Bachmann: no. loi ; Cru. Praxis: 1672; Unv. L. S.: 1851, no. 449. 
 (The melody is by Ebeling. It is called in the Irish Ch. Hymnal "Franconia.") 
 
 Lauxmann in Koch, VIII, 185, calls this "A splendid hymn of our poet, 
 golden as the sun going forth in his beauty, full of force and blessed peace 
 in the Lord, full of sparkling thoughts of God." 
 
 English Versions: 
 
 1. The golden sunbeams with their joyous gleams. 
 
 A translation by Miss Winkworth in her Lyra Ger., 1855. Her translations of 
 verses as follows : 
 
 Gerhardt: I II III IV (V VI VII) VIII IX (X XI) XII 
 Winkworth: 1234 56 7 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 77 
 
 Her version appears in Kennedy, 1863, no. 814, with the omission of the translation 
 of Gerhardt's stanzas II, VIII, IX. 
 
 2. Evening and Morning. 
 
 A good translation beginning with stanza IV ("Abend und Morgen") by R. Massie 
 in the 1857 ed. of Mercer's Church Psalter and Hymn Book. The version has these 
 stanzas : 
 
 Gerhardt: IV VIII IX X XI XII 
 
 R. Massie: i 23456 
 
 This version in whole or in part appears in various hymn books. In Kennedy, 1863, 
 no. 636, it begins with the translation of stanza IX ("Gott, meine Krone") "Father, 
 O hear me." Massie subsequently added a translation of stanzas I, II, III, and 
 included it in his Lyra Domestica, 1864, p. 106, and this full form appears in Reid's 
 Praise Bk., 1872, no. 379. 
 
 3. The sun's golden beams. 
 
 Miss Dunn, 1857, p. 21. 
 
 4. Sunbeams all golden. 
 
 Miss Cox, 1864, p. 13. 
 
 5. What is our mortal race. 
 
 (Beginning with stanza VII) by E. Massie, 1866, p. 87. 
 
 6. See the sun's glorious light. 
 
 E. Massie, 1867, p. 8. 
 
 7. The golden morning. 
 
 /. Kelly, 1867, p. 270. 
 
 Selected Stanza: 
 
 Miss Winkworth in her Lyra Germanica, 1865, p. 216. 
 
 Stanza i. The golden sunbeams with their joyous gleams, 
 Are kindling o'er earth, her life and mirth. 
 Shedding forth lovely and heart-cheering light ; 
 Through the dark hours' chill I lay silent and still. 
 But risen at length to gladness and strength, 
 I gaze on the heavens all glowing and bright. 
 
 Der Tag mit seinem Lichte. — (Goed. 296.) 
 Appeared in Ebeling, 1666, 3, 26. 
 
 Compare with this : 
 
 (a) The hymn of J. A. Freylinghausen (1704) 
 
 "Der Tag ist hin, mein Geist und Sinn." 
 (This has been translated by Miss Winkworth, R. Massie, Miss Borthwick 
 and others, and has much similarity of thought to Gerhardt's hymns.) 
 
 also (b) "Der Tag vergeht, die mude Sonne sinket" in Knapp's Evang,. 
 Liederschatz, 1837. 
 
78 PAUL GERHARDT AS A HYMN WRITER 
 
 English Version: 
 
 I. The daylight disappeareth, 
 It fleeth and night neareth, 
 Its gloom is spreading o'er us. 
 With slumber to o'erpower us 
 And all the wearied earth. . . etc. 
 
 Stanza i of a complete translation by /. Kelly, 1867, p. 282. 
 
 Ich, der ich oft in tiefes Leid. — {Goed. 298.) 
 
 Based on Psalm CXLV. First published in Ebeling, 1666, 3, no. 27, in 18 stanzas 
 of 7 lines; thence in Wackernagel: no. 95; Bachmann: no. 103; Berlin G. L S.: 
 1863, no. 1004. 
 
 English Versions: 
 
 1. I who so oft in deep distress. 
 
 Miss Winkworth in her Lyra Ger., 2d Series, 1858, p. 149. The translation omits 
 Gerhardt's stanzas II, III, IV. An alteration and adaptation of stanzas VI, VIII, IX, 
 XI, beginning "O God 1 how many thankful songs," appeared as no. 168 in Holy Song, 
 1869. 
 
 2. Who is so full of tenderness. 
 
 A translation of stanza VIII as stanza 4 in the Moravian Hymn Book, 1886, no. 537. 
 
 Selected Stanza: 
 
 Miss Winkworth, in her Lyra Germanica, 1865. 
 
 I. I who so oft in deep distress 
 And bitter grief must dwell, 
 Will now my God with gladness bless, 
 And all His mercies tell; 
 Oh hear me then, my God and King, 
 While of Thy Holy Name I sing. 
 Who doest all things well. 
 
 Wie schon ists doch, Herr Jesu Christ. — {Goed. 302.) 
 [Marriage.] 
 
 Founded on Psalm CXXVIII. First published in Ebeling, 1666, 4, no. 38, in 8 
 stanzas of 12 lines; thence in Wackernagel: 1843, no. 108, 1874, no. 109; Bachmann: 
 no. 105; Unv. L. S.: 1851, no. 680. 
 
 English Version: 
 
 i. Oh Jesus Christ! how bright and fair. 
 
 In full by /. Kelly, 1867, p. 307; repeated altered, and omitting stanzas III-V, in 
 the Ohio Lutheran Hymnal, 1880, no. 339. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 79 
 
 VoUer Wimder, voUer Kunst. — (Goed. 304.) 
 [Holy Matrimony.] 
 
 First published in Ebeling, 1666, 4, no. 40, in 17 stanzas. The hymn is often used in 
 Germany at marriages. 
 
 English Versions: 
 
 1. Full of wonder, full of skill. 
 
 Dr. H. Mills, 1845, 1856, p. 215. 
 
 2. Full of wonder, full of skill. 
 
 Mrs. Stanley Carr, in her translation of Wildenhahn's Paul Gerhardt, ed. 1856, p. 52. 
 
 3. Full of wonder, full of art. 
 
 /. Kelly, 1867, p. 302. 
 
 4. Full of wonder, full of art. 
 
 Miss Winkworth in her Lyra Ger., 1869, p. 215. 
 
 Selected Stanza: 
 
 Dr. H. Mills in his Horae Germanicae, 1856. 
 
 I. Full of wonder, full of skill, 
 Full of wisdom, full of might. 
 Full of mercy and good will, 
 Full of comfort and delight, — 
 Full of wonder — once again — 
 Is of love the marriage chain. 
 
 Schaut! Schaut! was ist fiir Wunder dar? — {Goed. 310.) 
 [Christmas.] 
 
 First published in Ebeling, 1667, S, 55, in 18 stanzas of 4 lines ; thence in Wacker- 
 nagel: no. 4; Bachmann: no. 109. 
 
 English Version: 
 
 I. Behold! Behold! what wonders here. 
 
 In full by /. Kelly, 1867, p. 14. From this 12 stanzas were included in the Ohio 
 Lutheran Hyl., 1880, as no. 25, no. 26 : no. 26 beginning with the translation of stanza 
 XIII, "It is a time of joy today." 
 
 Komint, und laszt uns Christum ehren. — {Goed. 312.) 
 [Christmas.] 
 
 Founded on St. Luke, II, 15. First published in Ebeling, 1667, s, no. 56, in 8 stanzas 
 of 4 lines; thence in Wackernagel: no. 6; Bachmann: no. no; Unv. L. S.: 1851, 
 no. 43. 
 
8o PAUL GERHARDT AS A HYMN WRITER 
 
 English Versions: 
 
 1. Come, unite in praise and singing. 
 
 (Omitting stanzas VI, VII.) Contributed by Rev. A. T. Russell to Maurice's 
 Choral H. Bk., 1861, no. 707. 
 
 2. Bring to Christ your best oblation. 
 
 A full and good translation by R. Massie in his Lyra Domestica, 1864, p. 96 ; repeated 
 in Snepp's Songs of Grace and Glory, and Reid's Praise Bk., 1872. 
 
 3. Come and let us Christ revere now. 
 
 Miss Manington, 1864, p. 25. 
 
 4. Come, and Christ the Lord be praising. 
 
 /. Kelly, 1867, p. 24. 
 
 Herr Gott, du bist ja fiir und fiir. — (Goed. 315.) 
 Based on Psalm XC. It appeared in Ebeling, 1667, 6, no. 68. 
 
 English Version: 
 
 I. Lord God! Thou art forevermore 
 Thy people's habitation, 
 And Thou existence hadst before 
 Was laid the earth's foundation 1 
 Ere yet the hills began to be 
 Thou livedst in eternity. 
 Of all things the beginning. 
 
 Stanza i of a complete translation by /. Kelly, 1867, p. 312. 
 
 In this version the translator has lost much of the poetry and spirit not 
 only of Gerhardt but of the ninetieth Psalm on which Gerhardt's poem is 
 based. Witness the second and fourth lines above, where Kelly offers the 
 feeble Latin derivatives for the virile "Die Zufiucht deiner Heerde" and 
 "Grund." 
 
 Johannes sahe durch Gesicht. — {Goed. 319.) 
 Based on Chap. VII, 9. ff. of Revelations. It appeared in Ebeling, 1667, 7, 84. 
 
 English Version: 
 
 I. By John was seen a wondrous sight, 
 A noble light, 
 A picture very glorious : 
 A multitude stood 'fore him there 
 All bright and fair, 
 On heav'nly plain victorious; 
 Their heart and mood 
 Were full of good, 
 That mortal man 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 8i 
 
 With gold ne'er can 
 
 Procure, so high 'tis o'er us. . . . 
 
 Stanza i of a complete translation by /. Kelly, 1867, p. 347. 
 
 Wie ist es miiglich, hochstes Licht. — (Goed. 324.) 
 Appeared in Ebeling, 8, 96. 
 
 The English version by /. Kelly, 1867, p. 259, is throughout more 
 moderate in tone and does not reflect the utter self-abnegation of Gerhardt.''* 
 
 Stanza i. How can it be, my highest Light! 
 That as before Thy face so bright 
 All things must pale and vanish. 
 That my poor feeble flesh and blood 
 Can summon a courageous mood 
 To meet Thee, and fear banish? 
 
 Ich weisz, dasz mein Erloser lebt. — {Goed. 331.) 
 [Easter.] 
 
 Founded on Job. XIX, 25-27. First published in Ebeling, 1667, 10, no. 119, in 9 
 stanzas of 7 lines; thence in Wackernagel: 1843, no. 118 (1847, no. 123) ; Bachmann: 
 no. 119; Berlin G. L. S.: 1863, no. 301. 
 
 English Versions:^' 
 
 1. I know that my Redeemer lives. In this my faith is fast. 
 
 A full and spirited translation by J. Oxenford, in Lays of the Sanctuary, 1859, p. 122. 
 His translation of stanzas I, III, VII-IX were included, altered as no. 779 in Kennedy, 
 1863. 
 
 2. I know that my Redeemer lives. This hope. 
 
 Miss Manington, 1863, p. 78. 
 
 From the foregoing statements it is evident that even of Gerhardt's less 
 well-known hymns there has been a comparatively large representation in 
 English and American hymnals. The ten hymns which follow are so 
 widely known through the excellent versions of Miss Winkworth and others, 
 that making the treatment more detailed, I shall discuss the individual merits 
 of the different versions and compare their relative values as interpretations 
 of the originals. 
 
 '^ This is almost the only poem in which Gerhardt has not employed his character- 
 istic alliteration or assonance, or introduced "Frieda" or "Freude" words. On these 
 characteristics cf. p. 22 fF. 
 
 ™ For adaptations from this hjrmn cf . p. 13s ff. 
 6 
 
82 PAUL GERHARDT AS A HYMN WRITER 
 
 Wie soil ich dich empfangen. — (Goed. 25.) 
 [Advent.] 
 
 First published in Crii. — Runge, 1653, no. 77, in 10 stanzas of 8 lines ; thence in 
 Wackernagel: no. 3; Bachmann: no. 22; Unv. L. S.: 1851, no. 21. Cf. Koch IV, 
 119 ff. 
 
 The hymn is founded on St. Matthew XXI, 1-9, the Gospel for the first 
 Sunday in Advent. It is one of Gerhardt's finest productions, and is prob- 
 ably the best German Advent hymn. It is inferable from stanzas VI-IX 
 that the poem was written during the Thirty Years' War. The entire first 
 stanza has been set to music by Bach in the Weihnachtsoratorium, Part I. 
 
 English Versions: 
 
 1. How shall I meet my Savior. 
 
 A translation in full, by J. C. Jacobi, in his Psalmodia Germanica, 1722, p. 3 (1732, 
 slightly altered). Included in the Moravian Hymn Book, 1754, and also in later edi- 
 tions with alterations. Varying centos of this version are found in Montgomery's 
 Christian Psalmist, 1825 ; Dr. Pagenstecher's Collections, 1864 ; and Bishop Ryle's 
 Collection, i860. Other forms are: 
 
 (a) "We go to meet Thee, Savior" (stanza I altered), in Reid's Praise Book, 1872, 
 mainly from the Moravian H. Bk., 1801 ; 
 
 (b.) "Love caused Thine Incarnation" (stanza V altered), in Walker's Collection, 
 185s, and Snepp's Songs of G. and G., 1872, from the Moravian H. Bk., 1801. 
 
 2. Oh, how shall I receive Thee. 
 
 A good translation of stanzas I, II, VII, VIII, X, by A. T. Russell in his Ps. and 
 Hys., 1851, no. 36. Repeated in Kennedy, 1863, and the People's H., 1867; and 
 abridged in J. L. Porter's Collection, 1876; H. and Songs of Praise, N. Y., 1874; 
 Laudes Domini, N. Y., 1884, etc. 
 
 3. Oh! how shall I receive Thee. 
 
 In the 1857 ed. of Mercer's C. P. and H. Bk. Stanzas i, 2, are based on A. T. Rus- 
 sell's version and stanzas 3, 4, 5 (Gerhardt's IV, V, VI), are based on Jacobi, as altered 
 in the Moravian H. Bk., 1801. Altered forms have appeared in other hymnals. 
 
 4. Ah! Lord, how shall I meet thee. 
 
 A translation of stanzas I, II, V, VI, VIII, X, by Miss Winkworth, in her C. B. for 
 England, 1863, no. 71. 
 
 5. Say with what salutations. 
 
 In full by /. Kelly, 1867, p. 10 ; repeated, abridged, in the Ohio Luth. Hyl., 1880. 
 
 6. Lord, how shall I be meeting. 
 
 J. W. Alexander, in Schaff's Kirchenfreund, 1850, p. 176, and his Christ in Song, 
 1869, p. 20, and his own Breaking Crucible, 1861, p. 11. 
 
 7. How shall I meet Thee? How my heart. 
 
 Miss Winkworth, 1855, p. 7. 
 
 8. How shall I come to meet Thee. 
 
 Miss Manington, 1863, p. 65. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 83 
 
 9. Lord, how shall I receive Thee. 
 R. Massie, 1864, p. 93. 
 
 The first hymn in the Psaimodia Germaniccfi" of Jacobi (1722) is a 
 translation of Luther's "Nun kommt der Heiden Heiland" ("Now the 
 Savior comes indeed"). The second place in the book is given to Gerhardt's 
 "Wie soil ich dich empfangen" which is translated as "How shall I meet 
 my Savior." In a rather quaint preface Jacobi writes : 
 
 "The present Specimen hopes for a charitable Allowance from those, 
 that may happen to use it. A Version of this Kind lies under various Dis- 
 advantages, known only to those, who in any degree are acquainted with 
 any Poetical Translations of this Kind. A great Deal is lost of the Life 
 and Spirit of an H)rmn, when it appears in another Language." 
 
 In this effort as well as in the case of "Befiehl du deine Wege" Jacobi 
 has left out so much, and incorporated so many ideas of his own which are 
 at variance with Gerhardt's theme that it is difficult to recognize its kinship 
 with the original. The effect Gerhardt produces in the first line by the use 
 of the direct form of address is entirely lost by Jacobi ; also the translator 
 creates an unpleasant impression by abruptly changing from the third person 
 in the opening line to the second person in the next line. 
 
 Bishop Ryle has altered the last quatrain to this form: 
 
 I wait for Thy salvation; 
 Grant me Thy Spirit's light, 
 Thus will my preparation 
 Be pleasing in Thy sight. 
 
 Again, the diction of stanza two is particularly strange, at least to modern 
 
 readers. 
 
 I'll raise with all my Powers 
 More Notes than Unison, 
 
 would be quite bewildering if we did not have at hand the German which 
 is so forceful in its very simplicity : 
 
 Mein Herze soil dir griinen 
 In stetem Lob und Preis. 
 
 It is plain that Jacobi had not much appreciation of the spirit of Gerhardt, 
 for the distinctive touches of alliteration, repetition for emphasis, the pre- 
 vailing note of joy and peace accompanying the Savior's advent are cer- 
 tainly not adequately reproduced. In fact the impression he leaves is almost 
 one of gloom ! 
 
 Contrast with this the translation by A. T. Russell, a cento of which 
 (stanzas i, 2, 7, 8, 10) is given in most American hymnals. Far more cheer- 
 
 ■" Cf . p. 96 and note. 
 
84 PAUL GERHARDT AS A HYMN WRITER 
 
 ful and more appropriate for the Advent season than anything in Jacobi are 
 such lines as : 
 
 My heart to praise awaking, 
 
 Her anthem shall prepare, (stanza 2) 
 and 
 
 That in the light eternal our 
 
 Joyous home may be. (stanza s) 
 
 It is apt renderings like these that have won for Gerhardt a place in English 
 hymnody. 
 
 Kelly's rendering (1867) is characteristically accurate, but, excepting 
 
 such lines as : 
 
 My heart shall blossom ever 
 O'erflow with praises new (stanza 2) 
 
 and 
 
 O come Thou Sun and lead us 
 To everlasting light, (stanza 10) 
 
 it is uninspired and lacking in fervor. 
 
 Of the 20 hymns of Gerhardt which Miss Winkworth translated there are 
 three for which she has made two renderings: "O Haupt voll Blut und 
 Wunden," "Nun ruhen alle Walder," and for this Advent hymn. The 
 earlier version (1855) of the Advent hymn omits only the third stanza 
 ("Was hast du unterlassen"). The later one (1863) is written in the 
 original metre for church use to be sung to the traditional melody "Wie soil 
 ich dich empfangen" by Johann Criiger^^ (1653) and contains but six 
 stanzas. As Miss Winkworth was so thoroughly at home in the German 
 she was able to reproduce a surprising number of details. Even the allitera- 
 tion and repetition for emphasis of which (jerhardt is so fond find in her 
 poem at least a partially corresponding place: 
 
 In heavy bonds I languished long (1855, stanza 3, i) 
 This weary world and all her woe (1855, stanza 4, S) 
 And labor longer thus (1855, stanza 6, 2) 
 
 The original has been characterized as the best German Advent hymn and 
 Miss Winkworth has transfused it in her earlier version vmdiminished into 
 her ovm language so that it reads like an original poem. Her final quatrain 
 is worthy of Gerhardt : 
 
 O Sun of Righteousness ! arise, 
 And guide us on our way 
 To yon fair mansion in the skies 
 Of joyous cloudless day. 
 
 •^ Cf. p. 2 f . 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 85 
 
 Selected Stanzas: 
 
 J. C. Jacobi, 1722, in Psalmodia Germanica. 
 
 To the Tune : "COMMIT THY WAYS AND GOINGS.'"" 
 
 I. 
 
 How shall I meet my Savior? 
 
 How shall I welcome Thee? 
 
 What manner of Behavior 
 
 Is now requir'd of me? 
 
 Lord, thine Illumination 
 
 Set Heart and Hands aright, 
 
 That this my Preparation 
 
 Be pleasing in thy Sight. , 
 
 A. T. Russell, 1851, in his Psalms and Hymns?^ 
 
 1. O how shall I receive Thee, How meet Thee on Thy way; 
 Blest hope of every nation. My soul's delight and stay? 
 
 *(Jesu)*(Jesu) (*Thy) 
 
 O Jesus, Jesus, give me Now by thine own pure light. 
 To know whate'er is pleasing And welcome in Thy sight. 
 
 (*Sion) (*and) 
 
 2. Thy Zion palms is strewing, With branches fresh and fair ; 
 (*My heart to praise) 
 
 My soul in praise awaking. Her anthem shall prepare. 
 Perpetual thanks and praises Forth from my heart shall spring. 
 (*I) (*will) 
 
 And to Thy Name the service Of all my powers I bring. 
 
 (*3.) (Omitted.) 
 
 (*4.) 3. Ye who with guilty terror Are trembling, fear no more: 
 With love and grace the Savior Shall you to hope restore. 
 
 (*shall) 
 He comes, who contrite sinners Will with the children place. 
 The children of His Father, The heirs of life and grace. 
 
 (*S.) Omitted. 
 
 Miss Winkworth, 1855, in her Lyra Germanica. 
 
 Stanza l. How shall I meet Thee? How my heart 
 Receive her Lord aright? 
 Desire of all the earth Thou art I 
 My hope, my sole delight ! 
 Kindle the lamp. Thou Lord, alone, 
 Half-dying in my breast, 
 
 •^Cf. p. 116. 
 
 "An asterisk placed before the word indicates the form in the original. This 
 altered cento of three stanzas is the one usually given in American hymn books. 
 
86 PAUL GERHARDT AS A HYMN WRITER 
 
 And make Thy gracious pleasure known 
 How I may greet Thee best. 
 
 Miss Winkworth, 1863, in her Chorale Book. 
 
 Stanza i. Ah! Lord, how shall I meet Thee, 
 How welcome Thee aright? 
 All nations long to greet Thee 
 My hope, my sole delight 1 
 Brighten the lamp that burneth 
 But dimly in my breast. 
 And teach my soul, that yearneth 
 To honour such high guest. 
 
 O Haupt vol! Blut und Wunden. — (Goed. 49.) 
 [Passiontide.] 
 
 A beautiful but very free translation of the "Salve Caput Cruentatum," 
 which is part VII of the "Rhythmica Oratio," 1153, ascribed to St. Bernard 
 of Clairvaux.^* The Latin original follows: 
 
 DE PASSIONE DOMINI : AD FACIEM. 
 
 1. Salve, caput cruentatum, 
 Totum spinis coronatum, 
 Conquassatum, vulneratum, 
 Arundine sic verberatum 
 Facie sputis illita 
 
 Salve, cuius dulcis vultus, 
 Immutatus et incultus 
 Immutavit suum florem 
 Totus versus in pallorem 
 Quem coeli tremit curia. 
 
 2. Omnis vigor atque viror 
 Hinc recessit, non admiror. 
 Mors apparet in aspectu, 
 Totus pendens in defectu, 
 Attritus aegra macie. 
 
 Sic affectus, sic despectus 
 Propter me sic interfectus, 
 Peccatori tam indigno 
 Cum amoris intersigno 
 Appare clara facie. 
 
 3. In hac tua passione 
 
 Me agnosce, pastor bone. 
 Cuius sumpsi mel ex ore, 
 
 " Cf . p. 40 and note. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 87 
 
 Haustum lactis ex dulcore 
 Prae omnibus deliciis, 
 Non me reum asperneris, 
 Nee indignum dedigneris 
 Morte tibi iam vicina 
 Tuum caput hie acclina, 
 In meis pausa brachiis. 
 
 Tuae sanctae passioni 
 Me gauderem interponi, 
 In hac cruce tecum mori 
 Praesta crucis amatori, 
 
 Sub cruce tua moriar. 
 Morti tuae iam amarae 
 Grates ago, Jesu care, 
 Qui es Clemens, pie Deus, 
 Fac quod petit tuus reus, 
 Ut absque te non finiar. 
 
 Dum me mori est necesse, 
 Noli mihi tunc deesse; 
 In tremenda mortis hora 
 Veni, Jesu, absque mora, 
 
 Tuere me et libera. 
 Quum me jubes emigrare, 
 Jesu care, tunc appare; 
 O amator amplectende, 
 Teraet ipsum tunc ostende 
 In cruce salutifera. 
 
 Gerhardt's version appeared in the 1656 ed. of Crii. Praxis, no. 156, in 10 stanzas 
 of 8 lines; thence in Wackernagel: no. 22; Bachmann: no. 54; Unv. L. S.: 1851, 
 no. 109. Cf. Koch, IV, 163 ; VIII, 47. 
 
 In Koch VIII, 47, Lauxmann thus characterizes it : 
 
 "Bernard's original is powerful and searching, but Gerhardt's hymn is 
 still more powerful and profound, as redrawn from the deeper spring of 
 evangelical Lutheran, Scriptural, knowledge, and fervency of faith." 
 
 Stanza X Lauxmann traces not only to Bernard but to stanza II of "Valet 
 will ich dir geben" of Herberger, and to Luther's words on the death of his 
 daughter Magdalen "Who thus dies, dies well." 
 
 The melody to which the hymn is simg, usually called "Passion Chorale," 
 first appeared in Hans Leo Hassler's "Lustgarten," Niirnberg, 1601, set 
 to a love song, beginning "Mein G'mtith ist mir verwirret." 
 
 The hymn has often been signally blessed. The story is told that a Roman 
 Catholic from Bohemia on hearing this hymn sung in a Protestant church 
 was so overpowered that he shed tears of joy, for he saw clearer than ever 
 
88 PAUL GERHARDT AS A HYMN WRITER 
 
 his own sin and the Savior's grace; he understood better than ever the 
 secret of justification by faith alone, and he became from that time a true 
 evangeUcal Christian. Frederick William I., King of Prussia from 1713 
 to 1740, the father of Frederick the Great, ordered in his will that at his 
 funeral this hymn should be played by the band.^^ 
 
 The English versions are many, and of some of the versions there are 
 several centos: 
 
 1. O Head so full of bruises. 
 
 In full, by J. Gambold, in Some other Hymns and Poems, London, 1752, p. 12. 
 Repeated in the Moravian H. Book, 1754, pt. i, no. 222 (1789 greatly altered). In the 
 1789 ed. a new translation of stanza IX was substituted for Gambold's version, his 
 translation of stanza IX "When I shall gain permission" being given as a separate 
 hymn. 
 
 Centos of the above version are : 
 
 a. "O Head, so pierced and wounded" in Dr. Pagenstecher's Collection, 1864. 
 
 b. "O Christ ! what consolation" in the Amer. Bapt. H. Bk., 1871. 
 
 c. "I yield Thee thanks unfeigned" (based on Gambold's version of stanza IX) 
 
 in E. Bickersteth's Christian Psalmody, 1833. 
 
 d. "I give Thee thanks unfeigned" in Bishop Ryle's Collection, i860. 
 
 2. O Sacred Head! now wounded. 
 
 A very beautiful translation by Dr. J. W. Alexander. His translations of stanzas 
 I, II, IV, VII-X, were first published in the Christian Lyre, N. Y., 1830, no. 136. These 
 stanzas were revised, and translations of stanzas III, VI, were added by Dr. Alexander 
 for Schaflf's Deutscher Kirchenfreund, 1849, p. 91. The full text is in Dr. Alexander's 
 Breaking Crucible, N. Y., 1861, p. 7; in Schaflf's Christ in Song, 1869; and the Can- 
 tate Domino, Boston, U. S. A., 1859. 1° his note Dr. Schail says : 
 
 "This classical hymn has shown an imperishable vitality in passing from 
 the Latin into the German, and from the German into the English, and 
 proclaiming in three tongues, and in the name of three Confessions — ^the 
 Catholic, the Lutheran, and the Reformed — with equal effect, the dying 
 love of our Savior and our boundless indebtedness to Him." 
 
 Dr. Alexander's version has passed into very many English and Amer- 
 ican hymnals, and in very varying centos, some of which follow : 
 
 a. "O sacred Head, now wounded," People's H., 1867; Hymnary, 1872; Hatfield's 
 
 Church H. Bk., 1872; Hymns and Songs of Praise, N. Y., 1874, etc. 
 
 b. "O Sacred Head! once wounded" (stanza I altered), Bapt. Ps. and Hys., 1858, 
 
 etc. 
 
 c. "O Sacred Head, sore wounded" (stanza I altered), in the Stoke Hymn Book, 
 
 1878. 
 
 d. "O Sacred Head, so wounded" (stanza I altered), in J. L. Porter's Collection, 
 
 1876. 
 
 '^ For other incidents connected with this hymn cf. Th. Kiibler : Historical notes 
 to the Lyra Germanica, London, 1865. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 89 
 
 e. "O blessed Christ, once wounded" (stanza I altered), in Dr. Thomas's Augustine 
 
 H. Book, 1866. 
 
 f. "O Lamb of God, once wounded" (stanza I altered), in Scottish Presb. Hyl, 
 
 1876. 
 
 g. "O Lamb of God, sore wounded" (stanza I altered), in the Ibrox Hymnal, 1871. 
 
 3. Ah I Head, so pierced and wounded. 
 
 A good translation by R. Massie, omitting stanza VI, in his Lyra Domestica, 1864, 
 p. 114. This version was abridged in Mercer's Oxford edition, 1864, and in Kennedy, 
 1863. A cento of this beginning with stanza VIII, line 5, "Ohl that Thy cross may 
 ever," appears in J. H. Wilson's Series of Praise, 1865. 
 
 4. Ah wounded Head, that bearest. 
 
 Miss Winkworth, omitting stanza VI, in her C. B. for England, 1863, no. 51. 
 
 5. Oh! bleeding head, and wounded. 
 
 /. Kelly, 1867, p. 59. 
 
 6. Ah wounded Head! must Thou. 
 
 Miss Winkworth in her Lyra Ger., 1855, p. 80. 
 
