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Library of Christian Hymns By JOHN DAHLE Professor of Hymnology and Liturgics Luther Theological Seminary St. Paul, Minnesota VOLUME ONE English Translation By REV. M. CASPER JOHNSHOY, B. D. Published by AUGSBURG PUBLISHING HOUSE MINNEAPOLIS, MINN. Copyright, 1924 AUGSBURG PUBLISHING HOUSE Minneapolis, Minn. Printed n U.S A, Page 26, Page 59, Page 151, Page 157. Page 166, Page 184, Page 268, Page 270, Page 286, Page 316, Page 320, ERRATA line 11, read: “Valet will ich dir geben.” line 12, read: or “Redhead,” No. 76. line 12, read: five—part. Omit entire section from line 13 to page 158, line 5. line 26, read: No. 15. line 30, read: Purleigh. line 11, omit: St. Bernard of Clairvaux. line 2, read: Pothier. line 3, omit entire line. lines 10-12. The parenthetical clause should read: “Den signede dag er os nu ted,” Landstad 139. line 20, read: Faithful Tate. Certain data pertaining to No. 42, No. 125, and No. 161 will be supplied in Vol. II. TRANSLATOR’S PREFACE The present volume begins a series of books con- taining the history of the hymns used by the Lu- theran Churches of America. In writing this his- tory, Professor John Dahle, the leading hymnolo- gist in the Norwegian Lutheran Church of America, has followed the order of hymns as found in “The Lutheran Hymnary” of our Church. Among these will be found a large number of hymns which are in common use among all Christians. Hence, “The Library of Christian Hymns’ will, it is to be hoped, commend itself to all sincere worshipers who have learned to love the hymns of the Church. The plan of the work should be noted. This first volume covers a comparatively small number of hymns, for the reason that, within the first 200 hymns in our hymnary, we are introduced to the greater number of the major hymn writers. Here the more extensive biographical] sketches are in or- der. In the succeeding volumes, wherever a hymn occurs whose author has already been discussed, ref- erence will be made to the page and volume where the biography is to be found. Over one third of the second volume has already been set up in type. It is our hope and prayer that these volumes may be welcomed by many; that they may serve to arouse new and added interest in hymn singing, and that our people may come to realize more and more what great spiritual values are stored up for us in our treasury of Church Hymns. M. CASPER JOHNSHOY. January, 1924. Starbuck, Minnesota. 1 Thee God we praise, Thy name we bless. O store Gud, vi love dig.—Landst. 10. Herr Gott, dich loben wir. Te Deum laudamus. Hymnus in honorem sanctae trinitatis. RADITION has it that this world-famous hymn has come to us from the Greek church of the third century. It is thought that Bishop Am- brose of Milan (d. 397) translated it into Latin. In this language it gained its widest circulation. The Ambrosian Hymn of Praise, as it has been called, has been sung by the Church for fifteen cen- turies. From the close of the fifth century it was used in the Roman church at the morning worship immediately before the reading of the Gospel. It was used during the ancient period at all great church festivities, as, for instance, at the installa- tion of the popes, the coronation of kings, and the like. The hymn contains, in the first place, a strain praising the Triune God, the Father, Son, and Holy Ghost, and closes with an humble prayer for the help and grace of God. The German version, “Herr Gott, dich loben wir,’’ was made by Luther presumably in the year 1529, and is found listed as an antiphonal anthem for two choirs. In Witten- berg, we are told, the organ paused at the close of the first division of the hymn and the church bells chimed, while the choirs sang: ‘‘O holy, holy, holy 6 emerge: AP A RIESE SE TST ST Se ae Lord, Thou God of hosts, by all adored.” In the Church of England it is ordered that this hymn shall be used at the daily morning prayer thruout the year. There are a great number of English trans- lations of the Latin original. These date from the 10th century down to the present time. There are also a number of English translations of Luther’s German version of 1529. According to an old custom the “Te Deum” in Latin is sung at dawn of May-day from the tower of the administration building of Magdalen Col- lege at Oxford. This hymn enjoys the same popularity today as during the ancient period. It is used thruout the Christian Church on days of special thanksgiving and commemoration, as well as at regular services. Landstad says: ‘‘No hymn shows clearer and in a more comforting way how the Church, despite sep- aration and schism, yet may meet and unite in this hymn of praise, as well as confession, of the ‘Triune God and His great work of mercy in Creation, Re- demption, and Sanctification. The prestige and universal use of this hymn is not due to any in- trinsic poetic qualities in the ordinary sense of the term, but rather to the fact that it breathes forth lofty, divine truths; the clear and powerful testi- mony of the faith of the holy Christian Church from the earliest times and thruout all generations. It has therefore been considered more as a univer- sal confession of faith than as an ordinary hymn.”. A great deal has been written about this hymn, concerning its origin, author, translations, and translators; concerning its use; the many composers who have set it to music, etc., etc. If it all were compiled, this material alone would fill many vol- 7 umes. Many and varied opinions have been ad- vanced during the centuries concerning the author- ship of the hymn. In many breviaries, for instance, it is referred to in connection with Ambrose and Augustine: Canticum Ambrosi et Augustini. An old legend says that the hymn was written during the Easter night when Ambrose baptized Augustine in the cathedral of Milan. By divine inspiration, it is claimed, Ambrose sang the first part and Augus- tine continued the hymn. In this manner the hymn is referred to Ambrose, who is the oldest and most famous of the Latin hymn writers. As time went on it became customary to call all true metrical hymns Ambrosian hymns. Thus have been credited to Am- brose many hymns which he has not written. It seems certain that Ambrose has neither written nor translated this hymn. Modern scientific research asserts that ““Te Deum” was originally not a Greek but a Latin hymn. Altho the hymn is found in Greek, still it cannot be demonstrated that it was in use in the Oriental church. Modern hymnologists and historians claim that Niceta of Remesiana was” the author of ‘“Te Deum laudamus,” about 410.¥ Several manuscripts mention Nicetus or Nicetius. An old Latin hymnary lists the hymn as Canticum beati Niceti and expressly mentions Niceta of Re- mesiana as the author. Niceta, bishop of Dacia, 392-414, is praised by his friend Paulinus of Nola for his learning and poetic ability. Niceta visited Paulinus about 398 or 402. Cassiodorus, also, men- tions Niceta with much praise and recognition. The oldest Danish version of ‘“Te Deum”’ dates from the 13th or the 14th century. This, however, was not well adapted for use in the church. A ver- sion specially designed for the public worship is 8 found in the collection, Een ny handbog, Rostock, 1529, by an unknown author. According to the cus- tom of the ancient church, it was ordered to be used at matins. The translation in Landstad’s Hymnbook is by Landstad from Luther’s German version. ‘The English version in The Lutheran Hymnary is by the Rev. Carl Dgving, 1911. In England the melody used for this hymn has been called “Old Hundredth,”’ because it was used first as a setting for the 100th Psalm. This was.a metrical adaptation by William Kethe, ‘‘All people that on earth do dwell,” 1561. ‘This melody was first published in Clemens Marot’s and Theodore Beza’s French Psalter, where it appeared in 1551 as the melody for Beza’s version of the 134th Psalm. The melody was probably composed by Louis Bourgeois, who furnished the melodies for the French Psalter. It appeared in this book in a four- part arrangement by Bourgeois with the melody in the tenor, as was then the custom. Many world-famous masters have composed mu- sic for ‘“Te Deum laudamus.” Among them may be mentioned Palestrina, Cherubini, Graun, Purcell, Handel, ‘Tallis, Croft, Dvorak. Several ancient mel- odies have, however, come down with the hymn from the earliest period. | ne All glory be to God on high. Alene Gud i Himmerig.—Landst. 11. Gloria in excelcis. ApHE song of the angels: ‘Glory be to God in the highest, peace on earth, good-will toward men” (Luke 2:14), was used for the public wor- 9 ship at an early date. It is found in the Liturgy of St. James of the 2nd century. The earliest enlarged Greek version is found in Codex Alexandrinus, where it has been placed immediately after the Psalms and the Song of Solomon. ‘This. manuscript dates from the close of the 5th century. The oldest Latin version of this hymn is found in a manuscript dating from the 8th century and which is now kept in the British Museum. The same text is also found in Missale Romanum. Bishop Skaar and likewise H. Nutzhorn hold that the enlarged Greek version dates from the 2nd century, while the Latin transla- tion was prepared by Bishop Hilarius of Poitiers (d. 368). Translations into German, English, Danish, and other languages were partly rendered in prose, later on they appear in metrical adapta- tions. The German metrical version, ‘‘Allein Gott in der hohe sey Ehr,”’ is composed of four verses of seven lines each and was prepared by Nicolaus Decius. ‘The first edition of this version appeared in Low-German in Eyn ganz schéne unde nutte Ge- sangh Bock, 1526, and was re-edited in High-Ger- man in V, Schumann’s Geistliche Lieder, 1539: ‘‘Al- lein Gott in der Hohe sei Ehr.” A Danish translation of the Latin prose text was made in 1528. At the same time there appeared two metrical versions, both of which were included in Een ny handbog, Rostock, 1529. One of these has four stanzas and is a translation of Decius’ Latin version. According to Nutzhorn the other is written by the pastor, Arvid Pedersgn, who studied in Wittenberg, 1524, and the following year. Later he was appointed dean of Bornholm. His translation contains five stanzas. Between the 10 third and fourth there appears a new stanza, to which there is no corresponding part in the German original. Therefore it is thought that Arvid Pe- dersén composed this additional stanza. ‘This ver- sion has been included in the greater number of later hymnaries. The English translation of Decius’ hymn is by Miss Winkworth. ‘There are at least 13 other English translations extant. The melody was first published in the above mentioned edition of Geistliche Lieder, by V. Schumann, Leipzig, 1539, but it is claimed to be much older. It is very probable that Decius himself composed the melody. He is referred to both as an eminent performer upon the harp, and as a composer. Nicholas Decius (Hovesch, von Hofe, or Tech) was born in the village of Hofe in the southwestern part of Saxony. The year of his birth is not known. He became a monk and was appointed abbot of the cloister of Stetersburg, near Wolfenbittel. Being attracted by the Lutheran teaching, he gave up his ofice of abbot and, upon the invitation of Gott- schalk Crusius, came to Brunswick in 1521. ‘Here he was made a teacher in the school of Catharine and Egidius. When Crusius had prepared the Evangelical Lutheran Order of Service for the city, Decius undertook the task of drilling a four-part chorus to lead the singing of the Lutheran hymns. This brought on a great following for the Lutheran services. [wo years later he moved to Stettin, the capital city of Pomerania, urged by the Lutheran preacher, Paul of Rhodes. The success of these two men so inflamed the Catholics of Stettin that they tried to incite Duke Bugislav against them. He was at that time absent from the city. As sev- 11 eral of his councillors were friendly to the Luther- ans, the duke did not care to meddle in the dispute. He died September 30, 1523, before his return from the diet of Nirnberg. Even before that time his councillors had arranged that two Lutheran preach- ers should be permitted to conduct services during the hours of the day when there was no Catholic worship. ‘They were permitted both to preach and to administer holy communion according to the Lu- theran doctrine; Paul of Rhodes in the Church of St. James, and Decius in the Church of St. Nicholas. From that time on the Lutheran faith made steady progress and in 1535 the two preachers were ap- pointed regular pastors in their respective churches. The Reformation had won. Decius labored not only as a preacher, but took an active part in the develop- ment of church song in his congregation. But he died at an early age, March 21, 1541. His death came so suddenly and without previous sickness, that the rumor spread that he had been poisoned by the Catholics. (H. Nutzhorn, from E. E. Koch’s Ge- schichte des Kirchenlieds.) ‘“As you sing this beautiful hymn on Sunday morning,” says one writer, ‘‘then bear in mind that this hymn has been the power of God unto salvation for thousands of believing hearts. And as you sing it with true devotion, you sing it together with the saints and the angels of heaven. Thus this hymn will become also for you a power of God to over- come the world, death, and hell.” Bishop Skaar, in his mention of this hymn, quotes the following from Christian Scriver’s The Soul’s Treasury, which is applicable also in our day: “Observe the devo- tional gatherings; how people take part in the wor- 12 ship; the manner in which they pray, sing, and praise God; you will soon notice that many certainly are not sincere in their worship. O thou ungodly, un- grateful, perverted heart of man! Ought not the face of the Christian to beam with delight, as you proclaim unto him the wonderful deeds of mercy and the merits of Christ, the grace of God, and the forgiveness of sin. And, when the congregation sings a hymn of praise like “Thee God we praise,’ ‘All glory be to God on high,’ ‘Now thank we all our God,’ ‘My soul, now bless thy Maker,’ should not the devout Christian then praise God with all his heart, with all his soul, and with all his strength! Should not these hymns awaken all that is in us to sing praise and to rejoice in the spirit, to sing and to play unto Him in our hearts! Ought not our hearts then to melt like incense powder in the glow- ing heat of devotion!” ‘This time-honored and glorious hymn, ‘All glory be to God on high,’ has in times of temptation and in the anguish of death often shown its power to bring light, comfort, and cheer to the struggling soul”? (Skaar). | 3 Sing praise to God, who reigns above. Al Lov of Pris 0g Z4re bér.—Landst. 546. Sei Lob und Ehr’ dem héchsten Gut. —J. J. Scuurz. 4 hymn of nine stanzas appeared for the first time in the author’s tract entitled, Christliches Gedenkbiichlein zur Beférderung eines anfangendes neues Lebens, 1673. Its Biblical basis is Deuter- 13 onomy 32:3: ‘Because I will publish the name of the Lord; ascribe ye greatness unto our God.”’ The hymn found a ready acceptance into the hymnaries of the Lutheran Church and also among other denominations. Koch says that this one hymn is worth more than a hundred others, and calls it a classic hymn of first rank, which gained great favor as soon as it was published. G. C. Rieger, of Stuttgart, while cast upon his deathbed, found great comfort in this hymn; likewise the famous Jurist and professor, J. J. Moser. Our English transla- tion is by Miss Frances E. Cox. The ninth stanza of the original is omitted. The hymn first appeared in Lyra Eucharistica, 1864, and later in Miss Cox’s volume in the same year, Hymns from the Ger- man, second edition, 1864. It was rendered into Danish by H. A. Brorson and was published in Troens rare Klenodie, 1742. This translation was revised by W. A. Wexels, and Wexels’ version again was used by Landstad in his hymnary. The melody is one of the oldest of Lutheran origin. It was used as a setting for Luther’s first church hymn, ‘Nun freut euch lieben Christen g’mein,” 1524 (L. H. 526; Landst. 9). Johann Jacob Schiitz, born 1640, in Frankfurt am Main, received his education at Tubingen, where he studied jurisprudence. He located as an attorney in Frankfurt am Main. He became famous for his ability as a lawyer and for his piety. He was an intimate friend of Ph. J. Spener, and it was chiefly at his suggestion that the latter began the famous meetings of the “‘Collegia Pietatis,” which laid the foundations for the pietistic move- ment. When Spener later left Frankfurt, Schutz 14 came under the influence of the chiliast, Prof. Jo- hann Wilhelm Petersen. Schutz had formerly shown tendencies toward separatism, and_ this learned, talented, and pious, but fanatical mystic gave these tendencies 2 new impetus, and after a while he withdrew from the Lutheran Church. He died in Frankfurt May 22, 1690. A Our Father, throned in heaven above. —J. GUTHRIE. | Eade hymn was published in Guthrie’s Sacred Lyrics, 1869. The three short stanzas are based on the Lord’s Prayer. The melody (Tallis Canon) is composed by Thomas Tallis (ca. 1515- 1585), one of the foremost English musicians of the 16th century. John Guthrie, born in Milnathort, Scotland, May 30, 1814, was educated at the University of Edin- burgh, receiving the M. A. degree in 1835. He was ordained to the ministry in 1840, and began his activity as a minister in the United Secession Church of Kendal. It very soon developed that he shared the anti-Calvinistic views of Dr. James Morrison, and he became, together with Dr. Mor- rison, one of the founders of the Evangelical Union. He, however, continued to labor in Kendal until 1848, when he took up work in one of the churches of his denomination in Glasgow. In 1851 he moved to Greenock; in 1862 to London; four years later, again to Glasgow. Aside from his work as a min- ister, he served as professor from 1846 to 1861. In 1878 he planned a trip to New Zealand, but came 15 only as far as London, where he died September 18 of the same year. Guthrie received the degree of doctor of theology in 1875. In 1869 he published Sacred Lyrics, containing 28 original hymns, 17 translations from the German, and 37 hymn para- phrases. Several of his hymns and translations are valued highly. D Praise to the Lord, the Almighty, the King of creation. Lover den Herre, den magtige Konge, med Are. —lLandst. 175. Lobe den Herren, den machtigen Konig der Ehren, Meine geliebete Seele! das ist mein Begehren. Kommet zu hauf, Psalter und Harfe wacht auf! Lasset die Musicam horen. Lobe den Herren, der alles so herrlich regieret, Der dich auf Adelers Fittigen sicher gefihret, Der dich erhalt, Wie es dir selber gefallt, Hast du nicht dieses gesptret? Lobe den Herren, der kiinstlich und fein dich be- reitet, Der dich Gesundheit verliehen, dich freundlich qe- leitet; In wie viel Noth, Hat nicht der gnadige Gott, Ueber dir Fliigel gebreitet? 16 Lobe den Herren, der deinen Stand sichtbar geseg- net, Der aus dem Himmel mit Stromen der Liebe gereg- net, Dencke daran, Was der Allmachtige kann, Der dir mit Liebe begegnet. Lobe den Herren, was in mir ist, lobe den Namen, Alles was Othem hat, lobe mit Abrahams Saamen; Er ist dein Licht; Seele! vergiss es ja nicht, Lobende schliesse mit Amen. —J. NEANDER. Sha hymn alone would have made the author’s name immortal. Under the title, Der Lobende, this hymn was first found in Neander’s Glaub-und Liebesiibung, aufgemuntert durch einfaltige Bundes- Lieder und Danck-Psalmen, 1680. The Biblical basis for the hymn is Psalm 103: 1-6, and Psalm 150. It is Neander’s best known and most popular hymn. It has been translated into many languages; into English at least 14 times. The version in L. H. is by Miss Winkworth. It was the favorite hymn of Friedrich Wilhelm III of Prussia. It was used as the festival hymn at the jubilee of the minister of war, Albrecht von Roon, near Paris, January 9, 1871. The melody, by an unknown composer, appeared first in the Stralsund Gesangbuch, 1665, set to the hymn, ‘“‘Hast du denn, Liebster, dein Angesicht ganzlich verborgen,” or ‘“‘Hast du dann, Jesu.” Neander himself chose this melody for his hymn. yi The melody suftered a few changes, until 1708, when it appeared in this present form. It is not known who translated the hymn into Danish, but it was included in Pontoppidan’s Hymnary of 1740. It appeared without any changes in Guldberg’s, Hauge’s, and the Norwegian Synod Hymunaries. Landstad gave a slightly revised version for his hymn book. Joachim Neander was born 1650, in Bremen, where his father, the minister Johann Joachim Ne- ander, served as a teacher at the pedagogium. ‘The family name was Neumann, or Niemann, but the erandfather, Joachim N., who also was a minister, changed the name to Neander. The younger Jo- achim completed the course at the pedagogium and afterwards at the gymnasium of Bremen. Here he associated with frivolous companions and took part in the reckless life of the students. In 1670 the noted preacher and pietist, Theodor Under-Eyck, formerly pastor at Miulheim, was appointed rector of St. Martin’s Church of Bremen. Young Nean- der and two like-minded companions went one day to Under-Eyck’s church, more particularly to criti- cize and ridicule the service. But Neander, being deeply stirred by the forceful sermon of this pious man, began to entertain serious scruples as to the salvation of his soul, and thru the fatherly guidance of Under-Eyck he was led forward to a true con- version. In 1671, when he had concluded his studies, he was appointed private tutor for the sons of a few wealthy merchants. He accompanied the boys to the university of Heidelberg and remained there till the fall of 1673. He spent the following year in Frankfurt am Main, where he became ac- 18 quainted with Philipp Jakob Spener and J. J. Schutz, and others belonging to this circle. In the spring of 1674 he was appointed rector of the Latin school at Dusseldorf. This institution was at that time under the supervision of the Reformed pastor and the church council of that city. The pastor, Syl- vester Liirsen (also from Bremen, and a few years older than Neander), was a very able and earnest man, but jealous and of a contentious spirit. At first all went well, and Neander assisted the minister both in preaching and in the pastoral work. But Neander came under the influence of Labadie and other separatists. He absented himself from the Lord’s Supper for the reason that he could not for conscience’ sake partake of it together with the unconverted sinners. Others followed his example. Neither did he attend public services regularly. Then, without consulting the pastor and the elders of the church, he began to conduct prayer meetings, set up special holidays for the school, changed the hours for the classes, and undertook a remodeling of the school buildings, all of his own accord. In 1676 the church council investigated the matter and Neander was suspended as teacher and preacher from January, 1677. But already the same month he signed a declaration binding himself to follow the rules of the church and school. He was then permitted to resume his work as teacher, but could not continue as assistant preacher. The story of his exile from Disseldorf and his sojourn in Neander- thal, near Mettmann, is not reliable. Yet it is not impossible that some of his hymns were composed during his frequent trips into the beautiful Nean- derthal. In 1679 Neander was called to Bremen as 1g Under-Eyck’s assistant at the church of St. Martin. He accepted, altho the position offered only 40 thaler per year and home. This was intended as a stepping stone to a better position for him, but his career was ended May 31, 1680. During his illness he had to go thru a violent spiritual struggle, as it appeared to him that the Lord had hidden His face from him. But he found comfort in these words: ‘Tt is better to hope unto death than to die in un- belief... Death came on Pentecost Monday. He requested that Hebrews 7:9 be read to him, and when asked how he felt, he replied: ‘‘The Lord has settled my account, Lord Jesus, make also me ready.” Shortly after he said in a whisper, “It is well with me. The mountains shall be moved, and the hills shall tremble, yet the grace of God shall not depart from me, and His covenant of peace shall not be moved.” Neander was the first hymn writcr of importance in the Reformed Church of Germany. The greater number of his hymns were evidently written at Dus- seldorf. Fifty-seven of these were published in the volume, Glaub-und Liebesiibung, mentioned above. In the fifth edition of this book, printed in Frank- furt and Leipzig, 1691, eight new hymns were added. W. Miller says, ‘“‘Neander’s hymns are sincere and unpretentious expressions coming from a_ heart which has turned to God and found salvation in Him; they are not brilliant, but they are deeply religious and Biblical in expression and spirit, and, furthermore, they are free from obscure mysticism.” 20 6 All hail the power of Jesus’ name. —HE, PERRONET. CG hisas hymn was first printed in Gospel Maga- zine, London, 1780. It contained eight verses with the title, On the Resurrection, the Lord 1s King. It was written the year before. In 1779 the first stanza appeared in the Gospel Magazine, set to Wm. Shrubsole’s melody. The hymn was also printed in Occasional Verses, Moral and Sacred, London, 1785. ‘The author’s name was not given even here, but it was now generally known to be Perronet’s hymn. Later on it was revised and re- edited. The edition as it now appears in the greater number of hymn books is by Dr. J. Rippon. Hymn No. 6 in The Lutheran Hymnary contains stanzas 1 and 5-8. ‘The last stanza was added by Dr. Rippon (Baptist minister and publisher of hymn books, London, 1751-1836). Perronet’s hymn is one of the most extensively used and most popular in the English speaking world. It is mentioned among the ten best hymns of English hymnody. It has been translated into many languages, among others into Latin by Dr. H. M. McGill, “Salve, Jesu, forte nomen.’ Another Latin version is ‘Salve nomen potestatis.”’ The famous Methodist preacher, Wm. Dawson, ‘Billy Dawson,’’ caused a great sensation in Lon- don by his original and stirring sermons, which drew thousands of hearers. Thus at a large gather- ing he preached on Christ the Prophet, Highpriest, and King. In the last part of the sermon he pic- tured the coronation procession of prophets, patri- 21 archs, apostles, and martyrs, who throng the sanc- tuary to do homage to their Lord and King. Sud- denly the preacher paused in the sermon and began singing ‘‘All hail the power of Jesus’ name.” ‘The effect was overwhelming. The entire audience arose and sang the hymn with enthusiasm and _ power. Wm. Shrubsole’s melody, ‘‘Miles Lane’ (from a chapel in Miles Lane, London, where a free con- gregation conducted its services), was written when the composer was 20 years of age, while he was chorister in Canterbury Cathedral. It is used chiefly in England. There are also several newer melodies for this hymn. In America the melody ‘‘Corona- tion” (L. H. 6) is used very extensively. This was composed by the American composer, Oliver Hol- den (b. 1765) of Massachusetts. He was a dealer in music and also served as director of music. He published The American Harmony in 1792, and the Worcester Collection in 1797. WHolden died in Charleston, Mass., Sept. 4th, 1844. The English melody is the best and is especially effective with the three-fold, ‘‘Crown Him.” But it requires a greater range of voice (from low B to F). Hhbol- den’s melody is used most extensively in this coun- try, both because it is “‘ours’’ and because it is me- lodious and very singable. Edward Perronet was the son of Rev. Vincent Perronet, whose father, David Perronet, a French- man, settled in England about the year 1680. Vin- cent, educated at Oxford, became vicar of Shore- ham, Kent, 1726. He was a zealous evangelical preacher and labored with the Wesley brothers and George Whitefield. Edward Perronet was born August 2, 1721 (according to some, 1726). From 22 his 23rd year he served with his brother Charles in the Methodist movement. In 1756 Edward Per- ronet wrote a satirical poem in which he bitterly attacked the State Church and its leading men. John Wesley and others were highly incensed over this poem and demanded that it should be sup- pressed. This was also done. Later on Edward Perronet became pastor for a congregation of dis- senters in Canterbury, where he died January 2, 1792. He is mentioned as a zealous, fiery; and energetic preacher, who faithfully proclaimed the Gospei “in season and out of season.”’ His poems were published anonymously in three small volumes: I. Select Passages of the Old and New Testament Versified; 2. A Small Collection of Hymns, etc.; 3. Occasional Verses, Moral and Sacred, London, L785. 7 My soul, now bless thy Maker. Min Sjal, min Sjal, lov Herren.—Landst. 77. Nun lob, mein Seele, den Herren. —-JOHANNES GRAUMANN. C, RAUMANN'S famous hymn, based upon the 103rd Psalm, was first published in Nurnberg, 1540. It also appeared in Kugelmann’s Hymnal of the same year. Martin Chemnitz relates that Grau- mann was requested to write this hymn in 1525 by the elector Albrecht, whose favorite Psalm was the 103rd. Chemnitz adds: “I often recollect with joy what I witnessed eight years ago, when this pious ruler lay upon his deathbed. At all devotional meetings he requested that this hymn be sung last. 23 How he joined in the singing of the beautiful text and was cheered with the many pious thoughts which he thus gathered! On this account the hymn is especially cherished also by me.”’ This hymn was sung at the Lutheran service con- ducted in the Church of St. Anna by Gustavus Adolphus after he had entered the city of Augs- burg and restored the Augsburg Confession. It was sung with bassoon accompaniment at Osnabriick, 1648, celebrating the peace at the close of the Thirty Years’ War. ‘The Danish-Norwegian king, Chris- tian III (d. 1559), sang this hymn upon his deathbed and expired while singing the words, “For, as a tender father hath pity on his children here.” It has found a place in almost all Danish-Norwegian hymnals. The first Danish version was published in Hans Thomissgn’s Hymn Book of 1569. Another translation was later made by Landstad. The first English translation was rendered by I. C. Jacobi in 1722. The version which appears in our Lutheran Hymnary is by Miss C. Winkworth and dates from the year 1863. The melody em- ployed in The Lutheran Hymnary was composed by Ludvig M. Lindeman. The original tune used with this hymn in 1540 was possibly written by Hans Ku- _gelmann. This is found in The Lutheran Hymnary as the setting for Nos. 385 and 468. Johannes Graumann, also known by the name Polli- ander, the Greek translation of his name, was born July 5, 1487, in Neustadt, Bavaria. He studied in Leipzig, where he afterwards was appointed teacher at the Thomas-Schule. During the disputation of 1519 between Eck, Luther, and Carlstadt, Graumann served as a loyal Catholic on Eck’s side. But this es disputation brought on him a doubt as to the cor- rectness of his position, and this for two reasons: he was struck by the fact that Luther always sup- ported his opinions with references to the Holy Scrip- tures; in the second place, he was moved by Luther’s strong appeal to the dictates of conscience rather than by Eck’s cleverness in the art of disputation. As Graumann often had occasion to preach, his sermons from now on became more and more Lu- theran. In 1520 he was appointed rector of the Thomas-Schule. But he nourished a strong de- sire to leave Leipzig and go to Wittenberg, all the more now because his activities in the interest of the Reformation had brought on strained rela- tions with the Catholic duke, George of Saxony. In 1522, after having found one who could take his place as rector of the Thomas-Schule, he went to Luther and Melanchthon at Wittenberg. The following year he was made a preacher in the Bavarian town of Wurtzburg am Main. There he served for two years, until 1523, when the Peas- ants’ War broke out and spread into those parts. Graumann moved to Nirnberg. But Luther, the same year, induced him to go to Konigsberg, where he assisted John Briesmann in furthering the cause of the Reformation in the province of Count Al- brecht of Brandenburg. Graumann also reorgan- ized the school system of Brandenburg. The count appointed him preacher in the Altstadt church of Konigsberg. There he not only gathered a large number of hearers, but he showed that he was fear- less in his proclamation of the Gospel truths, and braved even the risk of incurring the displeasure of the count. It came about in this manner. Ana- 25 baptist doctrines had gained favor with many con- gregations and preachers, and, altho their leader was an intimate friend of the elector, still Grau- mann sharply attacked him. The count decided that the two parties should meet for a public disputation, and the victorious doctrine should be given the right of way in the land. At the disputation Graumann was victorious. No matter how cleverly the Ana- baptists advanced their proofs, Graumann, with clear and direct Scripture statements, refuted all their arguments and silenced all his opponents. In that manner the province was saved from the Ana- baptist domination. Graumann died in the year 1541 from a stroke of paralysis at the age of 54. 8 The heavens declare Thy glory. —T. R. Birk. aes hymn paraphrase was first printed in the author’s Companion Psalter, 1874. It is a spir- ited hymn of praise based on the 19th Psalm. The author, Thomas Rawson Birks, born 1810, was ed- ucated at Trinity College, Cambridge. He became rector of Killshall, Herts, 1844; vicar of Holy Trinity, Cambridge, 1866; Hon. Canon. of Ely Cathedral, 1871; professor of moral philosophy at Cambridge, 1872. At the latter place he died in 1883. Among other works he left a two-volume edition of The Memoirs of Rev. E. Bickersteth (Birks’ father-in-law). Birks’ hymns and hymn paraphrases were published in Bickersteth’s Chris- tian Psalmody, 1833, and in his own Companion Psalter, 1864. Birks has written in all about 100 26 hymns. His hymns are used more extensively in America than in England. ‘The hymnologist, J. Julian, says that Birks’ hymns deserve greater recog- nition than they have received up to the present time. The melody used for this hymn has been called “St. Theodulph,” because it has long been connected with the Latin hymn, ‘‘Gloria, laus et honor” (All glory, laud and honor), written about 820 by St. Theodulph of Orleans. It has also been called “Kronstadt” and ‘Valet’? (Will ich dir geben) be- cause it was composed to a hymn with this beginning under the title, Ein anddgtiges Gebet, Leipzig, 1615. The melody was composed by Melchior Teschner, cantor at Frauenstadt in Silesia, about Voth 9 Praise, my soul, the King of heaven. —H. F. Lyre. aes hymn is based on the 103rd Psalm of Da- vid. It is one of the most beautiful hymn para- phrases composed by Henry Francis Lyte. It was published in his Spirit of the Psalms, in 1834. It is a mistake that the beautiful melody, ‘‘Praise, my soul,’ composed for this hymn by John Goss, does not appear with this hymn in The Lutheran Hym- nary. It is used for number 129. Henry Francis Lyte, son of Captain Thomas Lyte, was born June 1, 1793, in Ednam, near Kelso. He was educated in the Royal School of Emiskillen and Trinity College, Dublin, where he was gradu- ated in 1814. He won great distinction at the uni- ad versity, receiving three prizes for English poems. At first he planned to study medicine, but gave this up for the study of theology and was ordained in 1815. He served near Wexford and later at Mara- zion in Cornwall. So far he had not been imbued with Christian earnestness to any great extent, but in 1818 the sickness and death of one of his friends and colleagues brought a radical change in his spir- itual life. When he was to try to bring comfort to his dying brother clergyman he began to feel how sorely he himself needed to enter into a closer com- munion with his Lord and Savior, Jesus Christ, and the two friends began a period of intense devotion and prayer. He writes about the death of his friend: ‘He died in willing resignation under the will of God, and with the firm conviction that, altho he had sinned much, still there was one who by His suffering and death had atoned for all his transgres- sions.’ Lyte adds that, at the deathbed of this friend, he himself went thru a great spiritual awakening, receiving a wholly different view of life, a new vision of the requirements of Christianity. In all earnestness he now took up the study of the Word of God, and his preaching became quite dif- ferent from what it had been. He showed a spirit of great selfsacrifice in caring for the family of his departed friend. A fervent desire to serve his Lord and Savior and to help his fellowmen in spiritual and bodily need, became from now on the guiding force in his life. He had a very weak constitution, © but when his friends begged him to seek relief, he replied that it was better to wear one’s self out in the service of the Lord than to rust away. In 1819 he was transferred to Lymington, where he wrote a 28 collection of poems, Tales on the Lord’s Prayer. In 1823 he was called as perpetual curate of Lower Brixham, Devon, and among these sturdy people his labors were richly blessed, until, stricken with con- sumption of the lungs, in the fall of 1847, he had to leave for Nizza, Italy, where he died November 20th, the same year. | Among Lyte’s poetic works may be mentioned: 1. Poems, Chiefly Religious, 1833, and an enlarged edition, 1845; 2. The Spirit of the Psalms, 1834; enlarged edition, 1836. After his death Miscel- laneous Poems, 1868, and Remains, 1850, were pub- lished. Lyte’s hymns are noted for their beautiful diction, a deeply religious and pious tone. Even in his hymns which breathe the spirit of the rejoic- ings of faith there is an undercurrent of sadness and grief. Many of his hymns are very popular, and are used by all denominations thruout the English- speaking world. 10 I praise Thee, O my God and Father. O, at jeg hadde tusind Munde.—Landst. 514. O dass ich tausend Zungen hatte. —J. MENTZER. (pie above-mentioned hymn in The Lutheran Hymunary is a translation of stanzas 6, 7, 8, 10, 11, of Mentzer’s famous hymn, ‘‘O dass ich tausend Zungen hatte,” which contains 15 stanzas. It was published first in Freylinghausen’s Gesangbuch, 1704, and passed over into many hymnals. This translation into English is by Miss C. Winkworth. There are 6 other English translations. It was pub- 29 lished in Danish in Pontoppidans Nye Psalmebog, 1740, following the translation of Fr. Rostgaard and Birgitte Kaas. The melody is by Johann Bal- thazar Koenig (born 1691, in Waltershausen von Gotha, and died 1758, in Frankfurt am Main). In the latter place he served as music director and pub- lished in 1738 a large collection of chorals: Deut- scher Liederschatz. Johann Mentzer, the author of this hymn, was born in 1658, in Sahmen, near Roxenburg in Silesia, and studied theology in Wittenberg. He became pastor in Merzdorf, 1691. He was transferred to Hauswalde in 1693, and in the year 1696 to Chem- nitz, near Bernstadt, Saxony, where he died in 1734. He was an intimate friend of Count N. L. von Zin- zendorf and had connections also with other famous hymn writers. About 30 of his hymns were included in contemporary hymnaries. Mentzer’s hymns are characterized by a deeply religious sentiment and fervent love for the Savior. Zinzendorf called Mentzer “‘a Christian purged in the furnace of trib- ulations.” LEE Ye lands, to the Lord make a jubilant noise. Al Verden nu raabe for Herren med Fryd. —Norw. Synod Hymn Bk. 443. ! —U. V. Koren. Ree U. V. KOREN was intensely interested in church music. He became the leader in the work of compiling the hymn book for the Norwe- gian Synod. In this edition the above-mentioned hymn was first published in 1874. This happy ver- 30 sion of the 100th Psalm of David, together with his translation of “Dies irae, dies illa’” (Hymn bk. of Norw. Synod 54), and his revisions of a number of hymns, show his unusual ability to strike the true spirit of the church hymn. They bear witness of his aesthetic taste and marked sense of rhythm and euphony. His hymn paraphrase was entered into G. Jensen’s ‘‘Utkast tiny Salmebog” for the Church of Norway, but later omitted by the committee in charge. For the revised edition of the hymn book for the Norwegian Synod, Dr. Koren rewrote sev- eral hymns, making them better suited for church use. He was also very musical and keenly inter- ested in the older rhythmic form of church music. At his suggestion was published the Rythmisk Koral- bog, which had some influence upon the composition of The Lutheran Hymnary. The English transla- tion of Dr. Koren’s hymn is by Mrs. Harriet R. Spaeth, 1898. The melody is by Erik Christian Hott (b. 1832). Hoff was an organist in Chris- tiania. Among other works he has published a book of chorals for church use. Ulrik Vilhelm Koren was born in Bergen, Nor- way, December 22, 1826. He completed the course at the Cathedral School of Bergen and entered the University of Christiania in 1844. In 1852 he be- came a candidate of theology and was given a teach- ing position at Nissen’s latin og real-skole. In 1853 he received a call to a pastorate among some Nor- wegian congregations of the state of Iowa. He accepted this call and was ordained to the ministry in Norway on the 25th of July, 1853. During the winter the young minister, accompanied by his wife, Else Elisabeth (Hysing), set out upon the voyage 31 across the ocean, to preach the Gospel to their coun- trymen who had settled on the plains of the far West. They arrived in Little Iowa (later called Washington Prairie) in December, 1853. Rev. U. V. Koren was the first Norwegian pastor to settle west of the Mississippi river. For many years he served the settlements of northeastern Iowa and southeastern Minnesota, a territory now comprising more than 20 parishes. In 1855 he was chosen secretary for the Norwegian Synod; was a member of the church council from 1861; vice-president of the Synod, 1871-1876; president of the Iowa dis- trict, 1876-1894; from 1894 until his death, 1910, president of the Norwegian Lutheran Synod of America. On Christmas Day, 1903, he delivered his 50th Christmas sermon before his congregation on Washington Prairie, where he had resided con- tinuously thruout his long term of activity. 12 Praise the Lord, ye heavens adore Him. 4 Pes hymn is based on the 148th Psalm. The first stanza appeared for the first time in a tract which was pasted into the music edition of a collec- tion of hymns used in the Foundling Hospital, Lon- don, 1796. Later it was printed also in the text edition of the same collection, but without giving the name of the author. It has been attributed to John Kempthorne and to Bishop Mant, but without good reason. In W. Russell's Foundling Collection, 1809, it has been set to Haydn’s melody. As a rule, this tune has since been used for the hymn. It has oi found a place in a great many hymn books in Eng- land and America. The melody, variously called “Austria,” ‘“Haydn,” or “Vienna,” is by the famous Austrian composer Franz Joseph Haydn (1732-1809). He was far advanced in years when he wrote it upon a request to furnish a melody for the Austrian national an- them, *Gott: erhalte “‘Hranz’ den.) Kaiser. deawas sung for the first time in all the theatres of Vienna on the occasion of the emperor’s birthday anniver- sary in 1797, and became immensely popular, not only thruout Austria, but also in other lands. It has been used with many national poems, and Haydn, who valued it very highly, later composed a number of variations upon it. He also made use of it in his Kaiser-Quartet. It is claimed that this tune was built upon the melody of an ancient Cro- atian folksong. 13 With joyful heart your praises bring. Bringt her dem Herren Lob und Ehr’. —C. GUENTHER. A English translation of this hymn was made by the Rev. A. T. Russell for his Psalms and Hymns, 1851. The melody is one of the oldest in the Lutheran Church. It was first printed in Etliche Christliche Lieder, 1524, and has been employed as the melody for Luther’s first hymn, ‘‘Nun freut euch, lichen Christen @ mein’y (har) 20)) ane author, Cyriacus Gunther (born January 15, 1649, in Goldbach, near Gotha), received his education at the gymnasium of Gotha and the University of 33 Jena. He labored asa teacher in Eisfelt and Gotha, where he died in 1704. He left upwards of 30 hymns in manuscript. Of these, 10 were published in Freylinghausen’s Neues Geistliches Gesangbuch, 1714. Of this number, two have been translated into English by the Rev. A. T. Russell, namely, the above mentioned hymn and ‘Halt im Gedachtniss Jesum Christ.” 14, Before Jehovah’s awful throne. —I. Watts. es hymn paraphrase by Isaac Watts, based on the 100th Psalm, first appeared in Watts’ Psalms of David, 1719. ‘The hymn, originally of 6 stanzas, began thus, ‘“‘Sing to the Lord with Joy- ful voice.” The change in the first line was intro- duced by John Wesley, who omitted the first stanza of the original. This hymn is used in all English speaking countries, and has been translated into many languages, among others into Latin, by R. Bingham, 1871 (Ante Jehovae tremendum). (Re- garding the melody see No. 1.) Isaac Watts was the oldest son of the teacher Isaac Watts. His father was a zealous Non-Con- formist (dissenter), who was imprisoned twice on account of his religious convictions. Both these im- prisonments took place during the early years of the son Isaac. The family home was at Southamp- ton, where Isaac’s father conducted a flourishing boarding school. Here Isaac was born July 17, 1674. The boy was exceptionally talented. He received instruction among other studies also in Latin, Greek, and Hebrew, and he made great 34 progress in these branches even during his child- hood years. His poetic talents also developed early. His brilliancy drew the attention of leading men in the city, and several friends offered to pay for his education at some university, provided he would be- come a minister in the Episcopal Church. Watts did not accept this offer, but in 1790 he went to the Non- conformist Academy at Stoke-Newington, conducted by Thomas Rowe, pastor of the free congregation. Watts was formally accepted as a member. At 20 years of age he left the academy and spent the next two years at his home in Southampton. Here he took up his life’s task of furnishing the congre- gation with new, good, Scriptural hymns. While here he composed the greater number of his Hymns and Spiritual Songs. ‘They were first sung from the manuscripts in the Southampton church. His first hymn was, ‘“‘Behold the glories of the Lamb,” based on Rey. 5:6, 8, 9, 10, and 12, of which the first stanza is as follows: Behold the glories of the Lamb, Amidst His Father’s throne. Prepare new honors for His name, And songs before unknown. The six years following he spent in Stoke-Newing- ton in the home of the influential Puritan, Sir John Hartopp, whose son was given private instruction by Watts. It was thru the intense studies carried on especially during these years that he gained the profound theological and philosophical knowledge which marks so many of his later works. But dur- ing these years he also ruined his health beyond recovery. 35 Watts preached his first sermon at the age of 24, in Mark Lane, London, and during the next three years he preached on many occasions. In 1702 he was ordained to the ministry and was placed in charge of the large and noted free congregation of Mark Lane, where his predecessors in the office had been among the most prominent and _ influential clergymen. The membership of this congregation included many of the leading men and women. But his health failed so that already the following year the congregation had to supply an assistant pastor. After:a protracted illness he was invited into the home of Sir Thomas Abney, where he remained the rest of his life, his last 13 years at Stoke-Newington. He was never married. In 1728 he was given the degree of doctor of theology by the University of Edinburgh. His health continued on the decline un- til November 25, 1748, when he thru a quiet and peaceful death was released from his sufferings. He was buried in the Bunhill Fields, and a monument was raised in his honor in Westminster Abbey. Isaac Watts was the first prominent English hymn writer. He has justly been called the father of Eng- lish hymnody. Thru him congregational singing was raised to its proper place in the public worship, and was imbued with new power and life. Julian mentions 454 original hymns and versions of the Psalms of David which are in common use in Eng- lish speaking countries. Many have been translated into other languages. Besides these, many ‘‘centos” or new hymns have appeared thru the selection and partial revision of certain stanzas from the original hymns. Many have severely criticized his hymns and especially his versifications of the Psalms of 36 David as lacking in poetic spirit; that the traditional four-line stanzas have a monotonous effect, and here and there built up with vulgar and tasteless expres- sions. It may be true that Watts, in many of his hymn paraphrases and original hymns, does not reach greater heights than some of his predecessors. He says himself that he has borrowed ideas and ex- pressions from poets like Denham, Milbourne, Tate, and Brady. Bombastic expressions were in harmony with the taste of the times. It is not surprising, therefore, that even a poet of the order of Watts should oc- casionally be drawn into the traditional style of his age. Allin all he ranks high above all his predeces- sors and contemporaries, and no one has had greater influence upon the development of English hymnody. In his hymns there: is great wealth of imagery, beauty of expression, lyric euphony and rhythm. They are characterized by deep piety and faith, childlike joy and exultation in praise. They are Biblical and churchly. His versions of the Psalms of David are more on the order of paraphrases or free renderings with the Psalms of David as texts, than metrical versifications or translations. They are eminently evangelical, they place the poetry of the Old Covenant in the light of the Gospel by con- tinuously interweaving parallel passages from the New Testament. No other English hymn writer has been given so much space in The Lutheran Hymunary or in other English-Lutheran hymnals, as Isaac Watts. In number they approach Luther’s and Gerhardt’s. The Lutheran Hymnary contains 18 of his most cherished hymns. They are all of the type of the four-line stanza and belong to his 37 most beautiful hymns. Dr. Watts’ great learning, his piety, mild disposition, and warmheartedness have gained for him the name of the ‘‘Philip Me- lanchthon of England.” His most famous hymn is, ‘When I survey the wondrous cross” (L. H. 306). Watts’ collection, Hymns and Spiritual Songs, was published in 1707-1709, altho written earlier (see above) ; Divine and Moral Songs appeared in 1715 and Psalms in 1719. A few hymns are also in- cluded in the collection of poems, Horae Lyricae, 1706-1709. Other hymns are found among his printed sermons, 1721-1724. His Catechism, Bible History, and The World to Come, gained large dis- tribution. His book on logic was used as a text book in Oxford University for many years. Among his other works may be mentioned Speculations on the Human Nature of the Logos, and The Improve- ment of the Mind. 15 Lord, with glowing heart I'd praise Thee. (Praise for Pardon and Peace). HS KRY: oe hymn was first printed in Dr. Muhlen- berg’s Church Poetry, 1823. The author, Francis Scott Key, born in Maryland, 1779, was educated at St. John’s College, Annapolis. He be- came an attorney; practiced in Washington, D. C., and was appointed United States District Attorney. He held this office until his death, January 11, 1843. He died in the city of Baltimore. _ Of his hymns seven have been published and are to be found in various hymnals. Mr. Key’s prin- 38 cipal fame was won as author of The Star Spangled Banner. He was a member of the Episcopal Church and was a pious and exemplary person. His poems were published in 1857. A monument has been erected in his honor in San Francisco, Cal. The melody employed with this hymn was first published in Geistreiches Gesangbuch, Halle, 1704, as a set- ting for the famous hymn, “O Durchbrecher al- ler Bande,” by Gottfried Arnold. (See under 160.) 16 Come, my soul, thy suit prepare. —J. NEWTON. Apel hymn of John Newton’s is based on I Kings 3:5: ‘In Gibeon the Lord appeared to Solomon in a dream by night: and God said, Ask what I shall give thee.” The hymn was published in the collection of Olney Hymns, 1779, and is one of Newton’s most popular hymns. It was used very frequently in Spurgeon’s tabernacle in London. Spurgeon requested that the hymn be sung softly and subdued immediately before the general prayer. The original contained seven stanzas. The melody (Vienna, Ohne Rast, or St. Boniface) appeared first in J. H. Knecht’s Vollstandige Sammlung, Stuttgart, 1799, set to the hymn, ‘Ohne Rast und unverweilt.” John Newton was born in London, July 24, 1725. His father served as captain of a merchant vessel. His mother was a very pious, but sickly woman, whose only joy was to instruct her little child, to read and to pray with him. At the age of four years the boy could read. He read the Westminster Cate- chism and the accompanying Bible passages, to- 39 gether with Dr. Watts’ Catechism and Hymns for Children. It was the mother’s hope and prayer that the boy should become a minister. Frequently she expressed this desire to her son. The instruction and spiritual care which he received from his pious mother had a far-reaching influence upon his future. But when John was only seven years of age, his mother died, and his step-mother did not continue _ the systematic instruction in religion. He continued in school and learned the elements of Latin. On his 11th birthday he joined his father on board ship and accompanied him on five voyages to the Med- iterranean Sea. He fell in with bad comrades, and after a while became the wildest among the ship- mates. Newton has himself described the life which he led during these years, and many have criticized him, saying that he has painted it unnecessarily dark. But he seems to have been fired with an immoderate desire to present himself as a terrifying example by openly portraying the unbridled life of his youth. It seems, however, that he could not entirely undis- turbed enjoy his sinful life. ‘The admonishings and prayers of the dear mother of his early childhood seemed to pursue him constantly. At times he would spend days and nights reading his Bible and praying. During several years he experienced a number of these intensely religious periods. They might some- times last for weeks, but they were, as he himself says, a shallow Christianity. He sought to stay his conscience by reforming himself and by a strict attention to duty. But his heart lacked the deeper sincerity and earnestness, and soon he would again cast himself into the most reckless living. We do not wish to dwell upon the many sad pictures from 40 his early years, altho many incidents might be point- ed out that would be of great psychological interest. Following the second voyage he was offered a good position in Spain, but in his thoughtlessness he refused the offer, which act he later explained thus: ‘“‘“As I was my own worst enemy, I seemed determined that no one should be my friend.” As time went on he was drawn into the worst forms of unbelief and greatly enjoyed reading Shaftesbury’s writings. His father gave up the seafaring life, and the young man then joined one of his friends, who advanced him to midship-man. While oc- cupying this office he would often seek to inculcate virtue and morals in his fellow workmen, while he himself led the most degraded life. This may ex- plain the great indignation and severity with which he later on, as a pastor, attacked all forms of hy- pocrisy and sham-Christianity. He fled from the service, but was recaptured and brought back to Plymouth. He was brought on board his ship and publicly whipped and degraded. Then began the darkest period of his life. He was sent to a slave ship, and treated as a slave. His ruin was impending. Only his sincere love for the young girl, Mary Catlett, to whom he was en- gaged at the age of 17 (she was at that time 14), now buoyed him up during this time of stress and, trial. The curious fact also deserves to be men- tioned that at this time of deepest depression he undertook the study of mathematics and languages. Finally, the great crisis of Newton’s life came as he was upon a return voyage to England in 1748. By chance he received a copy of The Imitation of Christ, by Thomas a Kempis. This book stirred his 41 soul to its depths. His awakening conscience gave him no peace, and during a storm which threatened to wreck the ship, the feeling of misery rose to a cry of despair within his soul. From that moment Newton became a new man. Gradually he acquired greater peace of mind, but as he formerly had not been able to cast himself entirely into a life in sins, in like manner, he now felt that he could not wholly consign himself to the forgiving grace of God. It was so difficult to find the way to the heart of God, while the mem- ories of his former life cast their dark shadows over his soul. He now sought, thru strict observ- ance of duty and a moral life, to do penance for the sins of his earlier years. This he tried to prac- tice during the six years of his life spent as com- mander of a slave vessel. At the same time his moral and intellectual life ripened, as he made use of all free hours for reading and study. On his last return voyage to England he met a pious cap- tain, and their meeting became of great blessing to Newton. This new friend spoke reverently and sincerely of the great love of Jesus Christ. They spent about a month together in meditation and prayer. Newton says that it was during this time that he received a true and living faith. Following an illness after his last voyage, in 1754, his physician declared him unfit for service at sea. He was then given a position as inspector of docks in Liverpool. Here began his connection with Whitefield, Wesley, and the Non-Conformists. He began the study of Hebrew and Greek, took part in prayer meetings, delivered occasional sermons at the meetings of the dissenters, until 1764, when he was 42 ordained pastor of Olney. For a number of years his labors were richly blessed, thru his sermons, his pastoral work, and not the least thru his hymns. The Olney House became the center of a pronounced religious awakening, and Newton, the soul of this activity, was much sought as an advisor, pastor, and friend, by rich and poor alike. He carried on an - extensive correspondence, and composed his best works while in the Olney parish. Among his works must be mentioned the book of The Olney Hymaus, containing hymns by himself and by his friend and co-laborer, the poet William Cowper. In 1779 Newton was appointed rector of St. Mary Woolnoth, London, where he labored until his death, December 21, 1807. When his eye-sight failed and his friends advised him to cease preach- ing, he replied: ‘‘What! Shall the African scoffer cease, as long as he is able to speak!” Newton’s hymns depict in a clear and impressive manner the contrast between the utter depravity of human nature and the boundless grace of God in Jesus Christ. There is little of the spirit of re- joicing and praise, but a confident note of trust and comfort. His hymns are found in all English hymnals. 17 Rejoice today with one accord. —SIR H. W. BAKER. Beep upon the first stanza of the 135th Psalm, this hymn was first published in the first edition of Hymns Ancient and Modern, 1861, and it also appeared in the later editions of this work, as well as in many other hymnals. ‘This is 43 one of the few hymns of praise written by Baker. It is written to Luther’s melody, ‘“A Mighty Fort- ress is our God,” and has been used extensively in England and other countries. Sir Henry Williams Baker, baronet, oldest son of Admiral Sir Henry Lorraine Baker, was born in London, May 27, 1821, and received his educa- tion in Trinity College, Cambridge. He was ordained to the ministry in 1844, and in 1851 became vicar of Monkland, Herefordshire, where he labored until his death, February 12, 1877. Sir Henry Baker’s name is especially connected with the famous work on hymnology, Hymns Ancient and Modern. This work contains 33 of Baker’s own hymns. He was the chairman of. the commitee that prepared the first ‘edition of this work, 1861, and continued in- cessantly, thru a period of 20 years, in the work of revising and perfecting the editions for publication in 1868 and in 1875. Baker also prepared Hymns for the London Mission, 1874, and Hymns for the Mission Services, 1876. Baker’s hymns enjoy a high rank. His style is clear and simple. There are no affected expressions, no bombastic phrases. His hymns are characterized by deep earnestness, dignity of expression, and smooth rhythm. His po- etic genius has much in common with Lyte’s. Just before breathing his last, he recited the third stanza of his beautiful hymn, “The King of Love my Shep- fends: Perverse and foolish oft I strayed, But yet in love He sought me, And on His shoulders gently laid, And home, rejoicing, brought me. 44 He has also composed a number of church melo- dies, , 18 O Holy Spirit, grant us grace. Gud Helligaand, i Tro os ler.—Landst. 27. Gott, heilger Geist, hilf uns, mit Grund. —B. RINGWALDT. INGWALDT, the author, has placed this hymn immediately after the Gospel hymn on _ Trinity Sunday. It is found in many older German hymnals, but has hardly enjoyed the recognition which has been accorded S6ren Jonass6n’s transla- tion by the Danish and Norwegian churches, where it has been in constant use in school and church work. It has been the first hymn taught to the child, and has formed a part of the last sigh of many a dying believer. (Skaar). Jonass6n’s trans- lation from 1693 entered unchanged into Kingo’s, Guldberg’s, Landstad’s, and Hauge’s editions, and, following this same translation, it appears in The Lutheran Hymnary, the English version by Rev. O. H. Smeby. (The Norwegian-American trans- lators who had a share in the preparation of The Lutheran Hymnary will be treated of later). Bartholomaus Ringwaldt, (Ringwald, Ringwalt), was born in Frankfurt an der Oder, November 28, 1532. At 27 he began work as a minister. -In 1566 he became Lutheran pastor of Langfeld, or Langenfeld, Brandenburg, where he labored until his death, presumably in 1599 or 1600. Ringwaldt exerted considerable influence both thru his sermons and thru his poems. He was a zealous and faithful 45 Lutheran and a good German patriot. He was a bold and aggressive worker and was not afraid to speak his mind. He was a keen observer and recognized clearly the need of his times. In his didactic poems, which were published in many edi- tions, he gave a number of very interesting sketches of his age. But he was also a pedagog, a school- master who could chastise; without regard for per- sons he swung the lash, and his own contemporaries in the ministry were often made to feel it keenly. In poetic power Ringwaldt resembled Luther. His best known hymn, “Es ist gewisslich an der Zeit,” ‘Det snart forvist paa Tiden er’ (Landst. 573), has even been ascribed to Luther. Ringwaldt was one of the most prolific hymn writers of the 16th century. Wackernagel attributes to him 208 poems, of which 165 are hymns. In 1577 appeared his Der 91. Psalm neben sieben andern schonen Liedern; his Evangelia auff alle Sontag und Fest, durchs ganze Jahr, about the year 1582. It contains hymns based upon the Gospel lessons for all the Sundays and holidays of the year. Handbiichlein: geistliche Lieder und Gebetlein, etc., was published in 1586. All these were published in Frankfurt an der Oder. Several of his hymns are found scat- tered among his poems mentioned above (Warnung des Trewen Eckharts and Die lauter Wahrheit). A selection of 59 Geistliche Lieder was published in Halle, 1853. The melody, known in England as ‘“‘Luther” or ‘‘Altdorf,” was very likely first printed in the Ge- sangbuch, 1529, but no copy is extant of this first edition. It is known first thru a later edition, — printed by J. Klug of Wittenberg, 1535, where it 46 was used as a setting for Luther’s first hymn, ‘““Nun freut euch, lieben Christen g’mein.”’ We are told that Luther heard it sung by ‘‘a traveller’? and copied it. It has been used several times at music festivals in England in connection with William Collier’s hymn of Doomsday (See under 604). Soren Jonasson, the Danish translator, was born in Aarhus, 1656. In 1691 he became pastor of Roskilde Cathedral. The same year he was re- quested to prepare a hymnal for the church and had the draft ready in 1693. This draft was not authorized for use, but eight of his translations were entered in Kingo’s Hymn Book. Sé¢ren Jo- nasson died at Roskilde May 27, 1717, while dean of Sommeherred (district). 1 Sing loud Hallelujah in jubilant chorus. Gladelig vil vi Halleluja kvede.—Landst. 512. Frolich wollen wy Alleluia singen.—Laudate dominum omnes gentes. —J. AGRICOLA. ee loud Hallelujah in jubilant chorus’ is based on the 117th Psalm. It was published in 1524, and is thus one of the oldest Lutheran hymns. In a collection entitled Een ny handbog, published in Rostock, 1529, there are two Danish . versions of Agricola’s hymn. One of these, thought to be Arvid Pedersgn’s version, appeared in Thom- isson’s Hymnal. The other, evidently Klaus Mor- tensgn’s, was used both by Thomissgn and Kingo. M. B. Landstad gave it a new Norwegian render- agit ing. The English translation in The Lutheran Hymnary is by Rev. Carl Dgving. Johann Agricola (Johannes Eisleben) was born April 20, 1492, in Eisleben, where his father was employed as a tailor. At an early age he was sent to school at Brunswick. In 1515 he came to Wittenberg and was received by Luther, who be- came interested in the talented young man. He spent several years in Wittenberg and was admit- ted into the household of Luther, who also secured for him a teachirg position at the university. He instructed a class in religion, for which purpcse he prepared a catechism. In 1519 he accompanied Luther to the disputation with Dr. Eck at Leipzig, and it is claimed that Agricola was appointed to re- cord the proceedings at this meeting. ‘The same year he and Melanchthon received the degree of bac- calaureus Bibliae at the University of Wittenberg. He was married in 1520 at Wittenberg. Luther, Melanchthon and other reformers were present at the wedding. After ten years of service in Wittenberg, he was, thru Lutheér’s influence, in 1525, given the position of rector of the school in Ejisleben, an institution lately established by Count Albrecht of Mecklen- burg. In connection with this position he should also serve as preacher and pastor of the church of St. Nicholas in Eisleben, and here he gathered a faithful congregation. He was, however, not con- tent with his position at the school, and in 1526 he applied for a professorship at the university. But Melanchthon was chosen in preference to Agric- ola. Agricola was deeply offended. He was not 48 only disposed to be irritable and vain, but overesti- mated his own importance. His activity and behavior in later years was not altogether praiseworthy. It soon became apparent that he nourished a grudge against Melanchthon. The fact of the matter was, that Melanchthon and Luther had for some time observed with anxiety that as the Reformation progressed, many _ be- came followers for the simple reason that they wished to join the popular movement, and not out of personal conviction from the -Word of God. Indeed, many preachers proclaimed salvation thru faith alone, but this was often received as a mere external adherence to Reformation ideas, without particularly affecting the life of the people. Melanch- thon, accordingly, issued a circular letter wherein he admonished the Lutheran preachers not only to preach on faith, but also to encourage people to the confession of sin, repentance, and conversion, and to dwell upon the commandments of the Law. ‘The same thoughts were repeated in his articles of visi- tation in Saxony. Agricola criticized these very severely, and, at the same time, directed a violent accusation against Melanchthon personally, charg- ing him with abandoning the doctrine of justification by faith alone, and that Melanchthon was influenced again by the doctrine of the “‘work-righteousness”’ of Catholicism. Luther sought to put an end to this controversy and at the meeting in Torgau silenced Agricola. There is very little information in regard to Agricola’s activity during the next few years, except that he fell out with Duke Albrecht and was dismissed by him July 27, 1536. Even the same day Agricola went to Wittenberg, where Luther, +9 thinking that he had bettered his ways, received him and his family into his household, and called him into consultation on the Smalcald Articles. More- over, the elector promised him an annual allowance for delivering certain lectures at the university. But in 1537 Agricola appeared in public with his perverted doctrine on the Law and thereby began the Antinomian controversy. Luther conducted five disputations with him, 1537-38, and forced him to retract his false teachings, and Luther was author- ized to draw up the statement of retraction for Agricola to sign. While this was going on he learned that Luther had censured him in a private letter to a friend, and in 1540 Agricola sent a com- plaint against Luther to the elector. The proceed- ings took a sad turn for Agricola, who was arrested and set free only upon the promise that he would not leave Wittenberg until the case had been tried and settled. Despite his promise he slipped away and came to Berlin. The elector Joachim II. be- came his protector, appointed Agricola court preach- er, and later superintendent. From that time on Agricola opposed Luther and the other reformers, and later became the leader in the preparation and carrying out of the Augs- burg Interim, which was chiefly a compromise be- tween Catholicism and the Reformation and a de- nial of the fundamental principles of the Reforma- tion. For this Agricola of course incurred the dis- pleasure of the reformers. He died September, 1566. (H. Nutzhorn, from Herzog and Plitt). This hymn of Agricola’s in The Lutheran Hym- nary has not the same verse meter as in Landstad's Hymnal, and hence not the same melody. The 50 hymn in The Lutheran Hymnary has been set to Landstad’s melody for “I pregtige Himle og Jorden tillige’ (Landst. 201), while Agricola’s hymn in Landstad’s has a special melody by Lindeman. 20 When all He mercies, O my God. —J. ADDISON. pak original version of this hymn containing 13 stanzas was first printed in The Spectator, No. 453, August, 1712. In this connection the author writes: “If we owe thanksgiving to our fel- lowmen, how much more, then, do we not owe thanksgiving to God! Our heavenly Father gives us, not only those gifts which come to us immediately from His hand, but also those that come to us thru the instrumentality of others. All good things which we enjoy, regardless of how we receive them, are gifts from His hand. He is the fountain of all good gifts and the Father of all mercies.” As Jonathan Crowther of Leeds, England, a minister famed for his learning and piety, lay upon his death- bed, one of his friends standing by reminded him of the Scripture passage: ‘‘Who can separate us from the love of Christ?’ Crowther answered by continuing the Scripture passage to the end, and then he added with deep emotion: When all Thy mercies, O my God, My rising soul surveys, Transported with the view, I’m lost In wonder, love, and praise. Thereupon he recited a part of the 23rd Psalm, and died with these words: “I am thankful.” 51 The melody of this hymn is classed among the oldest of English church tunes. It has been called ‘“Winchester Old” and, was printed in 1592 by Thomas Este (Est), a London publisher (1588- 1624). Hechanged his name to Snodham. In 1592 he published a book with the following title: The Whole Book of Psalms with Their Wonted Tunes as They are Sung in Churches, Composed Into Four Parts. Este’s Psalter contains 57 melodies. Among the 9 new melodies entered are ‘‘Winchester Old”’ and ‘‘Windsor.” Joseph Addison, son of the Episcopal minister, Lancelot Addison, (rector of Milston and later dean of Lichfield) was born in Milston May 1, 1672. His mother was a sister of William Gulston, bishop of Bristol. The son received his education at Charterhouse and Magdalen College, Oxford; B. A., 1691; M. A., 1693. It was the intention that he should become a minister, but the young man chose to study law and politics, and thru the as- sistance of influential friends he soon rose to po- sitions of importance. He began as secretary of the court of appeals. Later he became assistant secretary of state. In 1710 he was made secretary to the Lord Lieutenant of Ireland, and in 1717 chief secre- tary for Ireland. He was married in 1716 to Charlotte, the Duchess of Warwick. Together with Sir Richard Steele he founded The Spectator, and it is chiefly thru his contributions to this paper and thru his essays in The Tattler, The Guardian, and The Freeholder, that he gained his fame. His hymns were printed in The Spectator. Addison suffered from asthma and dropsy and died at the age of 47, June 17, 1719. He invited the Duke 52 of Warwick to his bedside to show him that a Christian can die in peace. 21 From all that dwell below the skies. —Isaac WATTS. i Pais hymn by Isaac Watts appeared in his Psalms of David, 1719. It is a metrical ver- sion of the 117th Psalm, and is used thruout all English speaking countries. It has been translated into many languages. Bingham translated it into Latin in 1871. In John Wesley's Pocket Hymnary this hymn appears with an added double stanza, and this form of the hymn has been employed in many hymn books. Other hymnals have taken only one of the added stanzas of John Wesley’s, and have added Bishop Ken’s doxology, ‘‘Praise God, from whom all blessings flow.” (For notes on the melody, see No. 1.) : 22 Jesus, Sun of righteousness. Morgenglanz der Ewigkeit. —C. K. von ROSENROTH. | Ras is a free translation of the popular Ger- man hymn, ‘‘Morgenglanz der Ewigkeit,” which appeared in seven six-lined stanzas in Geist- liche Sittenlieder,’ published by the author, 1684, in Nurnberg. The meter is different from that of the original (L. H. 548). It is held that the hymn is based on a poem by Opitz. One writer describes this hymn as one of the heartiest, most original, and 53 most spiritual morning hymns; it seems to have been “born like the dew out of the morning dawn.” This must have been the viewpoint also in England, as there are at least 14 English translations, of which number, 10 are in use by the various churches. The melody (used in L. H.) by L. M. Lindeman was composed for Grundtvig’s hymn, ‘‘Peace to soothe our bitter woes.” The English translation is by Miss Jane Borthwick of Edinburgh (1813-1897). Christopher Knorr von Rosenroth, a learned German theologian, Orientalist, and hymn writer, was born in Altranden, Silesia, July 15, 1636. He was educated in Leipzig and Wittenberg; later he traveled in France, England, and Holland. On these travels he met Dr. Henry More, Rabbi Meier Stern, and Dr. John Lightfoot, and was induced by them to study alchemy, Oriental languages, and especially Kabbala (the oral tradition of the Jews, transmitted from Adam; the secret wisdom of the Rabbis).* Thru these studies Rosenroth came in touch with Palsgrave Christian August, who in 1668 appointed him prime minister and privy councillor. In 1677 he was created baron by Emperor Leopold I. Rosenroth strove to harmonize the doctrines of Kabbala and Christianity. His monumental work, Kabbala Denudata, Sulzbach, 1677, made him world-famous. He ranks high as a writer of hymns. His hymns were published in 1684 under the title: Neuer Helicon mit seinen neuen Musen, das ist: Geistliche Sitten-Lieder. ‘This volume contained 70 hymns, of which a few are translations from *Kabbala means, in this connection, the Jewish mystico-the- osophic philosophy of religion; it arose from a desire for a deeper religious consciousness, as mysticism in Christianity. 54 the Latin, others are versions of old German hymns. Sixteen of Rosenroth’s hymns were taken up by Freylinghausen in his hymnal, published in 1704, and again in 1714. The hymnologist Hoch says of Rosenroth’s hymns that they are the product of a noble, pure, and deep mysticist, with a truly poetic sentiment, and a fervent desire for union with Christ. Rosenroth died in 1689. 23 Praise ye Jehovah, praise the Lord most holy. —Lapy COCKBURN-CAMPBELL. ADY MARGARET COCKBURN-CAMP.