 7. Thou pierced and wounded brow. 
 
 Miss Dunn, 1857, p. 39. 
 
 8. O Head, blood-stained and wounded. 
 
 In the SchafF-Gilman Lib. of Religious Poetry, translated by Samuel M. Jackson, 
 1873, 1880. This version is among those that adhere most closely to the original, at 
 the same time showing traces of the Latin of Bernard. 
 
 g. O sacred Head, surrounded 
 
 By crown of piercing thorn! 
 A translation in 3 stanzas by Sir H. W. Baker of stanzas I, III, VII, and X, in the 
 Schaflf-Gilman Lib. of Religious Poetry. 
 
 10. Oh, wounded head and bleeding. 
 
 A good translation omitting stanzas II, III, V, IX, by Miss Margarete Miinsterberg 
 in her Harvest of German Verse, 1916. 
 
 The earliest known English translation of Gerhardt's Passiontide hymn 
 is that of J. Gambold, published in 1752.'* It is written in his characteristic 
 vein. Gambold has made no effort to do more than reproduce in doggerel 
 the main ideas of the original without even attempting to gloss over the 
 indelicate expressions which Gerhardt introduced from the Latin of Ber- 
 nard. The "facie sputis illita" which in Gerhardt is modified to "Wie 
 bist du so bespeit" (line 12) is given by Gambold with extreme literalness. 
 His style becomes often ridiculous if indeed not wholly flippant when he 
 attempts to imitate Gerhardt's familiarity*^ in addressing the Savior. 
 
 " a. p. 92. 
 
 " Cf. p. 18. 
 
90 PAUL GERHARDT AS A HYMN WRITER 
 
 Witness the first quatrain of stanza 7 : 
 
 It gives me solid pleasure 
 My heart does not recoil 
 When I dive in some measure 
 Into thy Pangs and Toil.^* 
 
 It is easy to understand why this hymn should be printed in full in the 
 crude Moravian Hymn Book of 1754 and even in later editions, but it is also 
 obvious that more recent hymnals should have made drastic alterations and 
 judicious omissions. Of the centos adapted from Gambold's unpolished 
 verses, that in Reid's Praise Book (1872) v/ill show how changes were made 
 to suit the more refined taste of the century following the early Moravian 
 period. The quatrain cited above appears in Reid as follows : 
 
 And oh! what consolation 
 Doth in our hearts take place. 
 When we Thy toil and passion 
 Can joyfully retrace. 
 
 "^An English writer who faithfully transplanted Germany's best hymns and 
 made them bloom with fresh beauty in their new gardens was Catherine 
 Winkworth. Her two renderings of this hymn are well adapted to awaken 
 responsive feelings in Christian readers. It would be difficult to judge 
 between the two versions as to which the more successfully retains the force 
 of the German. In both versions she has omitted stanza VI beginning "Ich 
 will hie bei dir stehen." The earlier one (1855) does not preserve the metre 
 of the original, while the later one (1863) was written for her Chorale Book 
 with the accompanying melody. In general it may be said that the earlier 
 version with the expanded third and seventh lines follows more closely the 
 fervent thought of Gerhardt, an effect made possible in the longer stanza, 
 as the English can rarely be expressed as concisely as the German. A com- 
 parison of the first quatrains of the two versions of the final stanza illus- 
 trates this : 
 
 1855. 1863. 
 
 (Version for church singing.) 
 
 Come to me ere I die. Appear then, my Defender, 
 
 My comfort and my shield; My Comfort, ere I die 
 
 Then gazing on Thy cross can I This life I can surrender 
 
 Calmly my spirit yield. If I but see Thee nigh. 
 
 Of the twenty or more forms in which this hymn is familiar to English 
 and American readers that of Dr. Alexander has found most general 
 
 ™ Cf . lines 49-52 : Es dient zu meiner Freuden 
 
 Und kommt mir herzlich wol, 
 Wann ich in deinem Leiden, 
 Mein Heil, mich finden soil. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 91 
 
 acceptance for church use. The reason is not far to seek. The music to 
 which the hymn is usually sung is the original melody for the hymn "Herz- 
 lich tut mich verlangen"^* and was, as has been stated, written for a secular 
 song, though thoroughly suitable for the expression of the awfulness of 
 Christ's passion. Alexander's version is without question the one which 
 best suits the cadence of this melody. In the version, for example, of 
 Jackson, the stress would fall upon "tortured"*" in line 2 and, as the music 
 repeats for the third and fourth lines, also on "a" in line 4. This, then, would 
 not be selected as a satisfactory version for church singing. Aside from 
 this feature, however, the flow of Gerhardt's language is more successfully 
 imitated and the deep fervor of the German more effectively brought forth 
 in Alexander's hymn than in any of the other translations unless we except 
 the earlier one of Miss Winkworth. 
 
 While Gerhardt's hymn is more searching and profound than its Latin 
 prototype, and an English translator would not ordinarily refer to the 
 original of Bernard, still there seem to be in the phraseology of the Jackson 
 and Winkworth translations evidences that these authors were at least 
 familiar with it. Such lines as "Death triumphs in his pallour"*^ and "The 
 pallor of the dead"*^ are quite suggestive of the Latin: "Totus versus in 
 pallorem" ;*^ and "Redeemer spurn me not"** of the Latin "Non me reum 
 asperneris."*^ 
 
 A short paraphrase by Sir H. W. Baker contains several ideas taken from 
 the Latin which Gerhardt has omitted. Stanza i, lines 7, 8: 
 
 Yet angel hosts adore thee 
 And tremble as they gaze 
 
 are evidently suggested by : 
 
 and 
 
 follows the idea in 
 
 Totus versus in pallorem 
 
 Quem coeli tremit curia, (lines 9, 10) 
 
 O Love to sinners free! 
 Jesu all grace supplying, 
 Oh turn thy face to me. (stanza 2) 
 
 Peccatori tam indigno 
 Cum amoris intersigno 
 Appare clara facie, (lines 18-20) 
 
 'By Cristoph Knoll, 1563-1650. Cf. p. 87. 
 
 •Cf. p. 94. 
 
 ' Stanza 3, line 7, Winkworth, 1863. 
 
 ' Stanza 3, line 4, Jackson, 1873. 
 
 ' Line 9, Bernard, p. 86. 
 
 ' Stanza 4, line 8, Winkworth, 1863. 
 
 ' Line 26, Bernard, p. 87. 
 
92 PAUL GERHARDT AS A HYMN WRITER 
 
 The same is true in the first quatrain of Baker's stanza 3, with the idea 
 of the word "indigno" above brought into these later Unes : 
 
 In this thy bitter passion, 
 Good Shepherd, think of me, 
 With thy most sweet compassion, 
 Unworthy though I be." 
 
 In i860 Bishop Ryle selected and arranged Three hundred and sixty-six 
 Hymns and Spiritual Songs — a song for every day in the year. His i66th 
 poem is a cento of this Passiontide hymn and is assuredly deserving of men- 
 tion, although he omits the first four stanzas entirely, and for no apparent 
 reason changes the order of the others, arranging them as follows : 
 
 Ryle: i 23456 
 
 Gerhardt: VIII VI VII V IX X. 
 
 His first quatrain of Gerhardt's stanza VII is almost identical with that 
 given in Reid's Praise Book as an alteration of the old Gambold version. 
 
 What heavenly consolation 
 Doth in my heart take place, 
 When I Thy toil and passion 
 Can in some measure trace. 
 
 Selected Stanzas: 
 
 J. Gambold, 1752, in Some other Hymns and Poems. 
 
 1. O Head so full of bruises, 
 So full of pain and scorn, 
 'Midst other sore Abuses 
 Mock'd with a crown of Thorn ! 
 O head, e'er now surrounded 
 With brightest Majesty, 
 
 Now pitiably wounded! 
 Accept a kiss from me. 
 
 2. Thou Countenance transcendent. 
 At other times rever'd 
 
 By Worlds on thee dependent 
 With Spittle now besmeared ! 
 etc. 
 
 J. W. Alexander, 1849, ^^ the Schaff-Gilman Lib. of Religious Poetry. 
 
 I. O Sacred Head, now wounded. 
 With grief and shame bow'd down. 
 Now scornfully surrounded, 
 
 " In hac tua passione 
 Me agnosce, pastor bone. Lines 21, 22. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 93 
 
 With thorns, Thy only crown. 
 
 Sacred Head, what glory 
 What bliss till now was Thine 
 Yet, though despised and gory, 
 
 1 joy to call Thee mine. 
 
 2. What Thou, my Lord, hast suifered, 
 (Gerh. IV.) Was all for sinner's gain : 
 
 Mine, mine was the transgression 
 But Thine the deadly pain. 
 Lo, here I fall, my Savior : 
 'Tis I deserve Thy place; 
 Look on me with Thy favour. 
 Vouchsafe to me Thy grace. 
 
 3. The joy can ne'er be spoken, 
 (Gerh. VII.) Above all joys beside, 
 
 When in Thy body broken 
 I thus with safety hide. 
 Lord of my life desiring 
 Thy glory now to see. 
 Beside Thy cross expiring 
 I'd breathe my soul to Thee. 
 
 4. What language shall I borrow 
 (Gerh. VIII.) To thank Thee, dearest Friend, 
 
 For this. Thy dying sorrow, 
 Thy pity without end? 
 O make me Thine for ever ; 
 And should I fainting be, 
 Lord let me never, never 
 Outlive my love for Thee. 
 
 5. Be near me when I'm dying, 
 (Gerh. X.) O show Thy Cross to me: 
 
 And to my succour flying, 
 Come, Lord, and set me free. 
 These eyes new faith receiving, 
 From Jesus shall not move ; 
 For he, who dies believing. 
 Dies safely through Thy love. 
 
 Miss Winkworth, 1855, in her Lyra Germanica, ist Series. 
 
 I. Ah wounded Head! must Thou 
 Endure such shame and scorn 1 
 The blood is trickling from Thy brow 
 Pierced by the crown of thorn. 
 Thou who wast crown'd on high 
 With light and majesty, 
 In deep dishonor here must die, 
 Yet here I welcome Thee! 
 
94 PAUL GERHARDT AS A HYMN WRITER 
 
 Miss Winkworth, 1863, in her Chorale Book. 
 
 I. Ah wounded Head that bearest 
 Such bitter shame and scorn, 
 That now so meekly wearest 
 The mocking crown of thorn 1 
 Erst reigning in the highest 
 In light and majesty, 
 Dishonored here Thou diest, 
 Yet here I worship Thee. 
 
 A cento by J. C. Ryle, i860, in his Spiritual Songs. 
 
 I. I give Thee thanks unfeigned, 
 (Gerh. O Jesus, Friend in need, 
 
 stanza VIII.) For what Thy soul sustained 
 
 When Thou for me didst bleed. 
 Grant to lean unshaken 
 Upon Thy faithfulness, 
 Until I hence am taken 
 To see Thee face to face. 
 
 Cento from J. Gambold's version, in Reid's iPraise Book, 1866. 
 
 1. O Head! so full of bruises, 
 So full of pain and scorn; 
 Midst other sore abuses, 
 Mock'd with a crown of thorn! 
 O Head! ere now surrounded 
 With brightest majesty. 
 
 In death once bow'd and wounded, 
 Accursed on a tree! 
 
 2. Thou countenance transcendent, 
 Thou life-creating Sun 
 
 To worlds on Thee dependent, 
 
 Yet bruised and spit upon! . . . etc. 
 
 J. Kelly, 1867, in his Paul Gerhardfs Spiritual Songs. 
 
 I. Oh I bleeding head and wounded. 
 And full of pain and scorn. 
 In mockery surrounded 
 With cruel crown of thorn! 
 O Head! before adorned 
 With grace and majesty. 
 Insulted now and scorned, 
 AlIhaillbidtoThee! 
 
 S. M. Jackson, 1873, 1880, in Schaff-Gilman Lib. of Religious Poetry. 
 
 I. O Head, blood stained and wounded. 
 Tortured by pain and scorn! 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 95 
 
 O Head in jest surrounded 
 By a rude crown of thorn ! 
 O Head, once rich adorned 
 With highest laud and lays, 
 But now so deeply scorned. 
 To thee I lift my praise! 
 
 Sir H. W. Baker in SchaiF-Gilman Lib. of Religious Poetry. 
 
 I. O Sacred Head, surrounded 
 By crown of piercing thorn ! 
 
 bleeding Head so wounded, 
 Reviled and put to scorn ! 
 Death's pallid hue comes o'er Thee, 
 The glow of life decays. 
 
 Yet angel-hosts adore thee 
 And tremble as they gaze. 
 
 Miss Margarete Mxinsterberg, in her Harvest of German Verse, 1916. 
 
 I. Oh, wounded head and bleeding, 
 By pain and scorn bowed down ! 
 Oh head, the gibes unheeding, 
 Bound with a thorny crown ! 
 Oh head, once decorated 
 With honors gloriously, 
 Now tortured so and hated, 
 
 1 greet and worship Thee! 
 
 Wach auf, mein Herz! und singe. — (Goed. 59.) 
 [Morning.] 
 
 Appeared in Crii. Praxis, 1648, no. i, in 10 stanzas of four lines ; thence in Wacker- 
 nagel: no. 99; Bachmann: no. i. It was repeated in Crii. — Runge, 1653, no. i, and 
 also in the Berlin G. L. S.: ed. 1863, no. 1132. This is one of the finest and most 
 popular of German morning hymns, and soon passed into universal use, stanza VIII 
 being best known. Cf. Koch, IV, 593 fl. 
 
 English Versions: 
 
 1. My Soul, awake and tender. 
 
 In full, by J. C. Jacobi, in his Psalmodia Germanica, 1726, p. 33 (1722, p. 104), repeated 
 in pt. I of the Moravian H. Bk., 1754. In the Moravian H. Bk., 1789 and 1886, it 
 begins "My soul awake and render," stanzas i, 2, 4, 5, being from I; V (lines 3, 4) ; 
 VI (lines 1,2); X; VIII. 
 
 2. Thy Thanks, my Soul, be raising. 
 
 H. J. Buckoll, 1842, p. 28. 
 
 3. Wake, my heart, and sing His praises. 
 
 E. Massie, 1867. 
 
96 PAUL GERHARDT AS A HYMN WRITER 
 
 4. Awake, my heart, be singing. 
 /. Kelly, 1867, p. 276. 
 
 Wake up, my heart, elater. 
 
 N. L. Frothingham, 1870. 
 
 The third^^ hymn of Gerhardt which Jacobi included in his Psalmodia 
 Germanica*^ is "Wach auf, main Herz, und singe." As this song of trust 
 is one of Gerhardt's oldest pieces and may be said to set the key for all 
 the later hymns,, it is appropriate that Jacobi should find for it a place in 
 his very limited selection. 
 
 The eighteenth century English versions of German hymns invariably 
 abound in extravagant figures. Just why in this instance the translator has 
 chosen to add to the text, where no mention is made of a "lion," the idea 
 of such an animal in tlie verse: 
 
 Nay, when that Lyon's Fury, 
 
 is difficult to explain. Possibly to his own mind that creature was more 
 terrifying than Satan himself. Still less pardonable is the distortion in 
 stanza IV: 
 
 Du sprachst : Main Kind, nun liege Thou saidst : my Child, be easy, 
 
 Trotz dem, der dich betriege ! My presence shall release Thee 
 
 Schlaf wol, lasz dir nicht grauen, From frightful Pain and Evil, 
 
 Du soUt die Sonne schauen. In spite of Hell and Devil. 
 
 Such alterations of the original, always with the idea of bringing a more 
 terrible picture to the mind of the reader, can be justified on no ground 
 whatever, and accounted for only by saying that the translator probably 
 regarded this as one of the methods of 
 
 "resolving all the jarring Discords of Self-love into the heavenly Concords 
 of Mutual Love and Affection. If this be not effected here below, we shall 
 never be worthy to hear the glorious Anthems of the Seraphic Quire 
 above."^*a 
 
 The singularly inapt paraphrase of the couplet in stanza 3 : 
 
 Thy gracious Condescension, 
 Has crossed his sore Intention 
 
 appears to slightly better advantage in stanza 7 : 
 
 In gracious Condescension 
 Despise not my Intention; 
 Nor Body, Soul, nor Spirit 
 Can boast of any Merit. 
 
 "The other two are "Befiehl du deine Wege" and "Wie soil ich dich empfangen?" 
 ** The Psalmodia Germanica is a collection of 60 hjonns from the German. 
 ^^Concluding lines of Jacobi's preface to his Psalmodia Germanica, 1722. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 97 
 
 Another characteristic of the English versions of this period is the 
 emphasizing of the tortures of Hell and the Devil. Just as in stanza 4 
 above, we are not surprised to read in stanza 8 : 
 
 From Satan's woeful doings, 
 
 although there is in the German no suggestion whatever of Satan or his 
 deeds. Similarly, the concluding stanza, after the pleasing opening lines, 
 causes something of a shock by its abrupt descent to the grotesque: 
 
 Thy Bliss be my Salvation, 
 
 My Heart thy Habitation ; 
 
 Thy Word my Food and Relish, 
 
 Till thou destroy'st what's Hellish. 
 
 Except for the imperfect rhymes in most of his stanzas Kelly's version 
 is unusually good both as a scrupulously faithful rendering and a successful 
 attempt to keep the simple language and reproduce the characteristic touches 
 of Gerhardt. The line: 
 
 The sunlight shall delight thee, 
 
 takes on a new significance when compared with 
 
 Du soUt die Sonne schauen, 
 
 and strophe 8 is particularly well done in that it has so large a predominance 
 of Anglo-Saxon words : 
 
 So wollst du nun voUenden Thou wilt, O Lord! be ending 
 
 Dein Werk an mir und senden Thy work in me and sending 
 
 Der mich an diesem Tage Who in his hands will take me, 
 
 Auf seinen Handen trage. Today his care will make me. 
 
 Selected Stanzas: 
 
 J. C. Jacobi, in his Psalmodia Germanica, 1722. 
 
 I. 
 
 My Soul awake, and tender 
 To God, thy great Defender 
 Thy Prayer and Thanksgiving, 
 Because thou art still living. 
 
 II. 
 
 Last Night, when lying senseless. 
 And utterly defenceless, 
 I was in greatest Danger 
 From Darkness and its Ranger. 
 
98 PAUL GERHARDT AS A HYMN WRITER 
 
 John Kelly, in his Paul Gerhardfs Spiritual Songs, 1867. 
 
 1. Awake, my heart! be singing, 
 Praise to thy Maker bringing. 
 Of every good the Giver, 
 Who men protecteth ever. 
 
 2. As shades of night spread over 
 Earth as a pall did cover, 
 Then Satan sought to have me 
 But God was near to save me. 
 
 Nun ruhen alle Walder. — (Goed. 60.) 
 [Evening.] 
 
 First published in Crii. Praxis, 1648, no. 15, in 9 stanzas of 6 lines ; thence in 
 Wackernagel: no. 102; Bachmann: no. 2; Unv. L. S.: 1851, no. 529. Cf. Koch, IV, 
 607; VIII, 194. 
 
 This is one of the finest and one of the earliest of Gerhardfs hymns. In 
 the time of Flat Rationalism in Germany the first stanza became the object 
 of much derision.*" But the shallow wit showed how little poetry was 
 then understood, for Gerhardt followed in thus beginning his hymn a much 
 admired passage of Virgil, Mneid IV, 522-528 : 
 
 Nox erat, et placidum carpebant fessa soporem 
 Corpora per terras, silvaeque et saeva quierant 
 Aequora, cum medio volvuntur sidera lapsu. 
 Cum tacet omnis ager, pecudes pictaeque volucres, 
 Quaeque lacus late liquidos, quaeque aspera dumis 
 Rura tenent, somno positae sub nocte silenti 
 (Lenibant curas, et corda oblita laborum). 
 
 Among the common people the hymn became an exceeding favorite and 
 was generally used as an evening prayer. Its childlike simplicity combined 
 with its deep poetical charm has won the hearts of old and young to the 
 present day. Frequently it has been sung on starry nights by men, women, 
 or children in the fields on their homeward way, and many have laid them- 
 selves down for the long sleep of death with this hymn on their lips. 
 
 A troop of French soldiers entered Lisberg, a small town of Hesse, on 
 the 14th of September, 1796, plundered and killed the inhabitants, and 
 burned the whole town. A little way distant, at the foot of a mountain, was 
 a small cottage in which a mother sat by the bedside of her sick child. 
 
 "Cf. "Jetzt schlafen weder Walder," as no. 2338, in the final "Zugabe" to the 
 Herrnhut Gesangbuch, 173S, dated "On Aug. 13, 1748, after Holy Communion at 
 Herrnhut." This is a parody on the style of Gerhardt's stanzas I, II, III, VI, VII. 
 It was translated and included in Part II of the Moravian H. Book, 1754, as "Tho' 
 now no creature's sleeping." 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 99 
 
 Hearing the noise in the town and seeing the burning houses she locked the 
 door and knelt by the bedside and prayed. As the door burst open and a 
 furious soldier rushed in, s'he spread her hands over the child and cried : 
 
 Breit aus die Fliigel beide, 
 
 O Jesu, meine Freude, . . . (stanza VIII), 
 
 and lo ! the wild soldier suddenly dropped his arm, stepped to the bed, and 
 laid his rough hand gently on the child's head. Then going outside he stood 
 guard that none of his troop might harm the cottage. 
 
 Although in limited use in the English hymn books, the translations are 
 numerous, as follows : 
 
 1. Quietly rest the woods and dales. 
 
 Omitting stanza VIII by Mrs. Findlater, in H. L. L., ist Series, 1854, p. 36 (1884, 
 p. 38), included in Cantate Domino, Boston, U. S. A., 1859. 
 
 2. Now all the woods are sleeping. 
 
 A full and good translation by Miss Winkworth, in the 2d ed., 1856, of the ist Series 
 of her Lyra Ger., 1855, p. 228. Included in full in her C. B. for England, 1863, and 
 the Ohio Luth. Hyl, 1880. 
 
 3. Now woods their rest are keeping. 
 
 A translation of stanzas I, III, VIII, IX, by Edward Thring, as no. 18 in the Upping- 
 ham and Sherborne School H. Bk., 1874. 
 
 4. Jesu, our Joy and loving Friend. 
 
 A translation of stanza VIII as no. 200 in the Appendix of 1743 to the Moravian 
 H. Bk., 1742. 
 
 5. Now Woods and Fields are quiet. 
 
 In the Suppl. to Ger. Psal., ed. 1765, p. 73. 
 
 6. Display thy both wings over. 
 
 A translation of stanza VIII as no. 156 in pt. I of the Moravian H. Bk., 1754. 
 
 7. Jesus, our Guardian, Guide and Friend. 
 
 A translation of stanza VIII as no. 765 in the Moravian H. Bk., 1789 (1886, no. 1190). 
 
 8. Lo! Man and Beast are sleeping. 
 
 H. J. Buckoll, 1842, p. .76. 
 
 9. Now rest beneath night's shadow. 
 
 E. D. Yeomans, in Schafif's Kirchenfreund, 1853, p. 195. 
 
 10. Now rest the woods again. 
 
 Miss Winkworth, 1855, p. 226 (see no. 2 above). 
 
 11. Rise, my soul, thy vigil keep. 
 
 Miss Duni^, 1857, p. 9. 
 
 12. Now resteth all creation. 
 
 J. S. Stallybrass, in the Tonic Solfa Reporter, January, 1859, and Curwen's Har- 
 monium and Organ Book, 1863, p. 58. 
 
loo PAUL GERHARDT AS A HYMN WRITER 
 
 13. Now every greenwood sleepeth. 
 
 Miss Manington, 1863, p. 133. 
 
 14. Now hushed are woods and waters. 
 
 Miss Cox, 1864, p. 9. 
 
 15. Now spread are evening's shadows. 
 
 /. Kelly, 1863, p. 28s. 
 
 16. The woods are hushed; o'er town and plain. 
 
 Dr. J. Guthrie, 1869. 
 
 17. The duteous day now closeth. 
 
 In the Yattendon Hymnal, 1899, thence in Hymns of the Kingdom, of God, N. Y., 
 1910, 1916, and the Hymnal of Praise, N. Y., 1913. 
 
 Quaint and homely as it is, this hymn has done much to enkindle devotion 
 and strengthen grace among Christian readers in Germany, and is now 
 familiar to English-speaking peoples through the beautiful translations of 
 Miss Winkworth and Mrs. Findlater. Both they and Dr. Guthrie have 
 successfully imitated the sweetly domestic tone in poems that have soothed 
 many a careworn spirit at the close of day. 
 
 In the version which appeared in her Lyra Germanica Miss Winkworth 
 evidently overlooked the fact that line 3 of her first stanza had an extra foot : 
 O'er field and city, man, and beast. 
 
 In the version for church singing printed in her Chorale Book the line is 
 changed to the normal six-syllable iambic measure to admit of its being set 
 to the old German melody,^" "O Welt, ich musz dich laszen." 
 
 Gerhardt's stanza VIII, "Breit aus die Fltigel beide,"^^ has been a special 
 favorite in Germany, and Lauxmann in Koch VIII, 194, says of it : 
 
 ' °° In Mittenwalde, where Gerhardt had a pastoral charge from 1651-1657 (cf. p. 3 ff.), 
 there prevailed the custom of playing an evening hymn from the tower. The one used 
 up to that time was the old and then well-known lay, "Innsbruck, ich musz dich 
 laszen." Gerhardt liked the air, but longed to see it associated with a better and more 
 really evening hymn. For this end he composed "Nun ruhen alle Walder." The 
 melody was originally composed in 1488 (?) by Heinrich Isaac, conductor of the choir 
 of Maximilian I. The great masters Bach and Mozart are reported to have said that 
 they would gladly give their best works for this single tune. In our hymnals it is 
 usually called "Innsbruck," but in German hymn books it is given as "O Welt, 
 ich musz dich laszen," from the first line of the hymn of Johann Hesse, 1855, which 
 was set to it. 
 
 °' Breit aus die Fltigel beide 
 
 O Jesu, meine Freude, 
 
 Und nimm dein Kixchlein ein ! 
 
 Will Satan mich verschlingen. 
 
 So lasz die Englein singen : 
 
 Dies Kind soil unverletzet sein. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY loi 
 
 "How many a Christian soul, children mostly, but also God's children in 
 general, does this verse serve as their last evening prayer. It has often been 
 the last prayer uttered on earth, and in many districts of Germany is used 
 at the close of the baptismal service to commend the dear little ones to the 
 protection of their Lord Jesus." 
 
 Miss Winkworth has successfully caught the truly childlike popular 
 spirit of the stanza in the lines : 
 
 My Jesus, stay Thou by me, 
 
 And let no foe come nigh me, 
 
 Safe shelter'd by Thy wing; 
 
 But would the foe alarm me, 
 
 O let him never harm me, 
 
 But still Thine angels round me sing. 
 
 Interesting and amusing by its grotesqueness is the Moravian version of 
 this stanza,^^ printed as a separate hymn in the edition of 1754: 
 
 Matt. XXIII, 37. • 
 Breit aus die flugel beide. 
 
 (Hct) 
 
 Display thy both Wings over 
 Thy Chickens and them cover, 
 
 O Jesu, Savior mild! 
 If devils would disturb 'em, 
 Let holy angels curb 'em 
 And bid them never touch thy Child. 
 
 In the rich language in which such hymns were conceived and expressed 
 they possess a force that is not easily retained in a translation especially 
 where as in the present instance there is such an abundance of double 
 rhymes. Dr. J. Guthrie's version has in England gained some popularity 
 through the melodious rhythm he has given his lines by not restricting him- 
 self to Gerhardt's metre,^^ and certainly the iambic line is more suited to an 
 English treatment of the theme of rest and repose. Note this effect in 
 Guthrie's lines: 
 
 The woods are hushed o'er town and plain (i). 
 
 Now hastes the body to repose (19). 
 
 My laden eyes to slumber yield" (31). 
 
 ■^ Founded on St. Matthew XXIII, 37. "O Jerusalem . . . how often would I 
 have gathered thy children together, even as a hen gathereth her chickens under her 
 wings, and ye would not !" 
 '^ Line 3 in his stanza is the same length as Gerhardt's. 
 " Cf. the same effect in Adelaide Procter's hymn : 
 
 The shadows of the evening hours 
 Fall from the dark'ning sky 
 Upon the fragrance of the flowers 
 The dews of evening lie; etc. 
 
102 PAUL GERHARDT AS A HYMN WRITER 
 
 The sound sequence in stanza VIII to which the lines owe some of their 
 popularity Dr. Guthrie has obviously endeavored to imitate by the allitera- 
 tive, 
 
 My Savior, Shield and Sun! 
 
 When Satan on my soul would spring, 
 
 which would indeed do justice to Gerhardt. However a less unpleasant 
 sound than the repeated sibilant which he has used, would suit the English 
 ear better. 
 
 As an attempt to translate with scrupulous faithfulness Kelly's version is 
 of some interest. The difficulties in the double rhymes he overcomes by 
 the device of inflectional endings and repetition of pronouns which although 
 at first moderately satisfactory must eventually become monotonous : 
 
 declining 
 
 hasteth 
 
 tired 
 
 shining 
 
 divesteth 
 
 expired" 
 
 sing ye 
 
 make me 
 
 send you 
 
 bring ye 
 
 o'ertake me 
 
 defend you. 
 
 Mrs. Findlater has in her version changed the metre of the original for 
 all lines except the third and sixth ; in the closing couplet or even the con- 
 cluding line of each stanza she has more than any other translator repro- 
 duced the idea of peaceful repose which was so evidently Gerhardt's 
 intention. 
 