- BELL, oldest daughter of Sir John Malcolm, was married in 1827 to Sir Alexander Thomas Cockburn-Campbell, one of the founders of the Plymouth Brethren of England. He died in Alp- ington, near Exeter, 1841. Her hymns were litho- graphed from her manuscripts for private use. A few of them were printed in the hymnal of the Plymouth Brethren, Psalms and Hymns, London, (1842. “Praise ye Jehovah,” is her best known hymn. ‘The melody, called “Jehovah” or ‘Wor- ship,’ by Edward John Hopkins (1818-1901), church composer and organist of London, was very likely composed for this hymn. ae 24, Our thanks and praise to Thee be given. Dicimus grates tibi, summe rerum. —PuHILip MELANCHTHON. (| Be hymn was first printed as No. 1 of De Angelis Duo Hymni, Wittenberg, 1543. It ap- peared in 10 four-lined stanzas. It was again pub- lished the following year in Psalterium Davidis, Wittenberg, 1544. In Corpus Reformatorum and in Wackernagel’s edition it has 11 stanzas. It was translated into German by Paul Eber and printed in Nurnberg, about 1554, Ein schén Geistlich Lob- sang: Herr Gott, dich loben alle wir. Later it ap- peared in J. Eichhorn’s Gesangbuch, Frankfurt an der Oder, 1561. There are four English transla- tions. Our English version (L. H. 24) is by Dr. Joseph A. Seiss, and was published in 1890, in the Sunday school book of the General Council. Me- lanchthon wrote a few Latin hymns, but did not produce anything further of importance in Lutheran hymnology. 29 Jesus, Lord of life and glory. —J. J. CumMINs. A LENTEN hymn, based on the 17th verse of the 119th Psalm. It is one of the most popu- Jar hymns of Cummins and has found a place in many hymnals. In some books the first line has been changed so as to read, “Jesus, Lord, we kneel before Thee.” John James Cummins was born in Cork, Ireland, 56 1795, the son of a merchant. In 1834 he moved to London, where, for a number of years, he served as director of a bank. His death occurred in 1867. Cummins spent a good share of his time studying Greek and theology. He wrote Seals of the Cove- nant Opened in the Sacraments, 1839, especially for the use of his own children during their preparation for confirmation. In the same year his Poetic Medi- tations and Hymns were printed. In 1849 an en- larged edition known as Lyra Evangelica was pub- lished in London. The melody, St. Raphael (or St. Giles), by E. J. Hopkins, was first published in Temple Choral Service, 1867, and appeared there as the setting for this hymn under the first mentioned title, “Jesus, Lord of life and glory.” 26 Give praise to God our King. —A. T. RUSSELL. RTHUR FOZER, RUSSEL was) bom ean Northampton, March 20, 1806. He was the son of a Dissenter minister, William Russell, who preached in Enfield and London. The son received his early education in St. Savior’s School of South- wark and the Merchant Taylors’ School of London. In 1822 he came to Manchester College, York, and completed his education in St. John’s College, Cam- bridge. Here he received a prize for his treatise, The Law Our School-Master to Bring Us to Christ. In 1829 he was ordained by the bishop of Lincoln, and from 1830 to 1852 he served as vicar of Cax- ton, Cambridge. During this period he wrote ex- 57 tensively on theological themes. About 1840 he published Hymn Tunes, Original and Selected. Many of his original hymns, together with trans- lations from the German, appeared in Hymns for Public Worship, 1848, Dalston Hospital, London. In 1847 Christian Life was published, and in 1851 his edition of Psalms and Hymns. His original hymns and translations have been included in sev- eral hymnals. A great number of them appeared in Dr. B. H. Kennedy's Hymnologia Christiana, 1863. He has also composed melodies which are in use. His hymn poems are characterized by re- ligious fervor and deep piety. He wrote in all up- wards of 140 hymns. After serving at Whaddon; at Toxteth Park, near Liverpool; and at Wrock- ‘wardine Wood, he finally removed to the rectorship of Southwick, near Brighton, where he died Novem- ber 18, 1874, after a protracted illness. The melody for the above-mentioned hymn is sup- posed to have been composed by Hartnack Otto Konrad Zinck (1746-1832). It appeared first in Zinck’s Choralbuch, Copenhagen, 1801. This vol- ume contained the melodies for The Evangelical Christian Hymnary. 20 Rock of Ages, cleft for me. —A. M. Top .apy. 4 Rokaty hymn was first printed in the Gospel Magazine for October, 1775, and again, tho somewhat varied, in Psalms and Hymns, published by the author in 1776. “Rock of Ages’’ has shared the fate of many hymns in that it has undergone 58 many changes and “improvements.” Many authors have worked over it and revised it for various hymnals. ‘The best version is possibly the one by Thomas Cotterill (1779-1823). This found a place in several hymn collections. At a church meeting in York, 1866, Sir R. Palmer (Lord Selhorne) pro- tested vigorously against the practice of revising Toplady’s hymn. It had its intended effect. Af- ter that time there has been a return to the re- vised version of Toplady’s own Psalms and Hymns. The only departure from the original in ours and most other hymnals is in the line, ““When my eye- strings break in death.” Cotterill changed this to, ‘‘When mine eyelids close in death.” Up to 1810 this hymn was not used very extensively. But later on it has been included in nearly all English hymn books. It has been translated into many languages. In 1840 Gladstone prepared a Latin version: ‘‘Je- sus, pro me perforatus.” ‘This was printed in 1861. In the year 1890 it was translated into no less than seven Latin versions. Dr. Pomeray tells of his visit in an Armenian church in Constantinople. The people were moved to tears during the singing of a certain hymn. Upon inquiry he found that they were singing a Turkish translation of ‘Rock of Ages.’’ Mrs. Lucy Bainbridge, on her travels in China, met a native Chinese woman of 80 years. She had been converted to the Christian faith and sang with deep emotion in her own language these lines: ‘Nothing in my hand I bring, Simply to Thy cross I cling.’’ Spurgeon says, “‘A glimpse at the thorn-crowned head and pierced hands and side is a sure cure for ‘modern doubt,’ and all its vagaries. Get into the ‘Rock of Ages, cleft for you,’ and you 59 will abhor the quicksand.” This was also the favorite hymn of Prince Albert of England, prince consort of Queen Victoria. He turned to it con- stantly upon his deathbed: ‘‘For,” said he, ‘‘if in this hour I had only my worldly honors and dig. nities to depend upon, I should be indeed poor.’ Many similar incidents might be mentioned. Julian, the noted hymnologist, says: ‘‘No other hymn has to such a degree been able to grip and stir the hearts of the English-speaking world.” The first melody (L. H.), called ‘‘Gethsemane,”’ Redhead, 1876, was composed in 1853 by Richard Redhead, born 1820. He was an English composer and organist. ‘This melody is used chiefly in Eng- land. The second melody, ‘“Toplady,’ used in America, is by Thomas Hastings, a musician and prominent hymn writer of Utica, N. Y. The sec- ond melody dates from 1830. (See notes on Hast- ings, No. 112.) Augustus Montague Toplady, the son of Major Richard Toplady, was born in Farnham, Surrey, England, 1740. His father died soon after. His mother sent him to the Westminster School of Lon- don. Owing to circumstances his mother removed to Ireland, and Augustus continued his studies at Trinity College in Dublin. Toplady has related how he became a child of God during the stay in Ireland. He was at that time 16 years of age. It was indeed peculiar, he says, that he, who had for so long a time been under the influence of the Word of God in England, should thus be brought to God in that secluded district of Ireland, where a hand- ful of people were gathered in a granary, and where the service was conducted by a man who could 60 scarcely spell his own name. (Here, however, Top- lady is mistaken, as the minister to whom he refers was none other than the famous Methodist preach- er, James Morris). When he was between 15 and 18 years of age | he began to write poetry. His early poems were printed in Dublin in 1759. At the age of 22 he was ordained in Trinity Church. When he was to subscribe to the Church Articles, the Homilies, and the Liturgy, he signed his name five times to show his ardor and sincerity in taking the oath of ordina- tion. He was first appointed curate of Blagdon. In 1768 he became vicar of Broadhambury. Here he received an annual salary of 80 pounds. “It was his life’s ambition,” says his biographer, Mr. Sedg- wick, ‘‘to be able to deserve the most, but to be con- tent with the least.’’ Toplady had a very weak con- stitution. He was a zealous worker who often em- ployed the hours of the night for study. The symp- toms of disease developed into tuberculosis of the lungs. In Broadhambury he published his Psalms and Hymns in 1776. Shortly afterwards he moved to London, where he became pastor of the French- Calvinistic Church in Leicester Fields. Toplady was an ardent Calvinist and was at times inconsiderate and unfair over against his opponents or people of other churches. His chief opponents were the Wesley brothers and the Methodists. His doctrinal controversy with John Wesley developed into personal attacks by both men, and neither of them came out with glory. It shows how the best and most sincere Christians may forget themselves in the heat of the battle and give the Old Adam free rule over their heart and mind. Toplady called 61 Wesley “Pope John” and said that he wrote ‘“‘a known, wilful, and palpable lie to the public.” John Wesley declared solemnly that he would not fight with chimney sweeps, “‘he is too dirty a writer for me to meddle with,” etc. The dust of many years has long since settled upon this controversy. Still the immortal hymn “Rock of Ages’’ must be con- sidered as a part of the contribution to the contro- versy, which is indicated by the title given to it, namely, “A living and dying prayer for the holiest believer in the world,” thereby aiming at the Meth- odist doctrine of personal perfection. But the Methodists prize it very highly, and the hymn is to be found in all the leading Methodist hymnals. A History of Hymns, published in connection with The Methodist Hymn Book, says: ‘‘Toplady lived a God-fearing and holy life; his hymns breathe a spirit of heavenly devotion and are filled with the joy of faith, praise, and prayer, and his departure from this life into the heavenly mansions was beau- tiful and triumphant.” Toplady died August 11, 1778, 38 years of age. He called himself the happiest man in the world. As a child longs for father and mother and hopes to see them, he lay upon his deathbed, rejoicing in faith, waiting to be called home. ‘‘Sickness is no trial; pains are no misfortune; death is no separa- tion; the heavens are clear; there are no clouds over- ‘head. Come, Lord Jesus, come soon!” Shortly before his eyes were closed in death, he said: ‘It will not be long before God takes me, for no mortal man can live after the glories which God has manifested to my soul.” His famous hymn, “Rock of Ages,” has brought comfort to millions of 62 many generations. It is the most favored and most extensively sung of all the hymns in the English language. He wrote many more hymns, several of which rank above ‘‘Rock of Ages” considered mainly from the literary and aesthetic viewpoint, but it seems that the grand inspiration of his life outshines all other hymns which he produced, the only things it gathers imits light is his name and the memory of his triumphant “going home to heaven.” We append the first stanza of Gladstone’s Latin version. Jesus, pro me perforatus, Condar infra tuum latus. Tu per lympham profeuentem, Tu per sanguinem tepentem In peccata me redunda Tolle culpam, sordes munda. 28 Give to our God immortal praise. —I. Watts. | Ras hymn was composed upon the text of the 136th Psalm. It was printed in Watts’ Psalms of David, 1719, and contains eight stanzas. .The fifth and the sixth stanza of the original have been omitted. : The melody (Duke Street) is by John Hatton of Warington. Later he moved to St. Helens, where he died in 1793. The tune has been given the name of the street where the composer dwelt. It ap- peared in print in 1790. 63 29 May God bestow on us His grace. Nu er os Gud miskundelig.—Landst. 28. Es wollt uns Gott genadig seyn. —M. LUTHER. 4 ie 67th Psalm furnished the inspiration for this hymn by Dr. Martin Luther. It was evi- dently printed in 1523-1524 in a leaflet together with “Aus tiefer Noth” (Out of the depths I cry to. Thee. 41.273), and shortly ‘after! the’ text was published in Luther’s Ein weyse Christliche Messe zu halten und zum Tisch Gottis zu gehen, Wittenberg, 1524. The same year it was also pub- lished in Eyn Enchiridion; from this it passed into all the German hymnals. Klaus Mortens¢n trans- lated it into Danish and added a closing stanza (see Landst. 28). ‘This version was used in the Malmé Hymnary of 1533 and later in the editions of H. Thomissgn, Kingo, and Pontoppidan. Land- stad’s and Hauge’s versions are somewhat different. The revised hymn book of the former Norwegian Synod follows in the main Mortensgn’s translation. In connection with this hymn the story is told from Magdeburg that one of the citizens, an old clothier, gathered people in the marketplace by singing and selling this hymn together with the com- panion hymn, ‘‘Out of the depths I cry to Thee.” The burgomaster had him arrested, but he was re- leased following a demonstration of protest staged by the citizens. Two months later the people of Magdeburg put thru the Reformation in their city. The hymn was sung by the army of Gustavus 64 Adolphus on the morning of the battle of Lutzen, November 6, 1632. Both this hymn and “‘A Mighty Fortress is our God’’ were sung to the accompani- ment of trumpets and kettle-drums. Ludvig Hol- berg relates that the hymn was sung by a child dur- ing the night before the introduction of the Ref- ormation in Helsingér. ‘The hymnologist, James Mearns, says that Luther remodeled the Old Testa- ment Psalm into a New Testament missionary hymn. and adds, “It was therefore fitting that it should be sung at the opening service during the dedication of the mission church in Trichinopoli, India, July 11, 1792.3)" The» service (was) conducted iby WC. ue Schwartz.”’ Besides 14 English translations there are numer- ous versions in Danish, Norwegian, Swedish, Ice- landic, French, Portuguese, Latin, and other lan- guages. he version in The Lutheran Hymnary is by Richard Massie, born 1800, in Chester, England. In 1854 he published in London Martin Luther's Spiritual Songs. His Lyra Domestica, London, 1860 and 1864, contains Spitta’s and other German hymns in English translation. He also translated many German hymns for Mercer’s Church Psalter and Hymn Book. Massie died March 11, 1887. The melody used for this in The Lutheran Hymnary was composed by Luther’s friend and as- sistant in music, Johann Walther. Walther wrote the melody as a setting for Luther’s first hymn, ‘‘Ein neues Lied wir heben an,” where the glorious death of the two Dutch martyrs is described (see below). The committee for The Lutheran Hymunary selected this melody for ‘‘May God bestow on us His grace,” as being best adapted for use in our congregations. 65 The old melody commonly used for this hymn ap- peared first in Teutsch Kirchenampt, Strassburg, 1524, and has since that time been connected with this hymn (see Lindeman’s Koralbog, the United Church edition, 122). Martin Luther (1483-1546), German re- former, was born in Eisleben, the son of Hans and Margarete Ziegler (Lindemann?) Luther. His parents were miners. In 1484 they removed to Mansfeld, where the father became a prominent citizen. The training in the parental home was very strict and the son was kept rigidly at his studies. He received his early education in Mansfeld, Mag- deburg, and Eisenach. In 1501 he became a stu- dent at Erfurt. His father decided that he should study law, but Luther, suffering from anguish of conscience, entered the Augustinian cloister at Er- furt in 1501. In 1507 he was ordained. While in the cloister he showed great zeal both in acts of penitence and in the study of the Holy Scriptures, which he here learned to know for the first time. But he suffered still from remorse of conscience. For this the vicar-general Staupitz gave him great comfort. Staupitz brought Luther to the attention of Elector Friedrich the Wise, who procured for him a professorship at the university of Wittenberg in 1508. In 1511 Luther went on his famous journey to Rome. In 1512 he was created doctor of theology. His religious views began to ripen and take form as he studied the Letter to the Romans, the. Psalms, Augustine, Bernhard, and the German mystics. Righteousness by faith now became the central doc- trine of his theology. 66 Then came his public declaration against the | selling of indulgences. In the 95 theses, nailed on the church door at Wittenberg, October 31, 1517, he challenged the pope’s authority to remit punish- ment except that which he had himself ordered. This caused a great sensation; Luther had had the courage to come out openly and express an opinion which already had been nourished by many. The pope tried in vain to silence Luther, first thru Car- dinal Cajetan (Augsburg, 1518), then thru his chamberlain Miltitz (Altenburg, 1519). At the disputation with Eck (Leipzig, 1519) it appeared that Luther’s views on the authority of the pope were entirely different from that held by the Cath- olic Church. | In the meantime Luther was supported by his colleagues, especially Melanchthon, by the elector and many of the humanists, as Hutten and Crotus, and by the common people. In 1520 the main Reformation writings appeared: To the Christian Nobility, emphasizing the universal priesthood of all believers; The Babylonian Captivity with its new conception of the sacraments; and Christian Liberty. On January 3, 1520, Luther was placed under the ban of the Church. In 1521 he was cited to appear before the Diet of Worms, where he was asked to retract all his writings. Upon his determined re- fusal to do this (April 18), he was declared (May 25) also under the ban of the empire. The elector had, however, prepared a place of safety for Luther at Wartburg, where he found time and peace to translate the Bible for his people. March 7, 1522, the fanaticism of Carlstadt drew him again to Wittenberg. He now began to or- 67 ganize the work of the church and the order of service. During this period he also wrote many of his powerful hymns. In the following year the humanists (Erasmus), the fanaticists (Carlstadt, Mtinzer), and the peas- ants (Peasants’ War, 1524-1525) deserted the cause of Luther. Thru his action during the war Luther strengthened the position of the rulers. On June 15, 1525, he married a former nun, Katharina von Bora. During the following year he visited the congregations in Saxony, for whom he wrote the Small Catechism. During the years 1526-1530 there arose the controversy with the Swiss reformers, especially with Zwingli, who so far disagreed with the Lutherans on the doctrine of the Lord’s Supper that Luther at the conference at Marburg, 1529, declared openly, ‘Ye are of a different spirit from us.’ During the Diet of Augs- burg, 1530, Luther followed the proceedings from his retreat at Coburg. Thus it came to pass that, while the Augsburg Confession contains the funda- mental ideas of Luther, it was given its form under the painstaking hand of Melanchthon. Luther’s polemics did not grow milder as he ripened in years. Even in 1545 he wrote about the Papacy at Rome, Founded by the Devil. His many letters to his wife and children prove that his do- mestic life was very happy. During his later years he grieved over the fact that the Gospel of Christ bore so little fruit. His Table Talks show him to have been a prince of entertainers, both along the line of mirth and in serious conversation. Death overtook him upon a journey which he made in an attempt to reconcile 68 the counts of Mansfeld. He died in his home town of Eisleben. He was buried in the castle church of Wittenberg. Luther was a spiritual giant, great in the fearless fight which he waged, and great in true conserv- atism. Personally he was the incarnation of the strength of the German people. He was a master of language, both written and spoken. His transla- tion of the Bible alone would have established his fame. He was exceptionally earnest and sincere. The desire of his heart caused him to enter the cloister; but the constant faith of his heart led him forth again from the cloister into active life, and this experience of his heart, based upon the testi- mony of Scripture, he made the firm foundation upon which he took his stand in defiance of all hu- man onslaughts. His strong realistic tendency might at times verge on coarseness, but we see in it simply a frank protest against vain sentimental- ism, against affectedness and vacillation. The quadri-centennial of Luther’s birth was celebrated in 1883 by Lutheran churches over the whole world. LUTHER’S HYMNS ORIGINAL 1. Eines neues Lied wir heben an. 2. Erhalt uns, Herr, bei deinem W ort. Hold oppe, Gud, hos os dit Ord. Landst. 29. Lord, keep us steadfast in Thy word. L. H. 138. 3. Jesus Christus, unser Heiland, der den Tod. 4. Nun freut euch, lieben Christen g’ mein. (Nu fryde sig hver kristen Mand.) 69 Nu kjare menige Kristenhed. Landst. 9. Dear Christians, one and all rejoice. L. H. 526. BASED ON LATIN OR GERMAN ORIGINALS 5. Christ lag in Todesbanden. Den Herre Kristi Dédens Baand. Landst. 342. Christ Jesus lay in death’s strong bands. | bay ila bal 6 poi 6. Jesus Christus, unser Heiland, der von uns. 7. Verleth uns Frieden gnadiglich. HYMNS REWRITTEN, SOME OF THEM DIRECT TRANS- LATIONS, OTHERS ENLARGED FROM LATIN 8. Christum wir sollen loben schon. Saa langt som Himlens Hvelving naar. Landst. 295. From east to west, from shore to shore. |B ma bee Rh 9. Der Du bist Drei in Einigkeit. O hellige Treenighed. Wandst. 85. 10. Gelobet seist Du, Jesus Christ. Du vare lovet, Jesu Krist. Landst. 133. O Jesus Christ, all praise to Thee. L. H. 184. 11. Komm, Gott Schopfer, heiliger Geist. Kom, Helligaand, med Skabermagt. | Landst. 209. Come, Holy Ghost, Creator blest. L. H. 355. 12. Komm, heiliger Geist, Herr Gott. Kom, Hellige Aand, Herre Gud. Landst. 429. Come, Holy Spirit, God and Lord. L. H. 375. 70 Ua ihe 16. 7s 18. ith) 20. . Mitten wir im Leben sind. Midt i Livet ere vi. Landst. 223. Tho in midst of life we be. L. H. 240. Nun komm, der Heiden Heiland. Kom, du Folke-Frelser sand. Landst. 141. Come, Thou Savior of our race. L. H. 186. Was fiircht’st du, Feind Herodes sehr. Herr Gott, dich loben wir. O store Gud, vi love dig. Landst. 10. Thee God we praise, Thy name we bless. La Eteh HYMNS BASED ON OLD GERMAN ORIGINALS Gott der Vater, wohn uns bet. Gott sei gelobet und gebenedeiet. Gud vere lovet evig nu og priset. Landst. 69. May God be praised henceforth. L. H. 156. Nun bitten wir den heiligen Geist. Nu bede vi den Helligaand. Landst. 3. O Holy Ghost, to Thee we pray. L. H. 39. HYMNS BASED ON PSALMS Ach Gott, vom Himmel sich darein. Psalm 12. O Gud, av Himlen se hertil. Landst. 497. Look down, O Lord, from heaven behold. UTE) Nn A . Aus tiefer Noth schrei ich zu dir. Psalm 130. Af Dybsens Noéd jeg raabe maa. Landst. 273. Out of the depths I cry to Thee. L. H. 273. . Ein’ feste Burg ist unser Gott. Psalm 46. Vor Gud han er saa fast en Borg. Landst. 266. Poy, 24. LY 26. fe 30. alt 32. 71 A mighty fortress is our God. L. H. 270. Es spricht der Unweisen Mund wohl. | Psalm 14. Es wolt uns Gott genddig sein. Psalm 67. Nu er os Gud miskundelig. Landst. 28. May God bestow on us His grace. L. H. 29. War’ Gott nicht mit uns diese Zeit. Psalm 124. Var Gud ei med os denne Tid. Landst. 555. Had God not come, may Israel say. L.H. 527. Wohl dem der in Goties Furcht steht. Psalm 128. HYMNS BASED ON OTHER SCRIPTURE PASSAGES 27. 28. Jesaia, dem Propheten, das geschah. Is. 6:1-4. Mit Fried’ und Freud’ ich fahr dahin. | Luke 2 :29-32. Med Fred og Glade far jeg hen. Landst. 162. Sie ist mir lieb die werthe Magd. Rey. 12:1-6. Vom Himmel hoch da komm ich her. Luke 2:8-12. Fra Himlen hgit jeg kommer her. Landst. 129. From heaven above to earth I come. L. H. 181. Vom Himmel kam der Engel Schaar. Luke 2:10-11. Fra Himlen kommer Engleher. Landst. 145. HYMNS BASED ON PARTS OF THE CATECHISM Christ unser Herr zum Jordan kam. Kristus kom selv til Jordans Flod. Landst. 260. 72 33. Dies sind die heiligen Zehn Gebot. 34. Mensch, wilst du leben seliglich. 35. Wir glauben all an einen Gott. Vi tro og tr¢ste paa en Gud. Landst. 12. We all believe in one true God. L, H. 71. 36. Vater unser im Himmelreich. O Fader vor i Himmerig. Landst. 14. Our Father, Thou in heaven above. L. H. 359. It is difficult, not to say impossible, to classify Luther’s hymns. In the foregoing list, prepared by a Lutheran hymnologist, only four hymns are mentioned as original with Luther. In reality many more deserve to be listed as original, when we con- sider how the spirit of Luther has adapted and ar- ranged the material of many hymns and impressed the stamp of his personality upon them. The best | church hymns as well as our sermons are associated | with passages from the Holy Scriptures. But just) the same the hymn or sermon may be original to. an eminent degree and at the same time be truly Biblical. “A mighty fortress is our God,” is based’ upon the 46th Psalm, but employs very few of the’ words or expressions of the Scripture text. Yet! this hymn must surely be said to be both Biblical | and at the same time be Luther’s own, original, and characteristic poetry. James Mearns has listed the following as original with Luther: Christ lag in Todesbanden (partly based on an older Faster hymn). Christ unser Herr zum Jordan kam (based on Mark 1:9-11). 73 Ein neues Lied wir heben an. Erhalt uns, Herr, bei deinem VW ort. Jesus Christus, unser Heiland, der den Tod. Nun freut euch, lieben Christen g’ mein. Vom Himmel hoch da kam ich her (Luke 2:10-16). Vom Himmel kam der Engel Schaar. Luther loved the Church and language of his fathers. He loved the hymns and the music of the Church and often expressed his esteem and even admiration for the great poets and musicians of the Church. - He loved the hymns of the ancient Church and praised especially the use of the Latin language for its fine tone and musical cadence, and expressed the wish that the youth of his time might be trained in the language of the ancient Church. For this purpose he retained many of the four- part choir songs with Latin texts. He did not con- sider himself proficient enough to render these glorious hymns into his mother tongue, still less did he feel that he could create anything new to take their place. He considered the Church as a large garden where, thru lack of care, many kinds of weeds are threatening to choke the good seed, and to destroy the tender shoots and the fragrant flowers that are left. But he loved this old garden, and like a wise, cautious, and conservative gardener, he hoped to pluck out the tares, and plant the good seed in places where the weeds before had made the ground unfruitful, then to cleanse, water, and care for it. In other words, as a true child of the Church, he wished to preserve, ennoble, and enrich the better portion of the heritage received thru his Church. "his He realized fully the importance of providing suitable hymns in the language of the people. He had possibly made various attempts, but he felt that he himself was no poet; others more talented would have to supply this need of the Church. But at this time an event took place which gave impetus to Lutheran church song. In the Netherlands the Lutherans had gained a great following, but they were hard pressed by their enemies. Especially was this the case with the monks of the Augustinian cloister of Antwerp, where all who would not re- tract their Lutheran convictions were cast into prison. Among these prisoners were the two youths Hein- rich Voes and Johannes Esch (Esche). ‘Together with the prior of the abbey they were brought to Wierwoerde, near Brussels, and brought to trial be- fore the inquisition of the Dominicans. ‘They re- mained true to their confession and were placed in the prison at Bruges. July 1, 1523, Heinrich Voes and Johannes Esch were condemned to die. When their gowns had been removed the inquisitor an- nounced that he still had power to set them free if they would recant. But they declared stoutly that they rejoiced to pass out of this world and to be with Christ. Having been clad, one in a black, the other in a yellow cloak, they were led to the stake. The four ‘“‘confessors” burst into tears as they saw the courage and cheerfulness of the youths, but the two martyrs said to them that they should rather weep over their own sin and because righteousness was being mocked. Surrounded by flames they re- cited the Apostles’ Creed and sang the famous Latin hymn ‘““Te Deum Laudamus.” (‘Thee God we praise, 75 Thy name we bless. Landst. 10; L. H. 1). Soon they perished in the flames. The inquisition had done its work, but its first Lutheran victims had entered into their glory. The third victim, the prior of the abbey, was choked to death in the prison cell shortly afterwards. The tidings of their martyr death spread from city to city, until it also reached Luther and the reformers. Luther sent a letter of consolation to the congrega- tions of Holland, Brabant, and Flanders. It has been said that the blood of the martyrs is the seed of the Church. ‘These youthful martyrs faced death with the song of praise upon their lips —the most glorious hymn of the ancient Church. From this ‘*Te Deum” thousands of hymns were born, and like carrier doves they brought the glad ‘tidings of the Gospel to many lands. From the ashes of the two Dutch youth there arose, Phoenix- like, a new “Te Deum,” the new song of the Refor- mation. As Heinrich Voes and Johannes Esch passed ‘into Paradise with songs,” a fountain of song was opened in the Lutheran Church, and especially in Luther’s own bosom. He now wrote his festival hymn commemorating the death of the two Lu- theran martyrs, ‘‘Ein neues Lied wir heben an.” The melody (L. H. 29) for this hymn was composed by Johann Walther, who was a member of Duke Frede- rick’s choir. ‘The same year it was published in pamphlet form. ‘The following year it appeared in the Erfurt Enchiridion. It is not strictly a church hymn, but it sings of springtime and announces that the summer is drawing nigh. Luther wrote to his friends and encouraged them to write hymns. In a letter to Spalatin, the secre- 76 tary and chaplain to the elector, he writes: ‘Fol- lowing the example of the prophets and the church fathers, I wish to compose hymns for our people; spiritual songs, that the Word of God thru song may live among the members of our Church. I search everywhere for poets. Since you possess ease of expression and taste in choice of words, having been trained in both these respects, I beg you to take a hand in this and to rewrite one of the Psalms of David after the pattern which I herewith submit to you. Avoid fanciful expressions. Let the words come in the most natural and direct manner, which may be clearly understood, but let the thought be rendered exactly and in harmony with the Psalm. Of course, having grasped the thought of the sacred writer, one must have the liberty to depart from the literal words of the Psalm and to choose words which best convey the inspired burden of the text.” Luther sent a similar request to Johann Doelzig, and suggested a few of the Psalms for this work. He adds that he has already worked over the 130th Psalm in this manner (Aus tiefer Noth). Spalatin and Doelzig did not fulfil Luther’s wish. But Paul Speratus composed three hymns and Justus Jonas one. There was springtime and seedtime in Lu- ther’s heart. The fountains of song began to flow in rich measure. A fruitful year was at hand. “Nun_ freut euch, lieben Christen g’mein”’ appeared shortly after ‘‘Ein neues Lied,” and, before the close of the year 1524, 24 of Luther’s hymns, together with the contributions from his helpers, were printed in many small hymnals, which flew over the countries carry- ing with them the seeds of life. And thus Lutheran hymn singing, which was destined to become such 77 a powerful factor in the Church of Christ, had be- gun its triumphant course, filled with the fulness and the power of the Gospel of Christ. 30 Who is there like Thee. Wer ist wohl wie du. —J. A. FREYLINGHAUSEN. | Pada is one of Freylinghausen’s best hymns and one of the most beautiful ‘“‘Jesus Hymns” in the German language. It was first printed in Geist- reiches Gesangbuch, 1704, and appeared in 14 six- lined stanzas. ‘The translation, by J. S. Stallybrass, is a good rendering of stanzas 1, 2, 8, and 9. In English it appeared first in Curwen’s Sabbath Hymn Book, 1859, and later in various English hymnals. Many English versions are in use. The melody (Seelenbrautigam) was composed by Adam Drese, 1698. Drese was born in Weimar, 1620, and died 1701, in Arnstadt. Johann Anastasius Freylinghausen was born De- cember 2, 1670, in Gandersheim of the principality of Wolfenbiittel. During his early years, while un- der the instruction of his pious mother, the story of the last judgment so impressed him that he often lay awake during the night weeping as he thought of the torments which the condemned had to undergo. At the age of 12 years he was sent to his grand- father, Polenius of Eimbeck, who was a minister. Here he was given intensive training in Bible study and in memorizing hymns, a work which bore good fruit in his later years. During the year 1689, at the university of Jena, he was led by one of his col- 78 leagues to study the writings of Luther, Arndt, and Spener. Their works had a decisive influence upon his development. ‘The fame of Francke’s preach- ing spread also to Jena and, during Easter of 1691, Freylinghausen and some of his friends went to Erfurt to hear him. Francke’s and Breithaupt’s sermons made a deep impression upon him, and he decided to accept an offer from Breithaupt, to re- side with him and take employment as family tutor. The following year he went with Francke to Halle to complete his studies, and towards the close of 1693 he returned to Gandersheim, where he served for some time as preacher and tutor. In 1695 he became Francke’s assistant at Halle. Here he preached at the vesper services, conducted mid- week meetings, taught classes in the orphanage school, and delivered lectures on homiletics to the students. He served in this position without salary until 1715. Francke had to use all his income for the support of his institutions of mercy. But when Francke, in 1715; was called to the pastorate of Ulrichskirche in Halle, Freylinghausen became his successor as pastor for the suburb of Glauka. He was now married to Francke’s only daughter. He had been her sponsor, and she was even named after him, Johanna Anastasia. After Francke’s death he became his successor at the Ulrichskirche and the director of the orphanage ‘‘padagogium.” No one was better qualified to continue Francke’s work. Under his management the “‘institutions” flourished as never before. But his physical strength was waning. In 1725 he suffered a stroke, which later recurred several times. In 1737 his tongue became 79 paralyzed, so that he could no longer preach. He died February 12, 1739. Freylinghausen’s essential importance lies in the fact that he was the most eminent hymn writer of the pietistic movement. He wrote 44 hymns. They are all characterized by true Christian feeling, sound, vigorous piety, borne out of deep Christian experience. ‘They are Scriptural and clear, with a rich variety of rhythm, melody, and meter. ‘Many of his hymns,” says Dr. P. Lange, “are especially marked by confessional purity, sincere feeling, clear thought, and beauty of expression.” He materially aided the cause of church song by compiling and editing large collections of hymns, and by gathering and composing melodies. It was - especially thru the latter that the pietistic hymns were given their unique character, so very different from the spirit of the choral. Many of these melo- dies are not suitable for church use. Freyling- hausen’s Geistreiches Gesangbuch, containing the ~ best pietistic hymns, besides many older hymns, was published 1704, in Hamburg, and later appeared in many editions. The first edition contains 683 hymns and 173 melodies. Neues Geistreiches Gesangbuch has 815 hymns and 153 melodies. ‘These two col- lections were combined and published in 1741, by G. A. Francke. The combined volume contained 1,582 hymns and 600 melodies. 31 Now thank we all our God. Nu takker alle Gud.—Landst. 