 Stanza 3, lines S and 6. When I hear my Lord's command 
 To leave this earth and upward fly. 
 
 Stanza 8, lines 5 and 6. Give to my beloved sleep, 
 
 And angels send to guard their home. 
 
 The omission of stanza VIII containing the figure of the hen gathering in 
 her chicks is partially justifiable on the ground that the poem is complete 
 without it, and that such similes while appropriately introduced into hymns 
 of the seventeenth century are out of place in nineteenth century hymnody. 
 On the other hand by this ruthless pruning the distinctive touch that Ger- 
 hardt gave the hymn is lost. It is interesting to note in the examination of 
 the various English versions of Gerhjirdt's poetry the treatment which the 
 "homely element" receives from the translator. The poem under consider- 
 ation will form a good basis for discussion. Almost invariably the translator 
 offers a paraphrase departing more or less widely from the original and 
 effecting a colorless result : Gerhardt writes in stanza IV : 
 
 Der Leib eilt nun zur Ruhe, 
 Legt ab das Kleid und Schuhe. 
 
 ""' This rhyme occurs in two successive stanzas. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 103 
 
 Miss Winkworth renders : 
 
 Mrs. Findlater: 
 
 Kelly: 
 
 The body hastes to slumber 
 These garments now but cumber. 
 
 Now the body seeks for rest 
 From its vestments all undrest. 
 
 To rest the body hasteth 
 Itself of clothes divesteth. 
 
 Guthrie, however, whose version as a whole would doubtless be considered 
 the best literary production, is not content with what is in the German but 
 takes the opportunity offered by the extra syllables in his longer line to 
 describe the vestment more explicitly : 
 
 Now hastes the body to repose 
 
 Throws off its garments, shoes and hose. 
 
 Selected Stanzas: 
 
 Mrs. Findlater, 1854, in her Hymns from the Land of Luther. 
 
 • Stanza i. Quietly rest the woods and dales, 
 Silence round the hearth prevails. 
 The world is all asleep; 
 Thou, my soul, in thought arise. 
 Seek thy Father in the skies. 
 And holy vigils with Him keep. 
 
 Miss Winkworth, 1863, in her Chorale Book. 
 
 Stanza i. Now all the woods are sleeping. 
 And night and stillness creeping 
 O'er (field and) city, man and beast; 
 But thou, my heart, awake thee, 
 To prayer awhile betake thee. 
 And praise thy Maker ere thou rest. 
 
 J. Kelly, 1863, in his Paul Gerhardfs Spiritual Songs. 
 
 Stanza i. Now spread are evening's shadows. 
 O'er forests, towns, and meadows. 
 And sleepeth every eye; 
 Awake my powers and sing ye. 
 And pray'r and praises bring ye, 
 That your Creator please on high I 
 
 J. Guthrie, 1869, in his Sacred Lyrics. 
 
 Stanza i. The woods are hushed; o'er town and plain. 
 O'er man and beast, soft slumbers reign: 
 
I04 PAUL GERHARDT AS A HYMN WRITER 
 
 The world has gonq to rest. 
 But thou, my soul, my every sense, 
 Wake up, thy Maker's praise commence, 
 And be that praise thy best. 
 
 In the Hymnal of Praise, 1913 (translator's name not given). 
 
 Stanza i. The duteous day now closeth, 
 Each flow'r and tree reposeth, 
 Shade creeps o'er wild and wood. 
 Let us, as night is falling, 
 On God, our Maker calling. 
 Give thanks to Him, the Giver good. 
 
 Stanza 2. Now all the heavenly splendor 
 Breaks forth in starlight tender 
 From myriad worlds unknown; 
 And man. Thy marvel seeing. 
 Forgets his selfish being 
 For joy of beauty not his own. 
 
 Ein Lammlein geht und tragt die Schuld. — {Goed. 68.) 
 [Passiontide.] 
 
 Appeared in Cru. Praxis, 1648; thence in Wackernagel: no. 13; Bachmann: no. 7. 
 Lauxmann in Koch VIII, 40, designates it as "the masterpiece of all Passion hymns." 
 It is commonly sung in Germany and was included in the Unv. L. S.: 1851, no. 95, 
 but because of the complexity and variety of figures it has not come into extensive 
 English or American use. 
 
 English Versions: 
 
 1. A Lamb goes forth: the sins he bears 
 Of every generation. 
 
 A translation of stanzas I and II and part of IV by A. T. Russell in his Psalms and 
 Hymns, 1851. 
 
 2. A Lamb goes uncomplaining forth. 
 
 Mrs. Charles' translation (combining Gerhardt's stanzas II and III as 2) appears in 
 her Voice of Christian Life in Song, 1858, p. 232. The second part of her version, 
 beginning, "Gate of my heart, fly open wide" (stanza VII), appears in the following: 
 (a) Bishop Ryle's Collection, 1860; (b) Reid's Praise Book, 1872; (c) Christian 
 Hymns, Adelaide, 1872. 
 
 3. A Lamb bears all its guilt away 
 The world thus to deliver. 
 
 A full translation by /. Kelly, 1867, p. 49. The Ohio Luth. Hymnal, 1880, reduces 
 it to 4 stanzas. 
 
 4. A Lamb goes forth and bears the Guilt 
 Of .all the virorld together. 
 
 J. Gambold, as no. 241 in part III, 1746, of the Moravian H. Book. In part II of the 
 1754 edition it begins "A Lamb goes forth and on him bears." In the ed. of 1801 it 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 105 
 
 begins "A Lamb went forth," etc. Stanzas V, IX, X, of this version, beginning, 
 "Jesus, I never can forget," are included in E. P. Hood's Our Hymn Book, 1868. 
 
 5. A Lamb goes forth and bears the Guilt 
 Of Adam's Generations. 
 
 A translation in the Suppl. to Ger. Psal., ed. 1765, and also Select Hymns from Ger. 
 Psal., Tranquebar, 1754. 
 
 6. See, bowed beneath a fearful weight. 
 
 Miss Dunn, 1857, p. 32. 
 
 7. A Holy, Pure and Spotless Lamb. 
 
 Miss Cox, in Lyra Messianica, 1864, p. 230, and also in her Hymns from the German, 
 1864, p. 107. 
 
 8. Forth goes a dear devoted Lamb. 
 
 Dr. J. Guthrie, in his Sacred Lyrics, 1869, p. 82. 
 
 g. Behold a Lamb! so tired and faint. 
 
 Mrs. E. J. Carr, in Songs of the Inner Life, 1871. This version appeared also in 
 Reid's Praise Book, 1872, with slight alterations. 
 
 10. A Lamb goes forth — for all the dues. 
 
 Catharine Macrea, in Reid's Praise Book, 1872, no. 990. 
 
 The unusual figures in this Passion Hymn have prevented its receiving 
 in English-speaking countries the wide popularity attained by "O Haupt 
 voU Blut und Wunden.""' Yet because of its dealing with a theme that 
 appealed so strongly to Gerhardt and its being so characteristic of his piety 
 and simplicity, a glimpse into the treatment accorded it by English trans- 
 lators should not be without interest. With hardly less depth of feeling 
 than in "O Haupt voU Blut und Wunden" but with stranger imagery Ger- 
 hardt portrays the passion of Christ and reflects upon its significance, and 
 the comfort the Christian derives from it. 
 
 The Moravian Hymn Book contains Gambold's translation in Gerhardt's 
 metre of nine of the ten stanzas ; the seventh, which abounds in metaphors, 
 he has omitted. Mention has elsewhere^^ been made of Gerhardt's familiar- 
 ity of tone in addressing the Savior. Gambold equals his master in this 
 respect ; witness stanza 5 : 
 
 Whilst I live here, I never shall 
 
 Forget thy Grace amazing; 
 
 Our love shall be reciprocal, 
 
 I also Thee embracing. 
 
 My heart's Light thou shalt be always, 
 
 " Cf . p. 86 if. 
 
 " Cf. pp. 18 and 89. 
 
io6 
 
 PAUL GERHARDT AS A HYMN WRITER 
 
 And when it breaks once (as one says) 
 Thou'lt be my Heart thenceforward . . . 
 
 The figure in the concluding stanza of the bride clothed in purple is rather 
 spoiled by Gambold by the baldness of the couplet : 
 
 Thy Blood shall of my Weddingdress 
 Be then the only splendor. 
 
 Nor have we in the German anything to suggest the final lines : 
 
 Then will the Mother, who bore me, 
 And nursed me up, my Lamb, for thee, 
 Present me as thy Purchase. 
 
 Russell's short version of two stanzas presents an effective paraphrase of 
 the last three lines of Gerhardt's stanza IV : 
 
 O suszes Lamm, was soil ich dir 
 Erweisen dafiir, dasz du mir 
 Erweisest so viel Gutes? 
 
 O Lamb beloved! How shall I Thee 
 Requite for all, thus unto me 
 Such wondrous goodness showing? 
 
 Under the title "The sin-bearing Lamb" Dr. Guthrie gives in his Sacred 
 Lyrics perhaps the most readable English translation, as it combines Ger- 
 hardt's beautiftil piety and spiritual simplicity; it is also unique among 
 translations from the German, in that it introduces more of the direct address 
 than is usual, translators preferring as a rule to render quotations in the 
 indirect form: 
 
 "Give me," he says, "the wreath of thorn," etc. 
 
 Stanza 7, which Gambold omitted entirely, is the beginning of a hymn in 
 Reid's Praise Book. It is a cento taken from Mrs. Charles' very free trans- 
 lation (1858) and is cited here to illustrate the liberties often taken by 
 translators. Here, of course, the free paraphrase is reasonably Justifiable: 
 
 STANZA 7. 
 
 Gerhardt. 
 
 Erweitre dich, mein Herzensschrein, 
 
 Du soUt ein Schatzhaus werden 
 
 Der Schatze, die viel groszer sein 
 
 Als Himmel, Meer und Erden. 
 
 Weg mit dem Gold Arabia ! 
 
 Weg Calmus, Myrrhen, Casia ! 
 
 Ich hab ein Bessers funden. 
 
 Mein groszer Schatz, Herr Jesu Christ 
 
 1st dieses, was geflossen ist 
 
 Aus deines Leibes Wunden. 
 
 Mrs. Charles. 
 Gate of my heart, fly open wide — 
 Shrine of my heart, spread forth ; 
 The treasure will in thee abide 
 Greater than heaven and earth : 
 Away wtth all this poor world's treasures, 
 And all this vain world's tasteless pleasures, 
 My treasure is in heaven; 
 For I have found true riches now. 
 My treasure, Christ, my Lord, art Thou, 
 Thy blood so freely given 1 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 107 
 
 Selected Stanzas: 
 
 In the Moravian Hymn Book, 1754 ed., part II (author's name not given). 
 
 Stanza i. A Lamb goes forth and on him bears 
 The Guilt and misdemeanour 
 Of all the World, and patient wears 
 The Likeness of a Sinner. 
 
 Stanza 2. Great King ! in ev'ry age conf est, 
 Yet never more or greater, 
 Than when thou with thy Wounds wast drest, 
 Could I but praise thee better ! 
 
 J. Gambold, in the 1754 edition of the Moravian Hymn Book. 
 
 Stanza i. A Lamb goes forth, and bears the guilt 
 Of all the world together, 
 Most patiently by his Blood spilt 
 To pay for ev'ry Debtor ; 
 Sickness and toil he on him took. 
 Went freely to the Slaughter-block 
 All comfort he refused; 
 He underwent reproach and blame. 
 Death on the Cross, and Stripes and shame. 
 And said, I gladly chuse it. 
 
 A. T. Russell, in his Psalms and Hymns, 1851. 
 
 Stanza i. A Lamb goes forth: the sins He bears 
 Of every generation : 
 Himself with patience He prepares 
 To die for every nation. 
 All faint and weak, behold ! He goes, 
 His life resigning to His foes : 
 No thought His grief can measure. 
 He yields to scorn, reproach, disdain. 
 Wounds, anguish, cross, and dying pain, 
 And saith, "It is my pleasure." 
 
 J. Guthrie, 1869, in his Sacred Lyrics. 
 
 Stanza i. Forth goes a dear devoted Lamb 
 And dies an expiation 
 For sinners all, of every name, 
 Of every age and nation. 
 Forlorn and faint, behold He gains 
 The scene of more than deadly pains, 
 No earthly good possessing : 
 "Give me," he says, "The wreath of thorn. 
 The stripes, the curse, the Cross of scorn, 
 That men may have the blessing." 
 
io8 PAUL GERHARDT AS A HYMN WRITER 
 
 Warum soUt ich mich denn^* gramen? — {Goed. 122.) 
 [Cross and Consolation.] 
 
 Founded on Psalm LXXIII, 23. Appeared in CrU. — Runge, 1653, no. 240, in 12 
 stanzas of 8 lines; thence in Wackernagel: no. 64; Bachmann: no. 29; Cru. Praxis: 
 1656, no. 320; Unv.L.S.: 1851, no. 784. Cf. ifoc/t IV, 525; VIII, 471-9- 
 
 This is a very beautiful hymn but difficult of translation. It was a source 
 of comfort to the Salzburg emigrants on their way through Swabia in 1732 
 (cf. Goethe's Hermann und Dorothea), and to Frederick William I. of 
 Prussia on his deathbed, May 31, 1740. The eighth stanza was the last 
 utterance of Gerhardt on the day of his death. May 27, 1676. It has since 
 cheered and comforted many Christians, both in the season of trial and in 
 the hour of death. It was joyfully sung by the pious pastor Hosch of Gach- 
 ingen in Wiirttemberg, when on the 2d of July, 1800, French soldiers had 
 plundered his house, leaving him almost nothing but his harp, with which 
 he accompanied the cheering strains of this hymn. The words of the 
 
 seventh stanza: 
 
 Unverzagt und ohne Grauen 
 
 Soil ein Christ, Wo er ist, 
 
 Stets sich laszen schauen. . . . 
 
 were spoken by the pious lawyer in Stuttgart, John Jacob Moser, when, in 
 consequence of his fearless remonstrances against injustice, he was called 
 before his sovereign, the Duke of Wiirttemberg, to be sentenced to impris- 
 onment. The Queen of Poland and Electress of Saxony, Christiana Eber- 
 hardina, who died on the 5th of September, 1726, derived great consolation 
 in her dying moments from the eighth stanza which was repeated to her by 
 her chaplain. 
 
 English Versions: 
 
 1. Why, my soul, thus trembling ever. 
 
 A good translation of stanzas I, IV, VII, VIII, XI, XII, as no. 232 in the Anglican 
 H. Bk., 1868. Translated by the Rev. Angelo A. Benson, 1862. 
 
 2. Why should sorrow ever grieve me. 
 
 In full by /. Kelly, 1867, p. 214. His translation of stanzas I, V, X-XII, are repeated 
 in the Ohio Luth. Hymnal, 1880, no. 420. 
 
 3. Why' should I continue grieving. 
 
 In the Suppl. to Ger. Psalmody, ed. 1765, p. 58, in the Moravian H. Bk., 1754, and 
 in the Supplement of 1808 to the Moravian H. Bk. of 1801, but with stanzas VIII, X, 
 altered and beginning "With undaunted resolution." 
 
 4. Wherefore should I grieve and pine. 
 
 Miss Winkworth in her Lyra Ger., 1858, p. 198. 
 
 °'"denn" is probably the authentic reading, although Goedeke prints "doch." Cf. 
 p. 16. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 109 
 
 S. Wherefore, then, should I be gloomy. 
 
 N. L. Frothingham, 1870, p. 144. 
 
 This "Christliches Freudenlied" has an especial interest, for it seems to 
 have been the hymn that was most comforting to Gerhardt. We know that 
 in his last moments"* he repeated stanza VIII ; 
 
 Kann uns doch kein Tod nicht todten, 
 
 Sondern reiszt Unsern Geist 
 
 Aus viel tausend Noten ; 
 
 Schleuszt das Thor der bittern Leiden 
 
 Und macht Bahn, Da man kann 
 
 Gehn zur Himmelsfreuden. 
 
 It was fitting that one whose hymns are so replete with expressions of 
 earthly and the far greater heavenly joys should go to his final rest com- 
 forted by the full realization of their meaning. 
 
 The translator in the 1754 edition of the Moravian Hymn Book has with 
 a few characteristic exceptions treated the peculiar rhythm and metre skill- 
 fully. Although the line 
 
 Han't I still Christ my Hill, 
 
 (line 2) would not be acceptable to-day, still our attention is forcibly drawn 
 to the rhythm and note of genuine fervor in the reproduction of our poet's 
 last words : 
 
 Conquered Death cannot destroy us, 
 
 But cuts short grief and Smart 
 
 That doth here annoy us ; 
 
 Shuts the door on sin and sadness 
 
 And makes way for the Day 
 
 Of eternal gladness. 
 
 John Kelly in his Paul Gerhardfs Spiritual Songs although he does not 
 retain much of the lyric grace of the original translates the poem with 
 scrupulous faithfulness. His stanza 8 suffers greatly by comparison with 
 that of the Moravian version given above. 
 
 Death can never kill us even, 
 But relief 
 From all grief 
 To us then is given. 
 It does close life's mournful story 
 Make a way 
 That we may 
 Pass to heavenly glory. 
 
 "Cf. p. 5. 
 
no , PAUL GERHARDT AS A HYMN WRITER 
 
 Selected Stanzas: 
 
 In the 1754 edition of the Moravian Hymn Book (author's name not 
 given). 
 
 Stanza l. Why should I continue grieving, 
 Han't I still Christ my Hill, 
 And my Savior living? 
 Who'll deprive me of Salvation 
 Which by Faith Jesus hath 
 Giv'n in expectation? 
 
 John Kelly in his Paul Gerhardfs Spiritual Songs, 1867. 
 
 Stanza i. Why should sorrow ever grieve me? 
 
 Christ is near 
 
 What can here 
 E'er of Him deprive me? 
 Who can rob me of my heaven 
 
 That God's Son 
 
 As mine own 
 To my faith hath given? 
 
 Miss Winkworth in her Lyra Germanica, 1858. 
 
 Stanza i. Wherefore should I grieve and pine? 
 Is not Christ the Lord still mine? 
 Who can sever me from Him? 
 Who can rob me of the heaven 
 Which the Son of God hath given 
 Unto faith though weak and dim? 
 
 Wir singen dir, Emanuel. — (Goed. 150.) 
 [Christmas.] 
 
 Included in Crii. Praxis, 1653, no. 100 in 16 stanzas of 4 lines. In Ebeling, 1667, S> 
 no. 52, four stanzas were added as IV, VIII, IX, XVII. The complete text in 20 
 stanzas is in Wackernagel: no. 10; Bachmann: no. 42; Unv. L. S.: 1851, no. 58. 
 Cf. Koch IV, 136. 
 
 English Versions: 
 
 1. Emmanuel, we sing Thy praise. 
 
 This translation of stanzas I-III, V-VII, XVIII-XX, appeared in the British Maga- 
 zine, January, 1838, p. 35. Repeated, omitting the translation of stanza XIX, and 
 beginning "Emmanuel, Thy name we sing," in Kennedy, 1863. 
 
 2. Immanuel, we sing to Thee. 
 
 A translation of stanzas I-III, V, by A. T. Russell in the Dalston Hospital H. Bk., 
 1848. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY iii 
 
 3. Immanuel, we sing to Thee, Of life, etc. 
 
 A translation of stanzas I-III, VI, XX, based on the earlier versions, in J. F. 
 Thrupp's Psalms and Hymns, 1853, no. 35. 
 
 4. Thee, O Immanuel, we praise. 
 
 A good translation of stanzas I-III, V-VII, XVIII-XX, by Miss Winkworth, in her 
 Lyra Ger., First Series, 1855, p. 28. In her 2d ed., 1856, p. 24, she added a translation 
 of stanza IX, and thus in her C. B. for England, 1863, no. 35. Repeated, abridged, in 
 the Hyl. for St. John's, Aberdeen, 1870, and Flett's Collection, Paisley, 1871; and 
 beginning "With all Thy saints, Thee, Lord, we sing" (stanza II), in Boardman's 
 Selections, Philadelphia, 1861. 
 
 5. We sing to Thee, Emmanuel, The Prince, etc. 
 
 A good translation of stanzas I-III, V-VII, XVIII-XX, by Miss Cox, contributed to 
 Lyra Messianica, 1864, p. 55, and in her own Hymns from the German, 1864, p. 3s. 
 In Schaff's Christ in Song, 1869, p. 56, it is in full, and in Jellicoe's Collection, 1867, 
 omitting the translation of stanza V. In the Amer. Bapt. Hy. & Tune Bk., 1871, it 
 begins, 'AH glory, worship, thanks and praise" (stanzas II, III, XIX, XX). 
 
 6. We sing to Thee, Immanuel! Thou Prince of Life. 
 
 A translation of stanzas I, II, XIX, XX, signed "F. C. C," as no. 26 in Dr. Pagen- 
 stecher's Collection, 1864. 
 
 7. We sing to Thee, Immanuel, Thou Prince of Life. 
 
 As no. 109 in part III, 1748, of the Moravian H. Bk. (1754, part I, no. 436). 
 
 8. Immanuel, to Thee we sing, Thou Prince, etc. 
 
 L. E. Schlecht, in the Moravian H. Bk., 1789, no. 45 (1886, no. 45). 
 g. Immanuel! Thy praise we sing. 
 Miss Fry, 1859, p. 163. 
 
 10. To Thee, Immanuel, we sing, The Prince, etc. 
 
 Miss Manington, 1864, p. 36. 
 
 11. Immanuel! to Thee we sing, The Fount. 
 
 /. Kelly, 1867, p. 37- 
 
 Few of the English versions of German hymns which appear in the old 
 Moravian hymn books rise above a mediocre grade; many on account of 
 their crudity deserve only passing mention, others are interesting merely by 
 way of comparison with later renderings. The editions up to that of 1886 
 published no authors' names and it is now largely a matter of conjecture 
 as to who may have written these earlier versions. Rarely did the translators 
 succeed in giving even a fair impression of the original, and we suspect that 
 imperfect knowledge of the exact meaning of the German or even indiffer- 
 ence to the effect their versions produced may too often have been the cause 
 of the crude and even grotesque language. 
 
 The translator of this Christmas hymn has, however, been a notable 
 exception ; choosing from Gerhardt's discursive strophes the most significant 
 ideas, he has developed a poem of seven stanzas superior to most contem- 
 
112 PAUL GERHARDT AS A HYMN ^^'RITER 
 
 porary hymns from the German. The correspondence of strophes is as 
 follows : 
 
 Gerhardt: I II VII VI VII VIII VI IX XI XX 
 
 Mor.Hy.Bk.: 123 4 567 
 
 Especially happy are the epithets in lines 3 and 4 : 
 
 Du Hinmielsbliini und Morgenstern, Thou Mommg-star, thou Eden's Flow'r 
 
 Du Jungfrausohn Herr aller Herm. The Lord of Lords, whom Mary bore! 
 
 The modem reader will enjoy the orthography in the lines : 
 
 Dost thou a stranger chuse to be (stanza 3), 
 and Thou cloathest all (stanza 3). 
 
 though he will recoil at the pronunciation of the first two lines of stanza 5 : 
 
 Thou in a manger ly'st with beasts, 
 There thou a little Infant rest'sL 
 
 Stanza 6, a free paraphrase of stanza XI in the original, reproduces 
 admirably the childlike confidence with which (jerhardt writes. The trans- 
 lator appreciates keenly the personal tone which pervades the poem when 
 
 he sings: 
 
 I thank thee, loving Lamb ! that thou 
 On my account didst stoop so low ; 
 And as thy Spirit gives me grace, 
 rU be thy Servant, if thou please. 
 
 In her Chorale Book and set to the old tune "Erschienen ist der herrlich 
 Tag,"'" Miss Winkworth g^ves the following arrangement of her ten-stanza 
 
 version : 
 
 
 
 
 
 
 
 
 
 
 
 Gerhardt : 
 
 I 
 
 II 
 
 III 
 
 V 
 
 VI 
 
 IX 
 
 VII 
 
 XVIII 
 
 XIX 
 
 XX 
 
 Winkworth : 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 ID 
 
 Stanza 9 shows how successfully she can imitate Cierhardt's simplicity and 
 fervor; even the alliteration finds a partial correspondence in her third line: 
 
 Gerhardt (stanza XIX). Winkworth (stanza 9). 
 
 Du bist mein Haupt; hinwiederum Thou art my Head, my Lord Divine, 
 
 Bin jch dein Glied und Eigentum I am Thy member, wholly Thine, 
 
 Und will, so viel dein Geist mir gibt. And in Thy Spirit's strength would still 
 
 Stets dienen dir, wie dirs geliebt. Serve Thee according to Thy will. 
 
 So also in stanza 10 {Gerhardt XX) for Cierhardt's favorite expression 
 "fiir und fiir" we find a very happy equivalent, and also an exact rhyme 
 which the (jerman lacks : 
 
 "By Nicolaus Heermann (d. 1560). 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 113 
 
 Gerhardt (stanza XX). Winkworth (stanza 10). 
 
 Ich will dein Alleluja hier Thus will I sing Thy praises here 
 
 Mit Freuden singen fiir und fur, With joyful spirit year by year; 
 
 Und dort in deinem Ehrensaal And they shall sound before thy throne. 
 
 Soils schallen ohne Zeit und Zahl. Where time nor number more are known. 
 
 Miss Cox, whose translation of Gellert's Easter hymn 
 
 Jesus lives, thy terror now 
 Can no longer, Death, appal us, 
 
 is so well known, has given us one of the best modern versions of this 
 Christmas hymn of (jerhardt's. Her stanzas correspond as follows : 
 
 Gerhardt: 
 
 I 
 
 II 
 
 III 
 
 V 
 
 VI 
 
 VII 
 
 XVIII 
 
 XIX 
 
 XX 
 
 Cox: 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 Miss Cox makes a less personal appeal to the worshipper and thereby 
 loses much that is so excellent and characteristic of Gerhardt; instead of 
 keeping the pronoun in the singular, "So fasz ich" (stanza XVIII) "Du 
 bist mein Haupt" (stanza XIX) and "Ich will dein Alleluja" (stanza XX), 
 she has respectively "Our love grows bold," "Thou art our Head," and 
 "Our hallelujahs." If her poem is rather more polished, Gerhardt's is cer- 
 tainly the more direct, as witness these stanzas ; 
 
 Gerhardt (stanza VII). Cox (stanza 6). 
 
 Du kehrst in fremder Hausung ein, Thou who both heaven and earth dost sway, 
 
 Und sind doch alle Himmel dein ; In strangers' inn are fain to stay ; 
 
 Trinkst Milch aus deiner Mutter Brust And though thy power makes angels blest, 
 
 Und bist doch selbst der Engel Lust. Dost seek thy food from human breast. 
 
 The concluding stanza is inferior to the others and suffers by comparison 
 with the excellent lines of Miss Winkworth cited above:' it is a very free 
 paraphrase and leaves the impression of having been hastily constructed : 
 
 As each short year goes quickly round, 
 Our hallelujahs shall resound; 
 And when we reckon years no more. 
 May we in heaven thy name adore ! 
 
 Selected Stanzas: 
 
 From the Moravian Hymn Book, 1754. 
 
 Stanza l. We sing to thee Immanuel I 
 
 Thou Prince of life, salvation's well! 
 Thou Morning-star, thou Eden's Flow'r 
 The Lord of Lords whom Mary bore ! 
 
 Hallelujah. 
 
114 PAUL GERHARDT AS A HYMN WRITER 
 
 Stanza 2. We sing thee 'midst thy chosen race 
 
 With all our strength we give thee praise; 
 That thou so long expected guest 
 Didst come to visit us at last. 
 
 Frances Elizabeth Cox, 1864, in the SchafF-Gilman Library of Religious 
 Poetry. 
 
 Stanza i. We sing to thee, Emmanuel, 
 
 The Prince of life, salvation's well. 
 The plant of heaven, the star of morn. 
 The Lord of Lords, the virgin-born! 
 
 Stanza 2. All glory, worship, thanks, and praise, 
 That thou art come in these our days ! 
 Thou heavenly guest, expected long. 
 We hail thee with a joyful song. 
 
 Miss Winkworth in her Lyra Germanica, 1865, p. 24. 
 
 I. Thee, O Immanuel, we praise. 
 
 The Prince of Life, and Fount of Grace, 
 The Morning Star, the Heavenly Flower, 
 The Virgin's Son, the Lord of Power ! 
 
 With all Thy saints. Thee, Lord, we sing. 
 Praise, honour, thanks to Thee we bring. 
 That Thou, O long-expected guest, 
 Hast come at last to make us blest! 
 
 E'er since the world began to be, 
 How many a heart hath longed for Thee; 
 Long years our fathers hoped of old 
 Their eyes might yet Thy Light behold. 
 
 BeHehl du deine Wege. — (Goed. 185.) 
 [Trust in God.] 
 
 Appeared in Crii. Praxis, 1656, no. 333; Wackernagel: no. 66; Bachmann: no. 72 
 in 12 stanzas of 8 lines; Unv. L. S.: 1851, no. 620. 
 
 Lauxmann, in Koch VIII, 392, calls this hymn "the most comforting of 
 all the hymns that have resounded on Paulus Gerhardt's golden lyre, sweeter 
 to many souls than honey and the honey-comb." It is an acrostic on 
 Luther's version of Psalm XXXVII, 5, "Befiehl dem Herren deine Wege 
 und hoffe auf ihn, er wirds wohl machen," formed by the initial v*rords of 
 the stanzas, those of the Wackernagel edition being printed in blacker type. 
 This acrostic form has been preserved by Jacobi and Stallybrass. 
 
 According to tradition Gerhardt wrote the hymn in a Saxon village to 
 console his wife after they had been compelled to leave Berlin. But the 
 hymn was printed as early as 1653, and although Gerhardt had to give up 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 115 
 
 his position in 1666/1 he did not leave Berlin until his appointment to Ltib- 
 ben in 1669, while his wife died in Berlin in 1668. Hence there appear to 
 be two good reasons for discrediting this story. We. must assume, there- 
 fore, that the hymn was written during the Mittenwalde period when as yet 
 he could have had no thought of a position in Berlin. The perfection of the 
 hymn is strikingly evinced by the fact that it soon spread through Germany, 
 finding its way into all hymn books and ranking as one of the finest hymns 
 of its class. Lauxmann relates that it was sung when the foundation stone 
 of the first Lutheran church at Philadelphia was laid. May 2, 1743, and 
 again on October 20, when Muhlenberg, the father of the American 
 Lutheran Church, held the opening service. 
 
 English Versions: 
 
 1. Commit thou all thy griefs. 
 
 A very free but spirited rendering omitting stanzas V, IX-XI, by J. Wesley in his 
 Hymns and Sacred Poems, 1739 (P- Works, 1869-72, vol. I, p. 125), in 8 stanzas of 
 8 lines. Wesley has here caught, far more successfully than any other, the real ring 
 and spirit of Gerhardt. His translation has been included in many hymn books and 
 collections, and has come into very extended use, but generally abridged. In the 
 United Presb. H. Bk., 1852, it began "To God commit thy griefs." It is also found 
 under these headings : 
 
 (a) Thou on the Lord rely (stanza III). 
 
 (b) Thy everlasting truth (stanza V). 
 
 (c) Give to the winds thy fears (stanza IX). (This is the heading under which 
 
 it appears in most American hymnals. Cf. p. 202.) 
 
 (d) O cast away thy fears (stanza IX altered). 
 
 (e) Through waves and clouds and storms (stanza X). 
 
 (f) Leave to his sovereign sway (stanza XIII). 
 
 (g) Thou seest our weakness. Lord (stanza XV). 
 (h) Put thou thy trust in God. 
 
 This last is a greatly altered cento with the stanza arrangement as follows : 
 
 Wesley: III I III V 
 
 Cento : 1234 
 
 In this form also it has appeared in many hymnals. 
 
 2. Commit thy way, confiding. 
 
 A complete translation by Dr. H. Mills in the Evang. Review, Gettysburg, July, 1849, 
 and his Horae Ger., 1856, p. 172. His stanzas I, II, VI, XII, were included in the 
 Lutheran General Synod's Hymns, 1852, and I, II, V, VI, XI, XII, in the Ohio Luth 
 Hymnal, 1880. 
 
 3. Thy way and all thy sorrows, 
 Give thou into His hand. 
 
 A complete translation by Rev. A. T. Russell as no. 233 in his Psalms and Hymns, 
 1851, in 3 parts. Part II begins "In vain the powers of darkness / Thy will, O God, 
 
 " Cf. p. 4 f. 
 
ii6 PAUL GERHARDT AS A HYMN WRITER 
 
 oppose": (Gerhardt's stanza V). Part III (Gerhardt's stanza IX) b^ins "Awhile 
 his consolation / He will to thee deny." 
 
 4. Commit thy way to God. 
 
 A translation omitting stanzas IX, X, XII, by Mrs. Charles in her Voice of Christian 
 Life in Song, 1858, p. 239. A cento of her version (Gerhardt's stanzas I, II, VI, VIII, 
 XI) appears as no. 138 in Jellicoe's Collection, 1867, and another cento (Gerhardt's 
 I, VI-VIII, XI) appears as no. 283 in Bishop Ryle's Collection, i860. 
 
 5. Commit thy way, O weeper. 
 
 A free paraphrase in 6 stanzas of 4 lines by J. S. Stallybrass for the Tonic-Solfa 
 Reporter, July, 1857, repeated in Curwen's Child's Own H. Bk., 1862 and 1874. 
 
 6. Commit thou every sorrow, And care. 
 
 A translation of stanzas I-III, XII, by Miss Borthwick in Dr. Pagenstecher's Collec- 
 tion, 1864, no. 240. 
 
 7. Commit thy Ways and Goings. 
 
 /. C. Jacobi, 1720, 1722, 1732. 
 
 8. Commit thou thy each grievance. 
 
 In part I of the Moravian H. Bk., 1754 and 1849. 
 
 9. Commit thy ways, thy sorrows. 
 
 Mrs. Stanley Carr in her translation of Wildenhahn's Paul Gerhardt, 1845 and 1856. 
 
 10. Commit thy secret grief. 
 
 Miss Dunn, 1857, p. 89. 
 
 11. Commend thy way, O mortal. 
 
 In Madame de Pontes's Poets and Poetry of Germany, 1858, vol. I, p. 424. 
 
 12. Commit thou all thy ways, and all. 
 
 Mrs. Bevan, 1859, P- 124. 
 
 13. Commit thy way unto the Lord, thy heavy. 
 
 Dr. R. P. Dunn in Sacred Lyrics from the German, Philadelphia, 1859, p. 85. 
 
 14. To God thy way commending. 
 
 Miss Cox, 1864, p. 161 ; and in the Gilman-Schaff Lib. of Rel. Poetry, 1883, p. 510. 
 
 15. Commit whatever grieves thee. 
 
 /. Kelly, 1867, p. 225. 
 
 16. Commit thy way, O weeping. 
 
 Dr. J. Guthrie in his Sacred Lyrics, 1869, p. 92. 
 
 17. Commit the way before thee, 
 
 N. L. Frothingham, 1870, p. 164. 
 
 18. Commit thy course and keeping. 
 
 Dr. John Cairns, c. 1850, but first published in Edinburgh, 1881, as an eight-page 
 tract. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 117 
 
 In the interesting and now very rare old Psalmodia Germanica"^ com- 
 piled and edited by J. C. Jacobi there are three of Gerhardt's hymns — "Wie 
 soil ich dich empfangen," "Wach auf, mein Herz, und singe," and "Befiehl 
 du deine Wege." The book is dedicated to 
 
 "Their Royal Highnesses, 
 Princess ANNE 
 Pincess AMALIA, 
 (sic!) 
 
 AND 
 Princess CAROLINA," 
 
 and in one paragraph of this dedication we read : 
 
 "As a sincere Desire to promote Divine Psalmody has prompted me to 
 this Translation; so I presume to address the same, such as it is to YOUR 
 ROYAL HIGHNESSES, for no other End than to promote thereby 
 the Singing the Praises of our blessed Redeemer" ; etc. 
 
 In most cases facing the beginning page of the hymns is an inserted leaf 
 (not numbered) containing the traditional melody unharmonized. It is a 
 reasonably safe conjecture that these books of Jacobi were among the very 
 first printed copies of anglicized German hymns, and the historical value 
 and interest of the books themselves as well as the versions they contain 
 cannot be overestimated. 
 
 The version of "Befiehl du deine Wege" is so free a paraphrase, com- 
 bining, as it does, in the five stanzas ideas from the twelve of the original, 
 and introducing new elements altogether, that except for the first and fifth 
 strophes it is difficult to connect the themes definitely with any particular 
 lines in Gerhardt's poem. The correspondence seems, however, to be 
 approximately as follows : 
 
 Jacobi : 
 
 I 
 
 11 
 
 III 
 
 IV 
 
 V 
 
 Gerhardt : 
 
 I 
 
 2 S 
 
 7 
 
 7 3 4 8 10 
 
 12 
 
 Which line of Gerhardt suggests the injunction "Shake off that yoke of 
 Hell" (2, 6) is not clear: possibly here Jacobi had in mind the scriptural 
 passage (Psalm XXXVII, 5, if.) where in verse 8 we read "Cease from 
 anger, and forsake wrath." Stanza 4 : 
 
 And he shall clear the Dullness 
 That sits upon thy Mind 
 
 ™ 1st ed. 1720, later eds. in 1722 and 1732. Through the kindness of the Hartford 
 Theological Seminary Library it was the privilege of the writer to have access to the 
 1722 edition. 
 
n8 PAUL GERHARDT AS A HYMN WRITER 
 
 perhaps finds its basis in stanza VII : 
 
 or in stanza VIII : 
 
 . . . was das Herze 
 Betrubt und traurig macht! 
 
 Wann Er . . . 
 
 Das Werk hinausgefiihret, 
 
 Das dich bekummert hat. 
 
 To conclude his hymn, Jacobi again, as in strophe 2, dwells upon the 
 punishment for sin, entirely an interpolation of his own, with no bearing 
 on the original whatever: 
 
 Redeem us all together 
 
 From Sin, World, Death, and Hell. 
 
 Finally it must be said that for the modern reader this version must seem 
 little more than a distorted paraphrase, made still further difficult of inter- 
 pretation and appreciation through the use of words far more remote from 
 our modern English than is the German vernacular of the seventeenth 
 century from the modern German. Phrases such as : 
 
 His Fatherly Dilection 
 
 is never at a stand (3, lines 7 and 8) 
 
 and 
 
 Our Life and Conversation 
 
 Lead by Thy Holy Hand (s, lines S and 6) 
 
 seem not well calculated to carry out the hope that the translator utters on 
 the last page of his "dedication" : 
 
 "If the Lover of Psalmody, can find in these Hymns an edifying Sunday's 
 Entertainment, which, it seems, has hitherto been too much wanting in 
 Abundance of Fcimilies, the Translator will think his Time well bestow'd, 
 
 In another chapter^ mention has been made of the relation of John and 
 Charles Wesley to the Moravians. It is altogether probable that it was the 
 singing of this hymn with its reference to winds and seas that first appealed 
 to these Englishmen when on their voyage to America on the same vessel 
 with a company of Moravians. John Wesley's version (1739) is the second 
 of the three earliest translations of this hymn which has come into such 
 extensive use both in Germany and English-speaking lands. A number of 
 changes have been made by the translator, but in general the main features 
 
 ''Cf. p. 31. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 119 
 
 are quite faithfully reflected. Firstly he has divided the 8-line strophes into 
 quatrains, has disregarded the feminine rhymes of lines i and 3 and changed 
 to iambic tetrameter the original iambic trimeter ending in a feminine 
 rhyme. These variations enable him often to introduce an additional 
 thought, e. g. in line 3 "To his sure truth and tender care," where in Ger- 
 hardt there is only the idea of "faithful care." Again he profits by being 
 able better to express in English the more pithy German; for example, in 
 stanza 14:1 "When fully he the virork hath wrought" reproduces very 
 acceptably the idea contained in the compound "hinausgefiihrt." 
 
 Omitting stanza V Wesley gives a free but spirited version of the stanza 
 beginning 
 
 Hoff, O du arme Seele 
 
 Hoff und sei unverzagt . . . 
 as 
 
 Give to the winds thy fears 
 
 Hope and be undismayed 
 
 God hears thy sighs and counts thy tears 
 
 God shall lift up thy head." 
 
 Omitting also stanzas IX-XI inclusive, in which the original emphasizes 
 or repeats in sameness of strain the thoughts of the earlier part of the poem, 
 Wesley offers in his final strophe a strong conclusion, though he departs 
 from the idea of Gerhardt's theme of distress for which termination is 
 besought, and dwells upon the weakness to which man is prone. While 
 Gerhardt asks to be guided to Heaven, to be entrusted ("empfohlen") to 
 God's care, which one would expect for the appropriate conclusion of a 
 poem beginning "Befiehl du deine Wege," Wesley prays only that God's 
 children may remember His care : 
 
 Let us, in life, in death, 
 Thy steadfast truth declare 
 And publish, with our latest breath. 
 Thy love and guardian care ! 
 
 The nearest date that can be set for the other early English translation 
 of this most famous of Gerhardt's hymns is 1754 in the Moravian Hymn 
 Book of that year where it appeared without the name of the author. It is 
 very likely the work of the editor himself. Dr. J. Gambold ; for it has many 
 of the characteristics of other hastily made translations in his collection of 
 "German Hymns in the Seventeenth Century." Many of the hymns of the 
 early and exuberant development of Moravian hymnody seem at first sight 
 like a highly-colored and almost morbid growth that had been grafted from 
 without upon the stem of English church song. If the immediate impres- 
 
 " Cf. p. 124. 
 
I20 PAUL GERHARDT AS A HYMN WRITER 
 
 sion this version makes is that of foreignness owing to its phraseology,*' 
 it must be remembered that in reality these efforts are part of a new develop- 
 ment of a real spiritual life, at first perverted into fantastic forms, but 
 certainly capable of culture and ultimately becoming a characteristic and 
 permanent type of English hymn. An unbiassed critic must concede that 
 the whole atmosphere of this hymn in spite of its crudity is still that of 
 childlike simplicity and tender devotion to Christ. 
 
 The author has rendered all stanzas but the fifth ("Und ob gleich alle 
 Teufel," etc.), omitting this possibly because Wesley before him (1739) had 
 omitted it. The stanza is not far inferior to its prototype, stanza III*' of 
 Luther's "Ein' feste Burg," and would seem worthy of being included. 
 The diction of the concluding lines shows evidently the influence of Wesley, 
 who, as has been seen, departs here widely from the idea of Gerhardt. 
 
 Wesley has : 
 
 Let us, in life, in death, 
 Thy steadfast truth declare, 
 And publish, with our latest breath, 
 Thy love and guardian care ! 
 
 The Moravian version reads : 
 
 Till, and beyond death's valley 
 Let us thy Truth declare 
 Yea then emphatically 
 Boast of thy Guardian care. 
 
 Miss Cox preserves the eight-line form and the original metre in her 
 complete translation of the twelve stanzas. Taken as a whole her appeal 
 is far less direct than Wesle3r's, her sentences and. the ideas contained in 
 them being much more involved. On the other hand, in the very first 
 quatrain her word "Trust" gives the keynote of the whole poem at once, a 
 touch that the original certainly contains and which no other translator has 
 successfully reproduced in the first stanza. Strophe IX which is among 
 those passed over by Wesley finds here a good English parallel in what 
 appears to be a well-studied rendering : 
 
 Gerhardt: Er wird zwar eine Weile 
 
 Mit seinem Trost verziehen . . . 
 
 °° Cf . Stanza 2. Rely on God who good is 
 Fix on his work thy notice. 
 Stanza 8. Sometimes he his Assistance 
 
 Does not directly show. 
 Stanza 9. When least thou hop'st that Favour 
 He extricate thee will. 
 " Und wenn die Welt voll Teufel war 
 Und woUt uns gar verschlingen, etc. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 121 
 
 Cox: Awhile, perchance to try thee, 
 He seems to hear thee not. 
 All comfort to deny thee, 
 As if thou wert forgot; . . . 
 
 But undeniably the closest parallel, showing too that she was at home 
 in both languages, is the concluding stanza. Where others fail her transla- 
 tion here excels in that it follows the idea which Gerhardt emphasizes 
 throughout the poem, that of the heart trusting^'' in God : 
 
 End if thou wilt our sorrow, 
 And our probation close; 
 Till then we fain would borrow 
 Strength to support life's woes : 
 To thee our way commending, 
 Whose wisdom orders best. 
 We tread the pathway tending 
 To heaven's eternal rest. 
 
 Much of the native beauty and lyric grace of this charming hymn is to 
 be found in one of the less well known translations — that of Dr. John 
 Guthrie (1869). He very appropriately designates the hymn "The Tri- 
 umph of Trust," and seems to have divined Gerhardt's meaning and use 
 of "Trost"°* as being that comfort which has its source in Trust and Faith. 
 Note Guthrie's treatment of this theme in stanza 2 : 
 
 Trust him and soon with wonder 
 His goodness shalt thou see 
 . . . Tis faith and prayer and waiting 
 That draw the blessing down. 
 
 or again in stanza 8 where the true "Stimmung" is present: 
 
 Trust Him to guard and guide thee, 
 
 And bid thy troubles flee 
 
 Trust Him, whate'er betide thee . . . 
 
 Not as successful in the concluding quatrain as Miss Cox, but neverthe- 
 less sensible of what Gerhardt intended to be the closing theme, as has been 
 noted already, Dr. Guthrie gives us this couplet: 
 
 That on thy care depending. 
 
 We heavenward still may go, . . . 
 
 Dr. John Kelly's version adheres more closely than any other to the metre 
 and language, but it would be impossible by this means to popularize for the 
 
 "Lasz . . . uns . . . deiner Pflege . . . empfohlen sein (stanza XII). 
 " For a discussion of Gerhardt's use of the word "Trost" cf . p. 22. 
 
122 PAUL GERHARDT AS A HYMN WRITER 
 
 English reader Gerhardt's poetry. The translator's effects are altogether 
 too labored, as is apparent in stanza 2 where the only virtue is the very 
 doubtful one of the retention of the feminine rhyme : 
 
 The Lord thou must repose on 
 If thou wouldst prosper sure, 
 His work must ever gaze on 
 If thine is to endure. 
 
 Throughout the poem occurs the same defect, a forcing of the rhyme: 
 
 evil graciously misery 
 
 cavil early see may we 
 
 In the last quatrain Kelly fails, as do the other translators, to bring out 
 Gerhardt's strong repetition of the dominating theme, ending with the very 
 
 inferior couplet 
 
 So come we where prepar'd for 
 Us is our bless'd abode. 
 
 Another translation that, like Kelly's is somewhat ultra-faithful to the 
 original metres is that of Dr. A. T. Russell (1851). He has divided the 
 hymn into three separate poems : 
 
 Part I, stanzas I, II, III, IV. 
 Part II, stanzas V, VI, VII, VIII. 
 Part III, stanzas IX, X, XI, XII. 
 
 In the very passage where others have made their poorest offering Rus- 
 sell has been unusually successful, namely in the last quatrain of stanza II 
 ("Mit Sorgen und mit Crimen," etc.) : 
 
 God yieldeth nought to sorrow 
 And self-tormenting care : 
 Nought, nought with Him availeth; — 
 No power save that of prayer. 
 
 He has obtained literality in a marked degree in the fourth stanza as a 
 close examination will show : 
 
 Weg hast du allerwegen, Thy way is ever open; 
 
 An Mitteln f ehlt dirs nicht ; Thou dost on nought depend ; 
 
 Dein Thun ist lauter Segen, Thine act is only blessing; 
 
 Dein Gang ist lauter Licht, Thy path light without end, 
 
 Dein Werk kann niemand hindern, Thy work can no man hinder, 
 
 Dein Arbeit darf nicht ruhn, Thy purpose none can stay, 
 
 Wann du, was deinen Kindern Since Thou to bless Thy children 
 
 Ersprieszlich ist, willst thun. Through all dost make a way. 
 
 The success is plainly due to the fortunate choice of Anglo-Saxon equiv- 
 alents and the coincidence of verse accent and important words. Con- 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 123 
 
 trast with this in Miss Cox's otherwise good translation her only poor 
 stanza, all but unintelligible to modern readers through the use of the 
 obsolete word "let" (line 6) for "hindrance." 
 
 Stanza 4. Resources rich possessing, 
 That love still finds a way, 
 Thy every act a blessing, 
 Thy pathway cloudless day; 
 In one unbroken tissue, 
 Which no let e'er withstood. 
 It brings to happy issue 
 Plans for thy children's good. 
 
 It is unfortunate that a version so excellent in other respects should 
 include this wide departure from the fervor and whole-heartedness of 
 Gerhardt. 
 
 One final observation is interesting that in his last strophe Russell offers 
 a compromise between Wesley's interpretation and that of Miss Cox : 
 
 Thy truth and Thy protection 
 Forevermore we pray: 
 With these in heavenly glory 
 Shall end our certain way. 
 
 This prayer for protection is closer to Gerhardt's lines and therefore bet- 
 ter than Wesley's bold paraphrase, but it falls far short of the simple and 
 forceful conclusion of Miss Cox: 
 
 To Thee our way commending, 
 Whose wisdom orders best. 
 We tread the pathway tending 
 To heaven's eternal rest. 
 
 Selected Stanzas: 
 
 J. C. Jacobi in Psalmodia Germanica, 1722. 
 
 I. 
 Commit thy Ways and Goings, 
 And all that grieves thy Soul. 
 To him, whose wisest Doings 
 Rule all without Controul : 
 He makes the Times and Seasons 
 Revolve from Year to Year 
 And knows Ways, Means, and Reasons 
 When Help shall best appear. 
 
 (Note: In the wording accompanying the musical score the second line reads "And 
 all what grieves thy Soul.") 
 
124 PAUL GERHARDT AS A HYMN WRITER 
 
 J. Wesley, 1739, in the Schaff-Gilman Library of Religious Poetry. 
 
 I. 
 
 Commit thou all thy griefs 
 
 And ways into his hands, 
 
 To his sure truth and tender care, 
 
 Who earth and heaven commands. 
 
 II. 
 
 Who points the clouds their course, 
 Whom winds and seas obey, 
 He shall direct thy wandering feet. 
 He shall prepare thy way. 
 
 The cento given in most American hymnals : 
 
 Stanza l. Give to the winds thy fears ; 
 Hope, and be undismayed ; 
 God hears thy sighs and counts thy tears ; 
 God shall lift up thy Head. 
 
 Stanza 2. Through waves and clouds and storms. 
 He gently clears thy way; 
 Wait thou His time, so shall this night 
 Soon end in joyous day. 
 
 Stanza 3. What though thou rulest not, 
 Yet heaven and earth and hell 
 Proclaim, God sitteth on the throne, 
 And ruleth all things well. 
 
 Stanza 4. Far, far above thy thought 
 His counsel shall appear, 
 When fully He the work hath wrought 
 That caused thy needless fear. 
 
 In the Moravian Hymn Book, 1754 (by Gambold, himself?). 
 
 Stanza l. Commit thou thy each grievance 
 And Case into his Hands, 
 To his sure Care and guidance, 
 Who heav'n and earth commands : 
 He who's the Clouds Director, 
 Whom Winds and seas obey, 
 He'll be thy feet's Protector, 
 He shall prepare thy Way. 
 
 (Note: the orthography of the Moravian Hymn Book has been retained.) 
 
 A. T. Russell, in his Psalms and Hymns, 1851. 
 
 Stanza i. Thy way and all thy sorrows, 
 Give thou into His hand, — 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 125 
 
 His gracious care unfailing, 
 Who doth the heavens command. 
 Their course and path He giveth 
 To clouds and air and wind: 
 A way thy feet may follow, 
 He too for Thee will find. 
 
 H. Mills, 1856, in his Horae Germanicae. 
 
 Stanza i. Commit Thy way, confiding. 
 When trials here arise. 
 To Him whose hand is guiding 
 The tumults of the skies : 
 There, clouds and tempests raging. 
 Have each its path assign'd, — 
 Will God for thee engaging. 
 No way of safety find? 
 
 Frances Elizabeth Cox, 1864, in the Schafif-Gilman Library of Religious 
 Poetry. 
 
 I. 
 
 To God Thy way commending 
 
 Trust him whose arm of might. 
 
 The heavenly circles bending. 
 
 Guides every star aright: 
 
 The winds and clouds and lightning 
 
 By his sure hand are led; 
 
 And he will, dark shades brightening, 
 
 Show thee what path to tread. 
 
 J. Kelly, 1867, in his Paul Gerkardfs Spiritual Songs. 
 
 Stanza I. Commit whatever grieves thee 
 At heart, and all thy ways. 
 To Him who never leaves thee, 
 On whom creation stays. 
 Who freest courses maketh 
 For clouds, and air, and wind, 
 And care who ever taketh 
 A path for thee to find. 
 
 J. Guthrie, 1869, in his Sacred Lyrics. 
 
 Stanza i. Commit thy way, O weeping 
 And care-encumbered soul. 
 To His all-trusty keeping, 
 Who guides the glowing pole. 
 No cloud or wind fleets o'er thee 
 But God directs its flow; 
 That God will cleave before thee 
 A path wherein to go. 
 
126 PAUL GERHARDT AS A HYMN WRITER 
 
 Mrs. Charles, 1858, in Bishop's Ryle's Collection of Hymns and Spiritual 
 Songs, 1883. 
 
 Stanza i. Commit thy way to God; 
 
 The weight which makes thee faint — 
 Words are to Him no load! 
 To Him breathe thy complaint. 
 He who for winds and clouds 
 Maketh a pathway free, 
 Through wastes or hostile crowds 
 Can make a way for thee. 
 
 1st Gott fiir mich, so trete. — (Goed. 229.) 
 [Trust in God.^ 
 
 Based on Romans, VIII, 31-39. Cf. Koch, IV, 457. Included in Cru. Praxis, 1656, 
 no. 330; thence in Wackernagel: no. 63; Unv. L. S.: no. 418. Lauxmann, in Koch, 
 VIII, 408, quotes Langbecker : "This heroic hymn of Gerhardt's is worthy to be 
 placed side by side with Luther's 'Ein' feste Burg.' " 
 
 The poem was written undoubtedly at the time when the Elector, Freder- 
 ick William of Brandenburg, Gerhardt's sovereign, threatened with his 
 severe displeasure those of the Lutheran clergy who would not sign a 
 declaration'"' binding them not to say anything publicly against the 
 Reformed party. To this, most probably, the words of the thirteenth stanza 
 
 refer, 
 
 Kein Zorn der groszen Fursten 
 Soil mir ein Hindrung sein. 
 
 This hymn, springing from a heart full of faith and courage, has gone 
 to the hearts of many, especially the tried and afflicted, cheering and encour- 
 aging them in the struggles of faith. The third stanza in particular has 
 often been made a blessing : 
 
 Der Grund, da ich mich grunde, 
 1st Christus und sein Blut; . . . 
 
 A pious watchman in Berlin who, when calling the hours of the night, 
 used to sing suitable verses, once sang these lines before the house of a 
 shoemaker, who with some friends, just then assembled late at night, was 
 in danger of leaving the Church and setting up a self-righteous sect. The 
 well-known words, coming so unexpectedly, had the desired effect, the 
 shoemaker declaring to his friends, "As for me, I will rest upon that 
 
 »Cf. p. 4. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 127 
 
 ground of Jesus and his blood, and not seek any other master." The final 
 
 stanza : 
 
 Mein Herze geht in Springen 
 
 Und kann nicht traurig sein, . . . 
 
 has been the dying song of many a believing Christian. 
 
 English Versions: 
 
 1. If God be on my side. 
 
 A good translation omitting stanzas IV-VI, by Miss Winkworth in her Lyra Ger., 
 1855, p. 130. Included, abridged, in Holy Song, 1869, and the Evang. Hyl., 1880, N. Y. 
 
 Centos from this translation are: 
 
 (a) "If Jesus be my friend" (stanza I, line s), in the Andover Sabbath H. Bk., 
 1858; Hatfield's Church Book, 1872, etc. 
 
 (b) "Since Jesus is my friend" (stanza I, line S altered), in Robinson's Songs for 
 the Sanctuary, N. Y., 1865 ; Laudes Domini, 1884, etc. 
 
 (c) "Here I can firmly rest" (stanza II), in the Andover Sabbath H. Bk., 1858; 
 Pennsylvanian Lutheran Church Book, 1868. 
 
 2. If God Himself be for me. 
 
 A good translation omitting stanzas IV-VI, X, by R. Massie in his Lyra Domestica, 
 1864, p. no; from this are varying centos, e. g. Laudes Domini, 1884, no. 378 begin- 
 ning: "I build on this foundation" (stanza III). 
 
 3. Is God for me? I fear not. 
 
 A free but spirited version, omitting stanzas V, XI, XII, by Mrs. Bevan in her 
 Songs of Eternal Life, 1858, p. 39. This version was repeated and abridged in Snepp's 
 Songs of Grace and Glory. In Reid's Praise Book, 1872, it appears as three hymns, 
 the first as above; (2) "There is no condemnation" (stanza VI), and (3) "In 
 heaven is mine inheritance" (stanza X). 
 
 4. Is God for me? t'oppose me. 
 
 In full, by /. Kelly, 1867, p. 208. The Ohio Luth. Hyl. includes a part of this ver- 
 sion, i. e. the translation of stanzas III, XIV, XV, beginning "My Faith securely 
 buildeth." 
 
 5. Is God for me? what is it. 
 
 /. C. Jacobi, 1725, p. 41 (1732, p. 139). Included in the Moravian H. Book, 1754, and 
 altered in Bishop Ryle's Collection, 1883. In later editions it is abridged, beginning 
 "Is God my strong salvation?" 
 
 6. The vrorld may rise against me round. 
 
 Also "The world may fall beneath my feet," translations of stanzas I and XIII, 
 by Mrs. Stanley Carr in her translation of Wildenhahn's Paul Gerhardt, 1845 (1856, 
 p. 173). 
 
 7. If Christ is mine, then all is mine. 
 
 A hymn of three stanzas in M. W. Stryker's Church Praise Book, 1884, no. 485, 
 marked "Benjamin Beddome 1776." Another cento is given in Bishop Ryle's Hymns 
 and Spiritual Songs, 1883, p. 71. 
 
 "If God is mine, then present things." 
 
128 PAUL GERHARDT AS A HYMN WRITER 
 
 The earliest accessible English version is that of Jacobi, 1725, printed in 
 the 1754 Moravian Hymn Book. The translations by this author are 
 usually very crude and painfully laborious, but in the present case, with a 
 few notable exceptions, he has very well caught the ring and spirit of 
 Gerhardt. Later compilers and publishers of hymns would of course omit 
 
 the lines : 
 
 "His Grace has cleansed and polished 
 My humble Soul within." (stanza 5.) 
 and 
 
 "All this I have digested." (stanza 12.) 
 