76. Nun danket alle Goit. —M. RINKART. | nia hymn appeared for the first time-in Johann Criiger’s Praxis Pietatis Melica, 1648, and in Criiger-Runge’s Gesangbuch, 1653. It was slightly varied in the second edition of Rinkart’s Jesu Herz- Buchlein, 1663. Very likely it appeared also in the first edition of this book, Leipzig, 1636, but of this no copies are extant. It is one of the most favored hymns of the Protestant churches. It has been called the ‘“[Te Deum” of Germany and has been sung at all national festivals of thanksgiving, not only in Germany and all the north-European coun- tries, but also in America. Since it was sung at the festivals of thanksgiving at the close of the Thirty Years’ War, many have drawn the conclusion that it was composed at that time. It was sung after the battle of Leuthen, 1757, while the army of Friedrich II was yet upon the battlefield. A soldier began the hymn, and the whoie army, even the mortally wounded, joined in the singing. It was sung during the festivities in connection with the opening of the Cathedral of Cologne, August 14, 1880. It was likewise used at the laying of the cornerstone for the new parliament building in Ber- lin, June 9, 1884. It was sung at the thanksgiving services in England at the close of the Boer War. There are at least 12 English translations. The version in The Lutheran Hymnary (31) is by Miss ae Se ee ae 81 Winkworth and appeared in the Lyra Germanica, 1858. The hymn is based upon the words of the high priest Simeon, Ecclesiasticus 50:29-32: ‘And now let all praise God, who hath done great things, who hath glorified our days, and dealeth with us ac- cording to His loving kindness. He giveth us the joy of our heart, that we may find peace in Israel as in the days of yore,.thus He lets His loving kind- ness remain with us, and He will redeem us in our day.” Luther’s version follows: ‘‘Nun danket alle Gott, der grosze Dinge thut an allen Enden, der uns von Mutterleib an lebendig erhalt, und thut uns alles Gutes. Er gebe uns ein fréhliches Herz, und verleie immerdar Frieden zu unserer Zeit in Israel, und dass seine Gnade stets bei uns bleibe, und erldse uns, so lange wir leben” (Sir. 50:24-26). ‘The third stanza contains the ancient doxology, the Gloria Patri. | The melody (Eng. title, Nun danket, or Witten- berg) is by Johann Cruger. It was used in an early edition, still to be found, of Criiger’s Praxis Pietatis Melica, 1647. In Criiger-Runge’s Gesangbuch, 1653, it is marked with Criiger’s initials. Martin Rinkart (Rinckart) was born April 23, 1586, in Eilenburg, Saxony. Having completed the course at the Latin school in his home town, he be- came assistant teacher and chorister in the Thomas- Schule at Leipzig. In 1602 he enrolled in the uni- versity as a student of theology. In 1610 he sought the office of deacon at Eilenburg and even received the recommendation of the city council. But the superintendent denied his application, apparently on the ground that Rinkart was a better musician than 82 a theologian, but in reality because he did not wish to have as a co-worker one who had been born and raised in the city, and one who had at times shown a rather headstrong disposition. Rinkart, however, received an appointment as teacher and cantor in Eisleben, and a few months later he be- came deacon of the Church of St. Anna of that city. In 1613 he moved to Erdeborn, and in 1617 the city council of Eilenburg appointed him arch- deacon of his native city. During his activity here the Thirty Years’ War broke out and Rinkart, filled with untiring love and selfsacrifice, had to undergo many severe trials. In 1637 a deadly pestilence raged in the city. Eight thousand people perished, and for a long period Rinkart, three times daily, accompanied a dozen or more to the grave. Scarcely was this visitation over when a terrible famine en- sued. People were driven to desperate straits, even to the extent of eating the carcasses of dogs and cats. Rinkart faithfully shared his bread with the famished followers that gathered about his home. In 1639 the Swedish general levied a forced contri- bution of 30,000 thaler upon the city. Rinkart went out to the leader and begged for clemency, but to no avail. When he came back, he gathered the people of the city and said: ‘Come, dear parishioners, we have not found grace with men; let us beseech God to help us.” The bells tolled for the hour of prayer. The congregation sang ‘‘When in the hour of utmost need,’”’ and Rinkart, kneeling, appealed to God in a fervent prayer. ‘This made such a profound impression upon the Swedish commander, that he yielded the greater part of the demand. Rinkart’s people did not seem to appreciate his 83 kindness and faithfulness toward them. He was forced to pay an exorbitant rental for the use of the parsonage, and when soldiers were billeted upon the city, his home was always filled. In addition to all this he was drawn into a long and unjust litiga- tion, which brought him into extreme debt and poverty. ‘The terrible war ended in 1648, and on December 8, 1649, Rinkart passed to his reward. Rinkart did not write many hymns. Only one has been translated into Danish, namely, ‘‘Now thank we all our God,” ‘Nu takker alle Gud,” which appeared in Pontoppidan’s Hymnary, 1740. Rinkart wrote a great deal and was very profi- cient in music. Many of his works have evidently been lost. Among other productions he wrote spiritual comedies and dramas based upon the events of the Reformation period. 32 Pleasant are Thy courts above. A BS Eyre: 3 Hew amiable are Thy tabernacles, O Lord of hosts. My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh cry out for the living God. Yea, the sparrow hath found an house, and the swallow a nest for herself, where she may lay her young, even Thine altars, O Lord of hosts, my King and my God. Blessed are they that divell in Thy house: they will be still praising Thee. Sela (Psalm 84:1-4). This hymn paraphrase, which is of a brighter 84 and happier mood than most of Lyte’s hymns, was published 1834, in The Spirit of the Psalms. Like the greater number of his paraphrases, it consists of a rather free rendering based upon the Biblical text. [he hymn is used extensively in England and America. The melody (Tichfield) was composed by John Richardson, English composer, born 1816, died 1879. 33 Light of light, enlighten me. Licht vom Licht, erleuchte mich. —B. SCHMOLCK. ICHT vom Licht, erleuchte mich,” appeared first in the author’s Anddachtige Herze. It contained seven stanzas and was intended for use in connection with the Sunday morning prayer. Miss Winkworth’s fine English version appeared in the Lyra Germanica, 1858, and in her Chorale Book for England, 1863, and has been included in many hymn books. In this version the seventh stanza of the original has been omitted. ‘There are two or three other English translations. “Che melody has been accredited to J. S. Bach. Benjamin Schmolck was born December 21, 1672, in Brauchitzchdorf, near Liegnitz, Silesia, where his father, Martin Schmolck (Schmolcke), was a minister. For five years he studied at the Lauban Gymnasium. When he came home he delivered a sermon which so pleased his father that he at once determined to provide the means for his theological education. He came to the university of Leipzig, where pious and able teachers, especially P. Olea- 85 rius and J. B. Carpzov, exerted great influence upon him. He began to write poems, including occasional songs for the wealthy, securing for him a consider- able extra income. Having passed the theological examinations, he returned in 1694 to his home, where he was ordained and called as his father’s successor. In 1702 he was chosen deacon of Frieden- kirche in Schweidnitz. ‘The Catholics had seized all the churches in this district. ‘The Lutherans were permitted only a ‘“‘meeting-house’”’ (without steeple or tower) erected outside the city limits. ‘This meeting-house was the only Lutheran church for a district comprising about 36 villages. Here Schmolck labored during the remainder of his life. He was promoted to archdeacon, 1708, and to senior, 1712, pastor primarius and inspector, 1714. In 1716 the city of Schweidnitz was destroyed by fire, and many of those who were nearest to him died. He spent a comparatively quiet and care- free life until his 58th year. Then, on the third Sunday of Lent, while he was seated in his home, he was stricken with paralysis. His right side, arm, and leg were paralyzed. He recovered, how- ever, sufficiently to continue his work for five years more in spite of great physical pain. On the Day of Humiliation and Prayer, 1735, he preached his last sermon. Another stroke cast him upon the sickbed, where he lay blind and speechless and was scarcely able to place his hand upon the heads of his people who came to him for blessing. He died on the anniversary of his wedding day, February 12, 1737. Schmolck was a beloved pastor, an able preacher, a man of tact and discretion. He was a prolific hymn writer. Most of his hymns and spir- 86 itual songs are found in different books published from 1704 to 1734. The first volume, entitled: Heilige Flammen der himmlisch-gesinnten Seele, appeared during Schmolck’s lifetime in 13 editions and made him famous thruout Germany. After his death his books were published in two volumes called: Sammtliche Trost- und Geistreiche Schriff ten, etc., in several editions. Schmolck was the most popular hymn writer of his time and has been called “the second Paul Gerhardt” and “‘the Silesian Rist.” His hymns are marked by deep religious fervor, and breathe the spirit of love and devotion to the Savior. But he did not attain to the poetic flights of Paul Gerhardt, neither does he approach his sim- ple, concise, and noble diction, rich poetic imagery and power. But several of his hymns are marked by great warmth and intense feeling, in spite of the fact that many are of less value. He wrote too many hymns, particularly during his later years, and there seems to have been a conscious effort to produce high-sounding expressions. In all he com- posed about 900 hymns, aside from a great num- ber of spiritual songs. ‘The hymnologist, Bishop Skaar, says that Schmolck wrote a total of 1,183 hymns and spiritual songs. Several of his hymns have been translated into many languages. Forty- one have been translated into English and of these, sixteen have been taken up into various hymnals. 87 34 Blessed Jesus, at Thy Word. S¢de Jesus, vi er her.—Landst. 4. Liebster Jesu, wir sind hier. —T. CLAUSNITZER. B LESSED Jesus, at Thy Word,” appeared firest in Altdorffisches Gesang-Biichlein, 1663. In 1676 it was taken into Clausnitzer’s hymn book at Nurnberg and has since been constantly used in Germany and in other Lutheran countries. The first Danish translation appeared in Pontoppidan’s Hymnary in 1740. The translator is not known. In Pontoppidan’s, as well as in the German hym- nals, it is ordered to be sung “before the sermon,” but since Guldberg’s Hymnal appeared the hymn has been used as an opening hymn for the service. There are at least eleven English translations. The Lutheran Hymnary has made use of Miss Wink- worth’s version. The melody was composed by Jo- hann Rudolph Ahle (a German musician, 1625- 1673), and it was later varied somewhat by Frey- linghausen. | Tobias Clausnitzer was born February 5, 1619. He studied at several universities and received his master’s degree from Leipzig in 1643. The fol- lowing year he was appointed army chaplain for a Swedish regiment. On the second Sunday in Lent he delivered the festival sermon in the church of St. Thomas in Leipzig. The occasion was Queen Christina’s accession to the crown of Sweden. He also preached at the thanksgiving services held at Weiden, January 1, 1649. ‘The latter sermon was 88 delivered at the special request of General Wrangel following the signing of the Peace of Westphalia. In the same year Clausnitzer was appointed to the pastorate of Weiden. Later he was also chosen member of the consistory and inspector of the dis- trict. He died May 7, 1684, in the city of Weiden. 39 Open now thy gates of beauty. Thut mir auf die schone Pforte. —B. SCHMOLCK. a hymn appeared for the first time in Schmolck’s Kirchen-Gefahrte, in 1732, in seven six-lined stanzas under the title: On Our Entrance into the House of God; or Presenting Ourselves before the Lord. The English translation is by Miss Winkworth, from the Chorale Book for Eng- land. ‘The third and sixth stanzas are omitted. The melody, by the Danish church musician, A. P. Berg- green, appeared in his choral book, of 1848, as a setting for the hymn, ‘Amen raabe hver en ‘Tun- ge.” (For biography of B. Schmolck see No. 33.) Catherine Winkworth was born in London, Sep- tember 13, 1829. Her early years were spent in Manchester. Later the family moved to Clifton, near Bristol. Miss Winkworth was an active, noble, and pious woman, who came to exert a most benefi- cial influence in wide circles. She was the leading member of the Clifton Society for the Advancement of Higher Education among Women, and similar societies. She died suddenly of heart failure in July, 1878. Her hymnological works consist of the following: Lyra Germanica, first series, 1855; 89 second series, 1858; The Chorale Book for England (translations of German hymns, with music), 1863; Christian Singers of Germany, biographical, 1869. Miss Winkworth is the most able and most popular among the English translators of German hymns. Others have also reached eminent heights in cer- tain respects. But as to faithfulness toward the original, both in respect of contents and meter, clear- ness of thought and euphony of language, no one has surpassed her. ‘lo this may be added that Miss Winkworth has rendered more translations from the German than any other author, and well nigh all of them are of very high rank. She has done more than any other translator to make German hymns known and appreciated in English-speaking countries. Our Lutheran Hymnary has 53 of her translations. 36 Lord Jesus Christ, be present now. O Herre Krist, dig til os vend.—Landst. 5. Herr Jesu Christ, dich zu uns wend. —WILHELM II, Duke of Sachsen-Weimar. OSs hymn was first printed in the Cantionale Sacrum, second edition, Gotha, 1651, and later it appeared in Niedling’s Hand-Biichlein, fourth edition, Altenburg, 1655. In both these it appeared anonymously. In the latter book it had the follow- ing title: ‘‘Pious Christians’ Prayer for the grace of the Holy Ghost and help during the hours of worship; to be used before the sermon.” In the Alidorf Liederfreund, published 1676, the name of Duke Wilhelm is connected with the hymn. Koch 90 relates that the duke composed this hymn at one time deeply moved by viewing a painting of the crucified Savior. The contents of the hymn, how- ever, do not support this story (Skaar). B. K. Aegidius translated it into Danish from the edition of the Liineburgisches Gesangbuch, 1686, and this version was made use of by Pontoppidan in his hymnal of 1740. The English translation adopted in our Lutheran Hymnary is by Miss Winkworth. The melody, by an unknown composer, appeared first in the Cantionale Sacrum, Gotha, 1651. It does not appear that anyone thought it posssible that the melody also might have been composed by Duke Wilhelm; he was quite proficient also in music. Wilhelm II, Duke of Sachsen-Weimar, was born in Altenburg castle April 11, 1598. For a time he studied at the university of Jena. Among his studies was also included a course in music. He took part in the Thirty Years’ War and distinguished himself by his courage as well as by his Christian piety. He was severely wounded in two battles. In the latter, near Stadtlohn, Westphalia, 1623, he was pierced by a bullet and left among the dead upon the battlefield. He was taken prisoner by General Tilly. He was liberated in 1625 and became governing duke of Weimar and was active in fur- thering the interests of his district, both spiritual and temporal. He was also active in the work of reconstruction following the war. After the Peace of Westphalia he again pursued his studies in poetry and music. He died May 17, 1662. Bertel Kristian Aegidius (Gjgdesen), the Danish translator of this hymn, was born 1673, in Bylderup, near Tgnder. At the age of 28 years he became 91 pastor of Varnes, near Aabenraa, where he served till his death, in 1733. He is thought to have edited a hymn book published 1717 in Flensborg. Many of his hymns have been taken up in Danish and Norwegian hymnals. 37 Dearest Jesus, draw Thou near me. Sode Jesus, kom at rgre.—Landst. 18. —Tu. KINGo. alae hymn in The Lutheran Hymnary contains the last three stanzas of the famous Danish hymn, ‘‘H¢rer, Verdens Wer, h¢grer.’’ The complete hymn contained 10 stanzas. Itis based upon Is. 49: 1-6, the epistle lesson for St. John the Baptist’s Day. Since this holiday was abolished by a special or- dinance October 26, 1770, the last three stanzas have been used at the beginning of the service. The English translation used in the Hymnary is by C. K. Solberg, 1908. The melody was composed by Johann Schop, German violinist and composer, born in Hamburg at the beginning of the seventeenth century; died in his native city, 1664 or 1665. Thomas Hansen Kingo, born in Slangerup, Den- mark, December 15, 1634, was the son of a linen weaver, Hans Thomesgn Kingo. His father came, at an early age, to Denmark from Scotland. Thomas Kingo spent his boyhood years in Slangerup and in Fredriksborg, where he attended the Latin school. In 1654 he passed the examen artium and, after four years’ study at the university, completed his course for the ministry in 1658. After serving for some time as private tutor, he became assistant pas- 92 tor with Peder Jakobss¢n Worm, and remained with him seven years. Worm died in 1668, and in the same year, in August, Kingo became pastor in his native city of Slangerup. By this time he had be- come known as a poet. In 1665 appeared his Se- bygaards Koklage and subsequently, among others, the famous pastoral poem Chrysillis, which be- came very popular.” His rank as a poet was thus established even before he appeared as a hymn writer. Therefore, Bishop Wandal, in his preface to Kingo’s first hymn book, called him “our most famous Danish bard.’ At Christmas, 1673, his collection of spiritual songs, dandelig Sjungekors forste Part (Spiritual Songs, First Part) appeared. This contained only twenty-one hymns: fourteen morning and evening hymns, and seven of the peni- tential Psalms of David. While his other poetry followed the style of his times and has but little of present-day interest, his hymns have exceptional vigor and beauty. His morning psalms are like the morning dawn itself, presaging the coming of a new day for Danish poetry. In 1670 he was appointed bishop of the diocese of Fyen, which at that time included also Lolland and Falster. He performed the duties of his office faithfully and did not spare ‘those who were neglectful of their work, while at the same time he proved a friend and helper to all who were conscientious in the performance of their duties. On the 15th of June, 1679, Kingo was made a member of the Danish nobility, and in 1682 he was created doctor of theology. In 1681 appeared the second part of Aandelig Sjungekor. This contained twenty hymns and six- teen prayers. Of the hymns six deal with confession 93 and sanctification; four with the Lord’s Supper; five with the vanity of the world and the providence of God; three are table hymns; a devotional for travelers; and a hymn for sea-farers. In poetic beauty and force this edition was fully equal to the first part. Kingo now ranked as the first poet of Denmark. He supplied melodies for his hymns, and some hymns were composed directly to secular melodies (folksongs). ‘To justify this latter prac- tice he directs an appeal to “the courteous and fair- minded reader,’’ in which he calls attention to the fact that he thereby desires to make these tuneful and pleasant melodies more heavenly and more de- votional: “If you thru some pleasing melody enjoy a song of Sodom, how much more ought you not, as a true child of God, to enjoy a song of Zion with the same melody.” King Christian V, under whose directions the ritual of the church was being pre- pared, desired also to have a new hymn book to take the place of Hans ‘Thomiss¢gn’s, which had been in use since 1569. This hymnal (Thomiss¢n’s) had been reprinted many times with but few changes up to the middle of the 17th century. From that time, however, it was to a large extent supplanted by various editions, especially by the publications of the firms of J. Moltke, Kr. Cassuben, Kr. Geert- sgn, and Dan. Paulli, publishers of Copenhagen. The many editions which appeared contained the hymns of Thomiss¢n’s Hymnal, but included also a great amount of material borrowed from various devotional writings and poor translations. In many cases the original hymn book made up the smaller part of the editions. Complaints began to be made that almost every congregation, ‘‘nay, almost every O4, church-goer carried a different hymn book.” Fur- thermore, so many misprints and errors appeared that the old, familiar hymns could scarcely be rec- ognized. Hence, when Kingo’s Spiritual Songs ap- peared, it was only natural that the desire for bet- ter hymnaries made itself felt. It was also natural that King Christian V, in casting about for a better hymn collection, turned his thought toward Kingo’s edition. By the royal rescript of March 27, 1683, Kingo was ordered to prepare a new hymn book to contain “‘the best of the old, familiar hymns and a good number of his own compositions, so that more variety of selection might be possible in the future.’ Kingo was further ordered to retain with- out change the principal hymns sung before the ser- mon on Sundays. A change in these would not be tolerated except in cases where a new word here or there might actually improve the hymn. Under no circumstance should there be any change in the thought of any of Luther’s hymns. With respect to the arrangement of material, each Sunday was to have its own series of hymns, ‘“‘not too long, and according to the best and most familiar church melodies.’’ When this new book had been approved and accepted, Kingo should publish it and possess the sole right of sale, at a popular price, for fifteen years. Churches and schools were to be required to buy it, and the use of any other hymnal was to be strictly forbidden. Six years later, in 1689, the first part appeared. This was called The Winter Part( from Advent to Easter) and contained 267 hymns. Of these, 136 were by Kingo. It was approved January 25, 1690, and ordered to be introduced in all the | 95 churches of the kingdom. The order should take effect upon the first Sunday in Advent of that year. But on the 22nd of February the king cancelled this order and also Kingo’s rights of publication. This was a hard blow to him, but not wholly undeserved, as he had not followed the prescribed method of procedure. The greater number of the hymns, ex- cept those by Kingo himself, were not well suited for church use. The task was now given to S¢gren Jonass¢n, dean of Roskilde, but the collection which he delivered in 1693 did not contain a single one of Kingo’s hymns, and for that reason could not be approved. Kingo then sent a petition to the king, and the result was that a commission was ap- pointed to prepare a new hymnal based upon the outline of Kingo’s hymn book. The developments, however, proved disappointing to Kingo. In the new hymnal only 85 of his hymns appeared and in the book of family devotions, prepared at the same time, only 21 hymns from the first part of Spiritual Songs were made use of, and 3 from the second part. On July 21, 1699, the hymn book popularly known as Kingo’s was introduced in all the churches of Denmark. But the adversity which he encountered in connection with the hymnary was not the only incident which cast a gloom over his later years. His successor in office, Bishop Miller, accused Kingo of misappropriation of funds, but after a long and bitter court trial, Kingo was exonerated. The charge of avariciousness, which by some has been placed against him, has never been substan- tiated. He was recognized as an able and ener- getic bishop, and his secular poems were praised very highly. But his fame rests mainly on his im- 96 mortal hymns. A Danish author says of him: “He showed rare genius in moulding language into beau- tiful rhythm, in unfolding deeply religious thought in clear and striking pictures. New and melodious expressions are born thru him. ‘The force of his Alexandrine stanzas, which otherwise might have developed into bombast and empty pathos, has in his hymns been combined with the most elegant grace.’ As Grundtvig, the famous hymn writer, once expressed it, “He effected a combination of sublimity and simplicity, a union of splendor and fer- vent devotion, a powerful and musical play of words and imagery which reminds one of Shakespeare.” But the chief characteristic of his work is to be sought in the manner in which he brought out the true hymn spirit and gave it a deeply religious ex- pression. For this reason he has been called, ‘‘Sal- misten i det danske kirkekor’’ (The Psalmist of the Danish Church Choir). Personally he was of a very excitable and even impassionate tempera- ment, and thus would have been able to picture varying moods of stress and trial in the deeply re- ligious soul, but in his hymns he does not often dwell on the subjective moods. His hymns are always tempered by experience, experience supported by and interwoven with the everlasting thoughts and facts of a living Christianity. For that reason his hymns are truly church hymns. Of course, rational- ism did not appreciate his Christianity nor his hymns, but when this movement receded, in the 19th century, Kingo again was restored to his place of honor. Bishop Skaar says: ‘Among the finest hymns in Spiritual Songs must be mentioned the morning and evening hymns with their accompany- 97 ing prayers, and the table and communion hymns. His hymns based upon the Gospel and epistle les- sons, especially, express in striking phrases the thoughts that stir the hearts of Lutheran believers as they behold the life of the Savior upon earth; His lowly birth, suffering, death, resurrection, and _ ascension. ‘These hymns, which generally end with an appeal to lift the heart unto God in prayer and thanksgiving, have always been cherished by those who have learned to know them.” 38 Safely thru another week. —JOHN NEWTON. viele hymn appeared first in R. Conyers’ Psalms and Hymns, 1774. It has five stanzas. Later, in 1779, it was published in the Olney Hymns, Book II, No. 40. ‘The fourth stanza of the original has been omitted. Its title is Saturday Evening. (The melody was composed in 1911, especially for this hymn, by John Dahle, professor of hym- nology, Luther Theological Seminary, St. Paul, Minn.— Translator. ) 39 O Holy Ghost, to Thee we pray. Nu bede vi den Helligaand.—Landst. 3. Nun bitten wir den Heiligen Geist. —M. LuTuHer. pus hymn was based upon a stanza found in one of the medieval German hymns, which was as follows: 98 Nun bitten (or Nu biten) wir den Heiligen Geist umb den rechten glouben allermeist, daz er uns behuete an unserm ende, so wir heim suln varen uz diesen ellende, Kyrieleis. The stanza has been found, in quotation, in one of the sermons of the Franciscan monk, Berthold, famous preacher of Regensburg, who died in the year 1272. Hence, the stanza had been in use prior to his time. Berthold’s sermon manuscript con- taining this stanza is now kept in the Heidelberg library. A later version has been found in the Psalter Ecclesiasticus, Mainz, 1550. As this stanza was sung during the worship on Pentecost Day, an artificial dove fastened to a string was lowered into - the church or a real dove was turned loose to flutter about in the room. ‘The above mentioned Berthold of Regensburg drew such great numbers by his ser- mons that the meetings had to be conducted outside the church. ‘He writes concerning this stanza: ‘““‘Nun bitten wir den Heiligen Geist.’ is in truth a useful and dear hymn, and the more ye sing it, the better. With wholehearted devotion, ye ought to sing it and cry unto God. It was a happy find, and a wise man has written it.” Luther adopted this Pentecost stanza and added the three following. In this new form the hymn was first printed in Johann Walther’s collection for four voices: Geistliche Gesang-Biichlein, 1524, to- gether with the melody. It has found a place in all Lutheran hymn books. Luther, who himself or- dered it for use after communion, later included it among his funeral hymns. It has commonly been 99 sung on Pentecost Day, but in many places it is used as a fixed hymn to be sung before the sermon every Sunday. ‘The oldest Danish translation is found in the ‘missal of 1528 and is no doubt the work of Klaus Mortensgn. ‘This version was made use of in the first Danish-Norwegain hymn book by Guld- berg. The first stanza here is as follows: Nu bede wy then helligaandh, alt om then Christelighe thro och reth forstandh, thet oss Gud beuare och sin naade sende, nar wy heden fare aff thetthe ellende. Kyrieleis. In the second edition of Klaus Mortens¢n’s Hymnal, 1529, there is, besides this version, also another by the minister, Arvid Pedersgén. Again, a third attempt, which is rather a free translation, appeared together with these in the Malmé Hymn Book of 1533. Grundtvig’s translation has been adopted in the new Danish hymnals. ‘The accepted Norwegian version is by Landstad. The first stanza is always used in our Church at the ordination of ministers. During the terrible persecutions of the Protestant Christians of France in 1560, when many were tortured and killed, this hymn became in numerous instances the ‘‘swan song”’ of the martyrs. In Ger- many, we are told, even criminals condemned to death sang “‘Nun bitten wir den Heiligen Geist,” when being brought to the gallows. Skaar says: “In this hymn many have found comfort in the anguish of death.”” Our English translation in The 100 Lutheran Hymnary is by the Rev. O. G. Belsheim. There are in all 12 English translations. The melody is possibly as old as the first stanza of the hymn. The oldest source is a Hussite can- tionale from the 15th century. 40 Father, who the light this day. —J. A. ELuiorr. dpe ANNE ELLIOTT, daughter of John Marshall, was married, 1833, to the Rev. H. W. Elliott (a brother of the poetess Charlotte El- liott). She died in 1841. Her hymns, 11 in num- ber, were printed in Rev. H. W. Ellioti’s Psalms and Hymns in 1835, first anonymously; her initials were added in the later edition of 1839. Her hymns are marked by deep religious spirit and fine poetic taste. [his hymn has as its first line in Elliott's Psalms and Hymns: “Great Creator, who this day.” The melody was composed by the Danish or- ganist and composer, Johan Peter Emilius Hart- mann, of Copenhagen. It was first published as the setting for Grundtvig’s hymn, “Fred til Bod for bittert Savn’’ (Peace to soothe our bitter woes, L. H. 49). Al We love the place, O God. Wt BULLOCK. fabs hymn is based upon the eighth verse of the 26th Psalm: ‘‘Lord, I have loved the habita- tion of ‘Thy house, and the place where Thine honor 101 € dwelleth.” It appeared in the author’s edition of Songs of the Church, published in Halifax, Nova Scotia, 1854. It is thought likely that the hymn was written in 1827, for the dedication of the church in Trinity Bay, New Foundland, where the author was rector. It has been revised by H. W. Baker and has entered into all the leading hymnals of the English speaking countries. It has been translated into many languages. The melody (L. H. 41), from Meiningen Gesangbuch, 1693, was first used for Heermann’s hymn ‘“‘O Gott, du frommer Gott,” later also for S. Franck’s ‘‘Ach Gott, verlass mich nicht.” William Bullock, born 1798 in Prettiwell, Apex, England, received his education at Christ’s Hos- pital. Thereupon he entered the marine service. Once on a voyage with his brother, Admiral Frede- rick Bullock, exploring the coast of New Found- land, he decided to become a missionary in those parts. He became connected with the “Society for the Advancement of the Gospel in Foreign Lands’; was later ordained to the ministry and served as a missionary for 32 years. For some time he was dean of Halifax, Nova Scotia. He died in 1874. Bullock’s Songs of the Church were written dur- ing his missionary activity for the special use of the congregations in the new provinces, where it was not possible to conduct regular public services. 102 A2 Lord, we humbly bow before T hee. —H. J. THOMPSON. hee hymn appeared in a collection under the title: Hymns and Other Verses. ‘The melody is by Johann Cruger, and appeared for the first time in 1649, being used for the hymn, “Du, o schones Weltgebaude.”’ Henry John Thompson was born 1830, in Kings- clere, England, and educated at Oxford, where he studied theology. He was first appointed assistant pastor for St. Mary’s, Warwick, and later became dean of Weedon. He died in 1887. 43 Lord God, our Father, Thou our chiefest stay. Herre, Gud Fader, du vor hdieste Trést.—Landst. 2. Kyrie, fons bonitatis. A plas hymn is a translation of Landstad’s me- trical version of the ancient “Kyrie Summum,” from the Latin “Kyrie, fons bonitatis,” found in a missal manuscript from the 12th century and ren- dered into Danish by Klaus Mortensgn in 1528. In The Holy Evangelical Office of the Altar Service (Det hellige evangeliske Messeembede), the ‘“Ky- rie’ has been assigned a place between the Introitus and the greater Gloria. Thomissgn relates that it was sung on Pentecost Day and from then on until Christmas, and from Candlemas until Easter. The Latin ‘“‘Kyrie’ was, during the Middle Ages, sung from the Festival of the Trinity until Christmas. The English translation used in The Lutheran 103. Hymnary is by Rev. Carl Dgving. The melody ap- peared first in Hans Thomissgn’s Hymnal of 1569, in which the melodies were given together with the hymns. Ag To Thee, O God, we raise. —A. T. PIERSON. 1 ats hymn was first printed in the author’s Hymns and Songs of Praise, New York, 1874. (On the melody, see above, No. 31.) Arthur Tappan Pierson was born March 6, 1837, in New York City. He was educated at Hamilton College, from which institution he was graduated in 1857. He became a minister in the Presbyterian Church and served in Binghampton and Waterford, N:,Y. In 1869 he came to serve the Fort. Street Church in Detroit. Later he was called to Bethany Church, Philadelphia. Among the founders and prominent members of this congregation may be mentioned the well known John Wanamaker. Pier- son wrote four hymns. AS O how holy is this place. —B, SCHMOLCK. TS hymn was translated into English in 1911 by A. Ramsey. (On B. Schmolck see under No. 33h) 104 46 How blest are they who hear God’s Word. O salig den Guds Ord har hért.—Landst. 87. By ANGELISKE SANGE, published in 1787, contained this hymn written by Bishop Johan Nordahl Brun. It is based upon the last portion of the Gospel lesson for the third Sunday in Lent: ‘Blessed are they that hear the Word of God and keep it” (Luke 11:28). The English translation is by Rev. O. H. Smeby. The melody was first printed in Hans Thomiss¢@n’s Hymn Book of 1569. It was used there as a setting for the hymn, “(Om himmeriges rige, saa ville vi tale.” It is written in the Phrygian mode, but has in the course of time undergone many changes both in melody and rhythm. Johan Nordahl Brun was born March 21, 1745, on the homestead of Hgiem, Bynesset, Norway. His father, Sven Busch Brun, was a merchant. His mother’s name was Mette Katarina Nordahl. His first instruction in writing and arithmetic was re- ceived from his father. His mother taught him to read diligently the Holy Scriptures, so that, when he was eleven years of age, he had read the whole Bible two times. This contributed in great measure to place him upon firm, Scriptural ground and pre- pared him to become a strong champion of the Christian faith over against the rationalism of his age. He took an active part in outdoor sports, especially skiing and skating. Brun’s half-brother, who had become a candidate of theology in Copen- hagen, induced him to become a student. At first he was tutored by his half-brother. Later he at- 105 tended the Latin school in Trondhjem and the uni- versity. He became family tutor in the home of Councillor Meinche and accompanied the latter’s son to Sorg in Denmark. Here he decided to take the theological examination. He was given three months in which to prepare for this. The examina- tion resulted in the lowest possible mark (non con- temnendus). His examination in homiletics, how- ever, resulted somewhat better. Brun returned to Norway and spent three years in Trondhjem as an instructor, preacher, and poet. He applied for two positions, but was not appointed. In 1771 he ac- companied Bishop Gunnerius to Copenhagen as his private secretary. His activity as secretary, how- ever, did not materialize. But during his stay in the capital city he wrote the drama Zarine, which created a sensation and brought him good returns. Altho this was not a work of high merit, still it deserves mention because it was instrumental in bringing forth Wessel’s masterpiece, Kyerlighed uden Strgmper. A new drama, Einar Tambeskjal- ver, published by Brun in 1772, received much un- favorable criticism. The next year he became as- sistant pastor at Bynesset. He was ordained 1773 in Trondhjem. In the fall of the same year he mar- ried Ingeborg Lind, with whom he had been en- gaged twelve years. His new position brought him a very meager in- come, but he tried to adjust himself to the condi- tions. He was assisted materially by a group of faithful friends in Trondhjem. Moreover, the members of his congregation held him in great love and esteem. Brun, however, desired above all to work in the city. But he applied in vain for the 106 rectorship of the church of Our Lady. In 1774 he was appointed to a similar position in Bergen. He was installed there on the seventh Sunday after Trinity and held this position until January 6, 1804, when he was made bishop of the diocese of Bergen. But as far back as 1793 he had been called as provost of the district of Bergen, Nordhordland, and Voss and had served from 1797 as constituted bishop. | While serving as a minister, Brun gained great fame not only as a poet, but especially as an elo- quent preacher. Further, in the office of bishop he deserves undying praise for his very able opposition in word and deed to the onslaughts of the rational- ists. He was found in the front ranks, meeting every attack upon the old established Christian faith, and before he died he saw the dawn of a bet- ter era. ‘The congregations in the diocese of Ber- gen owe it to Brun’s activity that they were spared from the influence of Balle’s books of instruction and the Evangelical-Christian Hymn Book. Brun died July 26, 1816. In the history of hymnology Brun is especially noted for his Evangelical Hymns, published in Ber- gen, 1786. In the foreword to his edition he states that he is approaching the age ‘“‘when the soul is losing its fire and we eagerly reach out for some happier moment that may shine thru the clouds of sorrow that surround us. Our divine worship is that garden from which I have gathered my flowers. But I have gathered during the autumn season. Our new hymn book (Guldberg’s) has gathered in the most fragrant blossoms. Only in places, where it seemed to me that he had not gathered all, there 107 I have made an attempt. And, for the purpose of marking these, I have, in connection with all my ~ hymns, given the corresponding number in the hymnary. If the regular hymns should be preferred to mine, it shall not offend me, as long as mine are also found useful for edification. I fully admit that the Church of God might well dispense with my little book. But let it be said that among many such superfluous works my book will be found free from poison, and that in composing this work I have en- joyed many pleasant hours. But if it is welcomed, if it is cherished by those who worship the Father in spirit and truth, those who have an hour of the Lord’s Day to spare for divine worship in the home, then I will not exchange this reward for any crown of laurels.” This collection contains sixty-five hymns. The hymnologist Skaar says: “It can scarcely be denied that there is a certain strained effect in some of Brun’s hymns. ‘This was a common char- acteristic of his times. And even where they are not directly bombastic, they are often more rhetor- ical than poetical. There is unusual power in his hymns, but this force is often expressed in terms that do not appeal to the heart. His didactic hymns are at times sentimental, but frequently they ap- proach the prosaic. A few of his hymns are strongly . allegorizing and exhibit both the strength and the weakness of this method. And, if his hymns are compared with those to which he refers by the num- bers in his book, the latter very frequently will be preferred. Nevertheless, several among the sixty- five hymns will be found to compare favorably with many of our best church hymns. ‘They all bear wit- 108 ness to a life in faith, which has its fountain in God Himself and which is nourished by His Word, and which thruout all time will appear like an oasis in the spiritual desert of his time.” Al Peace be to thy every dwelling. —C. A. POHLMAN. Ope hymn is found in the English Moravian Hymn Book of 1826. The melody was com- posed by the Danish musician, Dr. C. E. F. Weyse, to the hymn “‘Skulde jeg min Gud ei prise.” Charles Augustus Pohlman was born November 18, 1777, in Herrnhut. In 1836 he became bishop of the Moravian Church. He died in Ockbrock, near Derby, November 17, 1843. 438 Lord, dismiss us with Thy blessing. —J. FAWCETT. eis hymn has entered into a large number of hymnals and is extensively used thruout the English-speaking countries. It has been translated into many languages, among others, also into Latin. Many claim that Fawcett is not the author of this hymn, as it is not to be found in his own hymn book published in 1782. But there are also other hymns by Fawcett, printed in the Gospel Magazine, which he did not include in his hymnal. The fact that the hymn was published anonymously in sey- eral hymn books from 1773 to 1780 does not prove anything, since these hymnals, as a rule, did not 109 give the names of the authors. In 1786 the first two stanzas were printed in a Unitarian hymnary, with “F.”, as mark of authorship, while in the register the full name is given, namely: “J. Fawcett, Non-Conformist preacher of Wainsgate.” The ed. of the hymnal, however, admits that his data may not be altogether trustworthy. But the York Hymnal of 1791 and likewise a collection of hymns printed in Dublin, 1800, both give Fawcett as the author of this hymn. Again, G. J. Stevenson re- lates that this hymn bore Fawcett’s name in a col- lection of Hymns for Public Worship published in Hull, 1774, by John Harris, and likewise that it appeared with Fawcett’s name in a hymn book printed in 1785. There is, therefore, all reason to accept the claim that Fawcett is the author of this hymn. There are indeed three other hymns which have a similar beginning, namely: 1. Lord, dismiss us with Thy blessing, Bid us all depart in peace. —Dr. RoBert HAWKER. 2. Lord, dismiss us with Thy blessing, Thanks for mercies past received. —H. J. BucKALtL. 3. Lord, dismiss us with Thy blessing, Guide us in Thy holy ways. —UNKNOWN AUTHOR. The melody, called ‘‘Regent Square,” is composed by Henry Smart, an English church musician. It appeared for the first time in Psalms and Hymns for Divine Worship, 1867. _ John Fawcett, Baptist preacher of England, was 110 born January 6, 1739 (or 1740), in Lidget Green, near Bradford, Yorkshire. At the age of 16 he came under the influence of Whitefield and joined the Methodists, but three years later he became a member of the Baptist church of Bradford. In 1765 he was ordained to the ministry and was in- stalled in the Baptist congregation of Wainsgate, Yorkshire. Seven years later, in 1772, he was called to London to succeed the famous Dr. J. Gills of Carter's Lane.) JHe accepted’the: call) After delivering his farewell sermon to the congregation at Wainsgate, six loads of household goods were brought up near the church preparatory to his leay- ing for London. But the congregation was not ready to bid him farewell. Men, women, and chil- dren thronged about their pastor and his family and wept. Fawcett and his wife also were moved to tears at the sight. Finally his wife said, ‘‘O John, I cannot endure this; I do not understand how we can leave this place.’’ ‘‘No, you are right,” he re- plied, “neither shall we leave.’”’ Then all their be- longings were unpacked and put in their old places. It has been thought that Fawcett upon this occasion wrote the famous hymn, “Blest be the tie that binds,’ which is such a favorite in Reformed circles. In 1777 the congregation built a new church near Heddon Bridge, and about the same time he opened a school in Brearly Hall, where he lived. In 1793 he was offered the position of president of the Bap- tist academy at Bristol, but declined. In 1811 he received his diploma of doctor of theology from America. He died in 1817, at the age of 78. Dr. Fawcett wrote many treatises on theological themes, and a large number of hymns and spiritual songs. PA The greater number of his hymns are found in the collection, Hymus Adapted to the Circumstances of Public Worship and Private Devotion, Leeds, Wright and Son, 1782, in all 166 hymns. About 20 of these are in general use. 49 Peace, to soothe our bitter woes. Fred til Bod for bittert Savn.—tLandst. 92. —N. F. $8. GRUNDTVIG. tS hymn appeared first in Kirke-Psalmer ud- givne til Prgve (Church Hymns published on Trial), by the committee on hymns, elected by the convention of Copenhagen ministers in 1845. Later the hymn was printed in Festival Hymns, second edition, 1850. Festival Hymns was the name given by the Vartou congregation to the supplement to the Evangelical Christian Hymn Book. ‘This sup- plement was later printed in many enlarged editions. The English translation used in The Lutheran Hymnary is by G. T. Rygh, 1908, somewhat changed. (The melody has been described under No. 40.) Nikolai Fredrik Severin Grundtvig was born September 8, 1783, in Udby, near Vordingborg, Denmark. His father, grandfather, and great- grandfather were ministers. Thru his mother he descended from the famous Hvid family. His father was one of the very few ministers of Den- mark who did not join the rationalist ranks, but remained true to the Gospel of Christ. In the childhood home the ruling spirit was that of the good old orthodox piety, and Luther was his hero; pUe but in the church and school the doctrine of reason reigned supreme, so that as Grundtvig grew up he was bound to be influenced by it. At the age of nine he was sent to a minister in Jylland to be edu- cated. Here he read Saxo’s works, Snorre, Hol- berg’s historical writings, and all sorts of old folk- lore. Suhm’s book on Odin and Heathen Myth- ology especially awakened his interest for North- ern mythology. He read aloud to the workmen in the shoe shop in the house where he resided. In that way he became familiar with the old Danish popular stories and fables. He began even then to write poetry. After two years’ study he passed the examen artium, 1800—tthe same year as Oeh- lenschlager—and three years later he took the ex- amination for the office of the ministry. During the last year of his study he grew wholly indifferent toward religion. He says himself that he ended his academic career without spirit and without faith. But he had also received impressions in another direction. His cousin, Henrik Steffens, lectured on natural philosophy and poetry, among other sub- jects, also Goethe, “‘the only class he truly appre- ciated.”’ Steffens showed him the importance of history and gave him a poetic insight into the beauty and glory of true Christianity as contrasted with a Christianity based on reason. The idea of a con- nection between the various periods of history and of Christ as the central fact of all history made a profound impression upon Grundtvig. He gained greater clearness on this subject during his three- year service as family tutor in Langeland. In his spare time he read Shakespeare, Goethe, Schiller, Fichte, Schelling, and others, and studied Old Norse 113 language and literature. In 1807 he wrote his first theological treatise on Religion and Liturgics, in connection with certain proposed changes in the liturgy of the Danish church. His intense study of this romantic literature and also an unfortunate ex- perience in love affairs stirred the chords of his heart. He also passed thru another crisis during this time which brought him to a deeper apprecia- tion of Christianity and history. Ocehlenschlager’s Nordiske Digte and Vaulunders Saga aroused Grundtvig’s interest in the ancient glory of the people of the Northern countries, and from now on he wrote several articles on the Edda Sagas and on Old Norse Mythology. In 1808 he returned to Copenhagen where he sought a professorship at the university. In the meantime he was appointed teacher of history in one of the Copenhagen schools. During the same year he published Northern Myth- ology or the Religion of the Eddas. In 1810 Scenes from the Northland; Life among the Giants, ‘The first represents the romantic conception of myth- ology as the poetic-symbolic garb of thought given to the popular view of life. It marks a turning- point in mythological research. In the second work Grundtvig desired to stir up his indifferent genera- tion to a realization of the glory of the past. Both were the products of his enthusiasm for the ancient glory of the Northern countries, a characteristic which never left him. As he busied himself with history and mythology his attention was more and more drawn towards true historic Christianity, and his relation of opposition to rationalism became more pronounced, ‘Then, in 1810, he delivered his famous probational sermon in Copenhagen. His 114 text was Why Has the Word of God Departed from His House? In this sermon he violently attacked the spirit of the times which had put the thoughts and commandments of men in place of the saving Gospel of Jesus Christ. ‘This sermon was printed and caused a great stir. The clergymen of the cap- ital sent in a protest against it, and Grundtvig was called to appear before the consistory of the uni- versity. The government board of justice (kan-, celli) decided that he should receive a reprimand, because, by having his sermon printed, he had be- trayed a vain desire for publicity. But all this only served to force Grundtvig deeper and deeper into the study of Christianity. He was now more de- termined than ever to keep aloof from the popular philosophy of Schelling. Ina little volume of poems, New Year’s Eve, 1811, he tells the story of his experiences, how he had learned to distinguish poetry and philosophical research from the truly religious, and that he now had arrived: upon true Christian ground and had come to a personal faith in Christ. The spiritual struggle which he had gone tru had so far undermined his health that he now sought relief by going home to his father’s parson- age. In the dedication of New Year’s Eve he an- nounces his future program as follows: Hvad er Kl¢gt, og hvad er alt, paa Jord mod det rene, klare Guddomsord! Derfor skal min Sang nu ene tone til hans Pris som steg fra Himlen ned, som os vilde med vor Gud forsone, skjenke os en salig Evighed. Nig He who had “‘thought it possible to approach God with giant strides, and not thru humble penitence” ; he who had “‘dreamt of accomplishing heroic deeds for the glory of his faith’; he who “had, indeed, been deeply stirred with enthusiasm for Christianity as the greatest spiritual power in the world,” but ‘who had not yet beheld the cross’’; he “‘who had spurned the thought of becoming a village pastor” —now desired nothing more than to become his father’s assistant. This was granted to him in 1811. In the tranquillity of his childhood home he re- gained his peace of heart. In 1812 he published A Short Summary of World’s Events, which drew much attention and considerable discussion. After his father’s death he returned to Copenhagen, where he led a lonely life among his books and a few friends, among whom may be mentioned the poet Ingemann. At times he was given an opportunity to preach. His sermons always dealt with the con- trast between faith and unbelief, between the world and the Church. Hence, he was called a fanatic and mysticist, and one by one the churches were denied him. Finally, only the Fredriksberg church remained open to him. Here, in 1816, he delivered a series of Biblical Sermons. At the same time he carried on his literary efforts on a large scale. Among other publications should be mentioned, Bible Chronicle, Roskilde Poems, and Roskilde Saga, Little Songs, besides editing the periodical Dannevirke from 1816 to 1819. In this latter pub- lication he continued his attacks upon the rational- istic philosophers of his time and pointed to his- tory as the great and all-embracing proof of the truth of Christianity. This thought he developed 116 more fully in Survey of World Events, especially during the Lutheran era, published 1817. In 1818- 1822 his translations of Saxo and Snorre appeared. He also found time to study English language and literature, and in 1820 he published a free trans- lation of Beowulf. Without application Grundt- vig was called to the pastorate of Prestg, south Sjelland, 1821, but it was his firm desire to labor in the capital city, ‘‘that city, from which unbelief was spreading over the land and from which all good movements ought to go out.’’ At his own urgent request he was appointed assistant in Our Saviors Church, Kristianshavn, 1822. It appeared during that period that the dawn of a new day had come in Europe. The war of independence in Greece heralded a new era. And Grundtvig, who ‘felt the powers of a new morn,” wrote New Year’s Morn, 1824, which has been mentioned as ‘‘a mighty poem.” In the prelude he sent the follow- ing greeting to the peoples of the North: Guds Fred, hvor I bygge Paa Mark og paa Field, I Béogenes Skygge, Ved Elvenes Vala! Guds Fred over Skoven, Hvor Stammene staa. Guds Fred over Voven, Hvor Snekkene gaa, Som ankre, som flage Paa festlige Dage, Som end tone Fedrenes Flag. Guds Fred, som den fandtes I Fedrenes Barm, 117 Guds Fred, som den vandtes Ved Frelserens Arm, Guds Fred, som den troner, Avor Kjerlighet bor, Guds Fred, som den toner I Hytter av Jord, Som selv jeg den nyder, Tilgnsker og byder Jeg Brodre og Frender i Nord. During the summer of 1825 Professor H. N. Clausen published his The Constitution, Doctrine, and Ritual of the Catholic and the Protestant Churches. A few weeks later Grundtvig issued Kirkens Gjenmale (The Reply of the Church), in which he charged Clausen with false doctrine and demanded that he either retract or resign from his position as teacher. This article caused an extra- ordinary sensation. It appeared in three editions within a short time. Clausen, however, did not enter into arguments with Grundtvig, but took occa- sion, from the virulent expressions in the article, to sue him for libel. Grundtvig was found guilty and had to pay a fine and the costs of the trial. Even before the judgment was announced he resigned from his office, in 1826. In memory of his pastoral work he published Christian Sermons and Sunday Book. But during this time Grundtvig’s ‘‘views on the Church” took definite form. He took a firm stand on the baptismal confession of faith. For over a thousand years the Christian congregation had re- quired that all who desired to become members should make this good confession, 1. e., the renun- 118 ciation and the confession. Hence, he reasoned this must be the sum and substance of all Christianity, and the requirements for admission to the Christian congregation must have been laid down by Christ Himself. Thus, the confession is a word from the Lord’s own mouth; Baptism as the life-giving sacra- ment, and the Lord’s Supper as the life-sustaining, furnish the fountain of all Christian life. In close connection lies his conception of the living (oral) word and the dead (written). Spiritual life can be transmitted only by means of the “‘living” word; Jesus Christ, the Word who became flesh, still lives in His congregation, in His institutions, and in the words of the sacraments. ‘The Holy Scriptures are an indispensable book of information, but they are only a description of Christ and His work, they do not bring us Christ Himself. Together with Ru- delbach he had, in 1825, founded the Theological Monthly, and thru a series of essays in this magazine he now sought to develop and establish his views on the Church. During the years 1829-1831, being fur-, nished an allowance from the Danish king, he made several trips to England for the purpose of study- ing the old manuscripts of Anglo-Saxon literature, which, up to that time, had not been published. In fact, Grundtvig’s work gave impetus to the work of their publication. But these visits to England had great influence upon Grundtvig in another line. He was deeply impressed by the spirit of liberty enjoyed by the people of England. It taught him “with respect of freedom, as well as all other human agencies, to emphasize realities, with deep disdain for the empty theories of quill- ores: and book- worms.’ 119 His desire now was to work for the development of a free and vigorous civil life. In 1832 he pub- lished Northern Mythology or Emblematic Lan- guage, one of the most brilliant books in Danish literature. He considers the myths as emblematic, figurative representations of the moral views of the people, and that ‘“‘they are prophetic of the future of the nation.’’ In a series of essays he draws a comparison between the moral views of the Greeks ‘and those of the peoples of the Northern lands. In 1829 he published 4 Handbook of History Accord- ing to the Best Sources. His historical lectures in Borch’s College, 1838, made a great sensation and were heard by a large circle of influential men. But Grundtvig was in close touch with his age also in another connection. He was, indeed, without regular employment as pas- tor until 1839, but not without pastoral work. In March, 1832, he was permitted to use Fredrik’s German Church for evening services, but he must not administer Baptism or the Lord’s Supper, or confirmation. For seven years he gathered a free congregation here, and it served to keep alive the issues of interest for him. Even at an earlier period he had written several hymns and devotional songs, but it was really from this time that he became known as one of the most unique and forceful hymn writers of the Church. In 1837 he _ published Songs for the Danish Church. He continued writ- ing hymns during the following years to such an extent that, when they were all published after his death, they comprised five volumes of Hymns and Spiritual Songs, 1873-81. An abridged edition of one volume appeared in 1883. ‘The four-volume 120 edition contains translations and versions of the best hymns of all Christian churches outside of Den- mark, revisions of old Danish hymns, and original hymns. In The Seven Stars of Christendom, 1860, he gave a unique survey of church history. The striking characteristic of this work is the fact that “it contains Christian life thruout as a spiritual folk-life, which has for ages been in lively intercom- munication with the development and language of the principal nations of the earth.” Grundtvig also directed his attention to the school system, endeavoring to solve the problem of proper education for the rising generation. He was of the opinion that the current methods were too onesided and merely intellectual and that the ethical side of the child’s development should be emphasized more, so that, thru a more harmonious training of facul- ties, a better type of personality might be developed. He vigorously opposed the preponderance of the study of Latin, as well as the other dead languages in the schools, demanding that instruction be made more free and lively, and that the old “‘system of examinations” be abolished. He insisted on a de- parture from the old style of ‘bookworm spirit,” and would rather expend the time and energy of the pupil equipping him for the problems of real life; ‘‘a consistent, joyful, active life on earth... with the eye, as it was created, turned toward heaven, yet open to all the beauty and glory here upon earth.” Such a life, he claimed, should be the final goal of all educational activities. Grundtvig’s ideas in this line had a very considerable influence upon the develop- ment of the Danish as well as the Norwegian educa- tional system. ‘Their special feature resulted in 121 the development of the popular high schools (fol- kehgiskoler). Grundtvig’s lyric poems furnish the key to a proper understanding of his genius. He subordinated form and style to thought. Hence, many of his poems are not masterpieces of art; gold and dross lie side by side in most of them. His chief aim was to express his poetic visions and feelings in their first freshness and _ origi- nality; ““Altid jeg sang hvad jeg hadde i Sinde,” (Always I sang what came to my mind). The fact that the expression thus produced became at times unclear and indistinct, did not worry him. ‘“Transparency was not always the decisive mark of the truth,” was his reply. In many respects he was a true romanticist. He says, “‘It is, indeed, a strange thing to be a bard, we perceive the voices from above, in mysterious accents; what we say, we know not.” Love plays a minor part in his poetry, nature is subordinated, but otherwise, almost everything which can stir the feelings in the human breast has found expression in his productions. For this latter reason many of his songs are still popular among the people of his country. In 1897, seven volumes of his secular poems were published. In 1839 Grundtvig became pastor in Vartou, and gathered a large congregation which thru Christian living and congregational singing had a decisive in-. fluence upon the development of the Church. In 1861, when he celebrated his golden jubilee as pas- tor, he was given the title of bishop. His friends presented him with a seven-armed candle-stick, and numerous other gifts as tokens of love and esteem. He died September 2, 1872, at the age of 89. He passed away quietly and peacefully, ‘like an autumn 122 sunset.”’ He delivered his last sermon on the day before his death. The most important of Grundtvig’s productions are his hymns. Asa writer of hymns he ranks above Kingo in poetic lights and in intensity of feeling. He is especially a ‘‘Pentecost songster,’’ and his church hymns aré unexcelled. While Grundtvig for some time spent a rather lonely existence, he gained, after a while, the respect and esteem of the greater number both in Denmark and in Norway. After the Haugean revival, which especially affect- ed the middle lower classes in Norway, there fol- lowed another awakening along the lines of Grundt- vig’s ideas, but this affected chiefly the upper classes, especially the clergymen and the teachers. Professors of the University of Norway, Hersleb and Stener- sen, were reais, staunch friends, and the fa- mous minister, W. A. Wexels, was in great measure influenced by him. In the main the influence of Grundtvig was strongly felt in the Church of Nor- way, until Johnson and Caspari opposed it with their strict Lutheran theology. But his influence was also felt in educational circles. Men like Herman Anker, Arvesen, Chr. Bruun, and Ullmann prepared the way for the papular high schools. Chr. Bruun, in his Folkelige Grundtanker, gives eloquent tribute to Grundtvig’s pedagogical prinsiples: ‘““Many reforms undertaken in the educational systems of Norway, during the latter half of the last century, especially the reduction in Latin requirements, and the co- ordination of the so-called ‘landsmaal’ and the ‘riks- maal’ (the popular language and the official lan- guage of the land) are in great measure due to the influence of Grundtvig’s ideas on popular education.” 125 And finally, the spirit of Grundtvig’s poetic and religious genius found its way to the hearts of the people thru the new expression which was given to it by Bjornson, who wrote many of his spiritual songs while under the influence of Grundtvig’s style, especially the song, ‘“Til Kamp da, Venner, for Kris- tendomslivet” (To arms, then, Friends, for Chris- tian life). Bishop Bang says: ‘‘Grundtvig is the most im- portant hymn writer of the 19th century; in this respect he ranks with Brorson of the 18th and Kingo of the 17th century.”’ Bishop Skaar: “His influence has especially been great in the line of awakening and strengthening Christian life, and that not only among those who have favored his views on these issues, but even among his opponents. His untiring opposition to rationalism; his work in speech and in song to open heart and vision to the objective truths of Christianity, and, especially, to the significance of the sacraments; all in all, his work has been rich in blessing both for the Danish and the Norwegian church.” a0 How blessed is the little flock. Hvor salig er den lille Flok.—Landst. 82. —N. J. Horm. 7 ene hymn appeared the first time in Harpen, a hymnal published in Christiania, 1829. Bible reference, 2nd stanza, Matthew 25:1-13; John, 21: 15-17. The English translation is by the Rev. Carl Déving, 1906. ‘The melody, by Ludv. M. Lindeman, was printed in his Koralbog, 1871. The 124 hymn has gained great favor both in this country and in Norway. Nils Johannes Holm was born 1778, in Sonder- farup, near Ribe, Denmark. In 1820 he became superintendent of the congregation of the United Brethren of Christiania and served there until 1834, when he returned to. Denmark. He became pastor at Kristiansfeld, where he died in 1845. W. A. Wexels says concerning Holm: “Nils Johannes Holm is a man of keen appreciation, of considerable knowledge, and takes a lively interest in the affairs of the Kingdom of God. His lectures on Sunday afternoons are attended by a goodly number to considerable profit. He wrote a number of works, especially for children. His hymnal, Harpen, con- tains 366 hymns—original hymns, translations, and revisions of other hymns, intended mainly for the use of the congregation of ‘Brethren’ and ‘Friends.’ He edited and published a mission paper, which has attained its fifth volume, and serves as a connecting link between the ‘Haugeans’ and the ‘United Breth- ren.’ Thruout all this activity he has sought, accord- ing to his viewpoint, to extend the Kingdom of Christ. His writings will also attain this worthy end, but their Christian value would have been en- hanced if the language, the development, and the presentation of ideas had been given more of the Biblical character and spirit.” 125 ol And now we must bid one another farewell. Saa vil vi nu sige hverandre Farvel.—Landst. 93. —MAarTHA CLAUSEN. KAAR says: “‘We have here a hymn from the Christian assembly. It is very likely the em- issary's last word of admonishing to his people. These have been woven into the hymn. It is not possible to determine at what time the hymn was written. I can only state what the Danish hymnol- ogist, Rev. C. J. Brandt, has related to me: During the years 1830-40 this hymn was very commonly used in South Sealand, and after being orally trans- mitted, it was written down by F. Fenger. In Nor- way also, there are several such parting hymns. It is a strange thing that many of these hymns are com- posed for the melody of the Jephtha Ballad.” (Det hendte sig Jefta, den Gileads Mand, by Petter Dass). Later it has been claimed that the hymn was written by a woman, Martha Rasmussen, born 1815, in Rifbjerg, Langeland. In 1842 she married C. L. Clausen, who served as pastor in America from 1843. Hence, if the hymn was actually in use dur- ing the “thirties,” she was very young at the time she produced this hymn. ‘The form which the hymn has been given in Landstad’s Hymnal is due to Grundtvig’s influence. Our English translation is by Rev. George Taylor Rygh, 1908. ‘The melody is by Lindeman, published in his Koral bog of 1871. 126 a2 O happy day when we shall stand. O tenk, naar engang samles skal.—Landst. 94. —W. A. WEXELS. ats hymn was written for the general conven- tion of the Norwegian Mission Society, July 6th and 7th, 1846. It was written and published by W. A. Wexels in Nogle Missionssalmer. It was sung for the first time as the closing hymn of the morning service in Our Savior’s Church, Christiania, July 6, 1846. Since that time scarcely a mission service has been conducted where this hymn has not been used (Skaar). It has passed into general church use by being included in the supplement to the Evangelical Christian Hymn Book, Christiania, 1853. From that time and on it has been one of the most favored and most extensively used hymns of the Norwegian Lutheran Church. The English translation employed in The Lutheran Hymnary is by the Rev. George Taylor Rygh, 1908. ‘The mel- ody is by Nicolaus Herman, 1554, and was origi- nally set to the hymn, ‘“‘Kommt her, ihr liebsten Schwesterlein.” It was later printed in Die’ Sonn- | tags Euangelia uber das ganze Jar in Gesange verfasset—durch Nicolaum Herman in Joachims- thal (Wittenberg, 1560). In this collection it ap- peared with Herman’s Christmas hymn, ‘“Lobt Gott, ihr Christen allegleich.” Wilhelm Andreas Wexels was born in Copen- hagen, March 29, 1797. His father, Fredrik Nan- nestad Wexels, the son of a Norwegian clergyman, was manager of ‘“‘glasmagasinet’’ in Copenhagen. His mother, Bolette Katrine Balling, was a Danish Vad woman. Wilhelm began his education at the Metro- politan School of Copenhagen in 1807. ‘Two years later his mother died, and his father moved back to Norway. Their two sons remained in Copenhagen, where Wilhelm took “‘examen artium” in 1814. The following year he also went to Norway and was en- rolled as ‘‘academic citizen” at the University of Christiania. In 1816 he took ‘‘second examination” and began his theological studies under Hersleb and Stenersen. The latter especially exerted great Christian influence upon him. In 1818 he took his degree examination with excellent grade and in May following, he was appointed to the office of catechist in Our Savior’s Church in Christiania. In 1846 he became residing curate of the same church, and remained in this office until his death, May 14, 1866. Wexels was at first rather isolated thru his vio- lent attacks upon rationalism and on account of his religious views formed under the influence of Grundt- vig. For a time he was ridiculed and scoffed at, called ‘‘the holy minister,’ and he preached to empty pews. But in time he gained extraordinary fame both as preacher and author. Enormous crowds came to hear his sermons. ‘This continued even thruout his old age. He exerted a greater influence than pos- sibly any other Norwegian minister of his time. : In 1828 he published a treatise against The Spirit of Christianity, or the Evangelical Doctrine, written by the philosopher, Nils Treschow. Treschow’s answer brought a second reply from Wexels, and this dis- cussion served to bring greater clearness into the current conception of what Christianity really is. From 1834 to 1839 he edited a theological maga- 128 zine; 1837-1854 his Commentary to the New Testa- ment Writings appeared in four parts. But his im- portance in church work must be measured thru his -volumes of sermons and devotional writings. His Book of Devotions for the Common People has been published in 13 editions, and The Bible History in 20. His volumes of hymns have also enjoyed great popularity. In 1834 he issued Hymn Verses, Select- ed from Old Hymns, for Use in the Home and the School. Six years later appeared the collection Christian Hymns; gathered, arranged, revised, and edited for use at family devotions, and this was to serve as a contribution to the future hymnal of the Norwegian Lutheran Church. This voluminous work contains 714 hymns; of these, 15 are original; about 50 are translations from Wallin’s Swedish Hymnal, and some from the German. A second edi- tion was published in 1844 containing 747 hymns. The following year he issued 4 Collection of Chris- tian Hymns for Use in Connection with Religious Instruction. ‘This contained hymns selected from the larger edition, published the previous year. His Mission Hymns appeared in 1846. This contains some of the best hymns produced by Wexels. Many of these have been accepted into the hymn books of the church. Among these may be mentioned, ‘‘O happy day when we shall stand,” ‘‘Herre vor Gud med det dmmeste Hjerte,” ‘“‘Milde Jesu, her vi staa.”’ In 1849 he published Hymn Book, Gathered and Arranged, together with Meditations and Prayers. This contains 504 hymns, ‘‘And,” says the author, ‘let it be considered as a proposal for a general church hymnal, submitted to the gracious judgment of Christians.’”’ ‘This volume, which contained var- 129 ious selections from his former publications, was sharply criticized by M. B. Landstad, whose words bore the marks of zeal rather than of consideration. This criticism provoked considerable discussion. ‘The result was that a committee was appointed to pre- pare a draft for a new hymn book, a selection from Wexels’ hymnals, for use in addition to the Evangel- ical Christian Hymnary. The committee consisted of Wexels, Grimelund, and Jorgen Moe. ‘The Sup- plement to the Evangelical Christian Hymnary, Prepared by a Committee of the Church in Christi- ania was by royal decree of 1853 authorized for use in Our Savior’s Church. Later the decree was ex- tended to other congregations. Wexels prepared yet another edition of Christian Hymns, 1859, which contained 850 hymns. Bishop Skaar says of this hymnal that the author here showed greater care in retaining the older form of the hymns. Finally, we quote Skaar’s estimate of this prolific hymn writer: ‘‘“As Wexels exerted a great and bles- sed influence upon the conditions of the Church of Norway, likewise did he bring a beneficial influence to bear upon the congregational singing thruout the Church. Altho he was not in the strictest sense a great hymn poet, still he produced several hymns which will be sung in Norway as long as the name of Christ is confessed. But especially does he de- serve to be remembered for having brought to light again the old treasury of Christian hymns, thus helping to ‘turn the heart of the children to their fathers’ (Malachi 4:6).” 130 a3 Praise to Thee and adoration. Lov og Tak og evig A:re.—Landst. 26. a Ee ENCE | Boia hymn appeared first in the author’s En Ny Kirke-Psalmebog (Vinterparten), 1689. It is based upon the Gospel lesson for ‘‘Third Day Christ- mas,” John 21:19-24. In Kingo’s Hymnal it 1s listed as the closing hymn for that festival day. In Guldberg’s Hymn Book the hymn is ordered to be “sung after the sermon from Christmas until Candle- mas.” It has been very commonly used as the clos- ing hymn of the service, and is one of the hymns which possibly the greater number of church goers know by heart. The English translation was ren- dered by the Rev. Kr. Kvamme, 1904. The melody was either composed or arranged by Louis Bour- geois.* (See notes on No. 1.) It was later arranged for church use by the famous church musician, Claude Goudimel, 1573. It has been claimed that the melody was used for a French hunting song. It was set to the 42nd Psalm, because the Dauphin, the later Henry II, valued Marot’s metrical ver- sion of the 42nd Psalm so very highly and sang it to the above mentioned melody of the hunting song. Thru Lobwasser’s translation of the French Psalter, it entered the hymn treasury of the Lutheran Church, where it has held its rank until our days as one of the grandest and most commonly sung of all the melodies of church music. It was early connected with Heermann’s ‘‘O what precious balm and heal- *Others say Guillaume Franc. 131 ing, Jesus, in Thy wounds I find” (L. H. 297). It has also been used as a setting for a great number of other hymns in the church. a4 Savior, again to Thy dear name we raise. —J. ELLERTON. | Pees hymn was written in 1866 for a meeting of the Malpas, Middelwich, and Nantwich Choral Association. Originally it had 6 stanzas. Later it was revised and abbreviated and was thus printed in a supplement to Hymns Ancient and Modern, PROB WELb 18 very commonly used as the ate hymn of the evening service. John Ellerton was born December 16, 1826, in London. He was educated at King William’s Gai lege, on the Isle of Man, and at Trinity College, Cambridge, where he graduated in 1849. The following year he was ordained and appointed as- sistant pastor of Easebourne. After serving in a number of places, he was, in 1876, appointed to the rectorship of Barnes and in 1886 to the pastorate of White Rodney, in which place he remained until his death in Torquay, June 15, 1893. Together with Wm. Walsham How, Ellerton edited Church Hymns, 1871, and in 1881 he published Notes and Illustrations of Church Hymns. As early as 1859 he had published Hymns for Schools and Bible Classes. ‘He has written in all about 50 hymns and 10 or more translations from the Latin. Nearly all his hymns are in common use and a good num- ber of them are very popular. The melody (Benediction) was composed in 132 1867 for this hymn by E. J. Hopkins. Edward John Hopkins was born 1818, in Westminister, Lon- don. While a child he sang in the choir of Chapel Royal. He was organist in Temple Church, Lon- don, from 1844 until 1898. While in this position he prepared the Temple Choir Service Book and composed many church melodies and anthems. He also wrote music for the church organ and prepared a number of adaptations from older church tunes. Together with Dr. Rimbault he wrote and published a valuable treatise on the history of the organ. Hopkins died in 1901. DO Sweet Savior, bless us ere we go. —F. W. FABeEr. | Dox hymn appeared for the first time in the au- thor’s Jesus and Mary, first edition, 1849, and again in Hymns, 1862. It contained 7 stanzas. It was composed in 1849, for use at the evening service in the Roman Catholic oratory of London, where Dr. Faber served as superior. In a few hymnals the first line reads: ‘“‘Dear Savior, bless,” or “O Savior, bless.” Two stanzas of the original are omitted in The Lutheran Hymnary. The melody (St. Mathias) is by W. H. Monk, English church musician, 1823-89. It has the name of the church at Stoke Newington, where Monk was organist. Frederick William Faber was born June 28, 1815, in Yorkshire, England. The family descended from the Huguenots. His parents died while he was yet young. Faber was educated at Balliol College, Ox- E35 ford, where he received his degree of bachelor of arts in 1836. He was for a time Fellow at Univer- sity College. After taking the theological examina- tion he became rector of Eton, Huntingdonshire, 1843. Here he came under the influence of Cardi- nal Newman, and joined the Catholic Church in 1846. When he came to London in 1849, he or- ganized an order called The Oratorians, or Priests of the Congregations of St. Philipp Neri. Here he labored until his death, in 1863. His hymns, 150 in number, were published after he had joined the Catholic Church. A few of his hymns are justly held in high esteem. Among these may be men- tioned the four which have been taken up in The Lutheran Hymnary. His Hymns were published in one volume in 1862. Faber was an idealist. He is spoken of as a pious and amiable personality. 