 Like many of the early translators of German hymns Jacobi is guilty of 
 frequent imperfect rhymes : 
 
 ^^"* stanza 4 'P^*:^^ stanza 14 !'°"^ stanza 15 
 
 spirit conjecture begun 
 
 If we overlook these defects the version is one of the best that has 
 appeared so far in English or American hymnals and considerably above 
 the standard'" of the Moravian hymns of the early eighteenth century. The 
 following lines offer a very true counterpart of the German : 
 
 "All woes give way and flee," line 4. 
 
 "And that in Change and Chances 
 He stands at my right hand." lines 13, 14. 
 
 "The ground of my possession 
 Is Jesus and his Blood." lines 17, 18. 
 
 "Should Earth lose its foundation 
 Thou stand'st my lasting Rock." lines 97, 98. 
 
 Bishop Ryle in taking over this version into his Hymns and Spiritual 
 Songs has made a number of alterations, presenting a cento of four stanzas. 
 His stanza 3, for example, is a combination of Jacobi's last quatrain of 
 stanza 9 and first quatrain of stanza 10: 
 
 Ryle (stanza 3). Jacobi (stanza 9). 
 
 For me there is provided And how he hath provided 
 
 A city fair and new ; A city new and fair 
 
 To it I shall be guided, — Where things, our Faith did credit 
 
 Jerusalem the true! Shall to our eyes appear. 
 
 (stanza 10.) 
 My portion there is lying. My portion there is lying 
 
 A destined Canaan lot; A destin'd Canaan-lot 
 
 Though I am daily dying, Tho' I am daily dying. 
 
 My Canaan withers not. My Heaven withers not. 
 
 '° Cf. pp. 30 and 71. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 129 
 
 American congregations are familiar with the hymn : 
 
 Since Jesus is my friend 
 (If) (be) 
 
 And I to him belong . . . 
 
 It is often called "The Rest of Faith," and is a cento of Miss Winkworth'^ 
 very excellent version. Although she has not preserved the metre of the 
 poem Miss Winkworth has thoroughly caught its spirit even imitating in 
 the widely known last stanza^^ the sound sequence and alliteration : 
 
 My heart for gladness springs, 
 It cannot more be sad. 
 For very joy it laughs and sings. 
 Sees nought but sunshine glad. 
 
 The sun that glads mine eyes 
 Is Christ the Lord I love, 
 I sing for joy of that which lies 
 Stored up for us above. 
 
 For free adaptations from this hymn cf. pp. 139 and 136. 
 Selected Stanzas: 
 
 J. C. Jacobi (1725) in the Moravian Hymn Book (ed. 1754). 
 
 Stanza i. Is God for me, what is it 
 That Men can do to me? 
 Oft as my God I visit. 
 All woes give way and flee. 
 '^ If God my Head and Master 
 Defend me from above. 
 What pain or what disaster 
 Can drive me from his Love? 
 
 B. Beddome, 1776, in Bishop Ryle's Hymns and Spiritual Songs. 
 
 Stanza l. If God is mine, then present things 
 And things to come are mine; 
 Yes Christ, His Word, and Spirit too. 
 And glory all divine. 
 
 3. If He is mine, I need not fear 
 The rage of earth and hell ; 
 
 " Cf . p. 127. 
 
 " In Bishop Ryle's collection the quatrain reads : 
 
 If God be my salvation. 
 
 My refuge in distress 
 
 What earthly tribulation 
 
 Can shake my inward peace? 
 9 
 
13° PAUL GERHARDT AS A HYMN WRITER 
 
 He will support my feeble power 
 And every foe repel. 
 
 Miss Winkworth in her Lyra Germanica, 1855, p. 130. 
 
 Stanza i. If God be on my side, 
 
 Then let who will oppose 
 
 For oft ere now to Him I cried 
 
 And He hath quelled my foes. 
 
 If Jesus be my Friend, 
 
 If God doth love me well, 
 
 What matters all my foes intend. 
 
 Though strong they be and fell? 
 
 Here I can firmly rest, 
 
 I dare to boast of this, 
 
 That God the Highest and the Best, 
 
 My Friend and Father is. 
 
 From dangerous snares He saves. 
 
 Where'er He bids me go 
 
 He checks the storms and calms the waves, 
 
 Nor lets aught work me woe. 
 
 I rest upon the ground 
 
 Of Jesus and His blood, 
 
 For 'tis through Him that I have found 
 
 The True Eternal God. 
 
 Nought have I of mine own. 
 
 Nought in the life I lead. 
 
 What Christ hath given me, that alone 
 
 Is worth all love indeed. 
 
 His spirit in me dwells. 
 
 O'er all my mind He reigns. 
 
 All care and sadness He dispels, 
 
 And soothes away all pains. 
 
 He prospers day by day 
 
 His work within my heart. 
 
 Till I have strength and faith to say. 
 
 Thou God my Father art ! 
 
 When weakness on me lies. 
 And tempts me to despair. 
 He speaketh words and utters sighs 
 Of more than mortal prayer ; 
 But what no tongue can tell. 
 Thou God canst hear and see. 
 Who readest in the heart full well 
 If aught there pleaseth Thee. etc. 
 
 Mrs. Bevan, 1858, in Snepp's Songs of Grace and Glory, 1872 (abridged 
 version). 
 
 Stanza i. Is God for me? I fear not, though all against me rise; 
 When I call on Christ my Savior, the host of evil flies; 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 131 
 
 My Friend — the Lord Almighty, and He who loves me — God, 
 
 What enemy shall harm me, though coming as a flood? 
 
 I know it, I believe it, I say it fearlessly. 
 
 That God, the Highest, Mightiest, forever loveth me! 
 
 At all times, in all places. He standeth by my side; 
 
 He rules the battle fury, the tempest and the tide. 
 
 J. Kelly, 1867, in his Paul Gerhardt's Spiritual Songs. 
 
 A SONG OF CHRISTIAN CONSOLATION AND JOY. 
 Stanza i. Is God for me? t'oppose me 
 
 A thousand may uprise ; 
 
 When I to pra/r arouse me. 
 
 He'll chase mine enemies. 
 
 And doth the Head befriend me. 
 
 Am I belov'd by God? 
 
 Let foes then rise to rend me. 
 
 The wild opposing brood I 
 
 Geh aus, mein Herz, und suche Freud. — (Goed. 239.)^' 
 
 This beautiful poem of thanksgiving for the divine goodness in the gift of the 
 delights of summer and of anticipation of the joys of Paradise appeared in the 1656 
 cd. of Crti. Praxis, no. 412, in 15 stanzas of 6 lines. It was also printed in H. Miiller's 
 Geistliche Seelenmusik, 1659, and included in Wackernagel: no. 103; Bachmann: no. 
 85; Unv. L. S.: 1851, no. 732. Cf. Koch, IV, 591; VIII, 141. Like Luther, who 
 fondly loved nature and admired its beauties, Gerhardt showed himself in this inspir- 
 ing poem a real lover of God's creation. 
 
 English Versions: 
 
 1. Go forth, my heart, and seek delight. 
 
 A good translation omitting stanza XIV, by Miss Winkworth, in the First Series 
 of her Lyra Ger., 1855, p. 136. Her translation of stanzas VIII-XI, beginning "Thy 
 mighty working, mighty God," was included in the American Sabbath Hymn Book^ 
 1858, and repeated in Boardman's Collection, Philadelphia, 1861. 
 
 2. The golden corn now waxes strong. 
 
 A good translation beginning with stanza VII, contributed by R. Massie to the 1857 
 ed. of Mercer's C. P. and H. Bk., no. 463 (1864, no. 500). In the Appendix to the 
 Second Series of Lyra Domestica Mr. Massie reprinted his translation at page 102, 
 and prefixed a version of stanzas I-VI, beginning "Go forth, my heart, nor linger 
 here." In this form it appeared in full in Reid's Praise Book, 1872. 
 
 3. Come forth, my heart, and seek delight. 
 
 Miss Cox, 1841 and 1864. 
 
 '^ Cf. Friedrich von Spec's hymn : "Der trube Winter ist vorbei" ; also the Volkslied : 
 "Herzlich tut mich erfreuen 
 Die frohlich Sommerzeit." 
 and B. Ringwald's 
 
 "Gottlob, es ist vorhanden die frolich Sommerzeit." 
 
132 PAUL GERHARDT AS A HYMN WRITER 
 
 4. Go forth, my heart, and revel in joy's flow. 
 
 Also "And oft I think, if e'en earth's sin-stained ground," a translation of stanzas 
 I, IX, by Mrs. Stanley Carr in her translation of Wildenhahn's Paul Gerhardt, 1845 
 and 1856. 
 
 5. Go forth, my heart, and seek for praise. 
 
 Dr. J. W. Alexander, in Schaff's Kirchenfreund, 1849, p. 419; reprinted in his work 
 The Breaking Crucible, N. Y., 1861, p. 15. 
 
 6. Go out, my heart, and pleasure seek. 
 
 Miss Manington, 1863, p. 164. 
 
 7. Go forth, my Heart! the year's sweet prime. 
 
 E. Massie, 1866, p. 36. 
 
 8. Go forth, my heart, and seek delight. 
 In this summer. 
 
 /. Kelly, 1867, p. 289. 
 g. Go forth, my heart, and seek the bliss. 
 
 Mrs. E. L. FoUen, in her Lark and Linnet, 1854, p. 30. 
 10. Go out, my heart, and seek delight. 
 
 A good translation omitting stanzas IV, V, VI, and XIV, by Miss Margarete Miins- 
 terberg, in her Harvest of German Verse, 1916. 
 
 None of Gerhardt's poetry has so well lent itself to English words as this 
 hymn of praise for God's goodness and of contemplation of the joys in the 
 next world, and the translators have without exception reproduced most 
 successfully the exquisite feeling for nature which Gerhardt manifests, 
 whether he be singing of forest and brook, or of flowers and fields. Only 
 Miss Winkworth and Dr. Alexander of the four or five prominent trans- 
 lators omit stanza XIV, and they do so apparently on the ground that it 
 contains a complexity of figures. Dr. Massie whose version except for the 
 last stanza has more truly poetic lines than any other offers this paraphrase : 
 
 Make for thy spirit ample room, 
 That thus I may forever bloom. 
 Like plants which root have taken : 
 Oh let me in thy garden be 
 A flourishing and righteous tree, 
 Which never shall be shaken. 
 
 So well have all the translators succeeded that it would be perhaps merely 
 a matter of individual taste as to which of the many excellent lines are 
 deserving of highest praise. Of stanza III Dr. Massie's verses are both 
 more literal and harmonious than the others. Gerhardt sings: 
 
 Die Lerche schwingt sich in die Luft, 
 Das Taublein fleugt aus seiner Kluft 
 Und macht sich in die Walder. 
 
Dr. Kelly: 
 
 Dr. Alexander: 
 
 AND HIS INFLUENCE ON ENGLISH HYMNODY 133 
 
 Dr. Massie interprets : 
 
 The lark mounts singing to the skies : 
 The dove forsakes her clefts, and flies 
 To shady groves and alleys. 
 Miss Winkworth : 
 
 The lark soars singing into space, 
 The dove forsakes her hiding-place. 
 And coos the woods among. 
 
 The lark aspiring soars on high. 
 Flies from her cleft the dove so shy, 
 And seeks the woodland shadow. 
 
 The lark floats high before the breeze. 
 The dove toward the forest-trees 
 From covert speeds along. 
 
 This last version is marred by the accent's falling on the unstressed 
 syllable of "toward" in line 2. Several of our American hymnals contain 
 the cento of four stanzas from Miss Winkworth's version (Gerhardt stanzas 
 VIII-XI incl.) whose ring gives the freshness appropriate in an outdoor 
 hymn of Spring and Summer. 
 
 Selected Stanzas: 
 
 C. Winkworth, 1855, in her Lyra Germanica. 
 
 Stanza i. Go forth my heart and seek delight 
 In all the gifts of God's great might. 
 These pleasant summer hours: 
 Look how the plains for thee and me 
 Have deck'd themselves most fair to see 
 All bright and sweet with flowers. 
 
 8. Thy mighty working, mighty God, 
 Wakes all my pow'rs ; I look abroad. 
 And can no longer rest; 
 
 I, too, must sing when all things sing, 
 And from my heart the praises ring. 
 The Highest loveth best. 
 
 9. If Thou in Thy great love to us. 
 Wilt scatter joy and beauty thus 
 
 O'er this poor earth of ours ; 
 What nobler glories shall be given 
 Hereafter in Thy shining heaven 
 Set round with golden towers 1 
 
 ID. What thrilling joy, when on our sight 
 Christ's garden beams in cloudless light 
 And rings with God's high praise; 
 
134 PAUL GERHARDT AS A HYMN WRITER 
 
 Where all the thousand seraphim 
 In one accordant voice and h3min 
 Their Alleluia raise! 
 
 II. O, were I there! oh, that I now 
 
 Before Thy throne, my God, could bow, 
 And bear my heavenly palm ! 
 Then, like the angels would I raise 
 My voice, and sing thine endless praise 
 In many a sweet-toned psalm. 
 
 J. W. Alexander, 1849, in the Schaff-Gilman Library of Religious Poetry. 
 
 Stanza i. Go forth, my heart, and seek for praise. 
 On these delightsome summer days. 
 
 In what thy God bestows ! 
 How rich the garden's beauties be. 
 How lavishly for me and thee 
 It doth its charms disclose! 
 
 R. Massie, 1863, in the Schaff-Gilman Library of Religious Poetry. 
 
 Stanza 1. Go forth, my heart, nor linger here 
 In this sweet season of the year, 
 When God his gifts dispenses ; 
 See how the gardens in their best 
 For you and me are gayly drest, 
 And ravish all the senses ! 
 
 J. Kelly, 1867, in his Paul Gerhardt's Spiritual Songs. 
 
 Stanza i. Go forth, my heart, and seek delight 
 In this summer time so bright. 
 The bounties God displayeth. 
 The garden's splendour go and see 
 Behold how God for me and thee 
 Them gorgeously arrayeth. 
 
 Miss Margarete Munsterberg, in her Harvest of German Verse, 1916. 
 
 Stanza i. Go out, my heart, and seek delight. 
 In this dear summer time so bright, 
 In God's abundance daily; 
 The beauty of these gardens see. 
 And look, how they for me and thee 
 Have decked themselves so gaily. 
 
 Many hymn writers since Gerhardt have drawn from the same scriptural 
 sources as he, and it would be presumption to attempt to prove that all these 
 had received any direct impulse from his verses ; yet it must be realized 
 that it is to a certain extent impossible that the conceptions of the hymn 
 writers of one age should remain inseparable from the ideas of later poets. 
 Bayard Taylor, in speaking about what he calls "intellectual genealogies in 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 135 
 
 literature," says: "Most authors may be shown to be not imitators, but 
 the spiritual descendants of others, inheriting more or less of their 
 natures."'* In the pages which follow are cited some hymns containing 
 phrases thoroughly suggestive of Gerhardt's lines which will contribute 
 evidence in addition to that already adduced to show the prominent place 
 his works hold as influencing English hymn writing. 
 
 HYMNS SHOWING ADAPTATIONS OF IDEAS AND EXPRESSIONS FROM 
 
 GERHARDT'S POEMS. 
 
 (a) C. Wesley in Hymns and Sacred 
 Poems, 1742, p. 124. (Cf. Job. XIX, 
 25-27.) 
 Stanza i. 
 
 I know that my Redeemer lives : I. 
 
 He lives, and on the Earth shall stand, 
 
 And tho' to Worms my Flesh he gives 
 
 My Dust lies numbered in His Hand. 
 Stanza 2. 
 
 In This Reanimated Clay 
 
 I surely shall behold Him near, 
 
 Shall see Him at the Latter Day 
 
 In all His Majesty appear. 
 Stanza 3. 
 
 I feel what then shall raise me up, 
 Th' Eternal Spirit lives in me, 
 
 This is my Confidence of Hope 
 That God I Face to Face shall see. 
 
 'Gerhardt (Goed. 331). 
 
 Ich weisz, dasz mein Erloser lebt: 
 
 Er lebt . . . 
 
 Er lebt fiirwahr, der starke Held, 
 
 Das Fleisch . . . 
 
 Wird . . . 
 
 zerbrochen . . . 
 
 von Maden . . . 
 
 So wird er mich doch aus der Erd 
 Hernachmals auf erwecken ; 
 Ich selber werd in seinem Licht 
 Ihn sehn und mich erquicken; 
 Mein Auge wird sein Angesicht 
 Mit groszer Lust erblicken; 
 
 line 
 
 I 
 
 3 
 
 5 
 
 30 
 
 31 
 
 32 
 
 33 
 
 17 
 18 
 50 
 
 51 
 52 
 53 
 
 19 
 
 Er wird mich reiszen aus dem Grab 
 Sein Geist wohnt mir im Herzen 
 
 (no. 229, 49) 
 cf. above no. 331, 52, 53 
 
 (b) C. Wesley in Hymns and Sacred 
 
 Poems, p. 180. 
 Stanza i. 
 
 I know that my Redeemer lives 
 
 And ever prays for me 
 
 Stanza 13. 
 
 With me, I know. Thy Spirit dwells, 
 (cf. Wesley, p. 124, stanza 3, line 2 
 
 above.) 
 
 (Goed. 331.) 
 
 Ich weisz, dasz mein Erloser lebt. 
 
 Sein Geist wohnt mir im Herzen 
 
 (no. 229, 49) 
 
 " Studies in German Literature, 1879. 
 '^ Cf. p. 81. 
 
136 
 
 PAUL GERHARDT AS A HYMN WRITER 
 
 Stanza 15. 
 
 Jesu, I hang upon Thy Word, 
 
 I stedfastly believe 
 
 Thou wilt return, and claim me, Lord, 
 And to Thyself receive. 
 Cf. also stanza 23. 
 
 Lord, I believe, and rest secure 
 In Confidence Divine, . . . 
 
 (c) C. Wesley, in Hymns and Sacred 
 Poems, p. 217. 
 
 I. Jesu, my Savior, Brother, Friend 
 On whom I cast my every Care, 
 On whom for all things I depend. 
 Inspire, and then accept my Prayer, 
 
 13. Here let my Soul's sure anchor be 
 Here let me fix my wishful Eyes, 
 
 (d) C. Wesley in Hymns and Sacred 
 
 Poems, p. 146. 
 Stanza i. 
 
 Jesu, my Strength, my Hope, 
 
 (Cf. lines I, 2.) 
 On Thee I cast my Care, 
 
 (Cf. lines 51, 52.) 
 With humble Confidence look up 
 
 (Cf. line 9-) 
 
 And know Thou hearst my Prayer. 
 
 (e) C. Wesley in Wesleyan Hymn Book, 
 1780, no. 3S6. 
 
 O come and dwell in me, 
 Spirit of power within 
 And bring thy glorious liberty 
 From sorrow, fear and sin! 
 
 The inward, deep disease 
 Spirit of health remove 
 Spirit of perfect holiness 
 Spirit of perfect love. 
 
 Das hab ich je und je geglaubt 
 
 (no. 331. 43 ff.) 
 Und fasz ein fest Vertrauen, 
 Ich werde den, der ewig bleibt 
 In meinem Fleische schauen; 
 
 {Goed. 263.)" 
 
 Jesu, allerliebster Bruder, 
 Ders am besten mit mir meint, 
 Du mein Anker, Mast und Ruder 
 Und mein treuster Herzensf reund ; 
 
 Du mein Anker, Mast und Ruder. 
 
 Cf . line 3 above. 
 
 (Goed. 229.)' 
 
 1st Gott fiir mich, so trete I 
 
 Gleich alles wider mich; 2 
 
 Nun weisz und glaub ich feste g 
 
 Dasz Gott, der Hochst und Beste 11 
 
 Mir ganzlich g^nstig sei, 12 
 (Sein Geist) Vertreibet Sorg und 
 
 Schmerzen 51 
 
 Nimmt alien Kummer hin 52 
 
 (Goed. III.)™ 
 
 Zeuch ein zu deinen Thoren, 
 Sei meines Herzens Gast, 
 O hochgeliebter Geist. 
 
 Zeuch ein, lasz mich empfinden 
 Und schmecken deine Kraft, 
 Die Kraft, die uns von Siinden 
 Hulf und Errettung schaflFt. 
 Entsiindige meinen Sinn, . . . 
 
 9fl. 
 
 ■" Cf. p. 72. 
 " Cf. p. 126. 
 "Cf. p. 52. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 That blessed law of thine 
 Father, to me, impart; 
 The Spirit's law of life divine, — 
 O write it in my heart. 
 
 Thy nature be my law 
 Thy spotless sanctity 
 
 And sweetly every moment draw 
 
 My happy soul to Thee! 
 
 Du bist ein Geist, der lehret 
 Wie man recht beten soil. 
 
 Erfiille die Gemiiter 
 Mit reiner Glaubenszier 
 
 Gib Freudigkeit und Starke 
 zu stehen in dem Streit 
 
 Richt unser ganzes Leben 
 AUzeit nach deinem Sinn. 
 
 So hilf uns Frolich sterben 
 Und nach dem Tod ererben 
 Des ewgen Lebens Haus. 
 
 137 
 33 
 
 121 
 126 
 
 (f ) C. Wesley in Pilgrim Hymnal, no. 96. 
 
 From our fears and sins release us 
 Israel's strength and consolation 
 . . . Joy of every loving heart. 
 
 Born to reign in us forever 
 Now thy gracious kingdom bring. 
 
 (Goed. III.) 
 
 Entsiindige meinen Sinn 
 
 Du bist ein Geist der Freuden 
 
 . . . Erleuchtest uns in Leiden 
 
 Mit deines Trostes Licht. 
 
 Du, Herr, hast selbst in Handen 
 
 Die ganze weite Welt, 
 
 ... So gib doch deine Gnad; 
 
 13 
 
 41 ff. 
 
 56 ff. 
 
 In his Psalms and Hymns, 1851, Rev. A. T. Russell includes a group of 
 hymns entitled "The Sufferings of Our Lord." One of them, no. 94, of 
 three stanzas, bears such a striking resemblance to Gerhardt's "O Welt, 
 sieh hier dein Leben"™ that we should be inclined to trace its source to this 
 hymn, though it is signed merely with the author's initials A. T. R. and is 
 offered as original: 
 
 Russell (stanza i). 
 O World, behold Him dying 
 Who is thy life supplying; 
 Behold! He dies for Thee: 
 He who in glory reigneth. 
 No scorn, no shame disdaineth, 
 From endless death my soul to free. 
 
 Stanza 2. 
 
 Now from my Savior floweth 
 The blood His love bestoweth 
 On us that we may live ! 
 What grief His spirit rendeth! 
 
 Gerhardt (stanza i). 
 O Welt, sich hier dein Leben 
 Am Stamm des Kreuzes schweben! 
 Dein Heil sinkt in den Tod ! 
 Der grosze Fiirst der Ehren 
 Laszt willig sich beschweren 
 Mit Schlagen, Hohn und groszen Spott. 
 
 Tritt her und schau mit Fleisze: 
 Sein Leib ist ganz mit Schweisze 
 Des Blutes iiberfuUt; 
 Aus seinem edlen Herzen 
 
 ' Cf . p. 42. 
 
138 
 
 PAUL GERHARDT AS A HYMN WRITER 
 
 Whilst thus He condescendeth 
 His life for us His foes to give. 
 
 Vor unerschopften Schmerzen 
 
 Ein Seufzer nach dem andern quillt. 
 
 Although its second and third lines are taken directly from the Bible, yet 
 stanza 3 as a whole appears to be influenced by the thoughts in Gerhardt's 
 stanzas VIII and III. Line 5 might well be regarded as a condensation of 
 the repeated ideas of confession and repentance in Gerhardt's strophes. 
 (Cf. line 19 "ich und meine Siinden"; line 25 "ich soUte buszen"). 
 
 Russell (stanza 3). 
 
 Of His own will He dieth, 
 Who to His Father crieth, 
 "O Father! mercy show:" 
 
 Come, children of transgression 
 To Jesus make confession; 
 
 Your all to His great love you owe. 
 
 Gerhardt. 
 
 (Lines 43-45.) 
 
 Du springst ins Todes Rachen, 
 Mich frei und los zu machen 
 Von solchem Ungeheur 
 
 (Lines 16 and 17.) 
 
 Du bist ja nicht ein Siinder 
 
 Wie wir und unsre Kinder 
 
 (Line 48.) 
 
 O unerhortes Liebesfeur ! 
 
 A hymn by Dr. Maltbie D. Babcock which has been included in several 
 American hymnals would indicate that while the author may have had before 
 him only the scriptural passage from the Psalms^" as he composed his verses, 
 yet because of the marked similarity of phraseology Gerhardt's hymn 
 "Befiehl du deine Wege" must have been more or less familiar to him 
 through the version of Wesley or another translator. 
 
 Rest in the Lord, my soul 
 
 Commit to him thy way 
 
 What to thy sight seems dark as night 
 
 To him is bright as day. 
 
 Rest in the Lord, my soul 
 He planned for thee thy life 
 Brings fruit from rain brings good 
 
 from pain 
 And peace and joy from strife. 
 
 Rest in the Lord, my soul : 
 This fretting weakens Thee; 
 
 Befiehl du deine Wege 
 Und was dein Herze krankt 
 
 (Lines 9-12.) 
 
 Dem Herren muszt du trauen, 
 
 Wenn dirs soil wolergehen; 
 
 Auf sein Werk muszt du schauen, 
 
 Wenn dein Werk soil bestehn. 
 
 (Lines 41-48.) 
 Hoff, o du arme Seele, 
 Hofif und sei unverzagt 
 Gott wird dich aus der Hole, 
 
 «'Cf. 
 Lord." 
 
 Psalm XXXVH, 
 Cf. p. 114 ff. 
 
 5-7, "Commit thy way unto the Lord 
 
 Rest in the 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 139 
 
 Why not be still? accept his will 
 
 Thou shalt his glory see. 
 
 Maltbie D. Babcock, in the 
 Pilgrim Hymnal, 1912. 
 
 Da dich der Kummer plagt, 
 Mit groszen Gnaden riicken: 
 Erwarte nur die Zeit, 
 So wirst du schon erblicken 
 Die Sonn der schonsten Freud. 
 
 Wesley's adaptation'^ of the thought in "1st Gott fiir mich, so trete" is 
 but one of many sacred poems that treat this theme of the Christian's Hope. 
 A hymn now famihar to many congregations written by James Mont- 
 gomery'^ in 1872 and avowedly based on Psalm XXVIP^ bears so strong a 
 resemblance to this poem of Gerhardt's that two stanzas are here cited to 
 show first the similarity of treatment of the general subject of Faith in the 
 Power of God, and particularly the marked traces of Gerhardt's influence 
 
 upon the English verses. 
 
 Gerhardt (Goed. 229)." 
 
 1st Gott fur mich, so trete i 
 
 Gleich alles wider mich ; 2 
 
 Was kann mir tun der Feinde 7 
 
 Und Widersacher Rott? 8 
 
 Mein Glanz und schones Licht 26 
 
 1st Gott fiir mich, so trete i 
 
 Gleich alles wider mich 2 
 
 Und bin geliebt bei Gott 6 
 
 Nun weisz und glaub ich feste, 9 
 
 . . . dasz ich finde 19 
 
 Das ewge wahre Gut 20 
 
 Wenn ich gleich fall und sterbe 75 
 Sein Geist spricht meinem Geiste 
 Manch siiszes Trostwort zu : 
 
 God is my strong salvation: 
 What foe have I to fear? 
 In darkness and temptation 
 
 My light, my help, is near. 
 Though hosts encamp around me 
 Firm to the fight I stand. 
 What terror can confound me 
 With God at my right hand? 
 
 Place on the Lord reliance 
 My soul with courage wait 
 His truth be thine affiance, 
 When faint and desolate. 
 His might thine heart shall strengthen 
 His love thy joy increase 
 Mercy thy days shall lengthen 
 The Lord will give thee peace. 
 James Montgomery, in his 
 Songs of Zion, 1822. 
 
 With less direct influence than appears in the hymns hitherto mentioned, 
 yet showing much of the spirit of "Auf den Nebel folgt die Sonne"'" is 
 
 ^ Cf. p. 136. 
 
 »"Cf. p. 32. 
 
 ^ "The Lord is my light and my salvation ; whom shall I fear ?" 
 
 ''Cf. p. 126. 
 
 " Cf . p. 68. 
 
140 
 
 PAUL GERHARDT AS A HYMN WRITER 
 
 Sarah Flower Adams' hymn, "He sendeth sun, he sendeth shower." The 
 final line of each stanza introducing the theme of Resignation to God's 
 Will may well have been suggested by the refrain "Was Gott gefallt.'"* 
 
 He sendeth sun, he sendeth shower. 
 Alike they're needful for the flower ; 
 And joys and tears alike are sent 
 
 To give the soul fit nourishment : 
 As comes to me or cloud or sun, 
 Father, thy will, not mine, be done! 
 
 Can loving children e'er reprove 
 With murmurs whom they trust and 
 
 love? 
 Creator, I would ever be 
 A trusting, loving child to thee: 
 As comes to me or cloud or sun, 
 Father, thy will, not mine, be done! 
 
 Oh, ne'er will I at life repine; 
 Enough that thou hast made it mine ; 
 
 When falls the shadow cold of death, 
 
 I yet will sing with parting breath 
 
 As comes to me or shade or sun. 
 Father, thy will, not mine, be done. " 
 Sarah Flower Adams, 1841, in the 
 Schafi-Gilman Lib. of Rel. Poetry. 
 