26 Almighty Father, bless the Word. 4 pa author of this hymn is not known. ‘The mel- ody is of French origin; possibly composed by Louis Bourgeois, a French musician of the 16th century. The melody appeared first together with Clement Marot’s song on the ten commandments. Later it was arranged for church use by the famous French musician Claude Goudimel and was set to Beza’s paraphrase of the 140th Psalm. In Ger- many and the Northern countries this melody was also used for Paul Eber’s hymn, ‘‘Wenn wir in hdchsten Nothen sein” (Naar vi 1 st6rste ndden staa, Landst. 220; Lutheran Hymnary, 524). [34 57 Abide in grace, Lord Jesus. Bliv med din store Naade.—Landst. 663. Ach bleib mit deiner Gnade. —J. STEGMANN. ae in grace, Lord Jesus’ was first pub- lished in Stegmann’s Suspiria Temporum, 1628. In J. Clauder’s Psalmodia Nova, Stegmann is said to be the author of this hymn. It has found a place in a large number of hymn books of many churches. It was one of the favorite hymns of Friedrich Wilhelm IV of Prussia. Many English translations have been made. The melody by Mel- chior Vulpius, 1560-1615, a German church musti- cian, appeared first in Ein schon geistlich Gesang- buch, Jena, 1609. Josva Stegmann, son of Ambrosius Stegmann, a German Lutheran minister, was born September 14, 1588, in Stlzfeld. He was educated at the University of Leipzig and served for a time as as- sistant teacher in the department of philosophy. In 1617 he was appointed pastor of Stadthagen, prin- cipal of the gymnasium in that city, and superin- tendent of the Schaumburg district. During the same year he was created doctor of theology by the University of Wittenberg. In 1621 he was ap- pointed ordinary professor at the University of Rinteln, but had to flee in 1623 on account of the war. When he later returned he had to suffer a great deal on account of the demands which the Catholics made upon the institution and its property, which formerly had belonged to the Benedictine Order. Stegmann died 1632, in Rinteln. He wrote several Latin poems while a student at Leip- zig. Hecomposed a considerable number of hymns. 135 a8 Draw us to Thee in mind and heart. Drag, Jesus, mig op efter dig.—Landst. 414. Zeuch uns nach dir, so kommen wir. —F’. FUNCKE. ANDSTAD and Skaar have _ erroneously ascribed this hymn to F. Fabricius*. ‘“The words of the bride, in the Song of Solomon 1:4: ‘Draw me, we will run after thee’ are beautifully rendered in. this hymn” (Skaar). It appeared first in the Liineburg Stadt-Gesangbuch, 1686; was taken up by Freylinghausen in his Gesangbuch, 1705, and later in many Lutheran hymnals. The version which ap- peared in J. H. Schrader’s Vollstandiges Gesang- buch, ‘TYondern, 1731, was translated into Danish by H. A. Brorson and printed in Nogle Himmel- farts- og Pindse-Psalmer, Tgndern, 1734. It was taken up unchanged in Pontoppidan’s Hymnary, and later somewhat altered in Hauge’s and Landstad’s editions. ‘The composer of the melody is not known. It appeared first in 1625 in connection with the hymn, ‘Ach Gott und Herr’ (Ak Herre from, Landst. 389), by M. Rutilius and J. Grosz. It is found in minor in a collection by J. Schein of 1627, enain major in) ©. Peter's’ edition, L605) (Later it was somewhat altered, and harmonized by J. S. Bach. The Danish-Norwegian translation has been given a different meter and is sung to the melody, BOetijertens’ Ve,og Sore atise’)( Uandst. 336,) L: *The hymn had also previously been ascribed to Angelus Silesius (Scheffler), and to Ludomilia Elisabet, who have writ- ten hymns with a somewhat similar beginning. 136 H. 322). Our English version is a free rendering by A. T. Russell (See No. 26). Friedrich Funcke was born in Nossen, Hartzen, and was baptized March 27, 1642. He attended the schools of Freiberg and Dresden. He also studied music and was appointed cantor at Perle- berg and later at Luneburg. In 1694 he was given a pastorate near Liineburg and died there in 1699. He revised the Liineburg Hymnary, adding 43 mel- odies and 7 hymns. 39 Savior, now the day is ending. —SARAH DOUDNEY. ] Base hymn, designed as a closing hymn for the evening service, was printed in Sarah Doudney’s Songs of Gladness, 1871, and is considered one of her best hymns. ‘The melody is by Johann Chris- topher Bach (1645-95). Since 1693, possibly ear- lier, this melody has'been used with H. ‘Held’s hymn, “‘Komm, O komim, du Geist des Lebens” (L. H. No. 426; Landst., American ed.,. 444). Sarah Doudney was born in Portsmouth. Shortly after her birth, her parents moved to a small village in Hampshire. Her first poem, The Lessons of the Watermill, written when she was 15 years of age, was very popular. She wrote short stories and contributed to the Sunday Magazine and other publications. Her stories, poems, and _ spiritual songs, are to be found in various magazines. Psalms of Life and Songs of Gladness were published in 1871. 137 60 O worship the King. —R. GRANT. 4 Pe beautiful hymn of praise is a revision of an old paraphrase upon the 104th Psalm, written in 1561, by William Kethe: ‘My soul, praise the Lord, Speake good of His name.’ Grant’s hymn was first printed, 1833, in Bickersteth’s Christian Psalmodie. It appeared again, 1835, in Elliott’s Psalms and Hymns, and in Sacred Poems, 1839. Later it has been given a place in many hymnals. It was translated into Latin, 1871, by R. Bingham: “Glorioso ferte Regi, vota vestra carmine.” ‘The melody (Hanover or St. Georges) has been ascribed to W. Croft; to G. W. Handel; and to T. Tallis. It is not found listed among Croft’s melodies, but it is generally accepted as being composed by him. It is a stately and festive melody, which always has been attached to this hymn. Sir Robert Grant was the second son of Charles Grant, famous philanthropist, statesman, and mem- ber of parliament from Inverness. He was born in 1785. He was educated at Magdalen College, Cambridge, together with his elder brother Charles (later Lord Glenelg). Robert studied law and became a lawyer, 1807; member of parliament, 1826; privy councillor, 1831; governor of Bombay, 1834. He died in Dapoorie, West Indies, 1838. In 1839 his brother, Lord Glenelg, collected and published 12 of his hymns under the title: Sacred Poems, by the Right Hon. Sir Robert Grant, Lon- don, 1839. New editions were made in 1849 and 1868. Grant ranks high as a writer of hymns. 138 His hymns are characterized by grace and beauty of style, and intense religious feeling. The two hymns which have been included in The Lutheran Hymnary are sung wherever the English language is used. 61 O God, the Rock of Ages. —E. H. BICKERSTETH. T HIS hymn was written in 1862 and printed in the author’s From Year to Year, appearing there to be used on the last Sunday of the church year. It is based on Is. 40:8; 35 :38-40; Gal. 4:1-8; Matt. 1:18. The melody (Aurelia) was first composed for the hymn, ‘‘Jerusalem the golden” (L. H. 614), and printed in Selections of Psalms and Hymns, i864. It was composed by S. S. Wesley (1810- 1876), grandson of Charles Wesley. He was at his time one of the leading church musicians in England. Edward Henry Bickersteth, the son of Rev. Edw. Bickersteth, who was rector of Walton and editor of The Christian Psalmody, was born 1825 in Is- lington and was educated in Trinity College, Cam- bridge. He was ordained to the ministry in 1848; was assistant pastor at Banningham, Norfolk; later, 1855-1885, he served as vicar of Christ Church, Hampstead. In 1885 he was made dean of Glou- cester, and the same year was ordained bishop of Exeter. Bickersteth wrote several volumes of po- etry and prose. He was an eminent hymn writer and materially helped the cause of congregational singing by editing several hymnals of high rank. 139 Among these may be mentioned: Psalms and Hymns, 1858, following, in the main, his father’s Christian Psalmodie; Yesterday, Today, and Forever, 1867; The Hymnal Companion to the Book of Common Prayer, 1870. From Year to Year, 1883, contains his hymns and spiritual songs. Bishop Bickersteth died May 16, 1895, in London. 62 Lord, Thy glory fills the heaven. —R. Mant. pe first stanza of the original has been omitted: “Bright the vision that delighted,” etc. This stanza has been omitted in several hymnals. ‘The hymn first appeared in Ancient Hymns, published by the author in 1837. It is based on Is. 6:3: ‘And one cried unto another and said; Holy, Holy, Holy is the Lord of hosts; the whole earth is full of His glory.”” The melody (Rex Gloriae) was com- posed for a supplement to the first edition of Hymns Ancient and Modern, 1868, used there as a setting for the hymn, ‘See the Conqueror mounts in tri- umph.”’ Richard Mant was born February 12, 1776, in Southampton (the birthplace of Watts). His fa- ther was the rector of All Saints’ Church, and was noted for his learning. Richard was educated at Winchester School and at Trinity College, Oxford, where he took examinations in 1801. At first he served as assistant to his father. In 1810 he became vicar of Coggeshall, Essex, and in 1813 was ap- pointed assistant to the archbishop of Canterbury. He served in London from 1816 until 1820, when 140 he was appointed bishop of Killaloe, Ireland. Three years later he removed to the bishopric of Dawn and Connor. In 1842 he was promoted to the posi- tion of bishop of Dromore. He died November 2, 1848. Bishop Mant was a prolific writer. He wrote a great number of hymns which are to be found scattered thruout his works. Among’ the collections published may be mentioned The Book of Psalms in an English Metrical Version, 1824; Ancient Hymns from the Roman Breviary. As a supplement to the latter, Original Hymns were pub- lished in 1837. 63 Heaven and earth, and sea and air. Himmel, Erde, Luft und Meer. —J. NEANDER. Dian is a beautiful hymn of praise and thanks- giving for God’s glorious work of creation and His majesty in nature, based on Acts 14:17. It ap- peared first in Neander’s Glaub-und Liebes-Uebung; Aufgemuntert durch einfaltige Bundes-Lieder und Danck-Psalmen, Bremen, 1680, under the title: Joy over the Creative Work of God, and, A Hymn for Travellers by Land or Water. ‘The English trans- lation is by James Drummond Burns, pastor and hymn writer, born 1823, in Edinburgh and educated in the university of that city. He was in charge of the free church of Dunblane from the year 1845, later, of Funchal, Madeira, and in 1855 he came to Hampstead Presbyterian Church, London. He died in 1864. ‘The melody (Libeck) first appeared in Freylinghausen’s famous Geistreiches Gesangbuch, 141 Halle, 1704. In this collection the melody was used for the hymn, “Gott sei dank in aller Welt.” 64, My God, how wonderful Thou art! —F. W. FaBeEr. | pass hymn was first published in Jesus and Mary, 1849. It appeared there in 9 four- lined stanzas under the title The Eternal Father, and later, 1862, it was included in his Hymns. ‘The hymn is extensively used, but often abbreviated. The first line is also varied in several hymnals. The melody (Dundee) is one of the good old church tunes from the Scotch Psalter, 1615. The melody is there called ‘‘French Tune,” but its French origin has not been definitely established. The Scotch “Dundee” is our ‘“‘Windsor” (L. H. 314). 65 O bless the Lord, my soul. —J. MONTGOMERY. Ree paraphrase, based on the 104th Psalm, ap- peared first in Cotterill’s Selections, 1819. The melody (Schumann or Heath) has been arranged from one of Robert Schumann’s melodies (1810- 56). James Montgomery was born in Irvine, Ayrshire, 1771. His father, John Montgomery, was Irish and a minister of the Moravian Church. It was decided that James should also become a minister in the same church, and he was sent to their seminary in Fulneck, near Leeds. His parents were sent as {42 missionaries to the West Indies, where both died. Their son, compelled to give up his plan of entering the ministry, left Fulneck in 1787. He was given a position by a merchant of Mirfield, where he worked for a year and a half. One more year was spent in another little village. ‘Then we find him setting out for London with a few of his poems in manuscript. He wished to have them printed and tried to secure the aid of a publisher, but without success. Later, in 1792, he was given a position by a publisher in Sheffield, which town became his future home. ‘The owner and editor of The Sheffield Register was a man named Robert Gales. He was a liberal minded journalist, who shared many of the views of young Montgomery. Gales openly espoused the cause of the common people, but fell out with the authorities and was forced to leave Sheffield in 1794. Montgomery now became owner and editor of the paper and changed its name to The Sheffield Iris. The policy of the paper remained liberal and radical, and Montgomery was imprisoned and fined two times for “seditious articles.” In 1797 he published a volume of poems entitled Prison Amusements, because some of them had been written while he was in the prison at York. For 30 years he served as the editor of the paper. For a space of 50 years he contributed poems and hymns which brought him fame and extended his influence. Aside from his editorial and literary work, he was a lecturer and a zealous worker for missions and for The Bible So- ciety. His lectures on English literature and later, those dealing with poetry and literature in general, delivered before the Royal Institute, aroused great TAS interest, and were printed both in London and in New York. In 1833 Montgomery was granted a royal pen- sion of 200 pounds annually. He was never mar- ried. At the age of 83 he died, while sleeping, and he was buried at public expense. A fine monument was erected in his memory in the Sheffield cemetery. A Wesley chapel and another public building in Sheffield bear his name. He wrote between 400 and 500 hymns. As a hymn writer he ranks among the best, with Watts, Wesley, Newton, and Cowper. His best hymns, however, were written during his earlier days. In later years he wrote too much. About 100 of his hymns are in general use. Like many others, Montgomery detested those who took liberties with his poems, while he himself, without further ado, undertook to change hymns such as “Rock of Ages” and “There is a Fountain filled with Blood; for which he was justly criticized. In general, however, Montgomery deserves the best of praise. He was a talented poet, had a broad view of life, and was filled with a pious spirit. He could express deep Christian feelings without becom- ing sentimental. With a firm faith he combined a child-like, pious mind. He had acquired a very thoro knowledge of the Bible. His hymns bear the marks of a fine sense of rhythm and musical expression. A list of his principal works includes the follow- ing: 1. Prison Amusements, 1797. 2. The Wanderer of Switzerland, 1806. 3, The West Indies and other Poems, 1807, in which he praises the abolition of negro slavery. 144 The World before the Flood, 1813. Greenland and other Poems, 1819. Songs of Zion, 56 Hymns, 1822. The Christian Psalmist, 100 Hymns, 1825. The Christian Poet, 1825. The Pelican Island, 1828. The Poets Portfolio, 1835. Original Hymns for Public, Private, and So- cial Devotion, 1853, containing 355 hymns and 3 doxologies. He also contributed many hymns to other hymnals. A great number of his hymns were first printed in The Shef- field Iris. His poetical works were published in four editions, 1828, 1836, 1841, and 1854. Grundtvig has translated two of Montgom- ery’s hymns. mH OOO ANA 66 Majestic sweetness sits enthroned. —S. STENNETT. Ae original of this hymn, a contribution to Rip- pon’s Selection, 1787, contained 9 stanzas, with the first line: ““To Christ the Lord let every tongue.” It is based on ‘The Song of Solomon 5:10-16, and has the title: Chief among Ten Thousand, or The Excellencies of Christ. ‘The hymn begins here with the second stanza of the original. ‘The melody (Castle Rising) was written for this hymn by the Rey. Fredrick Alfred John Hervey, court chaplain of the King of England. Samuel Stennett, grandson of the ae writer, Joseph Stennett, and son of the Rev. Dr. Joseph Stennett, was born 1727, in Exeter, where 145 his father served as Baptist minister. His father later removed to Little Wild Street Baptist Church, London. In 1748 Samuel became his father’s as- sistant and later his successor in the London church. He died in London in 1795. Stennett was a highly respected and influential personality; an able and zealous advocate of religious liberty. Even some of the statesmen of his day were influenced by him. The famous philanthropist, John Howard, was a member of Stennett’s congregation. King George III was his personal friend. Stennett published volumes of sermons and pamphlets and wrote 39 hymns. In 1763 he was given the degree of doctor of the- ology by King’s College, Aberdeen. 67 High in the heavens, eternal God. —I. Watts. eae hymn is a paraphrase of the 36th Psalm, verses 5-10: “Thy mercy, O Lord, isin the heavens; and Thy faithfulness reacheth unto the clouds. Thy righteousness is like the great moun- tains; [hy judgments are a great deep: O Lord, Thou preservest man and beast. How excellent is Thy loving kindness, O God! therefore the children of men put their trust under the shadow of Thy wings. hey shall be abundantly satisfied with the fatness of Thy house; and Thou shalt make them drink of the river of Thy pleasures. For with Thee is the fountain of life: in Thy light shall we see light.” The melody (Melcombe, also called Granton, and St. Philip) is by Samuel Webbe (1740-1816). 146 It appeared first in 4n Essay on the Church Plain Chant, 1782, without the composer’s name, as a setting for ‘“‘O salutaris hostia.’ In Harrison’s Sacred Harmony, 1791, and in Webbe’s Collection of Motets and Antiphons, 1792, Watt’s name is at- tached to this hymn. : “OG O Love, who formedst me to wear. Liebe, die du mich zum Bilde. —J. SCHEFFLER. Ay aite hymn ranks as one of the most beautiful Jesus-hymns of the Christian Church. It ap- peared first in Scheffler’s Heilige Seelenlust, 1657. It has six stanzas and is based on John [:4-16. The English translation by Miss Winkworth was printed in the second part of her work, Lyra Germanica, 1858. A missionary named Schultze, engaged in mis- sion work in Madras, India, saw this hymn in Frey- linghausen’s Hymnal. He sang it with great joy and translated it at once into the Malabarian tongue for the use of his mission. Later he translated over 100 German hymns which are still sung by the natives of those parts. This hymn is found in the New Zealand Hymnal of 1870. ‘The melody (Machs mit mir, or Eisenach) by J. H. Schein, was first printed in a little pamphlet with the hymn, ‘‘Machs mit mir, Gott, nach deiner Gut,’’ and later it appeared in Schein’s Cantional, Leipzig, 1645. In Schein’s Choralgesdnge there are two arrangements by J. S. Bach. Johann Scheffler (Angelus Silesius) was born 1624 in Breslau in Silesia. ‘His father, Stanislaus 147 Scheffler, was a Polish nobleman, but was forced to leave his country because of his adherence to the Lutheran faith. He moved to Breslau and here the son was educated in the Lutheran faith and doctrine. He completed the course of study in the Breslau Gymnasium and later studied medicine at Strass- burg, Leyden, and Padua. He received the degrees of doctor of medicine and of philosophy and was appointed as private physician to the German Duke of Wiirttemberg-Oels. Scheffler was attracted by the mystics and applied himself seriously to the study of Tauler, Jacob Bohme, and Thomas a Kempis. After some time he became convinced that the Lutheran Church had become entangled in dead literalism. In his position he was in constant touch with Lutherans. He began to give expression to his views, and this brought him into a controversy which ended with his joining the Catholic Church. In 1653 he was formally accepted as a member. Now he adopted the name Angelus, very likely in memory of the Spanish monk and mystic, John ab Angelis. The name Silesius was added, so that he should not be mistaken for the Lutheran theologian Johann Angelus of Darmstadt. In 1654 he was appointed imperial court physician to Ferdinand III. This was, however, only honorary. In 1661 he joined the Franciscan order and was ordained to the priesthood and sent to Niusse, Silesia. In 1664 he became councillor and lord steward to his friend Sebastian von Rostock, the newly elected prince bishop of Breslau. After the bishop’s death, in 1671, Scheffler retired to the St. Mathias cloister in Breslau, where he died in 1677. Scheffler began to write hymns at an early age. 148 One collection, 206 in number, under the title Heilige Seelenlust, oder Geistliche Hirtenlieder, was pub- lished in 1657, and later an edition appeared with 50 new hymns added. In view of the circumstances, it was but natural that his hymns should possess mystic tendencies. They are marked by deep sincer- ity. The keynote of his song is the intense yearning of the soul after unton with God. ‘The greater number of his hymns were written before he became a Catholic. ‘They were received with joy, and are extensively used in the Lutheran Church. ‘We sing his hymns with a rejoicing which is intensified accordingly as Jesus becomes our all in all” (Skaar). His reputation as a writer of hymns is growing. Some of his hymns were recently translated and pub- lished in Scribner's Monthly. G. McDonald says that Scheffler’s hymns are a force in showing forth the beauty of the Church of God. Bishop Skaar relates, as a proof of Scheffler’s zeal for Catholi- cism: ‘In 1662 he arranged that the festival of Cor- pus Christi should be celebrated with processions, drums and trumpets, and Scheffler had the doubtful honor of carrying the monstrance (the framework of gold or silver, in which the consecrated wafer or host is held up to view before the congregation). This festival had not been celebrated in Breslau since the time of the Reformation.” It is difficult to understand a criticism of this kind. Would it have been more to Scheffler’s honor if he had attempted to remain part Lutheran and part Catholic? This characteristic simply shows the integrity of his per- sonality. He put his whole soul and being into that which he chose to be. Landstad has made use of only two of Scheffler’s 149 hymns, altho he speaks of him as “‘the beloved writer of excellent Jesus-hymns.” The Lutheran Hymnary contains five—68, 169, 403, 445, 474. 69 God of eternal love. It is not known who has written this hymn. (In regard to the melody, see No. 65.) 710 There is a safe and secret place. —H. F. Lyre. H FE, that dwelleth in the secret place of the Most High shall abide under the shadow of the Almighty. I will say of the Lord, He is my refuge and my fortress: My God, in whom I will trust” (Psalm 91:1-2). This hymn was first printed in Lyte’s Spirit of the Psalms, 1834. It breathes the spirit of peace and rest in the Lord. The or- iginal has 5 stanzas. It is extensively used both in England and America. 71 We all believe in one true God. Vi tro og troste paa en Gud.—Landst. 12. Wir glauben all’ an einen Gott. —M. LuTuer. URING the Middle Ages a short Latin version of the Creed was sung at the altar service. It was rendered in this manner: first the priest sang the words, “Credo in unum deum” (I believe in one God), then the choir continued, ‘“‘Patrem omnipo- 150 tentem” (the Father Almighty )etc. Both the text and the melody were extensively used, and the hymn was called ‘‘Patrem,” from the first word sung by the choir. In the 15th century this hymn is found with both Latin and German texts, also in a version with the German text only, under the title, Das deutsche Patrem. Following out this idea, Luther composed his famous hymn of three stanzas, ““Wir glauben all’ an einen Gott,” printed first in Walther’s Geistliches Gesangbiichlein, 1524. Luther’s hymn is a free rendering. He has not attempted to in- clude all parts of the Creed. Of the older German versions he has used only the beginning. But he has retained the same title as in the older versions: Das deutsche Patrem. It is based on the Nicene Creed. Luther says: “‘Patrem, that is, the articles of faith which were drawn up by the Council of Nice.” Luther’s hymn became popular at once and was sung at services after the sermon. Luther’s German altar book prescribes: After the Gospel (chanted before the altar) the whole congregation shall sing the Faith in German: “Wir glauben all’ an einen Gott.” It was also used at funerals. The body was then lowered into the grave as the con- gregation sang the words: ‘“‘Das Fleisch soll auch wieder leben” (All flesh shall rise again). It was thus used at the funeral of Frederick the Wise in 1525. Luther included it among 6 funeral hymns which he published in 1542. ‘The hymn has found a place in almost all Lutheran hymnals. ‘The Danish translation is very likely by Klaus Mortens6n, print- ed in his hymnal. But he has included more of the Creed than Luther’s original, namely, ‘‘conceived by the Holy Ghost, suffered under Pontius Pilate, 151 descended into hell.”” He does not call his transla- tion Patrem, but Credo. ‘This holds also for a number of later versions. Miss Winkworth’s Eng- lish translation has also been varied somewhat for publication in The Lutheran Hymnary. The melody is not by Luther, as some have thought. It dates from the Middle Ages. It is found in manuscripts from the 15th century with both German and Latin texts. One such copy is kept in the library of Breslau. Johann Walther modi- fied the old melody to suit Luther’s version of the text. It was arranged by Walther for four-part chorus. 72 Holy, holy, holy, Lord God Almighty. “And they rest not day nor night, saying, Holy, holy, holy, Lord God Almighty, which was, and is, and is to come” (Rev. 4:8). —R. HEBER. | Piss is the best known and most popular of He- ber’s hymns. It was first printed in Psalms and Hymns for the Parish Church of Banbury, 1826, and the following year it was entered among the author’s hymns for Trinity Sunday. In some hym- nals it is listed as a morning hymn. ‘The melody (Nicea) by J. B. Dykes was composed for the first edition of Hymns Ancient and Modern, 1861. It has much in common with the melody for ‘Wake, awake, for night is flying,” by Philipp Nicolai. ‘The name ‘‘Nicea”’ was given to this melody in memory of the Council of Nice, where the doctrine of the Trinity was finally established. 152 Reginald Heber was born April 21, 1783, in Malpas, Chescher, England, and was the son of Reginald Heber, the rector of Malpas, a minister of great learning and in possession of considerable wealth. The younger Reginald showed remarkable talents even at an early age. He wrote verses of merit as a child. His older brother, Richard, had a large library (some authorities say 150,000 volumes), and this gave Richard a splendid oppor- tunity to satisfy his desire for knowledge. At the age of seventeen he entered Oxford, where he was educated at Brasenose College. Even during his first year at this institution he won the prize for his Latin poem, Carmen Seculare, and later the first prize for an English poem, Palestine, which has been called the best prize poem ever produced at Oxford, and has been given a permanent place in English literature. “Che outline was read to Walter Scott, and many of the striking expressions of the poem are due to his assistance. During his last year at the college he received another prize for his treatise, The Sense of Honor. Then he was given an appointment as Fellow of All Souls’ Col- lege. Having completed his university education, he was ordained to the ministry and became pastor of Hodnet church, where he applied himself exten- sively to his literary work. He was assistant editor of the Quarterly Review and delivered several lec- tures of the famous Bampton Lecture series. He wrote all his hymns during his 16 years at Hodnet. He prepared a splendid collection of hymns arranged according to the Sundays and festivals of the church year. This collection was not published, however, until after his death. In 1822 he became preacher 153 at Lincoln’s Inn, London. Heber took great inter- est in the affairs of India and studied diligently the geography and the conditions of that country. He often expressed the desire of becoming bishop of Calcutta. In 1823 this desire was fulfilled. He received the degree of doctor of theology before leaving England. During the three years of service as missionary bishop, he showed extraordinary per- severance in the work, great self sacrifice, and a never waning enthusiasm for his calling. He ordained the first native minister, Christian David. He made extensive journeys of visitation thru Ben- gal, Bombay, and Ceylon; later to Madras and Trichinopoli, where he confirmed 42 persons, April 3, 1826. At the close of this memorable day he went home to his lodging and, as was his custom, took a cold bath. He suttered a stroke of paralysis and died in the bathroom. One hymnologist says regarding Heber’s hymns: “The lyric spirit of Scott and Byron entered into our hymns thru the works of Heber.” A richer rhythm was given to the stanzas of the old meter, as, for instance, in the martial air, ‘“The Son of God goes forth to war’ (L. H. 491), and the free meter which characterized the contemporary poetry of the times, was also introduced into hymnwriting, as in the hymn, ‘Brightest and best of the sons of the morning” (224). His hymns possess an unusual grace of diction and elegance. We do not find the peculiar Scriptural richness and forceful expression which mark the older hymns of the Church, nor the dogmatic power of the Latin hymns; but as pure, graceful spiritual poetry, they will continue to be a source of joy and edification for Christians. Heber’s Woe hymns form a part of the finest and most charming poetry in the English language. After Heber’s death the manuscript was found entitled, Hymus, Written and Adapted to the Weekly Church Service of the Year. This was published in London in 1827. It contains 57 of Heber’s own hymns, 12 by Mil- man, and 29 by other authors. This hymnal is ex- tensively used in England and America. 13 Come, Thou almighty King. Chee WESLEY is mentioned in many hym- nals as the author of this hymn, which is used extensively thruout the English speaking world. But it is not found in Wesley’s collection of 1779. ‘The meter is also different from that of Wesley’s hymns. The hymn is found in a collection edited by Rev. Spencer Madan, in his 3rd edition, 1763. It ap- pears there with the melody ‘‘God save the king” (America). George Whitefield had taken the hymn into a collection published by him at an earlier date. In that issue the hymn is called dn Hymn to the Trinity. During the Revolutionary War, while the English yet controlled Long Island, the English troops one Sunday morning marched into a church and ordered the congregation to sing ‘‘God save the king.” ‘he congregation sang the melody of the Old Royal hymn, but the text with the following words: Come, Thou almighty King, Help us Thy name to sing, Help us to praise; Father all glorious, 155 O’er all victorious, Come and reign over us, Ancient of days. The melody (Italian Hymn) was composed by Felici de Giardini, an Italian musician born 1716, in Turin, Italy, and died 1796, in Moscow, Russia. 74 Ancient of Days, who sittest throned in glory. —W. C. Doane. 0 Pras hymn of praise and prayer to the Holy Trinity was written in 1886 for the two hund- redth anniversary of the city of Albany of New York state. In various hymnals the hymn begins with the second stanza of the original, namely: ‘““O Holy Father, who hast led Thy children.” (For notes on the melody, see No. 23.) William Croswell Doane, son of the hymn writer, Bishop G. W. Doane, was born March 2, 1832, in Boston, Mass., and educated for the ministry in the Episcopal Church. From 1856 and on he served as rector at Burlington, N. J., Hartford, Conn., and Albany, N. Y. In 1869 he became bishop of Albany. Some of his hymns and poems were published in 1902. He wrote a number of treatises; among others may be mentioned the biography of his father. He received the degree of doctor of divin- ity from Oxford and the LL.D. degree from Cam- bridge. 156 1s Father most holy, merciful and tender. O Pater, sancte, mitis atque pie. —lDLATIN FROM THE LOTH CENTURY. N the British Museum there are two manuscripts which contain this hymn to the Trinity, from the 11th century. It was printed in many breviaries (Sarum, York, Aberdeen, Venice, and others). The printed text is also found in the works of Mone, Daniel, and Cardinal Newman’s Hymni Ecclesiae. G. M. Dreves found it in a manuscript from the 10th century. There are 8 English translations. The one of the latest date is by Rev. Percy Dearmer, 1906—the version used in The Lutheran Hymnary. Percy Dearmer was born in London, 1867, and was educated at Westminister School and at Christ Church College, Oxford. He has served in London since 1891 as secretary of the London division of the Christian Social Union, also as preacher, author, and translator. He was a member of the committee which prepared The English Hymnal of 1906. To this edition he contributed several translations and a number of original hymns. 76 We all believe in one true God. Wir glauben all’ an einen Gott, Vater, Sohn, und heil’gen Geist. —T. CLAUSNITZER. Toe hymn appeared first in the Culmbach- Bayreuth Gesangbuch, 1668, with the signature “C. A. D.” In 1676 it was included in the Niirn- Ly berg Hymnal with Clausnitzer’s name attached. The English translation is by Miss Winkworth as given in her Chorale Book for England, 1863. The oldest version of this melody is found in the Darm- stadt Gesangbuch of 1699. We Praise the Rock of our salvation. —B. WEBB. ae hymn was first printed in The Hymuary, 1872. Webb’s authorized version appeared in The Westminster Abbey Hymn Book, 1883. The melody (Bethany) was composed by Henry ‘Thomas Smart (1813-1879), organist in London. ‘The hymn is found in a manuscript from 1530, the so- called Luther Codex, published in 1871 in Dresden by O. Kade, under the title Der neugefundene Lu- ther Codex vom Jahr 1530. It was printed in Wittenberg in 1540 or 1541 in a pamphlet. In 1542 it appeared in the Magdeburg Gesangbuch, and in 1543 in Klug’s Geistliche Lieder. In the lat- ter edition the hymn has the following title: 4 Children’s Song, to be Sung Against the Two Chief Enemies of the Church, namely, the Pope and the Turk. Erhalt’ uns, Herr, by deinem Wort, Und steur des Papst und Tiirken Mord. In 1520-1565 the Turks had overrun a large portion of Hungary and even besieged Vienna, so that the Germans had good reason to pray for pro- tection from the Mohammedan hordes. In Eng- land, even, there was included in the church prayers 158 also a prayer for the liberation of these Christians from the yoke of the Turk. ‘‘Anti-Christ,” says Luther, ‘‘is the pope and the Turk. The beast must have a soul and a body. The pope is the soul and the Turk is the body.” 7 Benjamin Webb was born 1820, in London. He was educated in St. Paul’s School and Trinity Col- lege, Cambridge. He*was ordained to the minis- try in 1843, and held various positions until 1862, when he became vicar of St. Andrews, Wells Street, London. In 1881 he became connected with St. Paul’s Cathedral. Rev. B. Webb wrote and edited several theological publications and assisted in the preparation of two collections of hymns, namely, Hymnal Noted, 1851-1854, and The Hymunary, 1872. He has furnished a number of translations, and has composed a few original hymns. Among the latter is ‘‘Praise the Rock of our salvation,” intended for use at the dedication of churches. Benjamin Webb died 1885, in London. 78 The Church's one foundation. —S. J. STONE. F OR other foundation can no man lay than that which is laid, which is Jesus Christ” (I Cor. Bll). This hymn was written in 1866 and printed the same year in Lyra Fidelium. It contained seven stanzas. Later a revised version of five stanzas was printed in Hymns Ancient and Modern, 1868. An enlarged edition of ten stanzas was published in 1885 for use in the Salisbury Cathedral. The hymn £59 is based on the third article of the Apostles’ Creed: ‘The Holy Catholic Church; the Communion of Saints. He is the Head of the Body, the Church.” This hymn was selected as the processional hymn for the great festivals of the year celebrated in Canterbury Cathedral, Westminster Abbey, and St. Paul Cathedral, London, 1888, when all the bishops of the Lambeth conference were gathered in meet- ing. The second redaction of the hymn (that of five stanzas) is found in all the leading English hymnals and has been translated into many lan- guages. Gustav Jensen translated it into Norwe- gian for his Utkast til ny salmebok for den norske kirke. ‘There are two Latin versions, the latest be- ing, ‘“Nobis unum est fundamen,” by Rev. E. Mar- shall, 1882. (Concerning the melody, see No. 61.) Samuel John Stone, the son of William Stone, an Episcopalian minister, was born April 25, 1839, in Whitmore, Staffordshire. He received his educa- tion at [he Carterhouse and Pembroke College, Oxford. Being ordained to the ministry in 1862, he was called as curate of Windsor, and in 1870 to a similar office at St. Paul’s, Haggerston, where he succeeded his father as vicar in 1874. In 1890-1900 he served in London as rector of All Hallows-on- the-Wall. Stone published Lyra Fidelium, 1866; The Knight of Intercession and other Poems, 1872; Hymns, 1886; Iona, 1898. He was a member of the committee which prepared Hymns Ancient and Modern. ‘This famous work, in the latest edition, 1909, has nine of Stone’s hymns. Rev. S. J. Stone died in Charterhouse November 19, 1900. His poems and hymns, together with a memorial writ- ten by F. G. Ellerton, were published in London. 160 His best hymns are graceful in form, Scriptural, of a strong faith, and clear. ‘Three of his best Ky nats are found in The Lutheran Hymnary. The following is the Norwegian translation by Gustav Jensen: 1. Guds kirkes grundvold ene er Herren-Jesus Krist; fodt ved hans ord det rene, hun er hans verk forvisst. Han vilde hende tage i naade til sin brud, han vilde hende drage ved korsets blod til Gud. 2. Utvalgt av slegter alle, dog en iverden vid, h¢gr hendes Ipsen gjalde: En tro, en daab, en strid! Ett hellig navn hun nevner, ett bord hun styrkes ved, og mot ett haab hun stevner, i stadig strid for fred. 3. Skjgnt undrende man skuer de saar hun bere maa, et maal for fiendens buer og for de reve smaa. Dog hellige derinde staar vakt i natten lang, snart Saar og suk skal svinde og blive morgensang. 4. Mens her hun n¢d 0g trengsel har end at stride med, hun venter fuld av lengsel 161 paa evighetens fred, til hgit hun skal sig glede ved salig syn tilsidst, naar stridekirken nede blir seterskirken hist. 5. Dog eri aandens mening alt her hun Herren nar, har hellig, sot forening med Herrens venner der. I lykkelige alle! I hellige hos Gud! Fan os til eder kalde ved salig reisebud. Tee, Thou holy Church, God’s city, shine. Du hellige Guds Kirke her.—Landst. 249. AUDA Hierusalem dominum’’ is found ina small hymn book from 1526. It is in the Low German dialect: ‘‘Hierusalem, des louen stat,” and is a paraphrase of the 147th Psalm. The author is unknown. It was translated into Danish by Hans Spandemager and was first printed in the Malmo Hymnary, 1533. ‘This translation was taken up in Thomisson’s Hymnal. It was revised by M. B. Landstad. (Regarding the melody, see No. 2.) 162 30 By the holy hills surrounded. Gottes Stadt steht festgegriindet. —C. J. P. SPITTA. ae original version of six stanzas was first printed in Leipzig, 1846, under the title: Gottes Stadt. It is based upon the 87th Psalm: “His foundation is in the holy mountains. The Lord loveth the gates of Zion more than all the dwellings of Jacob. Glorious things are spoken of thee, O city of God.” (It was used in Kunapp’s Ev. Luth. Hymn Book of 1850 and 1865, and in the Han- noverian Hymnary, 1883.) ‘The English transla- tion is by R. Massie (see notes under No. 29), and was printed in his Lyra Domestica, 1864. The melody (Wachet auf, or Nicolai) was composed by Philipp Nicolai, who composed the famous hymn, ‘Wake, awake, for night is flying.”” He wrote also this melody for his hymn. It was printed first in Nicolai’s Freuden-Spiegel des ewigen Lebens as the melody for ‘‘Wake, awake.’ This famous melody, which has been called the King of Hymn Tunes, is used in all Christian lands. It has been employed by eminent composers in the great musical composi- tions; by J. S. Bach in two of his cantatas, and by Mendelssohn in his overture to the oratorio St. Paul, and in his Hymn of Praise. Carl Johann Philip Spitta was born August 1, 1801, in Hannover, where his father, Lebrecht Wil- helm Gottfried Spitta, worked as a bookkeeper and a teacher of French. He descended from a French family of Huguenots, which had settled in Bruns- wick. As the boy grew up he early exhibited a mild 163 and pious spirit. He was only four years old when his father died. The mother, who was a Christian Jewess, now had to shoulder the responsibility of giving the boy an education. She was an intelligent woman and a good mother. She desired above all that her son Carl should enter the university. But he was very sickly from his eleventh until his four- teenth year. Hence, she gave up the plan of having him study and secured for him a position as an ap- prentice watchmaker. This work did not satisfy the aspirations of the ambitious and pious youth, but he did not let his feelings in the matter be known to his mother, so as not to grieve her. He sought comfort and encouragement in reading the Bible and other good books, and by writing poetry. In the meantime a younger brother died while occupied with studies preparing for the ministry. Carl con- fided his desires to a friend, who came to comfort him on the occasion of his brother’s death. It was with great joy that he accepted the offer of taking his brother’s place in the gymnasium in Hannover. In the fall of 1818 he took up his studies, and with such zeal and enthusiasm that he completed the course at the gymnasium by Easter, 1821, and was ready to enter the university of Gottingen. His teachers at the university were decidedly rational- istic in their views. He completed his theological studies in 1824. Until 1828 he served as teacher in Liine, near Liineburg. In 1828 he was ordained to the ministry and became assistant pastor of Sud- walde. He was appointed assistant garrison and penitentiary pastor of Hameln on the Weser, in 1830. In 1837 he received the permanent appoint- ment to this office. But the military authorities, 164 who had learned that Spitta was a pietist, refused to confirm the appointment. During the same year, therefore, he accepted a call sent to him from Wechold. On his birthday, August 1, 1847, he was installed as superintendent of Wittingen, Han- nover; this was extended to include Peine in 1853; Burgdorf in 1859. On September 28, 1859, while working at his writing desk, he was stricken with heart failure and died in the course of about fifteen minutes. Spitta began to write verses at the age of eight. During his stay at the university he wrote a great number of songs and poems and published a collec- tion of folksongs for the laboring people. Among his companions at the university was Heinrich Heine, with whom he developed an intimate friend- ship. But when Heine, during a later visit in Lune, where Spitta was engaged as teacher, began to scoff at the holy things in the presence of Spitta’s pupils, this friendship came to a sudden close. During the latter part of his university career a decided turn had come over his spiritual life. His work of writing hymns began in earnest in 1824. At that time he expressed himself as follows: ‘“‘I will sing no more as [ have sung. I dedicate my life, my song, my love, to the service of my Lord. His love shall be the theme of all my songs. He gave me the gift of song and of melody; I will give it all back to Him. It is the duty of every Christian singer to sing praises worthily to God for His grace unto us.’ His most productive period as a hymn writer was during his stay in Line. During the still hours of the evening he would write his hymns ‘and sing them to his harp or the piano. Later he 165 drew his inspiration for many of his hymns from the glorious nature scenes in the beautiful valley of the Weser. He was also inspired by his companion- ship with intimate friends in Hameln. During his — later years, his ministerial duties took up all his time. He wrote very few hymns after the year 1847. In 1833 Pirna was published, the first edition of Psalter und Harfe. This work had the subtitle, Eine Sammlung Christlicher Lieder zur Haiislichen Erbauung. The second and enlarged edition, which appeared in Leipzig the following year, gained a unique recognition and distribution among all classes of people. Year after year new editions appeared. The 55th edition was issued in Bremen in 1889. This matchless success led to the publication of a new collection: Psalter und Harfe, zweite Samm- lung, etc., Leipzig, 1843. ‘The second edition of this collection was printed before the year was over, and its 42nd edition appeared in 1887. A third edi- tion of older and later songs (hitherto unpublished) appeared after Spitta’s death. This was given the title: Spitta’s nachgelassene geistliche Lieder, Leip- zig, 1861. These hymns have a more subjective and individualistic character. ‘The fifth edition of these appeared in Bremen in 1883. In 1890 a new edition of Psalter und Harfe was printed in Gotha. This included both parts, both the old and later hymns, and a biography of Spitta. It is chiefly thru his Psalter und Harfe that Spitta won the favor and love of the people. His hymns are noted for their - noble and unaffected expression of thought. They are characterized by a childlike piety, deep Chris- tian earnestness, and a fervent love for the Savior. 166 They are clear, simple, and of suitable length. Spitta’s hymns have contributed in great measure towards awakening, renewing, enriching, and es- tablishing the spiritual life of Germany and other countries, and have justly gained an extraordinary distribution among all classes of people. In 1855 Spitta was created doctor of divinity by the university of Gottingen. He had a loving wife and seven children. ‘Their home is pictured as a home of peace and song. During the evenings he would gather his family and their friends and sing his hymns and other songs, while the neighbors gath- ered near to enjoy the singing. His son, Friedrich Spitta, born January 10, 1852, in Wittingen, Hannover, became a theologian and has since 1887 been professor of New Testament exegesis and practical theology at the university of Strassburg. He is especially known thru his work on liturgics. He is the author of several treatises, among which may ‘be mentioned, Luther and the Evangelical Service and Reform of the Evangelical Worship. Sl Christ alone is our salvation. By an unknown author. (For notes on the melody, see No..20.) 82 Behold the sure Foundation-stone. os WiAerss HE stone which the builders refused is be- come the head stone of the corner. This is the Lord’s doing; it is marvellous in our eyes” (Ps. 167 118+22-23. Matt. 21:42. See Matt. 16:18; Acts ivelspoiee a0. bie Det ay2:)) ae hen hymn was printed in 1719 in the author’s collection, Psalms of David. This hymn is not found in very many Eng- lish hymnals. Just the same it is one of Watts’ best productions and should be used especially on Ref- ormation Day. (Regarding the melody, see notes on No. 20.) 83 Zion stands with hills surrounded. 3 SSK RELY: A S the mountains are round about Jerusalem, so the Lord is round about His people from henceforth, even forever” (Psalm 125:2). This beautiful text forms the basis for the hymn. The hymn appeared first in Thomas Kelly's Hymns on Various Passages of Scripture, second edition, Dub- lin, 1806. A description of the melody will be found under No. 48. Thomas Kelly, the son of an Irish judge of the same name, was born in Kellyville, Queens county, Ireland, July 13, 1769. It was his father’s wish that the son should study law, so he entered Dublin University. One of the works which he read awakened his interest for Hebrew, and during the course of his study of this language, he was brought in closer touch with the Holy Scriptures. This led him again to read other works of a religious nature. He was especially impressed by a treatise written by the pious William Roumaine. Having completed his reading of Roumaine’s work, Kelly determined to forsake the world and all its attractions and take 168 up the study of theology. His religious fervor de- veloped at first into fanaticism, and his asceticism undermined his health, until he finally found peace and comfort thru faith in the grace of God thru Jesus Christ. In 1792 he was ordained to the min- istry in the Episcopalian Church and began to pro- claim the old Gospel of sin and grace, of salvation thru faith in Jesus Christ. He found a good friend and co-worker in the famous preacher Rowland Hill, who was also educated in the Church of Eng- land. Hill served for a time as traveling preacher in the western part of England and in Ireland. These two men were, however, soon to experience that such purely evangelical sermons did not please the leading men of the Episcopalian Church of Ire- land. It did not harmonize with the viewpoint and requirement of the times. Rowland Hill and Kelly were forbidden by Archbishop Fowler to preach in his bishopric. In other words, they were suspended from the Episcopalian Church. But Archbishop Fowler could not forbid them to proclaim the Gos- pel. ‘Thus Kelly became a so-called Dissenter preacher. He set up preaching places in Dublin and the surrounding districts, where he became the soul of the evangelical movement. He was met by strong opposition, not only from the archbishop and the clergy, but even from his own family. But in return he was loved by the common people and not the least by the poorer classes in Dublin. After some time he also gained universal recognition on account of his culture and thoro learning, but espe- cially on account of his endearing personality, his sincere piety and humility, his charity work, and untiring zeal for the extension of the Kingdom of 169 God. At the age of 30 he was married to a young lady, who shared his spiritual views and who brought him a goodly fortune. ‘Thomas Kelly is the Prince of the Singers of Erin. In 1802 he is- sued a Collection of Psalms and Hymns Extracted from Various Authors. This contained a supple- ment of 33 hymns written by himself. In 1804 he published 98 original hymns: Hymns on Various Passages of Scripture. During a number of years this appeared in several enlarged editions, until, in the last edition of 1854, there were 765 original hymns by Kelly. It is evident that, among so many original hymns, many are of lesser merit. But the greater number in this collection are of high rank. About 100 of them are in universal use. One hymnologist asserts that Kelly is at his best in the hymns of praise and in the hymns written in the more modern meter. His hymns are characterized by simplicity and natural expression. His hymns reflect in the main his charming personality; they are lyrical and Biblical. ‘They are not so subjective as the great number of hymns of the Methodist school. Kelly was a talented musician and wrote melodies for all the various metrical forms used in his hymnal. He died of heart failure in 1855, at the age of 86. As he felt death approaching he exclaimed: ‘‘Not my will, but Thine be done.”’ One of his friends read to him: ‘“The Lord is my Shep- herd.” He whispered: ‘The Lord is my All.” His last words. Later years have brought a new interest in Kelly’s hymns, particularly on account of the many beautiful melodies furnished for them by Miss Havergal. 170 34 Lord of our life, and God of our salvation. —PuiLip Pusey, after Lgwenstern. Megtigste Kriste, Menighedens Herre. —Landst. 393. Christe, du Beistand deiner Kreuzgemeine. —M. A. von LOWENSTERN. 9 Pe English hymn by Pusey is written upon the basis of Loéwenstern’s German hymn “Christe, du Beistand,” etc. The German hymn appeared in Lowenstern’s Symbola oder Gedenck-Spriiche, etc., 1644. Philip Pusey rendered his version of this hymn as a contribution to 4d. R. Reinagle’s Psalm and Hymn Tunes, Oxford, 1840. The hymn is found in all leading English and American hymnals. “Megtigste Kriste’ in Landstad’s Hymnal is a very good rendering of Lowenstern’s German hymn. It is not known who made the Norwegian transla- tion. It appeared first in Pontoppidan’s Hymnal of 1740. It bears marks of having been composed during the Thirty Years’ War (Skaar). (For notes on the melody,' see No. 75.) Philip Pusey was born June 25, 1799, and was educated in Christ Church College, Oxford. He was an elder brother of the famous Dr. Edw. B. Pusey, author and professor at Oxford University. Philip took his academic degree at Oxford, but in 1853 received also the honorary degree of D. C. L. (doctor of civic law). He died July 9, 1855. Matthzus Apelles von Lowenstern was born April 20, 1594, in Neustadt, Silesia, where his father was a saddlemaker. ‘The son became famous as a 171 talented musician, and in 1625 was given a position with Duke Heinrich Wenzel. Six years later he was appointed royal councillor and chamberlain. Later he entered the service of Ferdinand III and was by him raised to the nobility. Finally he be- came secretary of state under Duke Karl Friedrich of Miunsterberg. He died April 11, 1648, in Bres- lau. In all he wrote about 30 hymns, several of which have been translated into English and other languages. 85 Be not dismayed, thou little flock. Forferdes ei, du lille Hob.—Landst., Am. El., 669. Verzage nicht, du Haiiflein klein. —J. M. ALTENBURG. eee MEARNS says: ‘Concerning the author- ship of this hymn three different theories have been advanced, namely, first: that the hymn was written by Gustavus Adolphus; secondly, that the ideas were furnished by Gustavus Adolphus and were given metrical form by his army chaplain, Dr. Fabricius; thirdly, that the hymn was composed by J. M. Altenburg. The only foundation for the first theory lies in the circumstance that several old hymnals have called it The Martial Hymn of Gustavus Adolphus. The second theory is advanced in a hymnological work by Mohnike, but has very little foundation.” ‘The hymn was first printed in Epicedion, Leipzig (minus date, but very likely 1632), with the following title: Kdniglicher Schwanengesang so thre Majest. vor dem Liitzen- schen Treffen inniglichen zu Gott gesungen. It also 172 appeared in Blutige Siegs-Crone, Leipzig, 1633, with a similar title. In both these issues it appeared in three stanzas and without the author’s name. In J. Clauder’s Psalmodiae Novae, 1636, it has two added stanzas, but no authorship is given. But in Jeremias Weber's Leipziger Gesangbuch, 1638, the hymn has this title: 4 soul-refreshing and comfort- ing hymn, based upon the war-cry, “God with us,” Sung by the Evangelical Army in the Battle of Leip- zig, September 7, 1631, composed by Johann Al- tenburg, Chaplain of Gross Sommern, Thiiringen. The hymn has also here five stanzas. But only the first three stanzas are credited to Altenburg. The last two stanzas bear the note: ‘‘Additamentum ignoti.”’ None of the contemporary writers have questioned the correctness of this designation. The’ hymn has been called Gustavus Adolphus’ Swan Song. The following description by Dr. Koch ex- plains how this happened: It was early morn, No- vember 6th. The Catholics under Wallenstein and the Protestants under Gustavus Adolphus were drawn up in battle array upon the plain near Lutzen. At daybreak the king called the chaplain, Dr. Fa- bricius, and ordered the soldiers together for wor- ship. The whole army joined the pious king in singing this hymn: ‘‘Verzage nicht, du Hatflein klein.”” The king lay upon his knees in fervent prayer. A dense fog covered the plain. As the ranks were drawn for the attack, he ordered the musicians to play the hymn “A mighty fortress is our God,” and ‘“‘May God bestow on us His grace”’ (Landst. 28), which hymns the army sang with great spirit. [he king mounted his horse, drew his sword and rode back and forth in front of the lines, 173 encouraging his troops. ‘The fog lifted and the sun appeared. After a short prayer the king ex- claimed: ‘‘Now forward to the attack in the name of our God”; and, shortly after, ‘Jesus, Jesus, Je- sus, help me today to do battle for the glory of Thy holy name.”” ‘Then with the war-cry, ‘God with us,’ repeated by the whole army, Gustavus Adolphus galloped at the head of his troops into the battle. He did not put on his coat of mail. When a servant brought it to him, he remarked, “God is my pro- tector.”’ The battle grew fierce and bloody. At about eleven o’clock in the forenoon the king was mortally wounded by a bullet. As he fell from his horse, he: cried out: ‘My God, my God.” The battle continued and the outcome for some time was doubtful. But as the twilight of evening settled upon the field of battle the Protestants had gained the victory for which they so fervently prayed in the morning. Johann Michael Altenburg was born 1584, in Alach, near Erfurt. Having concluded his studies he was made teacher and precentor in Erfurt. In 1608 he became pastor of Ilversgehofen and Mor- bach; in 1611 in Trochtelborn; in 1620 in Gross- Sommern. All these places are in the neighborhood of Erfurt. During the war he fled to Erfurt. While there he heard the news of the victory at Leipzig September 7, 1631, and wrote this hymn, which is his best known production. In 1637 he became deacon of the church of St. Augustine, and the fol- lowing year, pastor of St. Andrews of Erfurt, where he died, 1640. Altenburg was also a musi- cian and composer. Landstad’s Hymnary does not contain Altenburg’s hymn, but it has been entered 174 into the supplement to the American edition. It has been translated by Fr. Hammerich, a Danish pro- fessor, who died 1877. ‘This fine Norwegian trans- lation is found in Hauge’s Hymnal, in the hymn book of the former Norwegian Synod, and in Gustav Jensen’s Utkast til revideret salmebok for den norske kirke. ‘The melody was originally used for a folksong: ‘‘Was wolln wir aber heben an.” As a hymn tune it was used for the first time in con- nection with a German hymn: Ain schéns newes christlichs lyed; item die Zehen Gebot Gottes, 1530 (Nutzhorn). It has always been connected with the hymn, ‘‘Kommt her zu mir, spricht Gottes Sohn.” (Kom hid til mig enhver iser, Landst. 576). The melody has found a place in nearly all the hymnals of the Northern countries. 36 Through the night of doubt and sorrow. Igjennem nat og trengsel. One is our God and Father (No. 468). En Gud og alles Fader.—Landst. 536. —B. S. INGEMANN. OW the God of patience and consolation 4“ grant you to be like-minded one toward an- other according to Christ Jesus. That ye may with one-mind and one mouth glorify God, even the Father of our Lord Jesus Christ’? (Rom. 15:5-6). ‘Thru the night of doubt and sorrow,” written by the Danish author Ingemann, 1825, appeared in print in H¢imesse-Psalmer, with supplement, 1843. The English translation by S. Baring-Gould was published in The People’s Hymnal, 1867. 175 No. 468 in The Lutheran Hymnary is a trans- lation of Landstad’s No. 536. Landstad’s, again, is a condensed revision of Ingemann’s hymn. Stanzas 4 and 1 of Ingemann’s have been moulded into the second stanza of Landstad’s version. Hence, in our Lutheran Hymnary we have two separate hymns derived from this one hymn of In- gemann’s, Nos. 86 and 468. Landstad’s cento of Ingemann’s hymn has been translated by the Rev. Carl Dgving. It may be added here that the author, Ingemann, revised the third stanza of the hymn for special use at the ordination of bishops. This is the first stanza of Landstad’s and Dégving’s ver- sion (L. H. 468). Bernhard Severin Ingemann, the son of the preacher, Sgren Ingemann, was born 1789, in Fal- ster, Denmark. When the son was only 11 years old, the father died, and the mother moved with the large family to Slagelse, where Bernhard at- tended the Latin school, and was ready to enter the university in 1806. In 1811 he published his first volume of poems, which were very favorably received. ‘The following year new collections ap- peared; in 1814 the great epic, The Black Knights. With astonishing rapidity he produced a great num- ber of dramas, after which he traveled thru Ger- many, France, Switzerland, and Italy. In 1822 he was appointed lector of Danish language and lit- erature at the Academy of Sorg. In this beautiful and memorable place he spent the remainder of his days. For forty years he served in this pleasant work, enjoying a happy home life, and continually applying himself to the writing of poetry. Encour- aged by Grundtvig, Ingemann, in 1824, began his 176 production of the historical novels: Valdemar Seier, Erik Menved’s Childhood, King Erik and the Out- laws, Prince Otto of Denmark. All these follow in the main the style of Walter Scott’s novels. ‘These works have a religious tendency, but do not follow historical facts. Hence they were severely criti- cized by his contemporaries. But the novels were imaginative and picturesque, and gained great favor among the people of Denmark and also of Norway. In fact, they formed part of the most popular litera- ture of the times. But it is chiefly thru his grace- ful and beautiful hymns that Ingemann will be re- membered. His Morgensalmer appeared in 1822; H¢imessesalmer, in 1825; the second edition with the supplement, in 1843. In 1854 he was given the task of finishing the work on Salmebog til Kirke- og Husandagt, compiled and edited by the ministerial conference at Roskilde. 37 Rise, ye children of salvation. Op, I Kristne, ruster eder.—Landst., Am. Ed., 689. Auf! ihr Christen, Christi Gheder. —J. FALCKNER. I T is claimed that this hymn was written during the author’s student days at Halle, where the hymn appeared in Geistreiches Gesangbuch, 1697. It has eleven stanzas and the following title: En- couragement to fight the spiritual battles. It 1s a forceful and soul-stirring hymn. After it was given a place in Freylinghausen’s Hymnal of 1704 it was extensively used, and has been taken up in a great number of hymn books. ‘The Danish translation 177 is by H. A. Brorson. Our English version was furnished by Mrs. Emma Frances Bevan, the daugh- ter of the preacher, Philip Nicholas Shuttleworth, the warden of New College, Oxford, later bishop of Chichester. She was born in Oxford, 1827, and in 1856 married R. C. L. Bevan, a wealthy banker. Mrs. Bevan has furnished several fine translations of German hymns. These were published in Songs of Eternal Life, London, 1858, and Songs of Praise for Christian Pilgrims, London, 1859. The melody (Waltham or Gadesberg), by the German composer, Heinrich Albert (1604-1651), is taken from his collection, Arien oder Melodyen, 1642, and connected with the hymn ‘Gott des Him- mels und der Erden’’ (Himlens Gud og Jordens Herre, God who madest earth and heaven, L. H. 544). Justus Falckner, born November 22, 1672, in Langenreinsdorf, Saxony, was the fourth son of Daniel Falckner, a Lutheran preacher of the same city. Justus studied theology in Halle under A. H. Francke. Having completed his studies he, how- ever, shrank from entering the ministry, fearing the heavy responsibilities attached to the office. To- gether with his elder brother, Daniel, who had lately returned from America, Justus, at Rotterdam, in 1700, became engaged in real estate business in Pennsylvania. The following year they sold 10,000 acres of Pennsylvania land to the preacher, Andreas Rudman, and other Swedes in the Manatawny dis- trict. This acquaintance with Rev. A. Rudman led to Falckner’s decision to enter the ministry. On November 24, 1703, he was ordained in the Swedish Wicacoa church in Philadelphia. The officiating 178 pastors were Rudman, T. A. Bjork, and Anders Sandel. He was called to the pastorate among the Dutch pioneers of the Manatawny district, near New Hannover, but shortly after he was appointed to take Rudman’s place in the Lutheran congre- gations of New York and Albany. He labored there zealously and faithfully. In addition to these congregations he served temporarily the three con- gregations in New Jersey and two (Loonenburg and Neuburg) in New York state. The records state that the New York charge be- came vacant. It is not definitely known whether this was due to Falckner’s death or to his removal to some other charge. Michael Knoll, who became pastor in New York 1732, expressed the opinion that Falckner died in the year 1723. But from the ministerial records of the congregation it seems rather probable that he withdrew to another charge in New Jersey, where the work would be less strenuous. Justus Falckner was the first Lutheran pastor to be ordained in America. Likewise, the catechism prepared by him is the first Lutheran book to be published on this continent. It was written in the Dutch language and published in New York in 1708 under the title: Grondlycke Onderricht, etc., and has a supplement of three hymns translated from the German. Hy 88 Glorious things of thee are spoken. —J. NEWTON. 4 ay hymn appeared in Newton’s Olney Hymns, First Book, 1779. It contained five stanzas and the following title attached, Zion, or the City of God. ‘The hymn is based upon the 87th Psalm: “Glorious things are spoken of thee, thou city of God” (Psalm 87:3). In The Lutheran Hymnary the third stanza of the original is omitted. This hymn is considered one of the best in the English language. In many hymnals it has been abbreviated and revised in various ways. R. Bingham has trans- lated it into Latin: ‘‘Dicta de te sunt miranda.” (The melody has been discussed under No. 12.) 39 I love Thy kingdom, Lord. —T. DwicHrt. Res hymn is Dwight’s third version of the 137th Psalm. The original had eight stanzas. This third version is considered the best and is quite extensively used. It appeared first in a hymnal pre- pared by Dwight at the request of the General As- sociation of Connecticut. ‘This was a revised edi- tion of Watts’ Psalms of David, together with a metrical versification of several psalms omitted by Watts. This volume was published in 1800. The hymn is found in numerous English, Scotch, and Irish hymnals. In some it is printed in the original form, in others one or two stanzas have been omit- ted. The melody (St. Audoen) was composed by 180 Sir Robert Prescott Stewart of England (b. 1825— d. 1894). Timothy Dwight was born May 14, 1752, in Northampton, Mass. He was educated at Yale College and graduated in 1769. He served as teacher at Yale from 1771 until 1777. He was or- dained to the ministry in the Congregational Church and became an army chaplain, but in 1783 he ac- cepted the pastorate of Fairfield, Connecticut. In 1795 he was elected president of Yale College. The students of Yale voted unanimously for his election. ° Dwight died January 11, 1817, in New Haven. He was a splendid type of a Christian American, a man of culture, of deep piety combined with a broad view of life. Dwight is best known as a theologian and a pedagogue. His writings are highly respected in England. In all he wrote 33 original hymns, of ~ which number many are in extensive use. During his early childhood he suffered an attack of smallpox. As a result of this he contracted a distressing disease of the eyes which at times caused him great pain. Very often he could not read or write for more than fifteen minutes at a time. Some- times he could not read at all for days. He suffered in this manner for about forty years. 90 Lord, pour Thy Spirit from on high. | —J. MontTGomery. 4 Baus hymn is found in two of Montgomery’s manuscripts. In one we are told that the hymn was commposed January 23, 1833, for John Birchell, the rector of Newbury, Berks, who pub- 181 lished a collection of hymns in 1833. It appeared the same year in Bickersteth’s Christian Hymnology and later in Montgomery’s Original Hymns, 1853. In a few hymnals the first line reads: ‘Pour out Thy Spirit from on high.” This has been a very popular hymn. The melody (Federal Street) was composed by Henry Kemble Oliver, an American composer, born 1800, in Beverly, Mass., and died in Boston, in 1855. 91 O Rock of Ages, one foundation. —H. A. Martin. ENRY ARTHUR MARTIN, minister, and the son of an English minister, was born July 30, 1831, in Exeter, and educated at Eton and Christ Church College, Oxford. In 1856 he be- came assistant pastor of Hollow, near Worcester; in 1858, vicar of Laxton and Moorhouse, Notting- hamshire, serving there until his resignation, in 1898. He wrote four hymns for Church Hymus, 1871, and among these is found the hymn “O Rock of Ages, one foundation.”’ In 1904 he wrote a Passion hymn. These five hymns by this author are all in use. The melody, by L. M. Lindeman, was composed for Grundtvig’s baptismal hymn, ‘‘O lad din Aand nu meacos: vere: (landst. 39: LH 142): 182 92 Father, be Thy blessing shed. —S. GILMAN. | (eee hymn, intended mainly for use at the or- dination of ministers, was first printed in 1863. It appeared, somewhat changed, in The Hymnal of the Ohio Synod, published 1880. The melody (Hollingside), by John B. Dykes (1823-1876), an English composer, was written for the first edition of Hymns, Ancient and Modern, 1861. It appeared there as the setting for C. Wes- ley’s ‘Jesus, Lover of my soul.” Hllingside Cot- tage was the name of Dyke’s first family home near Durham. Samuel Gilman was born February 16, 1791, in Gloucester, Mass. He was educated at Harvard University, receiving his degree in the year 1811. He served as Harvard instructor, 1817-1819. In 1819 he became pastor of the Unitarian congrega- tion of Charleston, S. C., where he served until his death at Kingston, Mass., 1858. ‘Three of Gilman’s communion hymns have been given a place in several Unitarian and other hymnals. 93 How beauteous are their feet. —I. WarTTs. How beautiful upon the mountains are the feet of him that bringeth good tidings, that publisheth peace; that bringeth good tidings of good, that publisheth salvation; that saith unto Zion, Thy God reigneth! Thy watchmen shall lift 183 up the voice: with the voice together shall they sing; for they shall see eye to eye, when the Lord shall bring again Zion. Break forth into joy, sing to- gether, ye waste places of Jerusalem: for the Lord hath comforted His people, He hath redeemed Jerusalem. The Lord hath made bare His holy arm in the eyes of all the nations; and all the ends of the earth shall see the salvation of our God” (Isaiah 5227-10): These words of the prophet form the basis for this hymn. It was written in 1707 and printed first in Hymns and Spiritual Songs, with the title: The Blessedness of Gospel Times; or The Revelation of Christ to Jews and Gentiles. The melody (Carlisle) was composed by Charles Lockhart, an English musician, b. 1745, d. 1815. Some authorities find the date of the melody in 1769; others in 1791. 94, Lord of the living harvest. —J. S. B. MonseE Lt. Pus hymn was printed first in Monsell’s Hymns of Love and Praise, second edition, of 1866, and ordered for use at the ordination of ministers. In the present form the hymn is also found in Mon- sell’s Parish Hymnal, 1873, and in his Spiritual Songs, 1875. In one hymnal of 1871 the hymn is somewhat changed and is there ordered to be sung at the meetings of the church ‘‘Guilds and Associa- tions.” Both editions of the hymn were authorized by the poet. This hymn is one of Monsell’s best productions. 184 The melody (Arcadelt) was written by Jacques Arcadelt (1514-1555), a prominent composer of the Netherlands, who labored in Rome and in Paris. He wrote a great number of madrigals and chants. John Samuel Bewley Monsell was born March 2, 1811, in St. Columbs, Londonderry, Ireland, where his father, Thomas Bewley Monsell, was archdeacon. John Samuel was educated in Trinity College, Dublin, and was ordained to the ministry in the Episcopalian Church and appointed assistant to Bishop Mant. Afterwards he served as chancel- lor of the bishopric of Connor and as rector of Ramoan. In 1853 he became vicar of Eghan and in 1870 rector of St. Nicholas, Guilzford. He died there in 1875 thru an accident, falling down from the roof of the church, which was undergoing re- pairs. Monsell wrote about 300 hymns. Of this number about one-fourth are in common use. 95 Lord of the Church, we humbly pray. —HE. OSLER. ae hymn appeared first in Hall’s Mitre Hymn Book, 1836. It is listed there as a Pentecost hymn. The following year it was printed, slightly changed, in the author’s Church and King. It is really a paraphrase on C. Wesley’s hymn, ‘“Thou Jesus, Thou my breast inspire,” but the similarity is notice- able mainly in the last stanza. Osler’s hymn is very widely used. The melody (Burleigh) was written by Arthur Henry Brown, born 1830, in Brentwood, Essex, 185 England. He was an organist and professor in his native city. Edward Osler was born 1798, in Falmouth. His parents were Non-Conformists, but their son joined the Episcopal Church. He was educated for the practice of medicine, first under Dr. Carvosse of Falmouth, and later at Guy’s Hospital, London. For a time, from 1836, he was connected with the ‘Society for the Advancement of Christian Educa- tion.” After 16 or 17 years of practice as a physi- cian, he located in 1841 in Truro. Here he began literary activity as editor of the Royal Cornwall Gazette and as author of religious and secular writ- ings in poetry and prose. In 1835 he edited, to- gether with the preacher, W. J. Hall, Mitre Hymn Book. ‘This contained 50 of Osler’s hymns. He died March 7, 1863, in Truro. 96 In Thee alone, O Christ, my Lord. Til dig alene, Herre. Krist.—Landst. 16. Allein zu dir, Herr Jesu Christ. —J. SCHNEESING. ap RULY, my soul waiteth upon God: from Him cometh my salvation” (Psalm 62:1). The hymn was printed in excerpt about 1540. It is found in Low German in the Magdeburg Hymnal of 1542, ‘‘Alleyn tho dy,” and bears the superscrip- tion, 4 Penitential Hymn. The earliest issues of the hymn do not give the author’s name. One of Schneesing’s pupils, Marx Wagner, relates in his Einfaltiger Bericht, etc., Erfurt, 1597, that Schnees- ing composed and wrote this hymn into the Kirchen 186 A gende, prepared by him in 1542 for his church in Freimar. In several South German hymnais the hymn is ascribed to Conrad Huber (Huaber), born 1507, who was a theologian from the Basel Uni- versity, and pastor of St. Thomas Church of Strass- burg from 1531. He died in 1545. But it is com- monly accepted that Huber only undertook certain revisions of the hymn. In the oldest Strassburg Hymnal, where the hymn is found, there is no men- tion of the author. Luther introduced the hymn in the Valten Babst Gesangbuch of 1545. Since that time it has generally been included in most_of the Lutheran hymnals of Germany, Denmark, and Nor- way. he first Danish translation was made by Hans Thomiss¢gn, 1569. ‘There are 6 or 7 English translations. ‘The first English version was made by) COC. Jacobi, 1725) ‘In Thee, Lord; Christais fixed my hope.” ‘The version adopted by The Lu- theran Hymnary is that rendered by the Rev. A. T. Russell, 1851. (For notes on Russell’s work, see No. 26.) “Allein zu dir, Herr Jesu Christ” is the only hymn which we have from Schneesing. But it is immortal. It is quite commonly used during the confessional service and is very fitting for the oc- casion. In Landstad’s Hymnal it is listed for use before the sermon at the morning service. The melody has also been ascribed to Schneesing, but it is more likely an adaptation of an older Roman Catholic melody. It was first printed in Valten Babst’s Geistliche Lieder and has ever since been used in connection with this ‘hymn. Johannes Schneesing, with the cognomen Chyo- musus, was born in Frankfurt am Main. Some 187 time before 1524 he was appointed as assistant pas- tor to Johann Langenheyn, who was in charge of St. Margaret’s Church of Gotha and who, in 1522, had begun to proclaim the evangelical doctrine. Later, Schneesing became pastor in Freimar, near Gotha. He is mentioned as a very learned, able, and pious man. He was zealous for the proper care of the young and prepared a catechism for them. He car- ried on active educational work among his people, catechized the children at the public services, and instructed them thoroly. His pupil, Marx Wagner, relates that he taught the children many hymns and melodies which he himself had written and com- posed. Schneesing died 1567, in Freimar. 97 Before Thee, God, who knowest all. Jeg staar for Gud, som alting ved.—Landst. 