 Auf den Nebel folgt die Sonne i 
 
 Auf das Trauren Freud und Wonne 2 
 Trost und Labsal, . . Meine Seele 
 
 . . . steigt 4, 5 
 Hat mir meinen Geist erquickt, g 
 
 Gott laszt keinen traurig stehn 50 
 
 Der sich Ihm zu eigen schenkt 52 
 
 Und Ihn in sein Herze senkt; 53 
 
 Wer auf Gott seine HoflFnung setzt S4 
 
 Nu, so lang ich in der Welt 85 
 
 Haben werde Haus und Zelt 86 
 
 . . . Ich will all mein Leben lang 89 
 . . . Hiefiir bringen Lob und 
 
 Dank, gi 
 
 Ich will gehn in Angst und Not gg 
 
 Ich will gehn bis in den Tod lOO 
 
 Ich will gehn ins Grab hinein lOl 
 
 Und doch allzeit frolich sein 102 
 
 A very familiar hymn in English-speaking countries is Thomas Rawson 
 Taylor's "I'm but a stranger here" written in 1834. It was published in 
 1836 in his Memoirs and Select Remains, and headed "Heaven is my 
 home. Air — 'Robin Adair.' " In America it is usually sung to Arthur S. 
 Sullivan's "Saint's Rest." The hymn so closely resembles Gerhardt's 
 lines in "Ich bin ein Gast auf Erden"''^ that the parallels are given below : 
 
 I'm but a stranger here; 
 Earth is a desert drear. 
 
 Heaven is my home. 
 Danger and sorrow stand 
 Round me on every hand. 
 Heaven is my fatherland. 
 
 Heaven is my home. 
 
 Ich bin ein Gast auf Erden 
 
 Was ist mein ganzes Wesen 
 Als Miih und Not gewesen 
 
 Da ist mein Vaterland 
 
 9 
 II 
 
 ' Cf . p. 56. 
 ' Cf . p. 74- 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 141 
 
 2. What though the tempests rage, 
 Short is my pilgrimage, 
 
 Heaven is my home. 
 And time's wild wintry blast 
 Soon will be overpast, 
 I shall reach home at last 
 
 Heaven is my home. 
 
 3. There at my Savior's side, 
 I shall be glorified. 
 
 Heaven is my home. 
 
 There with the good and blest 
 Those I loved most and best, 
 I shall forever rest; 
 
 Heaven is my home. 
 
 4. Therefore I'll murmur not, 
 Whate'er my earthly lot. 
 
 Heaven is my home. 
 
 For I shall surely stand 
 There at my Lord's right hand; — 
 Heaven is my fatherland, 
 Heaven is my home. 
 
 Mich hat auf meinen Wegen 17 
 
 Manch barter Sturm erschreckt; 18 
 
 Blitz, Donner, Wind und Regen 19 
 
 Hat mir manch Angst erweckt; 20 
 
 So will ich swar nun treiben 57 
 
 Mein Leben durch die Welt 58 
 
 Doch denk ich nicht zu bleiben 59 
 
 In diesem fremden Zelt. 60 
 
 Mein Heimat ist dort droben, 65 
 
 Da aller Engel Schaar 66 
 Den groszen Herrscher loben . . 67 
 
 Die frommen heilgen Seelen 41 
 
 Die giengen fort und fort 42 
 
 Da will ich immer wohnen, 105 
 
 Bei denen, die mit Kronen 107 
 
 Du ausgeschmiicket hast 108 
 
 Da will ich . . . 109 
 
 In meinem Erbteil ruhn. 112 
 
 Hab ich doch miiszen leiden 23 
 
 Und tragen mit Geduld, 24 
 
 Es musz ja durchgedrungen 53 
 
 Es musz gelitten sein; 54 
 
 So will ich zwar nun treiben 57 
 
 Mein Leben durch die Welt. 58 
 
 Cf. lines 105-112, above, quoted opp. 
 stanza 3. 
 
 Other similarities to "Ich bin ein Gast auf Erden" are : 
 
 (a) "The Pilgrim," by Sarah H. Palfrey, in the Schaff-Gilman Lib. Rel. 
 
 Poetry. 
 
 A Pilgrim am I on my way 
 
 To seek and find the Holy Land . . . 
 
 This poem would perhaps bear but slight resemblance to Gerhardt's were 
 it not for the final stanza where the element of Joy is introduced: 
 
 While Joy shall spring 
 
 with me- through heaven's straight door. 
 
 These lines are certainly suggestive of Gerhardt's words in his stanza 
 
 XIII : 
 
 Du aber, meine Freude . . . du zeuchst mich . . . 
 Ins Haus der ewgen Wonne. 
 
 (b) "The Pilgrim's song," by H. F. Lyte, in his Poems chiefly Religious, 
 1833 and 1845. 
 
142 PAUL GERHARDT AS A HYMN WRITER 
 
 Stanza i. My rest is in heaven; my rest is not here; 
 
 Then why should I murmur when trials are near? 
 Be hushed, my dark spirit ! the worst that can come 
 But shortens thy journey, and hastens thee home. 
 
 2. It is not for me to be seeking my bliss 
 
 And building my hopes in a region like this : 
 I look for a city which hands have not piled ; 
 I pant for a country by sin undefiled. . . . 
 
 4. Afflictions may damp me, they cannot destroy; 
 
 One glimpse of thy love turns them all into joy: . . . 
 
 5. Let doubt then, and danger, my progress oppose ; 
 
 They only make heaven more sweet at the close. . . . 
 
 6. A scrip on my back, and a staff in my hand, 
 / march on in haste through an enemy's land: 
 The road may be rough, but it cannot be long ; 
 
 And I'll smooth it with hope and I'll cheer it with song. 
 
 Although Lyte based his hymn on Hebrews IV, 9, "There remaineth 
 therefore a rest to the people of God," he treats in his concluding stanza 
 the additional theme of hope and cheer which, as has been seen,** was a 
 constant and favorite topic with Gerhardt. Since this chapter of Hebrews 
 has no direct reference to this theme we have good reason to assume that 
 from the striking similarity of language of the two hymns Lyte was influ- 
 enced by Gerhardt's "Ich bin ein Gast auf Erden." Especially in stanza 
 VII is the likeness most noticeable : 
 
 So will ich zwar nun treiben 
 
 Mein Leben durch die Welt, 
 
 Doch denk ich nicht zu bleiben 
 
 In diesem fremden Zelt. (Cf. Lyte stanza 6.) 
 
 Ich wandre meine Straszen, 
 
 Die zu der Heimat fuhrt, (Cf. Lyte stanza i.) 
 
 Da mich ohn alle Maszen 
 
 Mein Vater trosten wird. (Cf. Lyte stanza 5.) 
 
 (c) "In exile here we wander," by W. Cooke. [Septuagesima.] This 
 hymn appeared in the Hymnary, 1872, under the signature "A. C. C." (i. e., 
 "A Canon of Chester"), and is definitely known to have been suggested to 
 Canon Cooke by Gerhardt's hymn. In Thring's Collection, 1882, stanza 
 III, lines 4-8 is altered to : 
 
 And we shall rise in that great day 
 
 In bodies like to Thine 
 
 And with Thy saints in bright array, (Cf. lines 65, 66.) 
 
 Shall in Thy glory shine. (Cf. line 104.) 
 
 ^Cf. p. 22. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 143 
 
 There are of course ntmierous adaptations of Gerhardt's work which 
 have less merit than those which have been mentioned, but it would be 
 beyond the scope of this thesis to discuss them. From our consideration up 
 to this point we may draw the following conclusions : many translators have 
 taken the liberty of altering the original versions thereby injuring perhaps 
 just those hymns possessed of the greatest warmth and vigor and have in 
 this way prevented our poet from being more fully acknowledged; at the 
 same time the best of his hymns as devotional lyrics with a pathos and 
 sympathy which are exceptionally beautiful and powerful have become 
 naturalized in English-speaking countries by the really good translations 
 and will always serve to enkindle devotion and strengthen grace in the 
 true Christian worshipper. 
 
 FINIS. 
 
APPENDIX 
 
 SHORT BIOGRAPHICAL SKETCHES OF TRANSLATORS 
 
 Alexander, James Waddell, D.D., born 1804, graduated at Princeton, 1820, and was 
 successively Professor of Rhetoric at Princeton, Pastor in New York, Professor of 
 Church History, Princeton, and Pastor of the Fifth Avenue Presbyterian Church, 
 New York. He died in 1859. His works include some translations published about 
 two years after his death, under the title The Breaking Crucible and other Translor- 
 tions. Of these translations the most noted is "O Sacred Head now Wounded." 
 He has translated nos. 25, 49, 239.^ 
 
 Beddome, Benjamin, M.A. This prolific hymn writer was born at Henley-in-Arden, 
 Warwickshire, January 23, 1717, where his father was at that time Baptist minister. 
 He was apprenticed to a surgeon in Bristol, but removing to London, he joined in 
 1739 the Baptist Church, and became one of the most respected Baptist ministers in 
 England. In 1770 he received the degree of M.A. from Rhode Island College,^ Provi- 
 dence. He died September 3, 1795. It was his practice to prepare a hymn every week 
 to be sung after his Sunday morning sermon. Many of these found their way into 
 the General Baptist Hymn Book of 1793, and other collections. His popularity is now 
 mainly in America. He has translated no. 64. 
 
 Bevan, Emma Frances, nee Shuttleworth, born at Oxford, 1827. Mrs. Bevan pub- 
 lished in 1858 a series of translations from the German as Songs of Eternal Life 
 (London) which are above the average in merit. She has translated nos. 185 and 229. 
 
 BorthvTick, Jane, born 1813 at Edinburgh. Together with her sister, Mrs. Findlater 
 (q. v.), she translated from the German Hymns from the Land of Luther in four series. 
 These translations have attained great success and hardly a hymnal in England or 
 America has appeared without containing some of them. Under the signature of 
 "H. L. L." Miss Borthwick has written various prose works and contributed many 
 original poems to the Family Treasury and to other collections. She has translated 
 nos. i8s and 284. 
 
 BuckoU, Henry James, M.A., born 1803. He was educated at Rugby and Queen's 
 College, Oxford, graduating in 1826. He took Holy Orders in 1827 and died at Rugby 
 in 1871. In 1839 he edited a Collection of Hymns for the Rugby Parish Church, and 
 in 1850 compiled a new edition of the Collection for the Rugby School Chapel. That 
 collection contains 14 of his hymns, a few of which were translations from the Latin 
 and German. His Hymns translated from the German was published 1832. He has 
 translated nos. 59, 60, 106. 
 
 Burns, James Drummond, M.A., born at Edinburgh, 1823, and educated at Edin- 
 burgh University. In 1855 he became minister of Harapstead Presbyterian Church, 
 London. He died in 1864. Among his hymns which have become widely popular are 
 39 translations from the German which appeared in the Family Treasury. They are 
 rendered exactly in the meters of the originals and many had not previously been 
 translated. He has translated no. 71. 
 
 ^ The numbers refer to the page on which the poem begins in the Goedeke text. 
 ' The early name of Brown University. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 145 
 
 Charles, Elizabeth, nee Rundle, born in Devonshire, the author of numerous and 
 popular works on the early Christian life in Great Britain, of Luther and his times 
 and of Wesley and his work. She has made some valuable contributions to hymnody, 
 including original hymns and translations from the Latin and German. They appeared 
 in The Voice of Christian Life in Song, 1858. She has translated nos. 68, 142, 185. 
 
 Cox, Frances Elizabeth, born at Oxford, well known as the translator of hytnns from 
 the German. Her translations were published as Sacred Hymns from the German, 
 London, 1st ed., 1841, containing 49 translations printed with the original text together 
 with biographical notes on the German authors. In the 2d ed., 1864, the number was 
 increased to S6. She has translated nos. 60, 67, 68, iii, 118, 150, 185, 239, 293. 
 
 Dunn, Catherine Hannah, born at Nottingham, England, 1815, died 1863. In 1857 
 she published a little volume of 36 Hymns from, the German. She has translated nos. 
 49, 60, 68, 89, ni, 139,. i8s, 293. 
 
 Findlater, Mrs. (Sarah Borthwick) born 1823, sister of Miss Jane Borthwick (q. v.). 
 She has translated nos. 60, 89, 139. 
 
 Frothingham, Nathaniel Langdon, D.D., born at Boston, 1793, and graduated at 
 Harvard, 1811, where he was also sometime Tutor. From 1815 to 1850 he was Pastor 
 of the First Church (Unitarian), Boston. He died in 1870. His Metrical Pieces were 
 published in 1855 and 1870. He has translated nos. 59, 74, 122, 155, 185, 274. 
 
 Gambold, John, M.A., was born 1711, graduated at Christ Church, Oxford, B.A. 
 1730, M.A. 1734. Taking Holy Orders, he became, about 1739, Vicar of Stanton Har- 
 court, Oxfordshire, but resigned 1742 and joined the United Brethren (Moravians) 
 by whom he was chosen one of their bishops in 1754. He died in 1771. About 26 
 translations and 18 original hymns in the Moravian Hymn Book are assigned to him. 
 One or two of his hymns, which were published by the Wesleys, have been claimed for 
 them, but the evidence is in favor of Gambold. A collected edition of hSs works was 
 published at Bath in 1789, and afterwards reprinted. He has translated nos. 49, 68, 71. 
 
 Guthrie, John, D.D., born 1814, graduated Edinburgh M.A. 1835. Sympathizing with 
 the views of Dr. James Morison he was deposed from his pastorate and joined with 
 Dr. Morison in forming the Evangelical Union, compiling in 1856 their hymn book. 
 In 1869 he published Sacred Lyrics; Hymns original and translated from the German, 
 with versions of Psalms. London, 1869. Many of these hymns have much beauty and 
 sweetness. He has translated nos. 60, 68, 71, 100, 185. 
 
 Jackson, Samuel Macauley, from 1876 to 1880 pastor at Norwood, New Jersey, 
 was born in 1851. He graduated from the College of the City of New York in 1870 
 and from Union Theological Seminary in 1873, after which he spent two years in 
 travel, visiting Europe and the East. He was editor-in-chief of the New SchaflE- 
 Herzog Encyclopaedia of Religious Knowledge, and the author of Huldreich Zwingli 
 {Heroes of the Reformation Series), 1901, 1903; Zwingli Selections, 1901. He has 
 translated no. 49. 
 
 Jacobi, John Christian, a native of Germany, was born in 1670, and appointed 
 Keeper of the Royal German Chapel, St. James's Palace, London, about 1708. He 
 held that post for 42 years and died in 1750. Among his publications are Psalmodia 
 Germardca . . . translated from High Dutch' He has translated nos. 25, 59, 76, 
 III, i8s, 229, 23s. 
 
 ' In the XVIIIth Century this term was current for "High German." 
 10 
 
146 PAUL GERHARDT AS A HYMN WRITER 
 
 Kelly, John, educated at Glasgow Universitj, studied theology at Bonn, New Col- 
 lege, Edinburgh, and the Theological College of the English Presbyterian Church. 
 His translations of Gerhardt's Spiritual Songs were published in 1867. His Hymns of 
 the Present Century from the German was published in 1886. He has translated nos. 
 3, 7, IS, 17, 19, 23, 25, 28, 49. 59, 60, 62, 6s, 67, 68, 71, 74, 78, 80, 81, 83, 89, 91, 93, 95, 
 100, 106, 108, 118, 120, 122, 124, 130, 13s, 139, 142, 150, 153, 15s, 158, 161, 171, 173, 176, 
 178, i8s, 200, 205, 209, 212, 217, 220, 224, 226, 229, 232, 235, 239, 260, 263, 267, 271, 274, 
 284, 287, 289, 293, 296, 302, 304, 310, 312, 315, 319, 324. 
 
 Kennedy, Benjamin Hall, D.D., born 1804, and educated at St. John's College, Cam- 
 bridge, B.A. 1827. He was later Professor of Greek in Cambridge University, and 
 took Holy Orders in 1829. Besides several textbooks of the classics he published The 
 Psalter, i860, and also Hymnologia Christiana, 1863, which included numerous trans- 
 lations from the German. 
 
 Manington, Alice, born at Brighton, and later lived at Vienna. She published two 
 sets of translations from the German, in 1863, and 1864. She has translated nos. 25, 
 60, 118, ISO, IS3, 158, 239, 312, 331. 
 
 Massie, Edward, M.A., was educated at Wadham College, Oxford; B.A. 1830, 
 M.A. 1834. He took Holy Orders in 1830. He published in 1862 A Few Hymns for 
 Occasional Use in the Services of the Church, and Sacred Odes, 1866 and 1867. The 
 latter contain many translations from the German. He has translated nos. 19, S9, 118, 
 iSS, 239, 293 (2 versions). 
 
 Massie, Richard, born 1800. He published a translation of Martin Luther's Spiritual 
 Songs, London, 1854, also Lyra Domestica, i860. In 1864 he published vol. II which 
 has an "Appendix" of translations of German hymns by various authors. He also 
 contributed many translations of German hymns to Mercer's Church Psalter and 
 Hymn Book, to Reid's British Herald and other periodicals. He has translated nos. 
 19, 25, 46, 47, 49, 108, 161, 176, 229, 23s, 239, 293, 312. 
 
 Mills, Henry, D.D., born at Morristown, N. J., 1786, and graduated from Princeton 
 in 1802. At the opening of the Auburn Theological Seminary in 1821 he was appointed 
 Professor of Biblical Criticism and Oriental Languages from which he retired in 
 i8S4. He died at Auburn in 1867. In 1845 he published Horae Germanicae ; A Ver- 
 sion of German Hymns. This was enlarged in i8s6. He has translated nos. 81, 161, 
 185, 23s, 304. 
 
 Molther, Philipp Heinrich, born in Alsace, 1714. At Jena, where he studied theology, 
 he joined the (Moravian) Brethren in 1737, and went to London 1739. He was minis- 
 ter of the Brethren's congregation at Neuwied from 1750 to 1761, and spent the rest 
 of his life 1762-1780 in Dublin and Bedford. In 1775 he was consecrated as bishop of 
 the Brethren's Unity. He has translated nos. 71, 15s, 2S6. 
 
 Montgomery, James, born 1771. His early years covered a varied experience as 
 bookseller, auctioneer, printer's assistant. He became editor of the Sheffield Iris 
 and continued this work for thirty-one years. He was twice imprisoned in the next 
 two years for items which appeared in the columns of the Iris. He edited many 
 poetical works, among them Original Hymns for Public, Private and Social Devotion, 
 i8S3, The Christian Psalmist, 1823, and Songs of Zion, 1822. Cf. pp. 31, 32, 139. 
 
 Russell, Arthur Tozer, M.A., born 1806, educated at Manchester College, York, and 
 St John's College, Cambridge. In 1829 he was ordained by the bishop of Lincoln. He 
 was the author of many works covering a wide range of subjects of a religious nature, 
 and his original hymns and translations have found their way into many hs^nnals. In 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 147 
 
 1848 various of his own hymns, original and translated from the German, appeared 
 in Hymns for Public Worship, and in 185 1 appeared Psalms and Hymns. He died in 
 1874. He has translated nos. 25, 40, 68, 150, 155, 158, 185, 209, 312. 
 
 Stallybrass, James Steven, born in Siberia in 1826, the son of Rev. E. Stallybrass 
 of the London Missionary Society. He died in London in 1888. He was well known 
 as an educationist, and translated from the German a number of scientific works. He 
 also contributed many translations of German hymns and poems to the various publica- 
 tions of Mr. Curwen, e. g. The Sabbath Hymnbook. He has translated nos. 60, 185. 
 
 Stryker, Melancthon Woolsey, D.D., born in 1851, graduated at Hamilton College 
 1872 and Auburn Theological Seminary 1876. He has held pastorates at Auburn, 
 Ithaca, Holyoke and Chicago, and has edited six works on hymns, contributing many 
 original hymns and several translations. He was President of Hamilton College 1892- 
 1917. He has translated nos. 155, 235. 
 
 Thring, Edward, M.A., brother of Godfrey Thring, was born 1821, and educated 
 at King's College, Cambridge, B.A. 1844. He became Head Master of Uppingham 
 School in 1853 and held this position until his death in 1887. He was the author of 
 several important works for schools and colleges and the joint editor of a hymn book 
 to which he contributed some translations from the German. He has translated no. 60. 
 
 Warner, Anna, born near New York City about 1822. She is the author of the 
 novel Say and Seal, 1859. She edited Hymns of the Church Militant, 1858; and 
 published Wayfaring Hymns, Original and Translated, 1869. She has translated no. 89. 
 
 Wesley, Charles, the great hymn writer of the Wesley family, perhaps the great 
 hymn writer of all ages, no less than 6500 hymns being ascribed to him. He was the 
 youngest son and i8th child of Samuel and Susanna Wesley and was born at 
 Epworth Rectory December 18, 1707, receiving his education at Westminster School 
 and Christ Church, Oxford. He became one of the first band of Oxford Methodists, 
 and went in 173S with his brother John to Georgia as Secretary to Gen. Oglethorpe. 
 His stay there was very short; he returned to England 1736 and shortly afterward 
 came under the influence of Count Zinzendorf and the Moravians. His headquarters 
 were at Bristol till 1771 when he moved to London devoting there much time to the 
 spiritual care of the prisoners in Newgate. He died in 1788. Cf. p. 31. 
 
 Wesley, John, born at Epworth Rectory in 1703. He was educated at Christ Church, 
 Oxford, and in 1729 became director of the little band of "Oxford Methodists." In 
 1735 he went as a missionary of the Society for the Propagation of the Gospel to 
 Georgia where a new colony had been founded under the governorship of Gen. Ogle- 
 thorpe. On his voyage he was deeply impressed with the piety and Christian courage 
 of some German fellow travellers, Moravians. During his short ministry in Georgia 
 he met with many discouragements and returned home much dissatisfied. In London 
 he again fell in with the Moravians and from now on he labored to spread what he 
 believed to be the everlasting gospel, travelling, preaching and making converts. He 
 died at the age of 88 in the year 1791. The part which he actually took in writing the 
 many hymns ascribed to the two brothers John and Charles is difficult to ascertain, 
 but it is reasonably certain that more than thirty translations from the German, French, 
 and Spanish, chiefly from the German, were exclusively his and although somewhat 
 free they embody the fire and energy of the originals and have had a wide circulation. 
 He has translated nos. 71, 185, 200. 
 
 Winkworth, Catherine, born in London in 1829. She took always a deep and active 
 interest in the educational work in connection with the "Clifton Association for the 
 Higher Education of Women" and kindred societies. She published (i) Lyra Ger- 
 
148 PAUL GERHARDT AS A HYMN WRITER 
 
 manica, ist Series 1855; (2) Lyra Germanica, 2d Series 1858; (3) The Chorale Book 
 for England (containing translations from the German, together with music), 1863; 
 and (4) Christian Singers of Germany, 1869. Although not the earliest of modern 
 translators from the German into English, Miss Winkworth is surely the foremost in 
 rank and popularity. Her translations are the most widely used of any from the 
 German and have had more to do with the modern revival of the English use of 
 German hymns than have the versions of any other writer. She has translated nos. 
 25 (2 versions), 49 (2 versions), 60 (2 versions), 62, 71, 76, 83, 95, 100, 108, iii (2 
 versions), 122, 139, 150, 153, 155, 209, 217, 229, 232, 23S, 239, 274, 284, 293, 298, 304. 
 
TABULATIONS' 
 ALLITERATION (cf. p. 19) 
 
 Gerhardt clings to the traditional fondness of the German poet for alliterative 
 phrases. If there be any virtue in the saw regarding "Apt alliteration's artful aid" 
 our poet has found that virtue. The predominating sounds are the consonants; 
 rarely is there alliteration of vowels. An enumeration shows the following results :° 
 
 Sequences of F, 12 ; of G, 36 ; of H, 20 ; of L, 27 ; of S, 30 ; of W, 20 ; of Z, 6. 
 Of the other consonants there is an average of only two or three each. 
 
 B 
 beiszt und brennt 153, 47 
 
 D 
 
 Ohne dasz du, die du hier 2^ 53 
 
 Ich will dein Diener bleiben 41, 42 
 
 . . . drang dich doch 47, 7 
 
 Entziinde mich durch dich 47, 40 
 
 dienen dir 150, 94 
 
 E (a)(i) 
 
 Und aller Erden Ecken 220, 44 
 
 1st ihr erfullet, 270, 12 
 
 F (V) 
 
 Fried und Freude 25, 22 
 
 Freund und Feinde 77, 47 
 
 f tir und f iir 93, 3 
 
 Fried- und Freudenswort 95, 2 
 
 Mit Freuden singen fur und fur 150, 97 
 
 1st meiner Feinde Freude 178, 22 
 
 Trost, Friede, Freud und Leben 190, 7 
 
 Frisch und f reudig 232, 98 
 
 Die voUkommene Freude 244, 120 
 
 Freuden FuUe 274, 3 
 
 Und fasz ein f est Vertrauen ... 331, 44 
 
 G 
 
 Gottes Gnad und Giit 7, 49 
 
 Gott gonnt ihm Guts 13, 80 
 
 ganz und gar 15, 6 
 
 Gottes Grimm 30, 112 
 
 Es griiszet dich mein ganzes 
 
 Geist 44, s 
 
 Dem Geber aller Guter 59, 3 
 
 Gegen Gott 62, 68 &69 
 
 Gnad und Giitigkeit 62, 90 
 
 Gift, Gall und Ungestiim 74, 20 
 
 Gut und Geld 80, 32 
 
 Gall und Gift 81, 23 
 
 Gut und Geld 86, 32 
 
 Dasz dir Gott Gliick, Gut und 
 
 Ehr 89,3 
 
 Gnad und Gute 95, n 
 
 Gottes Gnad und Gab 97, 13 
 
 guldne Gut und Geld 97, 38 
 
 Gottes Geist los, 20 
 
 Gottes Grimm 1 1 1, 75 
 
 Gutes gonnen 1 15, 43 
 
 Geistes Gnad 135, 79 
 
 dein Geist mir giebt 150, 93 
 
 Gift und Gallen 153, 14 
 
 Gut und Geld 153, 57 
 
 Gottes Zorn und groszen Grimm 164, 61 
 
 ganz und gar 178, 8 
 
 Gold ist ihr Gott, Geld ist ihr 
 
 Licht 190,17 
 
 Geist und Glauben 226, 44 
 
 Hat er nicht Gold, so hat er Gott 226, 49 
 Hie ist Gott und Gottes Grund 232,44 
 
 Gottes Gaben 239, 3 
 
 Des groszen Gottes groszes Thun 239, 44 
 
 * In these tabulations the poems are numbered according to the page on which they 
 begin in the Goedeke text, thus : 153, 12 means poem no. 153, line 12. 
 " The tabulation is not exhaustive. A few somewhat forced cases are omitted. 
 
15° 
 
 PAUL GERHARDT AS A HYMN WRITER 
 
 Geld und Gut 242, 65 
 
 Gibt uns Gott dies einge Gut . . . 244, 11 
 
 Gott und Gottes Gunst 248, 1 1 
 
 ganz und gar 253, 2 
 
 Dein Geberde, dein Gesicht 254, 9 
 
 ganz und gar 255, 41 
 
 Geduld ist Gottes Gabe 
 
 Und seines Geistes Gut 267, 25 & 26 
 
 Gottes Grimm . .273, 7 (cf. iii, 75 above) 
 
 ganz und gar 284, 68 
 
 Giiter und Gaben 293, 23 
 
 Gut und Gaben 298, 16 
 
 Gut und Gelde 319, 9 
 
 Gut und Gelde 321, 63 
 
 H 
 
 Mein Herrscher, mein Heifer . . S, 61 
 
 Haus und Hof 7, 32 
 
 Himmels Haus 21, 26 
 
 Die Hande herzlich driicken ... 43, 14 
 Ihr Herz und Hand ist hoch 
 
 bemiiht Si. 29 
 
 Ich mein Heil und Hiilfe hab . . 93, 6 
 
 Meine Hiilfe kommt allein 
 
 Von des Hochsten Handen her 93, 7 & 8 
 
 Hiet und Hiiter 120, 4 
 
 hoch und herrlich 139, 24 
 
 Weil heut der Herr der Herr- 
 
 lichkeit I7i>3 
 
 hartes Herze 200, 51 
 
 ich harr und hoff auf dich 212, 99 
 
 Wol halt und herrlich siege 217, 85 
 
 Haut und Hiille 220, 36 
 
 Sein Hoheit ist des Hochsten 
 
 Huld 226,54 
 
 Haupt und Halse 232, 66 
 
 heilt und hielt 232, ^2 
 
 Heil und Hort 267, 36 
 
 Herr im Haus 267, 56 
 
 Heilen im Herzen 293, 78 
 
 K 
 Knecht und Kind 86, 79 
 
 L 
 
 Lob und Liebe I7, 69 
 
 Lebens Leben 19, 58 
 
 Lieb und Lust 25, 54 
 
 Lieb und Leid 47, 56 
 
 Des Lebens Leben lebet noch ... 51, s 
 
 Leben und Leiden 65, 40 
 
 Ich lechze wie ein Land 65, 46 
 
 liegt und legt 74, 19 
 
 Lebens Lauf 89, 85 
 
 lebt und lacht 139. 44 
 
 Lust und Lachen I49. 35 
 
 Alle Luft Laute ruft iSS, S 
 
 Leib und Seele laben 164, 64 
 
 Lebens Lang 164, loi 
 
 Im ewgen Leben labe I73, 9^ 
 
 Lebens Lauf 180, 72 
 
 Lieb und Leid 2og, 41 
 
 Leib und Leben 229, 93 
 
 Kein Lieben und kein Leiden . . .229, 107 
 
 Lob und lieb 235, 120 
 
 Ist viel mehr Lobs und Liebens 
 
 wert 242, 3 
 
 Sie thut ihm Liebes und kein 
 
 Leid 242,9 
 
 Mein Leben lang 252, 47 
 
 Lieb und Lust 260, 89 
 
 Licht und Leben 271, 44 
 
 Lebens Licht 284,98 
 
 Licht und Leben 313. I9 
 
 Luft und Leben 328,5° 
 
 M 
 
 Mich und mein armes Leben 47, 12 
 
 Entnehmen meinen Mut 74. 29 
 
 Mein Vater musz mich lieben ... 83, 10 
 Alle Menschen muszen leiden . . . 274, 86 
 
 R 
 
 Regen, Reif, und Wind 10, 71 
 
 Ruh und Rast 46. 6 
 
 Reich und Rachen 62, 55 
 
 Ruh und Rast 328, 2 
 
 S 
 
 Ich stund in Spott und Schanden 25, 27 
 
 Springst und singst 28, 47 
 
 In Schlaf und siiszer Stille 30, 48 
 
 schrickt und scheut 49, 10 
 
 So sorgten sie zur selben Zeit ... 51, 50 
 
 du soUt die Sonne schauen 59, 16 
 
 Die Siinden aller Siinder 68, 4 
 
 Schand und Siinden 76, 35 
 
 stiehlt und stellt 80, 31 
 
 Schand und Siinde 81, 13 
 
 Der Seelen Sitz mit Sinn und 
 
 Witz 83,21 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 151 
 
 Der Schatten einen Schemen 86, 33 
 
 sanft und stille 86, 94 
 
 Spiesz und Schwerter 95, 4 
 
 . . . zerstorten Schlosser 
 Und Stadte voller Schutt und 
 
 Stein 95, 39 &40 
 
 Stahl und Steine iii, 86 
 
 Zu stehen in dem Streit lii, 14 
 
 Dein Stab, Herr, und dein 
 
 Sleeken 120, 27 
 
 sanft und still 139, 7 
 
 Ich steh im gewunschten Stande 
 . . . Scham und Schande 
 
 145, 109 & no 
 
 Sammt, Seiden 158, 6g 
 
 selig, siisz, und schon 200, 19 
 
 Stahl noch Stein 209, 61 
 
 Mit Scbimpf und groszer 
 
 Schande 212, 128 
 
 1st voller Freud und Singen 
 Sieht lauter Sonnenschein 
 
 Die Sonne 229, 115, 116 & 117 
 
 Seine Straf en, seine Schlage 235, 91 
 
 Halt sich selbst sauber; weisze 
 
 Seid 242, 43 
 
 Singt und springt 251, 17 
 
 schwache Schnur 254, 22 
 
 Schosz und Schutz 287, 76 
 
 Sind seine Sorgen 
 
 Segnen 293, 32 & 33 
 
 Steht in steter voller Bliit 304, 68 
 
 Thun und Toben 108, 62 
 
 Tod und Teufel 312, 6 
 
 W 
 
 Wind und Wetter 10, 63 
 
 Gott weisz wol, was wir ver- 
 
 mogen 28, 25 
 
 Wirst du und wir mit dir gehn, 
 
 Wenn uns wird 28, 62 & 63 
 
 Um welcher willen 30, 2 
 
 Aus welcher Wund 30, 307 
 
 Hast alles, was ich wiinsch und 
 
 will 46, 26 
 
 Dich hat ein Weib der Welt ge- 
 
 bracht 47, 16 
 
 Mein Weirauch und mein Widder 59, 23 
 Wer dort wird mit verhohnt, 
 Wird hier auch mit gekront; 
 Wer dort mit sterben geht, 
 
 Wird hier auch mit erhoht 74, 69-72 
 
 Werk und Worten 86, 46 
 
 Weisz alle Weisheit 100, 67 
 
 wertes Wort 104, 62 
 
 Wol und Weh I39, 37 
 
 Weg und Weisen 205, 33 
 
 Der Weizen wachset mit Gewalt 239, 37 
 
 Wol und Weh 263, 63 
 
 All deine Werk sind Wunder voU 287, 47 
 Weirauch und Widder 
 
 293, 29 (cf. 59, 23 above) 
 Wort und Willen 293, 75 
 
 Durch Zittern und durch Zagen. . 19, 10 
 
 Mit Zittern und mit Zagen 30, 39 
 
 Zorn, Zank in, 52 
 
 Zeit und Zahl 150, 99 
 
 Zur rechten Zeit zu zahmen .... 169, 11 
 Zu seinem Zweck und Ziel ...... 185, 40 
 
 Special Cases of Alliteration 
 Dein Schirm und Schild, dein 
 
 Hiilf und Heil 118, 55 
 
 Wann Gottes Geist erhebt die 
 
 Hand I73, 41 
 
 Seln Herz ist voller Huld 
 Und gonnt uns lauter Guts. 
 Den Abend wahrt das Weinen, 
 Des Morgans macht das Scheinen 
 
 Der Sonn uns gutes Muts 180, 35-40 
 
 Ich liebe dich und leide Pein 
 
 Bin dein und doch betriibet . . 190, 38 & 39 
 
 Lasset uns loben 
 
 Seliges Sterben 270, 5 & 6 
 
 ASSONANCE 
 
 5, 58 griinen und bliihn 
 
 19, I gehn und treten 
 
 45 Sei der Verlasznen Vater 
 
 46 ... Berater 
 
 47 ... Gabe 
 
 48 Der Armen Gut und Habe. 
 
 23, 69 
 
 28, 
 
 Der Rat und That erfinden 
 
 kann 
 springst und singst 
 Wirst du und wir mit dir gehn 
 Wenn uns wird . . . 
 
152 
 
 PAUL GERHARDT AS A HYMN WRITER 
 
 44, 2 Der herzlich . . . 
 
 3 Wie schmerzlich . . . 
 
 46, 5 Du Tr^er aller Burd und Last 
 6 Du aller Miiden Ruh und Rast 
 
 47, 7 Ach, wie bezwang und drang 
 
 dich doch 
 
 60 All seine Zeit vertreibe 
 
 ^60, 43 Breit aus die Fliigel beide 
 
 44 O Jesu, meine Freude 
 
 45 Und nimm dein Kiichlein ein! 
 
 65, 49 Saft und Kraft 
 
 68, I geht und tragt 
 
 5 matt und krank 
 
 78, 12 selbst zum Heifer stellt 
 
 80, 40 Fiill und Hiill 
 
 91, 58 schlecht und recht 
 
 100, 67 Weisz alle Weisheit 
 
 70 Fleisz und Schweisz 
 
 III, 52 Neid und Streit 
 
 III, 82 Auf Reu der Freuden Blick 
 
 118, 49 sing und spring 
 
 122, 13 Gut und Blut 
 
 124, 27 . . . Spreu zerstreuet 
 
 132, 16 Gut und Blut (cf. 122, 13) 
 
 14s, 47 Jagt und schlagt 
 
 102 sing und klinge 
 
 no Scham und Schande 
 
 149, 15 Wunden unsrer Siinden 
 
 161, 88 Theil und Heil 
 
 164, 3 schlecht und recht (cf. 91, 58) 
 
 131 weit und breit 
 
 171, I weit und breit (cf. 164, 131) 
 
 176, 12 So kennt, so nennt 
 
 193. 43 Tritt und Schritt 
 
 196, 4 Rat und That (cf . 23, 69) 
 
 2QO, 32 Tag und Nacht 
 
 38 Not und Tod 
 
 209, no Da wird mein Weinen lauter 
 Wein, 
 
 III Mein Achzen lauter Jauchzen 
 
 212, 
 
 II 
 
 217, 
 
 4 
 
 220, 
 
 45 
 
 
 46 
 
 229, 
 239, 
 
 45 
 46 
 
 28 
 
 
 44 
 
 242, 72 
 
 244, 
 
 43 
 
 251, 
 
 17 
 
 253, 
 
 19 
 
 254, 
 
 14 
 
 260, 
 
 94 
 
 270. 
 
 
 stanza 
 
 5 
 6 
 
 stanza 
 II 
 12 
 
 stanza 
 17 
 
 18 
 271, 15 
 274, 87 
 284, 71 
 287, 53 
 298, 125 
 
 333. 54 
 
 Rat und That (cf . 23, 69 ; 196, 4) 
 
 geht und steht 
 
 Wer brachte Sonn und Mond 
 herfiir 
 
 Wer machte Krauter, Baum 
 und Thier 
 
 Kein Urtheil mich erschrecket 
 
 Kein Unheil mich betriibt 
 
 Die Wiesen liegen 
 
 Des groszen Gottes groszes 
 Thun 
 
 weit und breit (cf. 164, 131; 
 169, i) 
 
 des roten Goldes Kot 
 
 singt und springt (cf. 28, 47; 
 118, 49) 
 
 Kraft und Macht 
 
 Gieng und hieng 
 
 Rat und That (cf . 23, 69 ; 196, 4) 
 
 In this poem note the unusual 
 scheme of alliteration and 
 sound sequence (r^ular 
 except for one line) in 
 the first four syllables of the 
 concluding couplets of the 
 first three stanzas : 
 
 I 
 
 lasset uns loben . . . 
 
 Seliges Sterben . . . 
 
 2 
 
 Ihre Begierde . . . 
 
 1st ihr erfiillet . . . 
 
 3 
 
 Berkow, das feine, geschickte 
 
 Gemiit 
 Dessen Gedachtnisz . . 
 Tod und Sterbensnot 
 webt und lebet 
 hebt und leget 
 Tag und Jahre Zahl 
 webt und lebt (cf. 274, 87) 
 Rat und That (cf. 23, 69; 
 
 260,94) 
 
 DOUBLETS OF EXACT OR APPROXIMATE SYNONYMS (cf. p. 19) 
 
 Ach und Weh 104, 8 ; 335, 10 
 
 Adern und Gebliite 158, 9 
 
 Angst und Not . . .25, 55 ; 91, 66 ; 150, 89 ; 
 193, 66 ; 209, 26 ; 232, 99 ; 325, 24 
 
 Angst und Noten 185, 71 
 
 Angst, Furcht, Sorg und Schmerz 78, 19 
 Angst und Pein 122, 20 ; 224, s 
 
 Angst und Plagen 1.9, 9 
 
 Angst und Qual . .23, 10 ; 164, 97 ; 198, 8 ; 
 
 271, 12 
 
 Angst und Schmerzen 220, 15 
 
 Angst und Triibsal 145, 30 
 
 Angst und Weh . . .65, 64 ; 164, 53 ; 212, 37 
 angstet und bemuht 78, 27 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 153 
 
 Arm und Kraft 284, 88 
 
 Bahti und Lauf 304, 16 
 
 Bahn und Steg 83, 91 ; 248, 79 
 
 Berg und Spitzen 217, 22 
 
 betriibt und kranket 9S, 3i 
 
 Bett und Lager 313, 13 
 
 bewust und wolbekannt 139, 52 
 
 brechen und fallen 293, 67 
 
 Bund und Zeugnisz 91, 27 
 
 Biird und Last 267, 32 
 
 Burg und Schlosz igo, 90 
 
 Dampf und Rauch 153, 12 
 
 Dieb und Rauber 106, 21 
 
 driick und quale 108, 56 
 
 Ehr und Dank 324, 46 
 
 Ehr und Dienste iii, 15 
 
 Eilend und behend 315, 54 
 
 emsich und bemiihet 328, 16 
 
 Ohn End und alle Masz 47, 41 
 
 Erb und Theil igo, 96 
 
 Erd und Kot IIS, 20 
 
 Erd und Staub 324, 7 
 
 Erd und Thon . '. I53, 7 
 
 Erkenntnisz und Verstand 260, 82 
 
 Ernst und Eifer 30, 246 
 
 fall und sterbe 229, 75 
 
 Fehl und Mangel 278, 23 
 
 Pels und Burg 145, 14 
 
 Pels und Stein 30, 322 ; 127, 53 
 
 Feuer und Licht 242, 29 
 
 Fleisch und Blut . . 30, 31 ; 217, 42 ; 324, 4 ; 
 325,12:328,30 
 
 Fleisz und Schweisz 100, 70 
 
 fliehn und haszen 81, 40 
 
 fleuch und haszt 229, 82 
 
 fliehn und laszen 71, 89 
 
 frech und geil 278, 108 
 
 sich freu und jubiliere 212, 102 
 
 Freud und Lust 97, 49 
 
 Freud und Seligkeit 209, 97 
 
 Freud und Singen 229, 115 
 
 Freud und Trost 51, 181 
 
 Freud und Wonne IS8, 25 ; 232, 2 
 
 Freuden und Lust S, 33 
 
 Mein Freund und treuer Rat 217, 39 
 
 Fried- und Freudenswort gs, 2 
 
 Fried und Ruh 95, 72 ; 205, 83 
 
 Frisch und f reudig 232, 98 
 
 Ftill und Hiill 80, 40 
 
 Furcht und Angst 120, 19 
 
 Furcht und Scheu iS, 43 
 
 Furcht und Schrecken ... 51, 182 ; 229, 58 
 Furcht und Zagen 284, 3g 
 
 Gall und Gift 81, 23 
 
 ganz und gar 15, 6 ; 178, 8 ; 253, 2 ; 
 
 254, 41 ; 284, 68 
 
 ganz und neu 251, 28 
 
 Geist und Gemiite 271, 2 
 
 Geist und Sinn 78, 18 ; 158, 5 
 
 Geist und Sinnen 135, 78 
 
 Geld und Gut 242, 65 
 
 Gemiit und Seele 108, 55 
 
 gem und williglich 71, 84 
 
 getrost und unbetriibt 271, i 
 
 getrost und unverzagt 125, 75 
 
 Gift und Gallen 153, 14 
 
 Glanz und Bild 46, IS 
 
 Glanz und Freudenlicht 118, 54 
 
 Mein Glanz und schones Licht . . 229, 26 
 
 Glanz und Schein 103, 2 
 
 Glaub und Treu 173, 28 ; 205, 40 
 
 Gliick und Freude 10, 84 
 
 Gliick, Gut und Ehr 8g, 3 
 
 Gliick und Heil 95, 30 
 
 Gliick und Segen 108, 88 ; 217, 3 
 
 Gnad und Gab 97, 13 
 
 Gnad und Gunst 304, 3 
 
 Gnad und Giite 95, n 
 
 Gnad und Giitigkeit 62, 90 
 
 Gnad und Hulden 2g3, 84 
 
 Gott und Hort 253, 15 
 
 Gott und Retter 127, 16 
 
 Grab und Sarg 68, 29 
 
 Gram und Leid 135, 127 
 
 Gram und Schmerze 25, 43 
 
 Gras und Laub 324, 8 
 
 Gut und Geld (e) . . 86, 32 ; 97, 38 ; 153, 57 ; 
 319, 9 ,-321, 63 
 
 Gut und Heil 17, S6 
 
 Gut und Waaren 10, 60 
 
 Gut und Segen 21, 27 
 
 Hab und Gut 188, 19 
 
 Hasz und Neid I5, 19 
 
 Haus und Hof 7, 32 
 
154 
 
 PAUL GERHARDT AS 
 
 Haus und Zelt 173, 86 ; 232, 86 
 
 Heil und Gnaden 293, 76 
 
 Heil und Hulf e 93, 6 
 
 Herz und Mut 7, 62 ; 267, 16 
 
 Herz und Sinn 83, i & 2 ; 205, 43 
 
 Heu und Stroh 158, 68 
 
 hoch und herrlich 139, 24 
 
 Hohn und Spott ... 68, 8 ; 183, 17 ; 229, 86 
 
 Hohn und groszem Spott 71, 6 
 
 Huld und Gnaden 324, 23 
 
 Hulf und Errettung iii, 12 
 
 Hiilf und Heil 118, 55 
 
 Hulf und Rat 188, 22 
 
 Hut und Giite 106, 29 
 
 Hut und Wach 287, 26 
 
 in Jammer und in Not 198, 10 
 
 Jauchzen und Freuden S, 72 
 
 Kalt und Frost 118, 17 
 
 kann und mag 239, 43 ; 274, 85 
 
 kann und weisz 25, 16 
 
 Klag und Sorge 226, 12 
 
 klar und rein 287, 39 
 
 Knecht und Kind 86, 79 
 
 Mein Konnen, mein Vermogen.. 235,45 
 
 Kraft und Macht 253, 19 
 
 Last und Biird 226, 22 
 
 Laster und Schande 293, 46 
 
 ^Leib und Leben 229, 93 
 
 Leib und Seel (e) . . 7, 85 ; 25, 19 ; 30, 129 ; 
 
 60i^; 71 , 52 ; 71, 59 ; 83, 20 ; 93, 29 ; 
 
 127, 8 ; 164, 64 ; 248, 22 ; 325, 15 
 
 lenke und fiihre 293, 87 
 
 Lieb und Ehre 217, 45 
 
 Lieb und Gnad 278, 90 
 
 Lieb und Gtit 78, 25 
 
 Lieb und Huld 3, 11 ; 7, 60; 25,60; 
 
 30, 329 ; 6s, 24 
 
 Lieb und Lust 25, 54 
 
 Lieb und Treu 30, 229 
 
 List und Tiick 91, 54 
 
 Lob und Preis 25, 14 ; 248, 5 ; 319, 13 ; 
 
 324, 48 
 
 lobt und preist 10, 90 
 
 Lob und Dank 97, 22 ; 180, 7 ; 232, 91 
 
 Lohn und Sold 271, 33 
 
 Luft und Hoh 15, 24 
 
 A HYMN WRITER 
 
 Lust und Freude 21, 54 ; 180, 88 ; 
 
 193. 31 ; 226, 68 ; 244, 26 
 Lust und Freuden 124, 9 
 
 Macht und Kraft 108, 84 
 
 March und Bein 158, 42 
 
 Mark und Bein 328, 28 
 
 Masz und Zahl 15, 32 
 
 Masz und Ziel 10, 45 ; 183, 62; 232, 84 
 
 Neid und Hasz 321, 10 
 
 Neid und Streit 248, 60 
 
 Ort und Raum 30, 344 ; 161, 39 & 40 
 
 Pein und Schmerz 328, 60 
 
 Pest und Gift Si. 240 
 
 Dein Pilgrim und dein Burger . . 86, 81 
 
 Preis und Dank 106, 4 
 
 Preis und Ehr ISO. 7 
 
 Rank und List 80, 33 
 
 Rat und Hiilf e 307, 4 
 
 Raub und Frasz 321, 12 
 
 rein und gerecht 65, 16 
 
 rein und hell 46, 14 
 
 rein und klar 278, 18 
 
 wir rennen, laufen 315, 50 
 
 Ruh und Rast 32B, 2 
 
 Ruhm und Preis 302, 74 
 
 ruhmt und preist 176, 12 
 
 Sanft und gelind 224, 37 
 
 sanft und still (e) 86,94; 139,7 
 
 Schand und Spott 103, 30 
 
 Schand und Siinde 81, 13 
 
 dein Schatz, dein Erb und Theil 119, 53 
 
 Schild und Hort 93. 39 
 
 Mit Schimpf und groszer 
 
 Schande 212, 128 
 
 Schirm und Schild 118, 55 
 
 schlaft und ruht 33S, 52 
 
 schlagt und driickt 325, 30 
 
 Schmerze und Sorgen 185, 49 & 50 
 
 Schmerz und Weh 226, 9 
 
 schon und klar 158, 61 
 
 Das Schonste und Beste 293, 97 
 
 schrickt und scheut 49, 10 
 
 Schuld und Missethat 256, 109 
 
 Sclav und Knecht 325, 26 
 
 Seel und Geist 81, 44 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 
 
 155 
 
 Dein Seufzen und dein Stohnen 71,91 
 
 singen und loben 120, 48 
 
 sinken und fallen 212, 124 
 
 Sinn und Geiste 263, 69 
 
 (cf. Geist und Sinn, q. v.) 
 
 Sitz und Ort 278, 176 
 
 Sitz und Raum 7, 35 
 
 Sonn und Zier 217, 47 
 
 Sorg und Schmerzen 229, 51 ; 307, 46 
 
 Speis und Malzeit 244, 45 
 
 Spiesz und Schwerter 95, 4 
 
 Spott und Hohn 100, 54 ; 135, 47 
 
 Spott und Schanden 25, 27 
 
 Dein Stab und dein Stecken .... 120, 27 
 
 Stadt und Land 7, 36 
 
 Stark und Kraft . .28, 42:271, 19; 239, 35 
 
 steif und f est 161, 69 ; 178, 37 ; 226, 66 
 
 Stell und Ort 220, 38 ; 310, 27 
 
 Straf und Last 30, 340 
 
 Straf und Zorn 224, 9 
 
 Stuhl und Thron (e) 108, 70 ; 205,^4 
 
 Stund_und_Zeiten 60,34,. 
 
 ^Sturm und Regan 267, 15 
 
 Sturm und Ungewitter 209, 84 
 
 Sturm und Wellen 229, 15 
 
 Sturm und Wetter 7, 25 ; 93, 30 
 
 Sturm und Wind 253, 10 
 
 Thau und Regen 118, 16 
 
 Theil und Erbe 229, 73 
 
 Thun und Machen 19, 23 
 
 Thun und Toben 108, 62 
 
 Dein Tichten, dein Trachten, dein 
 
 Thun .., 5,17 
 
 Tief und See 15, 23 
 
 Tod und Ende 30, 192 
 
 trifft und schlagt 324, 17 
 
 Tritt und Schritt 193, 43 
 
 Trost und Freud (e) 23, i8; 65, 22; 
 
 196, 36 ; 302, 73 
 
 Aller Trost und alle Freude 108, 41 
 
 Trost und Labsal 65, 57 ; 232, 4 
 
 Trost und Licht 328, 82 
 
 Trost und Schild 46, 16 
 
 Wall und Mauren 183, 15 
 
 Weg und Weisen 205, 33 
 
 Wege, Lauf und Bahn 185, 6 
 
 Weh und Klagen 97, So 
 
 Weh und Schmerz(en) . .251, 3; 284, 38 
 
 Weis und Art 335, 62 
 
 Weisheit und Verstand . .139, 51 ; 158, 57 
 weit und breit . . . 164, 131 ; 171, i ; 242, 72 
 Werk und That . .217, 50 ; 220, 8S ; 304, 29 
 
 Werke und Thaten 293, 35 
 
 Wind und Wetter 10, 63 
 
 wirkt und schafit 139, 34 
 
 Witz und Sinn 220, 5 
 
 Wonn und Frohlichkeit 310, 72 
 
 Wort und Reden 278, 20 
 
 Wiird und Ehr 188, 88 
 
 ihre Zahren und Thranen . . . 142, 27 & 28 
 
 Zank und Geifer 321, n 
 
 Zeit und Stund 244, iii 
 
 Zorn und Eifer 321, g 
 
 Zorn und Fluch 103, 9 
 
 Zorn und Grimm 108, 14 
 
 Zorn und groszem Grimm 164, 61 
 
 Zweck und Ziel 185, 40 
 
REPETITION' 
 
 Was ist doch gut ohn diesem Gut ? lo, g6 
 
 Wenn dies Gut nicht im Herzen ruht lO. 97 
 
 Ist alles Gut verworfen lo, 98 
 
 O Haupt vol! Blut und Wunden, 49, i 
 
 Vol! Schmerz und voUer Hohn ! 49, 2 
 
 O Haupt zu Spott gebunden 49, 3 
 
 O Haupt, sonst schon gezieret 49, S 
 
 ^^uf , auf, ihr soUt beginnen '. 60, 5 
 
 Erdengut zerfallt und bricht 89, 35 
 
 Seelengut das schwindet nicht 89, 36 
 
 AUer Trost und alle Freude 108, 41 
 
 Dein Erf reuen ist die Weide 108, 43 
 
 Leuchte mir, o Freudenlicht 108, 45 
 
 Zeuch ein zu deinen Thoren m, 1 
 
 Zeuch ein, lasz mich empfinden m, 9 
 
 Und schmecken deine Kraft^ m, 10 
 
 Die Kraft die uns von Siinden iii, 11 
 
 Was Gott gefallt. . 139, S, 10, 15, 20, etc. (i. e. the concluding line of each of the 20 stanzas) 
 
 Wir singen dir, Emanuel 150, i 
 
 Wir singen dir in deinem Heer 150, 6 
 
 Bist aller Haiden Trost und Licht, 150, 43 
 
 Suchst selber Trost und findst ihn nicht 150, 44 
 
 Du bist der siisze Menschenf reund 150,46 
 
 Doch sind dir so viel Menschen f eind 150, 47 
 
 Befiehl du deine Wege 185, i 
 
 Gibt Wege, Lauf und Bahn 185,6 
 
 Der wird auch Wege finden 185, 7 
 
 SoUt ich meinen Gott nicht singen ? 235, 1 
 
 Sollt ich Ihm nicht dankbar sein? 235, 2 
 
 Alles Ding wahrt seine Zeit 235, 9 
 
 Gottes Lieb in Ewigkeit 235, 10 
 
 (This couplet concludes each of the twelve stanzas) 
 
 JUXTAPOSITION OF WORDS DERIVED FROM THE SAME ROOT, 
 AND PLAYS ON WORDS (cf. p. 19) 
 
 Trotz sei dir, du trotzender Kot ! S, 65 
 
 Erbarm dich, o barmherzigs Herz 7, 76 
 
 Als das geliebte Lieben 25, 35 
 
 Zum Fluch dem, der Ihm flucht 25, 74 
 
 Das nennt der Lastrer Lasterwort 30, 106 
 
 Kein Wachter mag zu machtig sein 39, 323 
 
 Drum, herzes Herze, bitt ich dich 47, 28 
 
 Wer dich recht liebt, ergibt sich f rei, 47, 46 
 
 In deiner Lieb und siiszen Treu 47, 47 
 
 ' The complete tabulation of words and phrases used in repetition is too bulky for 
 printing. These few selections will serve to illustrate this characteristic of Gerhardt's 
 poetry. Cf. p. 19. 
 
 ' Frequently, as here, the last word in the line is repeated as the first word in the 
 next following line. Cf. iii, 69 & 70; 149, 44 & 45; 158, 23 & 24; 161, 117 & 118. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 157 
 
 Der von unbeschnittnem Herzen 67. 3 
 
 . . . . mit Beschneidung 67,5 
 
 Die Siinden aller Sunder 68, 4 
 
 O Wunderlieb 1 o Liebesmacht 68, 25 
 
 Die Trubsal triibt mir nicht 74. 45 
 
 Das Ungluck ist mein Gliick 74i 47 
 
 Griindst des tiefen Meeres Grund 76, 28 
 
 Und wo kein Mensch nicht helfen kann 781 n 
 
 Sich selbst zum Heifer stellt 78, 12 
 
 Und Vater meines Lebens 81, 2 
 
 Wo du mein Leben nicht regierst 81, 3 
 
 So leb ich hier vergebens ; 81, 4 
 
 Ja lebendig bin ich auch todt, 81, s 
 
 . . . . Der hat das rechte Leben 81,8 
 
 Der Wird zu Schanden, der dich schandt 9i> S 
 
 Und wie mich der so hoch erhoht, 97. 6 
 
 Der selbst so hoch erhoben 97. 7 
 
 Heifer in der rechten Zeit 108, 6 
 
 Hilf, o Heiland 108, 7 
 
 Ein Freund der Freundlichkeit m, 5° 
 
 Der Feindschaft bist du feind lii, 53 
 
 Zu riihmen seinen Ruhm ! US, 74 
 
 Kann uns doch kein Tod nicht todten 122, 43 
 
 Auch todte mich durch deinen Tod 132, 58 
 
 Lasz mich deinen Schutz beschiitzen 145, 11 
 
 Wenn mir Lebenskraf t gebricht ; 14S, 76 
 
 Lasz mein Leben in dir leben 145, 77 
 
 Ich steh im gewunschten Stande 145, 109 
 
 Sein Licht und Heil macht alles heil 153, 21 
 
 Du bist meines Leben Leben 155, 70 
 
 .... dasz ich mein End 161, 113 
 
 Auch also mochte enden 161, 114 
 
 Durch Adams Fall gefallen 173, 15 
 
 Durch dieses Fallen ist die Macht 173, 16 
 
 Weg hast du allerwegen 185, 25 
 
 .... kein Sinnen 220, 79 
 
 Ihm hat ersinnen konnen ! 220, 80 
 
 Der Grund, da ich mich griinde 229, 17 
 
 .... mein Vermogen 23S, 45 
 
 Nichts vermag, nichts helfen kann, 235, 46 
 
 Sein Vermogen beizulegen 235, 48 
 
 Wann andre loschen Feuer und Licht, 242, 29 
 
 Verloscht doch ihre Leuchte nicht 242, 30 
 
 Ich lieb ihr liebes Angesicht 260, 41 
 
 Giitig dem, der Gutes thut 307, 79 
 
 Nun, der sei mein schonstes Gut 307, 80 
 
 PLAYS ON WORDS 
 
 Herr Fromm ist f romm, das weisz man wol 13, 82 
 
 Der Frommen Lohn 13, 124 (cf . 13, 82) 
 
 Sein Licht und Heil macht alles heil 153, 21 
 
 Da wird mein Weinen lauter Wein 209, no 
 
 Wie seinem Mut zu Mute sei 223, 123 
 
 Steht in steter voller Bliit 304, 68 
 
INDEX BY SUBJECTS* 
 
 Goedeke 
 Holy Trinity Page Page 
 
 I. Was alle Weisheit in der Welt ^^6 62 
 
 Advent 
 
 1. Warum willst du drauszen stehen ^°° Si 
 
 2. Wie soil ich dich empfangen ^S 82 
 
 Christmas 
 
 1. Frolich soil mein Herze springen ISS 5° 
 
 2. Ich steh an deiner Krippen hier 158 60 
 
 3. Kommt und laszt uns Christum ehren 312 79 
 
 4. O Jesu Christ, dein Kripplein ist IS3 57 
 
 5. Schaut, Schaut, was ist fiir Wunder dar 310 79 
 
 6. Wir singen dir, Emanuel ISO no 
 
 New Year 
 
 1. Nun laszt uns gehn und treten 19. ... .38 
 
 2. Warum machet solche Schmerzen 67 42 
 
 Good Friday (Passiontide) 
 
 1. Ein Lammlein geht und tragt die Schuld 68 104 
 
 2. Gegriiszet seist du, Gott, mein Heil 46 41 
 
 3. Hor an, mein Herz, die sieben Wort 161 60 
 
 4. O Haupt veil Blut und Wunden 49 86 
 
 5. O Herz des Konigs aller Welt 47 4i 
 
 6. O Welt, sieh hier dein Leben 71 42 
 
 7. Sei mir tausendmal gegriiszet 40 40 
 
 Easter 
 
 1. Auf, auf, mein Herz, mit Freuden 74 44 
 
 2. Sei frolich alles weit und breit 171 61 
 
 Whitsuntide 
 
 1. Gott, Vater, sende deinen Geist I73 62 
 
 2. O du allersuszste Freude ; 76 44 
 
 3. Zeuch ein zu deinen Thoren in 52 
 
 Cross and Consolation 
 
 1. .\ch treuer Gott, barmherzigs Herz 209 65 
 
 2. Barmherziger Vater, hochster Gott 212 66 
 
 3. Befiehl du dein Wege 185 114 
 
 4. Du bist ein Mensch, das weiszst du wol 220 67 
 
 * Only 76 of the 131 poems have been included in this index. 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 159 
 
 Goedeke 
 Page Page 
 
 5. Du Hebe Unschuld du 3 36 
 
 6. Geduld ist euch vonnoten 267 72 
 
 7. Gib dich zufrieden und sei stille 274 74 
 
 8. Ich hab in Gottes Herz und Sinn 83 48 
 
 g. Ich hab oft bei mir selbst gedacht 226 68 
 
 10. Ich habs verdient, was will ich doch 224 67 
 
 11. Ist Gott fiir mich, so trete 229 126 
 
 12. Nicht so traurig, nicht so sehr 89 48 
 
 13. Noch dennoch muszt du drum nicht ganz 23 38 
 
 14. Schwing dich auf zu deinem Gott 135 55 
 
 15. Warum sollt ich mich denn gramen 122 108 
 
 16. Was Gott gefallt, mein frommes Kind 139 56 
 
 17. Wie lang, o Herr, wie lange soil 178 62 
 
 Repentance 
 
 1. Herr, hore, was mein Mund 65 41 
 
 2. Nach dir, o Herr, verlanget mich 91 49 
 
 3. Wag, mein Herz, mit den Gedanken 62 41 
 
 I 
 2. 
 3 
 
 4 
 5 
 6. 
 
 7- 
 8. 
 
 9. 
 10. 
 II 
 
 Praise and Thanksgiving 
 
 Auf den Nebel folgt die Sonne 232 68 
 
 Der Herr, der aller Enden 120 54 
 
 Gott Lob ! nun ist erschoUen 95 50 
 
 Ich singe dir mit Herz und Mund 118 53 
 
 Nun danket all und bringet Ehr 78 46 
 
 Sollt ich meinem Gott nicht singen 235 69 
 
 Wie ist es miiglich, hochstes Licht 324 81 
 
 Wie ist so grosz und schwer die Last 7 36 
 
 Prayer and the Christian Life 
 
 Herr, allei: Weisheit Quell und Grund 260 71 
 
 Herr, du erforschest meinen Sinn 287 75 
 
 Ich danke dir demutiglich 205 65 
 
 Ich erhebe, Herr, zu dir 93 49 
 
 Ich weisz, mein Gott, dasz all mein Thun 217 66 
 
 Jesu, allerliebster Bruder 263 72 
 
 O Gott, mein Schopfer, edler Furst 81 48 
 
 O Jesu Christ, mein schonstes Licht , .200 63 
 
 Wol dem, der den Herren scheuet 130 55 
 
 Wol dem Menschen, der nicht wandelt 124 54 
 
 Zweierlei bitt ich von dir 80 47 
 
 Morning and Evening 
 
 Der Tag mit seinem Lichte 296 77 
 
 Die giildne Sonne 293 76 
 
 Lobet den Herren, alle, die ihn fiirchten 106 51 
 
 Nun ist der Regen hin 17 37 
 
 Nun ruhen alle Walder 60 98 
 
 Wach auf, mein Herz, und singe 59 95 
 
i6o PAUL GERHARDT AS A HYMN WRITER 
 
 ^ Goedeke 
 
 Death and Eternal Life Page Page 
 
 1. Die Zeit ist nunmehr nah ^^ ^' 
 
 2. Du bist zwar mein und bleibest mein '°° ^ 
 
 3. Herr Gott, du bist ja fiir und fiir 3I5 80 
 
 4. Ich bin ein Cast auf Erden ^^ 74 
 
 5. Johannes sahe durch Gesicht ^IP 
 
 6. Nun, du lebest, unsre Krone ^° 39 
 
 7. Nun sei getrost und unbetriibt ^^i 73 
 
 8. Was traurest du, main Angesicht ^^9 70 
 
 INDEX OF ENGLISH VERSIONS 
 
 This index contains in general only the first lines of the translations and adaptations 
 as they are given in Part II, Chapter II (pp. 35-143)- The numbers refer to the pages 
 on which the general discussions of the corresponding Gerhardt poems begin. 
 
 Page 
 
 A Holy, Pure and Spotless Lamb 36 . 
 
 A Lamb bears all its guilt away i''4 
 
 A Lamb goes forth and bears the Guilt I04 
 
 A Lamb goes forth — for all the dues I04 
 
 A Lamb goes forth : the sins he bears I04 
 
 A Lamb goes uncomplaining forth I04 
 
 A Pilgrim am I on my way 141 
 
 A pilgrim and a stranger 74 
 
 A pilgrim here I wander 74 
 
 A rest here have I never '. 74 
 
 After clouds we see the sun 68 
 
 Ah ! faithful God, compassionate heart 65 
 
 Ah ! Head, so pierced and wounded 86 
 
 Ah ! Lord, how shall I meet thee 82 
 
 Ah ! lovely innocence, how evil art thou deemed 36 
 
 Ah wounded Head ! must thou 86 
 
 Ah wounded Head, that bearest 86 ' 
 
 All hail ! my Savior and my God 41 
 
 All hail to Thee, my Savior and my God 41 
 
 All my heart this night rejoices 58 
 
 All my heart with joy is springing; 58 
 
 As pilgrims here we wander 74 
 
 Awake, my heart, be singing 95 
 
 Be glad, my heart ! now fear no more 73 
 
 Be joyful all, both far and near 61 
 
 Be not dismay'd — in time of need 57 
 
 Be of good cheer in all your wants ; 71 
 
 Be thou content : be still before 74 
 
 Be thou contented ! aye relying 74 
 
 Behold a Lamb ! so tired and faint 104 
 
 Behold 1 Behold ! what wonders here 79 
 
 Behold, O World, thy Life, thy Lord 42 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY i6i 
 
 Page 
 
 Bless'd is he the Lord who loveth 55 
 
 Bless'd is he who never taketh 54 
 
 Bring to Christ your best oblation 79 
 
 By John was seen a wondrous sight 80 
 
 Can I cease, my God, from singing 69 
 
 Can I fail my God to praise 69 
 
 Christians all,- with one accord 38 
 
 Come, and Christ the Lord be praising 79 
 
 Come and let us Christ revere now 79 
 
 Come, enter Thine own portal 52 
 
 Come forth, my heart, and seek delight 131 
 
 Come now, my soul, thy thoughts engage 60 
 
 Come, O Thou Holy Dove 52 
 
 Come, Thou Source of sweetest gladness 44 
 
 Cometh sunshine after rain 68 
 
 Come to Thy temple here on earth 52 
 
 Come, unite in praise and singing 79 
 
 Commend thy way O mortal 114 
 
 Commit the way before thee 114 
 
 Commit thou all thy griefs 114 
 
 Commit thou all thy ways,- and all 114 
 
 Commit thou every sorrow, And care 114 
 
 Commit thou thy each grievance 114 
 
 Commit thy course and keeping 114 
 
 Commit thy secret grief 114 
 
 Commit thy way, confiding 114 
 
 Commit thy way, O weeper 114 
 
 Commit thy way, O weeping 114 
 
 Commit thy Ways and Goings' 114 
 
 Commit thy ways, thy sorrow^ 114 
 
 Commit thy way to God 114 
 
 Commit thy way unto the Lord, thy heavy 114 
 
 Commit whatever grieves thee 114 
 
 Creator, Father, Prince of might 1 48 
 
 Display thy both wings over 98 
 
 Emmanuel, Thy name we sing no 
 
 Emmanuel, we. sing Thy praise no 
 
 (See also "Immanuel.") 
 
 Evening and Morning 76 
 
 Ever by my love be owned 40 
 
 Extended on a cursed tree 42 
 
 Father of mercies ! God most high 66 
 
 For Thee, Lord, pants my longing heart 49 
 
 Forth goes a dear devoted Lamb 104 
 
 From our fears and sins release us 137 
 
 Full often as I meditate 68 
 
 Full of wonder, full of art (2) 79 
 
 Full of wonder, full of skill (2) .' ; 79 
 
 II 
 
i62 PAUL GERHARDT AS A HYMN WRITER 
 
 Page 
 
 Give to the winds thy fears '* 
 
 God is my strong salvation ^^ 
 
 God, my Creator, and my Lord "* 
 
 Go forth my heart, and revel in joy's flow 3 
 
 Go forth, my heart, and seek delight (3) ^^^ 
 
 Go forth, my heart, and seek for praise ^3i 
 
 Go forth, my heart, and seek the bliss '3i 
 
 Go forth, my heart, nor linger here '3i 
 
 Go forth, my Heart ! the year's sweet prime ^3i 
 
 Go out, my heart, and pleasure seek ^3i 
 
 Go out, my heart, and seek delight ^3i 
 
 He never yet has made mistakes S3 
 
 He sendeth sun, he sendeth shower ^40 
 
 Hence, my heart, with such a thought 4i 
 
 Here I can iirmly rest 126 
 
 Here, World, see thy Redeemer 42 
 
 Here, World, thy great Salvation see 42 
 
 Holy Ghost, dispel our sadness 44 
 
 Holy Spirit, Source of gladness 44 
 
 How can it be, my highest Light 81 
 
 How heavy is the burden made 36 
 
 How long. Lord, in f orgetfuUness 62 
 
 How shall I come to meet Thee 82 
 
 How shall I meet my Savior 82 
 
 How shall I meet Thee, How my heart 82 
 
 I build on this foundation 126 
 
 I give Thee thanks unfeigned 86 
 
 I have deserv'd it, cease t'oppose 67 
 
 I 'into God's own heart and mind 48 
 
 I know, my God, and I rejoice 66 
 
 I know that my Redeemer lives 81 
 
 I 'know that my Redeemer lives 13S 
 
 I'll praise Thee with my heart and tongue S3 
 
 I'll sing to Thee with heart and mouth. 53 
 
 I'll sing to Thee with mouth and heart S3 
 
 I'm but a stranger here 140 
 
 I sing to Thee with Heart and Tongue S3 
 
 I stand beside Thy manger-bed 60 
 
 I who so oft in deep distress 78 
 
 I will sing my Maker's praises 69 
 
 I 'yield Thee thanks unfeigned 86 
 
 If Christ is mine, then all is mine 126 
 
 If God be on my side 126 
 
 If God Himself be for me 126 
 
 If God is mine, then present things 126 
 
 If Jesus be my friend 126 
 
 Immanuel, Thy praise we sing no 
 
 Immanuel ! to Thee we sing. The Fount no 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 163 
 
 Page 
 
 Immanuel, to Thee we sing, Thou Prince no 
 
 Immanuel, we sing to Thee no 
 
 (See also "Emmanuel.") 
 
 In exile here we wander 142 
 
 In grateful songs your voices raise 46 
 
 In heaven is mine inheritance 126 
 
 In me resume Thy dwelling 52 
 
 In prayer your voices raise ye 38 
 
 Is God for me ? I fear not 126 
 
 Is God for me ? t'oppose me 126 
 
 Is God for me ? what is it 126 
 
 Is God my strong salvation 126 
 
 It is a time of joy today 79 
 
 Jesu, my Savior, Brother, Friend 136 
 
 Jesu, my Strength, my Hope 136 
 
 Jesu, our Joy and loving Friend 98 
 
 Jesus ! Thou, my dearest Brother 72 
 
 Jesus, Thy boundless love to me 63 
 
 Joyful be my spirit singing 58 
 
 Joyful shall my heart, upspringing ^ 58 
 
 Leave to l^is sovereign sway 114 
 
 Let not such a thought e'er pain thee 41 
 
 Let the voice of glad thanksgiving 58 
 
 Lightly bound my bosom, ringing 58 
 
 Lo ! Man and Beast are sleeping 98 
 
 Look up to thy God again SS 
 
 Lord, be Thy Cross before our sight 42 
 
 Lord God 1 Thou art f orevermore 80 
 
 Lord, how shall I be meeting 82 
 
 Lord, how shall I receive Thee 82 
 
 Lord, lend a graciou^ ear 41 
 
 Lord, Thou my heart/ dost search and try 75 
 
 Lord ! to Thee alone I raise 49 
 
 May I when time is o'er 57 
 
 Mine art T^hou still, and mine shalt be 50 
 
 Mortals, who have God offended 42 
 
 My face, \ifhy should'st thou troubled be 76 
 
 My Faith securely buildeth 126 
 
 My faith Thy lowly bed beholds 60 
 
 My God ! my works and all I do 66 
 
 My heart's -^^zna gush breaks forth in mirth 53 
 
 My heart 1 the seven words hear now 60 
 
 My rest is in heaven ; my rest is not here 142 
 
 My Savior, how shall I proclaim 42 
 
 My soul awake and render 95 
 
 My Soul, awake and tender 95 
 
 Not so darkly, not so deep 48 
 
 Now all the woods are sleeping 98 
 
1 64 PAUL GERHARDT AS A HYMN WRITER 
 
 Page 
 
 Now at the manger here I stand "" 
 
 Now every greenwood sleepeth 9° 
 
 Now gone is all the rain 37 
 
 Now hushed are woods and waters 5° 
 
 Now, in His manger He so humbly lies So 
 
 Now let each humble creature > 3° 
 
 Now rest beneath night's shadow 9° 
 
 Now rest the woods again 9° 
 
 Now resteth all creation 9° 
 
 Now spread are evening's shadows 9° 
 
 Now with joy my heart is bounding 5° 
 
 Now woods and fields are quiet 9° 
 
 Now woods their rest are keeping 9° 
 
 O blessed Christ, once wounded 86 
 
 O blessed Jesus 1 This 57 
 
 O cast away thy fears 1 14 
 
 O Christ ! how good and fair 57 
 
 O Christ, my Light, my gracious Savior 63 
 
 O Christ, my only Life and Light 63 
 
 O Christ, my sweetest Life and Light 63 
 
 O Christ ! what consolation 86 
 
 O come and dwell in me 136 
 
 O Come, my soul with singing S3 
 
 O come with prayer and singing 38 
 
 O enter, Lord, Thy temple 52 
 
 O faithful God ! O pitying heart 65 
 
 O Father ! send Thy spirit down 62 
 
 O God ! from Thee doth wisdom flow 71 
 
 O God ! how many thankful songs 78 
 
 O God most true, most merciful ! 65 
 
 O God, my Father ! thanks to Thee 65 
 
 O God of mercy full and free 65 
 
 O God ! who dost Heav'n's sceptre wield 37 
 
 O Head, blood-stained and wounded 86 
 
 O Head so full of bruises 86 
 
 O Head, so pierced and wounded 86 
 
 O Heart of Him who dwells on high 41 
 
 O Jesus Christ ! my fairest Light 63 
 
 O Jesus Christ ! Thy cradle is 57 
 
 O Lamb of God, once wounded 86 
 
 O Lord ! I sing with mouth and heart 53 
 
 O my soul, why dost thou grieve 48 
 
 O Sacred Head ! now wounded (varying centos) 86 
 
 O Sacred Head, surrounded 85 
 
 O Thou sweetest source of gladness 44 
 
 O World ! attention lend it 42 
 
 O World, behold him dying i-y 
 
 O, World I behold upon the tree 42 
 
 O World ! see here suspended 42 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 165 
 
 Page 
 
 O World ! ^ see thy Creator 42 
 
 O World ! see thy life languish 42 
 
 Oh 1 bleeding head, and wounded 86 
 
 Oh, how shall I receive Thee 82 
 
 Oh Jesus Christ ! how bright and fair 78 
 
 Oh, wounded head and bleeding 86 
 
 On earth I'm but a pilgrim 74 
 
 On thy bier how calm thou'rt sleeping 39 
 
 Our Lord be praising. All His glory raising 51 
 
 Praise God ! for forth hath sounded so 
 
 Praise God ! revere Him 1 all ye men that fear Him 51 
 
 Praise ye Jehovah, all ye men who fear Him 51 
 
 Put thou thy trust in God 114 
 
 Quietly rest the woods and dales 98 
 
 Rest in the Lord, my soul 138 
 
 Retake thy own Possession 52 
 
 Rise, my soul, shake off all sadness 58 
 
 Rise, my soul, thy vigil keep 98 
 
 Say with what salutations 82 
 
 Scarce tongue can speak, ne'er human ken 62 
 
 See, bowed beneath a fearful weight 104 
 
 See the sun's glorious light 76 
 
 See World ! thy Life assailed 42 
 
 See, -World, upon the bloody tree 42 
 
 See, World, upon the shameful tree 42 
 
 Seven times the Savior spake — my heart 60 
 
 Shall I not his praise be singing 69 
 
 Shall I not my God be praising 69 
 
 Shall I not sing praise to Thee 69 
 
 Shan't I sing to my Creator 69 
 
 Should I not, in meek adoring 69 
 
 Since Jesus is my friend 126 
 
 Sunbeams all golden 76 
 
 Sweetest Fount of holy gladness 44 
 
 Sweetest joy the soul can know 44 
 
 Thank God it hath resounded 50 
 
 The daylight disappeareth ']'j 
 
 The duteous day now closeth g8 
 
 The golden corn now waxes strong 131 
 
 The golden morning y() 
 
 The golden sunbeams with their joyous gleams 76 
 
 The Lord, the earth who ruleth -. 54 
 
 The mystery hidden from the eyes 62 
 
 The sun's golden beams yd 
 
 The time is very near 57 
 
 The woods are hushed ; o'er town and plain 98 
 
t66 PAUL GERHARDT AS A HYMN WRITER 
 
 Page 
 
 The world may rise against me round ^^" 
 
 Thee, O Immanuel, we praise ^^° 
 
 There is no condemnation • '^" 
 
 Thou art but man, to thee 'tis known °7 
 
 Thou art mine own, art still mine own 50 
 
 Thou must not altogether be 3^ 
 
 Thou on the Lord rely ^'4 
 
 Thou pierced and wounded brow °° 
 
 Thou, seest our weakness, Lord ii4 
 
 Thou'-rt mine, yes, still thou art mine own 5° 
 
 Thousand times by me be greeted 4" 
 
 Through waves and clouds and storms ii4 
 
 Thy everlasting truth II4 
 
 Thy manger is my paradise 57 
 
 Thy mighty working, mighty God 131 
 
 Thy Thanks, my Soul, be raising 95 
 
 Thy way and all thy sorrows 114 
 
 'Tis patience must support you 72 
 
 To God commit thy griefs 114 
 
 To God thy way commending 114 
 
 To God's all-gracious heart and mind 48 
 
 To Thee, Immanuel, we sing, the Prince no 
 
 Tranquilly lead thee, peace possessing 74 
 
 Twofold, Father, is my pray'r 47 
 
 Up, my heart ! rejoice with singing S8 
 
 Up, Up, my heart, with gladness. Receive 44 
 
 Up ! up ! my heart with gladness. See 44 
 
 Up ! with gladness heavenward springing 58 
 
 Wake, my heart, and sing His praises 95 
 
 Wake up, my heart, elater 95 
 
 We go to meet Thee, Savior 82 
 
 We sing to Thee, Emmanuel, the Prince no 
 
 We sing to Thee, Immanuel, Thou Prince'of Life no 
 
 What God decrees, child of His love 56 
 
 What God decrees, take patiently 56 
 
 What is our mortal race 76 
 
 What pleases God, O pious soul 56 
 
 What pleaseth God, my faithful child 56 
 
 What pleaseth God with joy receive 56 
 
 Wherefore dost Thou, blest of God 51 
 
 Wherefore dost thou longer tarry '. 51 
 
 Wherefore should I grieve and pine 108 
 
 Wherefore, then, should I be gloomy 108 
 
 Who is so full of tenderness 78 
 
 Why, my soul, thus trembling ever 108 
 
 Why should I continue grieving 108 
 
 Why should sorrow ever grieve me 108 
 
 Why should they such pain e'er give Thee 42 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 167 
 
 Page 
 
 Why this sad and mournful guise 48 
 
 Why, without, then, art Thou staying 51 
 
 With all Thy saints. Thee, Lord, we sing no 
 
 With notes of joy and songs of praise 38 
 
 Yes, thou art mine, still mine, my son 50 
 
 INDEX OF GERHARDT'S HYMNS* 
 
 joedeli 
 Page 
 
 ^P^^*^^ Subject English Page 
 
 versions 
 
 Cross and 
 Ach treuer Gott, barmherzigs Herz 209 Consolation . . ., 3 65 
 
 God's Love 
 
 Also hat Gott die Welt geliebt 256 John III, 16 i 71 
 
 Auf, auf, mein Herz, mit Freuden 74 Easter 2 44 
 
 Praise and 
 Auf den Nebel folgt die Sonne 232 Thanksgiving 2 68 
 
 Cross and 
 Bannherziger Vater, hochster Gott 212 Consolation i 66 
 
 Cross and 
 Befiehl du deine Wege 185 Consolation 18 114 
 
 Praise and 
 
 Der Herr, der aller Enden 120 Thanksgiving i 54 
 
 Der Tag mit seinem Lichte 296 Evening i ^^ 
 
 Die guldne Sonne 293 Morning 7 76 
 
 Die Zeit ist nunmehr nah 142 Eternal Life 3 57 
 
 Cross and 
 
 Du bist ein Mensch, das weiszst du wol 220 Consolation i 67 
 
 Du bist zwar mein und bleibest mein 100 Eternal Life 4 50 
 
 Cross and 
 
 Du liebe Unschuld du 3 Consolation i 36 
 
 Du meine Seele, singe 115 Psalm CXLVI i S3 
 
 Ein Lammlein geht und tragt die Schuld 68 Passiontide lo 104 
 
 Frolich soil mein Herze springen 155 Christmas 11 58 
 
 Cross and 
 
 Geduld ist euch vonnoten 267 Consolation i 72 
 
 Gegriiszet seist du, Gott, mein Heil 46 Passiontide 2 41 
 
 Geh aus mein Herz und suche Freud 239 Summer 10. . . . 131 
 
 Cross and 
 Gib dich zufrieden und sei stille 274 Consolation 3 74 
 
 Praise and 
 
 Gott Lob ! nun ist erschollen 95 Thanksgiving 2 50 
 
 Gott, Vater, sende deinen Geist 173 Whitsuntide i 62 
 
 Prayer and the 
 Herr, aller Weisheit Quell und Grund 260 Christian Life i 71 
 
 Prayer and the 
 Herr, du erforschest meinen Sinn 287 Christian Life i 75 
 
 * This index includes only those 84 poems for which English versions have been 
 found. 
 
1 68 PAUL GERHARDT AS A HYMN WRITER 
 
 No. of ■ 
 Goedeke Subiect English Page 
 
 Page versions 
 
 Herr Gott, du bist ja fiir und fiir 315 Eternal Life i 80 
 
 Herr, hore was mein Mund 65 Repentance i 4i 
 
 Hor an, mein Herz, die sieben Wort 161 Passiontide 3 00 
 
 Ich bin ein Cast auf Erden 284 Eternal Life 4 74 
 
 Prayer and the 
 
 Ich danke dir demiitiglich 205 Christian Life i 65 
 
 Ich, der ich oft in tiefes Leid 298 Psalm CXLV 2 78 
 
 Prayer and the 
 Ich erhebe, Herr, zu dir 93 Christian Life i 49 
 
 Cross and 
 Ich hab in Gottes Herz und Sinn 83 Consolation 2 48 
 
 Cross and 
 Ich hab oft bei mir selbst gedacht 226 Consolation i 68 
 
 Cross and 
 Ich habs verdient, was will ich doch 224 Consolation i 67 
 
 Praise and 
 
 Ich singe dir mit Herz und Mund 118 Thanksgiving 6 53 
 
 Ich steh an deiner Krippen hier 158 Christmas 3 60 
 
 Ich weisz, dasz mein Erloser lebt 33i Job XIX, 25-27 2 81 
 
 Prayer and the 
 Ich weisz, mein Gott, dasz all mein Thun 217 Christian Life 2 66 
 
 Trust in God; 
 
 Cross and 
 1st Gott fiir mich, so trete 229 Consolation 7 126 
 
 Prayer and the 
 
 Jesu, allerliebster Bruder 263 Christian Life i 72 
 
 Johannes sahe durch Gesicht 319 Eternal Life i 80 
 
 Kommt und laszt uns Christum ehren 312 Christmas 4 79 
 
 Lobet den Herren, alle, die ihn ftirchten 106 Morning 3 51 
 
 Nach dir, o Herr, verlanget mich 91 Repentance i 49 
 
 Cross and 
 Nicht so traurig, nicht so sehr 89 Consolation 4 48 
 
 Cross and 
 Noch dennoch muszt du drum nicht ganz 23 Consolation i 38 
 
 Praise and 
 Nun danket all und bringet Ehr 78 Thanksgiving i 46 
 
 Nun, du lebest, unsre Krone 28 Eternal Life i 39 
 
 Gratitude 
 
 Nun ist der Regen hin 17 for Sunlight i 37 
 
 Nun laszt uns gehn und treten 19 New Year S 38 
 
 Nun ruhen alle Walder 60 Evening 17 98 
 
 Nun sei getrost und unbetriibt 271 Eternal Life i 73 
 
 O du allersiiszste Freude 76 Whitsuntide 2 44 
 
 Prayer and the 
 
 O Gott, mein Schopfer, edler Fiirst 81 Christian Life 2 48 
 
 O Haupt voU Blut und Wunden 49 Passiontide 10 86 
 
 Petition during 
 
 O Herrscher in dem Himmelszelt 15 a storm i 37 
 
 O Herz des Konigs aller Welt 47 Passiontide i 41 
 
 O Jesu Christ, dein Kripplein ist 153 Christmas 4 57 
 
 „ T ^, • ■ . ■• -r ■ , Prayer and the 
 
 O Jesu Christ, mein schonstes Licht 200 Christian Life.... 2 63 
 
AND HIS INFLUENCE ON ENGLISH HYMNODY 169 
 
 ^P^^e^ Subject EngUsh Page 
 
 ^ versions 
 
 O Welt, sieh hier dein Leben 71 Passiontide 10 42 
 
 Schaut, schaut, was ist fiir Wunder dar 310 Christmas i 79 
 
 Cross and 
 
 Schwing dich auf zu deinem Gott 13S Consolation i 55 
 
 Sei froHch alles weit und breit 171 Easter i 61 
 
 Sei mir tausendmal gegriiszet 40 Passiontide 2 40 
 
 Praise and 
 
 SoUt ich meinen Gott nicht singen 235 Thanksgiving 8. ... .69 
 
 VoUer Wunder, voUer Kunst 304 Marriage 4 79 
 
 Wach auf, mein Herz, und singe 59 Morning 5 95 
 
 Warum machet solche Schmerzen 67 New Year 2 42 
 
 Cross and 
 
 Warum sollt ich mich denn gramen 122 Consolation 5 108 
 
 Warum willst du drauszen stehen 108 Advent 3 51 
 
 Was alle Weisheit in der Welt 176 Holy Trinity 2 62 
 
 Cross and 
 
 Was Gott gefallt, mein frommes Kind 139 Consolation 4 56 
 
 Was traurest du, mein Angesicht 289 Eternal Life i 76 
 
 Weg, mein Herz, mit den Gedanken 62 Repentance 2 41 
 
 Praise and 
 Wie ist es miiglich, hochstes Licht 324 Thanksgiving 1 81 
 
 Praise and 
 Wie ist so grosz und schwer die Last 7 Thanksgiving i 36 
 
 Cross and 
 
 Wie lang, o Herr, wie lange soil 178 Consolation i 62 
 
 Wie schon ists doch, Herr Jesu Christ 302 Matrimony i 78 
 
 Wie soil ich dich empfangen 25 Advent 8 82 
 
 Wir singen dir, Emanuel 150 Christmas 11 no 
 
 Prayer and the 
 Wol dem, der den Herren scheuet 130 Christian Life i 55 
 
 Prayer and the 
 
 Wol dem Menschen, der nicht wandelt 124 Christian Life i 54 
 
 Zeuch ein zu deinen Thoren in Whitsuntide 6 52 
 
 Prayer and the 
 Zweierlei bitt ich von dir 80 Christian Life i 47 
 
 84 Hymns. Total number of English versions 271 
 
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