53. —M. B. LANnpsTAp. ar HIS hymn was first printed in 1861 in Land- stad’s Udkast til Kirkesalmebog. ‘The Scrip- tural basis for this hymn is as follows: First stanza, Ezra 9:6: ‘“O my God, I am ashamed to lift up my face to Thee, my God: for our iniquities are increased over our head, and our trespass is grown up unto the heavens.’ Second stanza, Psalm 51:11: “Cast me not away from Thy presence; and take not [Thy Holy Spirit from me.” Third stanza, Luke 18:14: “I tell you, this man went down to his house justified rather than the other; for every one that exalteth himself shall be abased; and he that hum- bleth himself shall be exalted.”” Each stanza closes with the prayer of the publican: ‘Lord, have mercy /188 upon me!”’ The English translation adopted for The Lutheran Hymnary was rendered by the Rev. Carl Dgving in 1909. The melody is found in Johann Walther’s Stimm- buch, used there as the setting for Luther’s hymn, WY aten) unser im \Dlimmelreich)’) (Li Eh, 135.9 ae has also been asserted that Luther composed the melody. It was printed in Valten Schumann’s Ge- sangbuch of 1539 with Luther’s ‘“‘Vater unser.”’ It is found in all the Lutheran chorale books which followed. J. S. Bach made use of it in his Johan- nes’ Passion, and Choralgesdnge. Mendelssohn introduced it into the Sixth Sonata for organ. In England the melody has been called ‘““The Lord’s Prayer.’ Other names’ are, ," The Old 112th fama “Vater Unser.’”’ In England it was first printed in 1558 with Bishop Cox’s versified paraphrase of the Lord’s Prayer. The following year it was also set to the 11th Psalm. It is generally found in the leading English and American hymnals. Magnus Brostrup Landstad was born October 7, 1802, in Maas¢é, Finmarken, where his father served as pastor at the time. Landstad was accord- ingly baptized in the ‘‘northernmost church in the world.”’ In Oksnes he spent seven of his childhood years (from 2 till 9). Aside from the solitude, storm, and darkness, which prevailed in that region and oppressed the mind, war, hunger, and high prices often caused the ever increasing family to feel the lack of the very necessities of life. During his childhood occurred also the removal of the family from Oksnes to Vinje, Telemarken, October, 1811. The very next year was also a year of famine, 1812. All over the country the grain froze 189 and the people suffered intensely from the war and high prices. But from Vinje Landstad could also draw brighter memories. He spent his childhood amid natural scenes which, tho harsh enough in the winter, still in the summer were replete with magic inspiration, and these environments warmed his spirit and placed an indelible stamp upon the feel- ings and imagination of the future hymn writer. He received his preparatory training from his father, and in 1822 he began his studies at the uni- versity. During the following year he took his master’s examination and began the study of the- ology. When it became difficult for his parents to pay his expenses in Christiania, he was given a posi- tion as family tutor in Hadeland. The following year he returned to the university and continued his studies under the teachers Hersleb and Stenersen. In December, 1827, he passed the final examina- tions with the grade ‘‘laudabilis.” His graduation sermon was preached upon the text in 1 Cor. 11: 28-29. In November, 1828, he was appointed resi- dent vicar of Gausdal. The following year he was married to Vilhelmine Lassen, a daughter of Albert Lassen, the dean of Grau, in Hadeland. In 1834 he was appointed to the pastorate of Kviteseid, and in 1839 he became his father’s successor as pastor of Seljord. In Kviteseid his income was very meagre, and sickness in his family further increased his difficulties. He was stricken with an attack of pneumonia and could not take over his father’s charge until 1840. In Seljord he labored for eight years under the most trying circumstances. In Landstad’s Sange og Digte there are two memorial poems which date from his first year as 190 -a student. These poems were written as a tribute to two of his brothers who passed away. Aside from the inner promptings in his own soul, Land- stad’s interest for hymn writing was awakened thru an interesting incident of which he himself relates the following: ‘‘Once during my student days I happened to walk by a house where an auction sale of books was in progress. The doors were open and I entered without having in mind to make any purchase. Just then a package of old books was offered. I made a bid of four cents, the deal was made, and I walked home with my package. It contained two volumes in leather binding. One was Freuden-Spiegel des ewigen Lebens, by Philipp Nicolai. On the last few pages of this book four of Nicolai’s hymns were printed. ‘The other book was Arrebo’s Hexaemeron, The Glorious and Mighty Works of the Creation Day. In that man- ner two splendid hymn collections, one German and one Danish-Norwegian, unexpectedly came into my possession. I was not acquainted with either of these works before. Nicolai’s hymns appealed to me very strongly, and I at once made an attempt to translate them. ‘Wachet auf, ruft uns die Stim- me’ was rendered into Norwegian in essentially the same form as it now has in the hymnal, ‘Zions Veg- ter hever Rgsten.’ The second hymn, ‘Wie schon leuchtet der Morgenstern,’ was given a free render- ing. This hymn, ‘Af Hgitheden oprunden er,’ was already used by our church thru Kingo’s Hymnary. Later on, therefore, when it became my duty to prepare the hymn book for the church, I limited my work upon this hymn to a few minor changes in Kingo’s version. My experience with these hymn 19] collections, I believe, gave me the first impetus in the direction of hymn writing. Furthermore, it gave me a deeper insight into the life and spirit of the old church hymns.” Landstad’s first original hymn dates from his sojourn in Gausdal, “Ser jeg mig i Verden om” (Landst. 399). During his pastorate in Kviteseid he composed three hymns for the Reformation festival of 1837. Two of these were sung in his church on November 5 of that year: “O Kristen- hed! i Nattens Stund’’ (Landst. 556) and “‘Herrens Raad ei Stév udgrunder.”’ But, if Landstad had al- ready in his student days gained an “‘insight into the life and spirit of the old church hymns,” this deep- ened more and more as he began to delve into the works of the hymn writers of the Church. Land- stad’s Hjertesuk (Prayers) are the direct fruit of these studies. In 1841, shortly after moving to Seljord, he published Hjertesuk til hver Dag i Ugen, Morgen og Aften, saa vel som ved andre Anled- ninger (Prayers for Morning and Evening, and Other Occasions). ‘Chis work has later been printed in a great many editions and has proved a blessing to many. ‘Ten of these Prayers are written by Land- stad. Among these may be mentioned the follow- ing: “Slukt er Dagens lyse Flammer”’ (Landst. 616) ; “Jeg ligger her i Vaande”’ (Landst. Norw. ed. only, 621). The rest of these prayers were rewritten by Landstad and given better form. Two years later seven of his hymns appeared in the periodical Nor. Five of these are original. ‘There is a marked for- eign element, however, in many of these hymns. It is apparent that Landstad at the time borrowed from the Danish poets. He had not yet fully ac- 192 quired the homelike and warmhearted tone which characterizes his later hymns. During his stay in Kviteseid he began to gather folk-songs. He com- pleted the collection in Seljord and published it in 1853 under the title: Norske Folkeviser. This re- ceived much favorable mention from P. A. Munch and others. His work in the field of folk-song had great influence upon his development as a writer of hymns. Thus he learned to appreciate the force of that unaffected poetry which, by means of direct and simple words, is often capable of making the most profound impression upon the soul. He called forth from his harp deep-sounding and forceful tones, that struck a sympathetic chord in the hearts of his people. Thru the hymns which he published the attention of the church officials was directed to Landstad as the logical man for the work of pre- paring a new hymn book for the Church of Nor- way. In 1848 the church department of the govern- ment requested him to undertake this task. He declined at first, because his pastorate in Sel- jord claimed so much of his time. It left him no opportunity for study and research in the vast field of hymnological literature which would necessarily require his attention. He therefore applied for the pastorate of Fredrikshald and was appointed in 1849. The church department had not, however, given up the plan for a new hymn book for Norway, especially since W. A. Wexels, a ‘“‘prominent fol- lower of Grundtvig,” in 1849, also issued a hymnal which he desired should be considered as a “pro- posal for a new hymn book, submitted to the judg- ment of fellow-Christians.” In 1852 Landstad was again called upon to undertake the task of pre- 193 paring the new hymnal. The same year he was granted an assistant in his pastorate, and on Oc- tober 7th a royal resolution was passed, delegating to Landstad the work of preparing ‘‘an outline for a new church hymn book essentially along the lines of his previous plan.” In 1855 Landstad published Martin Luthers aandelige Sange, oversatte og med Anmerkninger ledsagede. Julesalmer, saadanne som de agtes foreslaaet til kirkelig Brug, followed in 1856; and in the spring of 1861 appeared the long looked for Kirke-Salmebog, et Udkast. Landstad’s book was reviewed by Morgenbladet, one of the leading papers of Norway, in the issues of August and September, 1861. It expressed sin- cere appreciation of the hymnal, and voiced the hope that the church people of Norway would rally around it. But the article also expressed the con- viction that the omission of certain hymns, and especially that the form of language employed in the book would prove a serious handicap in the way of its adoption by the congregations. ‘This review gave the occasion for Landstad’s reply, Om Salme- bogen, first printed in Morgenbladet and later is- sued in book form. A few excerpts will suffice to show the trend of his defence: “If we are to get a new hymnal, we must meet on the common ground of faith in love. We must not cling to our pre- conceived notions; not let ourselves be influenced too strongly by our own tastes, nor by our own de- sires, as tho we were the only ones entitled to a hearing. We must concede that others may also have well-founded demands that ought to be con- sidered. Again, it is the common observation that differences of opinion arise over minor matters; hoe but we must always hold fast to this principle: ‘not to swerve a hair’s breadth at any time from the true ground of faith’ (at vi ei fra Troens Grund et Haars- bred viger nogen Stund). Even those who speak from the assurance of conviction and authority may often be grossly in error. A church hymnal has the lofty mission of serving as the medium of confes- sion, of prayer, and of praise, during the service in the sanctuary, as well as in the home. We must offer something which will serve the congregation, something which will satisfy their longings and de- sires, and which will fulfil the lofty missions of such a publication. If we would simply take from the existing material all that which seems serviceable and useful and without further ado include it in our hymnal, then a book could very easily be manufac- tured. The very fact that the material is so vast in volume, makes our task difficult, because all of it is not pure gold.”’ Concerning the qualifications of the one who is to prepare a hymnal, Landstad writes: ‘‘An intimate knowledge of hymn litera- ture, poetic vision, and knowledge of language, especially the mother tongue. We must above all demand that our hymns possess the elements of poetic diction and true song. We must consider the historical and churchly elements, and the ortho- dox objectivity, which shows respect for church tradition and which appreciates the purity, clear- ness, and force of confession. But the sickly sub- jectivity, which ‘rests’ in the varying moods of pious feelings and godly longings, and yet does not pos- sess any of the boldness and power of true faith— such as we find in Luther’s and Kingo’s hymns— this type of church hymn must be excluded. Finally, 195 we must also emphasize the aesthetic feature. Art must be made to serve the Church, to glorify the name of God, and to edify the congregation of worshipers. But it must always be remembered that art itself is to be the servant and not the master.” This very scientific and earnest defence gained many friends for Landstad’s work on the hymnal, but it did not, however, win universal sympathy for the new forms of expression which he had introduced into the language of the hymns. During the fol- lowing years, Landstad thoroly revised his hymn book. In the course of this work about 30 of the more recent hymns were omitted and an equal num- ber of the older hymns were included. Numerous changes in expression, however, were incorporated. In 1865 the revised work was submitted to a com- mittee consisting of Bishop A. Grimelund, Prof. M. J. Monrad, Prof. R. T. Nissen, the pastor (later bishop) J¢rgen Moe, and the associate pastor (later bishop) J. N. Skaar. The committee gave their opinion in 1867, and considered the matter again in 1868. Finally, on October 16, 1869, the book was authorized for use at the public services in all places where the congregations would so de- cide. By the close of the year 1870 Landstad’s Hymnary had been introduced into 648 of the 923 pastorates in Norway. On April 23, 1859, Landstad was appointed to the charge of Sandherred and labored there until 1876, when he sought release from his duties. ‘He was granted a pension of 4,000 crowns. We quote the following estimate written on this occasion: ‘In consideration of Landstad’s long and honorable 196 service in the ministry, and in recognition of his great merits as a writer of hymns and as editor of the hymn book, we have recommended for him a larger pension than any other pastor hitherto has received. The committee heartily endorses this and recommends: ‘That the proposed pension for M. B. Landstad be granted.”’ This pension was granted unanimously and without debate by the Storting in 1877. The golden wedding on May 6, 1879, de- veloped into a grand celebration in honor of the aged hymn writer and his estimable wife. Innumer- able presents, telegrams, and flowers were showered upon them from all parts of the country, and by all classes of people. Landstad died October 9, 1880, in Christiania. We quote the following from Skaar’s Norse His- tory of Hymns: “Landstad’s work in folk-song gave a decidedly Norwegian ring to his hymns, but he did not succeed in liberating himself entirely from his Danish patterns. . . . His hymns are marked by a popular tone, but they also possess pure warmth and: earnestness and a churchly spirit. . . . Inva masterly manner he restored the old hymns. Altho his hymns, in poetic flight, cannot rank with Kingo’s, still in depth of feeling, in truth and sobriety of sentiment, in simplicity, in clear and open confes- sion of that which is most precious to the heart of the Christian, in these Landstad’s hymns rank equal to, if not above, the best in the possession of our Church.”’ 197 98 Lord Jesus Christ, Thou highest good. O Jesu Krist, from, mild og god.—Landst. 50. Herr Jesu Christ, du héchstes Gut. —B. RINGWALDT. | pit hymn has been called one of the most beautiful table-hymns in the German language. It was printed 1588 (’89), in Ringwaldi’s Christ- liche Warnung. It contained eight stanzas. In J. Weber's Hymnal of 1638 it has this superscrip- tion: dA Fine Song concerning the Forgiveness of Sins, Especially for Solace in Anguish of Conscience. Another author says: ‘‘Here the penitent sinner is truly represented. May God give to all who are guests at His table, such believing hearts and such a penitent spirit as is portrayed in this hymn.” Heinrich Miller said concerning the third stanza, that he shed tears whenever he sang these soul- stirring words. ‘The words of this stanza also formed part of the daily prayer of the pious Gen- eral Plotz, who was confined to the sickbed for three years before death came to relieve him. Al- tho the fear of God had always been uppermost in his heart, still he acknowledged that of himself he possessed nothing whereon he could stand be- fore God on the day of judgment. Hence, this hymn was his favorite, and with its spirit in his heart and with its words upon his lips he departed ‘in faith from the world and took up his abode with God and the saints.’ Of the fourth stanza, Aven- arius says that it is an effective remedy for the trou- bled conscience. He relates that he was once called 198 to visit a person who was stricken with anguish and who imagined that he could not find grace with God, because he had committed certain gross sins con- trary to his own better knowledge. “With no man- ner of words was I able to comfort him,’ says Avenarius, “until I recited to him the fourth stanza of this hymn. Then he began to ask if it really was true as the hymn expressed it. When I managed to assure him of this, he said: ‘Very well, on these words will I trust, and no devil shall again wrest them from my heart.’ Some years later he told me that whenever this anguish of conscience attacked him, he would comfort himself with these words, and he requested that this stanza be sung at his burial’? (Skaar). In the Danish-Norwegian church there are four translations of this popular hymn. The version in Landstad’s Hymnal is by Bertel Kristian Aegi- dius (Gjgdesen), preacher, hymn writer, and trans- lator, born 1673; became pastor of Varnes, near Aabenraa; died in 1733. ‘This translation was used also by Pontoppidan in his hymnal of 1740. Our English translation is by F. W. Young and was first printed in The Family Treasury in 1877. The fifth stanza of the original has been omitted. This is the case also in Landstad’s Hymnal. Our melody was composed by the Rev. G. W. Torrance, an English preacher and musician, born 1835, and died in 1907. The Danish-Norwegian version has re- tained the meter of the original, and in Landstad’s Hymnal it is sung to the melody, “Naar Tid og Stund den er forhaand,” ‘““Wenn mein Stiindlein vor- handen ist” (L. ‘1H. 582). 199 99 O, Thou that hearst when sinners cry. —I. Warts. | ea hymn is a part of Watts’ paraphrase of the Sist Psalm, published in Psalms of David, 1719. ‘The complete original is very seldom used, but the shortened form has found a place in nu- merous hymnals. The melody (Hamburg) is based on a Gregorian church tune and has been arranged by the American church composer, Lowell Mason (1792-1872). 100 We stand in deep repentance. —Ray PALMER. Te hymn appeared first in the Presbyterian hymnal, Parish Hymns, 1843. It was written in 1834, for the Passion season, and is a free version of a German hymn. The melody is by the French musician, Louis Bourgeois. It was first used for Clement Marot’s paraphrase of the 130th Psalm: “Du fort de ma détresse’” (‘‘Jeg raaber fast, o Herre,” Landst. 191; ‘“‘O Lord, hear Thou my call- ing,’ L. H. 218). It is not possible to determine whether Bourgeois composed the melody or bor- rowed it from some other source. It has been claimed that the tune originally was a popular dance melody. It was arranged for chorus by the famous musician Claude Goudimel (ca. 1510-1572). Ray Palmer, the son of Judge Thomas Palmer, Rhode Island, was born November 12, 1808, in Little Compton, R. I. He received his early edu- 200 cation at home. At the age of thirteen he was sent to Boston to work as a clerk in a dry goods store. His remarkable talents drew attention, and soon we find him as a student at Phillips Academy, An- dover, where the completed the three-year course of study. He entered Yale and was graduated in 1830. Having completed the course at Yale, he took up the study of theology, one year at New York, followed by three at New Haven. He served for a time as teacher in the Ladies’ Seminary at the latter place. He was ordained to the ministry and called to serve Central Congregational Church of Bath. While in this position he wrote some of his best hymns. In 1850 he was called to the First Con- gregational Church of Albany. Finally, in 1865, he was elected corresponding secretary of the Amer- ican Congregational Union and removed to New York City. He served in this work until 1878, when he resigned and took a pastorate in Newark, New Jersey, where he died in 1887. Ray Palmer left eleven works of poetry and prose. His hymns are of high rank and have been very popular. ‘They were printed in the following issues: Spiritual Songs for Social Worship, by Thomas Hastings and Lowell Mason; Spiritual Improvement, 1839, later published under the title, Closet Hours, 1851; Remember Me, or The Holy Communion, 1865; Hymns and Sacred Pieces, etc., 1865; Hymns of My Holy Hours, and Other Pieces, 1868; Voices of Hope and Gladness, 1881. Dr. Palmer is one of the most prominent American hymn authors. His first hymn, ‘““My faith looks up to Thee,” written when Palmer was only 22 years 201 of age, is one of the finest hymns in the English language (See L. H. 456). The greater number of his hymns are in use in England and America. Many of them have found a place in English-Lu- theran hymnals. His best hymns are truly Scrip- tural, artistic, and full of feeling, yet not sentimental. They are well suited for use in the congregations. 101 I Come to Thee, O blessed Lord. Jeg kommer her, o s¢de Gud.—Landst. 54. ; —M. B. Lanpsrap. Ich stell mich ein, O frommer Gott, zu deinem himmlischen Gastgebot, dazu du mich geladen hast; hilf, dasz ich sei ein wiirrdiger Gast. Unverfalschter Liedersegen, Vierte Aufl., 1863. HIS stanza, whose author is unknown, was translated by Landstad, who also wrote the re- maining stanzas of the hymn. The third stanza is based on the third verse of the 130th Psalm: “If Thou, Lord, shouldst mark iniquities, O Lord, who shall stand?” Also upon Psalm 19:12: ‘‘Who can understand his errors? Cleanse Thou me from secret faults.” The fourth stanza points to the ‘‘Lamb of God which taketh away the sin of the world” (John 1:29), and cries out with the Psalmist: ‘‘Cast me not away from Thy presence; and take not Thy Holy Spirit from me” (Psalm 51:11). (Notes on M. B. Landstad may be found under No. 97.) 202 Our English translation is by the Rev. Carl Dgving, 1910. (For notes on the melody, see No. 56). 102 ‘Oppressed by sin, O Lord, to Thee. Ich komme vor dein Angesicht. , CWE GEEDERM 4 es communion hymn was printed in Geistliche Oden und Lieder. This collection by Gellert contained 54 hymns, first edition, Leipzig, 1757. Our English translation is by the Rev. H. G. Tra- bert, 1898. ‘Chere are two older English transla- tions. The melody dates from the Middle Ages. It ap-- peared first in Trutebul’s Erfurter Enchirtdion, 1524, where it was used with Luther’s hymn, “Aus Tiefer Noth schrei ich zu dir.” Johann Walther gave it figured contrapuntal harmony in his Geist- liches Gesangbiichlein, 1524. This melody is found in most of the Lutheran hymn books and has been given a place in many English hymnals. It is one of the classic church tunes. It was harmonized by Joh. Seb. Bach for his cantata, dus tiefer Noth. It has also been ascribed to Luther. Christian Furchtegott Gellert, son of the min- ister, Christian Gellert, in Hainichen, Saxony, was born July 4, 1715. He first attended school in Meissen. After having completed his theological studies at the University of Leipzig, he served for a time as his father’s assistant. The story is told that he had to make use of his sermon manuscript in the pulpit, as he could not depend upon his mem- 203 ory. This aroused dissatisfaction and criticism, be- cause the practice of using sermon manuscripts was not in accord with the traditions of the Lutheran | Church. Gellert then sought another vocation and resumed his studies at the university. He received his master’s degree in 1744, and the following year was appointed lecturer in the faculty of philosophy, and in 1751, extraordinary professor of philosophy. He lectured on poetry, rhetoric, and moral phil- osophy. In 1761 he was offered a position as or- dinary professor, but declined, since he did not feel strong enough. He always suffered from a weak constitution, and in his later years suffered much from hypochondria. Gellert died in TAS De- cember 13, 1769. As a rescher and as a man, Gellert was highly esteemed and loved by the students, both on account of his exceptional ability and on account of the keen interest which he showed toward his pupils, among whom were Goethe and Lessing. As an author and hymn writer, he gained considerable fame. His Fables (first series, 1746, second, 1748), spirited and humorous, won him universal recognition and gave him a place among the Ger- man classics. He ranks high also as a writer of hymns. He is, indeed, not free from the rational- istic, moralizing tendencies of his age; yet in gen- eral his hymns are Scriptural and characterized by deep Christian piety and pathos, in spite of the fact that many of them are more didactic than lyric. He always prepared to write his hymns thru fervent prayer. His Geistliche Oden und Lieder mentioned above appeared in many editions, and many of 204 these hymns have been translated into English and other languages. Fifteen of Gellert’s hymns were translated by Birgitte Boye for Guldberg’s Hymnal. 103 Lord Jesus, think on me. . —SYNESIUS. a NERS of Cyrene, born ca. 370, belonged to an ancient and renowned family. The family records dated back seventeen centuries. Synesius visited Alexandria, Constantinople, and Athens and came in touch with the Neo-Platonic philosophy. He soon gained widespread fame as a philosopher, orator, statesman, and patriot. When the Goths threatened his land and people, Synesius went to the court of Arcadius and sought to arouse the rulers to prepare to meet the coming danger. ‘The court indulged the zeal, applauded the eloquence, and neglected the advice of Synesius’’ (Gibbon). When he was about forty years of age, he was converted to Christianity. In the year 410 he was chosen bishop of Ptolemais, much against his own will. He died in 430. H. H. Rader, Ph. D., says that Synesius shows a mixture of Christian teaching and Neeo-Platonic philosophy, but that he himself was conscious of the fact that he could not harmonize his philosophy with the doctrines of the Church. Many scholars have doubted his orthodoxy. Mosheim calls him a semi- Christian. Gibbon and Bingham believe that Sy- nesius denied the resurrection of Christ. Chatfield says that the hymn, ‘Lord Jesus, think on me,” shows that he was not a semi-Christian, and that he 205 did believe the resurrection of Christ. Julian agrees to the former, but holds that there is nothing in the hymn to show the latter. Many of the odes of Synesius have been translated into English. His life and poetry have of later years become the sub- ject of increased interest and research. 104. Turn, Lord, Thy wrath away, in mercy spare us! Vreden din afvend, Herre Gud, i Naade. —Landst. 394. Afvend fra os, o Herre mild.—Landst. 390. —G. THymus. Aufer immensam, Deus, aufer iram et cruentatum cohibe flagellum, nec scelus nostrum properes ad aequam, pendere lancem. HIS is the first stanza of the only Latin- Lutheran hymn which has been given a place in the Norwegian-Danish hymnals. Its oldest known source is the so-called Vermanung an ganzen Deut- sche Nation, widder den Tiirkischen Tiirannen. Durch Joachim Greff von Zwickau. Auch ein scho- ner Lateinischer Hymnus, zu beten umb verzethung unser Missethat, zu Gott, Wittenberg, 1541. It ts also found, somewhat varied, in Hymni aliquot sacri, etc., Collectore Georgio Thymo, 1552. The title bears the note “‘incerti auctoris,”’ but a marginal reference added at the same time asserts that the hymn was composed by Geo. Thymus and revised by Philip Melanchthon. Wackernagel says that this hymn by Thymus is one of the grandest and most 206 stirring hymns that have ever been prayed or sung. It was translated into German in 1559, and this version, later rendered into Danish, was published in 1583. It retains the original meter of the Latin hymn as follows: Wend ab deinen Zorn, lieber Herr, mit Gnaden, Und lass nicht wiiten deine blutge Rute, Richt uns nicht streng nach unsern Missethaten, Sondern nach Giite. In the Danish it appears in Moltke’s Aandelige Flaandbog, 1639, by an unknown translator: Vreden din affvend, Herre Gud, aff Naade, Riset det blodige, som oss offuermaade Plager saa redlig aff en Vredes Brynde, Fordi vi synde. It appeared in Kingo’s Hymnal as an evening hymn for Sunday Quinquagesima. ‘The last two stanzas were in many churches sung after the ser- mon every Sunday during Lent. It fits best into the service on days of prayer together with the ancient church litany. In Landstad’s Hymnal there is also another trans- lation, or rather a free rendering of ‘Aufer im- mensam,’’ namely, ‘“‘Afvend fra os, o Herre mild” (Landst. 390). This version follows Martin Mol- ler’s ‘‘Nimm von uns, Herr, du treuer Gott.” It is written in a very different meter and was first published in Meditationes sanctorum patrum, etc., 1584. In this collection the hymn has the title: ‘Ein schon teglich Gebet, ftir allerlei Noth.” ; 207 105 Father, Son, and Holy Spirit. Jeg er frelst og dyrekjgbt.—Landst. 42. Ich bin getauft auf deinem Namen. —J. J. RAMBACH. ‘| aw baptismal hymn was first printed in the author’s Erbauliches Handbiichlein fiir Kinder, Giessen, 1734. It contained seven six-lined stanzas and bore the title, Erneuerung des Taufbundes (Re- newal of the Baptismal Covenant). Rambach set it to the melody ‘‘Wer weist wie nahe mir mein Ende” (Who knows how near my life’s expended? Luth. H. 579). Our English translation, rendered by Dr. Charles William Schafer, is not in the same meter as the original, and the sixth stanza is omit- ted. The Danish-Norwegian translation by Bir- gitte Boye is set to the melody, ‘“‘Synge vi af Hjer- tens Grund,” from the German “Singen wir aus Herzens Grund” (L. H. 110) . This was published in Guldberg’s Hymnal, 1778. The hymn is one of Rambach’s best, and is extensively used thruout the Lutheran Church. There are three English trans- lations. ‘The melody used in The Lutheran Hym- nary is by Melchior Vulpius, a German musician, born 1560 and died 1616, Weimar. Johann Jakob Rambach was born February 24, 1693, in Halle. From his earliest youth he was taught to be obedient and God-fearing. His parents were both deeply influenced by the pietistic move- ment thru Spener. Rambach’s father was a car- penter without sufficient means to permit the son 208 to take up regular studies. But as the boy showed extraordinary talent he was sent to the gymnasium at Glaucha. At fourteen years of age he left this institution and began work in his father’s shop to assist his parents in providing for the family. The following year he sprained his foot so that he could not work for several months. Being advised by his physician not to return to the carpenter’s trade, and encouraged by his parents to take up his studies again, he entered school once more in 1708 and showed such progress that he was permitted to enter the university in 1712. On account of a serious condition of hoarseness, from which he suf- fered since his birth, he planned at first to study medicine. But he was strongly advised that the church does not only need preachers, but teachers as well. He then entered in earnest upon his the- ological studies. During the spring of 1719 he became ill and spent the summer as the guest of Duke Henkel at the latter’s country home. He soon regained his strength. In August he visited Jena, in which city he was called to lecture at the university. He was also frequently called on to preach in the church. Both his lectures and his sermons drew large num- bers. In the spring of 1720 he received his master’s degree. In 1723 he returned to Halle, where he was appointed adjunct and inspector of the orphan- age, later (1726) professor extraordinary; and at A. H. Francke’s death, 1727, Rambach was made his successor as regular professor. Rambach was esteemed very highly both as a professor and as a preacher. It has been claimed 209 that the jealousy of his fellow teachers at Halle caused him to leave his position there. In 1731 he received two calls; one from the Duke of Hessen, asking him to become principal theological professor and superintendent at Giessen; the other from Den- mark to become German court preacher and the- ological professor at the University of Copenhagen. Rambach chose Giessen. Here he found conditions quite different from those at Halle. The people had but little sympathy with an earnest and living Chris- tianity, and Rambach’s activity was soon met with scofing and opposition. It became a matter of con- tinued grief to him that his preaching did not seem to bear any fruit. But he continued to work with untiring zeal. In 1734 he received a call from the newly established University of Gottingen, to be- come principal professor of theology. He felt in- clined to accept this call, but yielded to the intense desire of the duke that he should remain. The fol- lowing year he was stricken with a violent attack of fever. He realized that his end was drawing near, and it was his constant prayer that he might retain consciousness until the last. He died the 19th of April, 1735. His last words were, “I hold fast to Jesus, and I am prepared to go to Him.” It has been asserted that Rambach died from intense sor- row and grief over his flock. Rambach wrote over 180 hymns. ‘They were published in Geistliche Poesien, Halle, 1720; Po- etische Fest-Gedancken, Jena and Leipzig, 1721; Erbauliches Handbiichlein fiir Kinder, Giessen, 1734; Geistreiches Haus-Gesangbuch, Frankfurt and Leipzig, 1735; Wunder der bis zum Tode des 210 Kreutzes erniedrigten Liebe, Giessen, 1750. Ram- bach’s Geistliche Lieder, containing 165 hymns, was published in Leipzig, 1844, by Dr. J. L. Pasig. Many of his hymns were taken up by the German hymnals of the 18th century. Many are still in use. ‘here are fifteen of Rambach’s hymns in Eng- lish translation. Rambach’s hymns are characterized by depth of thought, combined with clearness of expression. They are thoroly Scriptural and churchly. Bunsen says that Rambach’s hymns formed a beautiful and very necessary counteraction to the sentimental poetry of his time. And Dr. J. L. Pasig says: ‘Because his hymns flow out from a heart which is aflame with intense love of Jesus Christ, who alone can give that peace which the world cannot give, therefore they are also permeated by the spirit of the Holy Scriptures, and they speak no other language but the language of the Bible, in which Christ is the central figure and the guiding star.” 106 Our Lord and God, O bless this day. Lad denne Dag, 0 Herre Gud.—Landst. 43. —J. N. Brun. iets hymn is a free rendering of Bishop Brun’s “Gud Fader, Sdn, og Helligaand, vi for din Throne knele.” It appeared in five stanzas in Evangeliske Sange, Bergen, 1786. The hymn was revised for the Evangelical Christian Hymnal, 1797, and this version was made use of by Land- stad. (Notes on J. N. Brun may be found under No. 46.) Our English translation is by G. T. Rygh AAG (stanzas | and 4) and by C. A. Dé¢ving (stanzas 2 and 3). The melody (Ein’ feste Burg), by Mar- tin Luther, was first published together with Lu- ther’s hymn “‘A mighty fortress is our God,’ the first edition published, 1529, in Geistliche Lieder, edited by J. Klug, Wittenberg. Since no copies are extant of this collection, the oldest known source is Johann Walther’s manuscript book of voice parts for hymns dating from 1530. 107 Thine forever, God of love. —Mary F. MAuvpeE. TP RS hymn was written in 1847 for the author’s class of girls at the Sunday School of St. Thomas Church, Newport, on the Isle of Wight. It was printed in 1848 in T'welve Letters on Con- firmation, also in Verse Memories. ‘Thine forever, God of love,” is her most favored hymn. It con- tained originally seven stanzas, of which our ver- sion has omitted the last two. Mary Fowler Maude, daughter of George Henry Hooper, of Stanmore, Middlesex, was born October 25, 1819, in London. In 1841 she was married to the preacher Joseph Maude, vicar of Chirk near Ruabon, and hon. canon for St. Asaph. Her hymns were published in the above mentioned Twelve Let- ters on Confirmation, 1848, and in Memorials of Past Years, 1852. (For notes on the melody for this hymn see No. 16.) 212 108 Father, Son, and Holy Ghost. —C. A. DorIna. es confirmation hymn was first printed in the author’s Christliches Haus-Gesangbuch, Elber- feld, 1821. ‘Vater, Sohn, und Heilger Geist,” has fifteen stanzas in groups, in different meters, ar- ranged as follows: 1-3, hymn of prayer for the chil- dren, to be sung by the congregation; 4-7, to be sung by the parents and teachers; 8-13, prayer to be sung by the children; 14-15 to be sung by the congrega- tion. Our present translation of stanzas 1-3 is by J. S. Stallybrass, 1859. Stallybrass was born in Irkutsk, Siberia, where his father, who was a member of the London Mis- sionary Society, was stationed. He resided for many years in Stoke-Newington, London, where he died, 1888. He translated a great number of hymns from the German. The melody of this hymn is by Johann Rosen- miller, director of music, Leipzig and Wolfenbit- tel, of the 17th century. The melody was composed in 1655 and later united with Albinus’ hymn, “‘Straf mich nicht in deinem Zorn” (L. H. 522). Carl August Doring was born January 22, 1783, in Mark-Alvensleben, Magdeburg. He attended school at Magdeburg, until his 19th year, when he went to Halle to study theology. He was dis- appointed in his studies under the influence of the rationalistic teachers, and his mind turned to the study of classic poetry. Having concluded his studies there, he served as a teacher in Waldenburg, in Silesia, and later in Magdeburg. Here he again 213 met the shoemaker, Ruben, of the congregation of the Moravian Brethren. He had stayed in his home during his school days in Magdeburg. In the re- ligious gatherings, which now were conducted at the home of this shoemaker, Doring was brought to a deeper insight into Holy Scriptures and also to a true conversion and a living faith. ‘The school at Magdeburg was closed by Napoleon in 1810. Doring then became family tutor in Helmsdorf, near Eisleben. In 1814 he was appointed after- noon preacher at St. Peter’s Church, Magdeburg, and in 1815 he became archdeacon of St. Andrew’s Church at Eisleben. There he carried on blessed work, visiting his parishioners, conducting Bible classes, and distributing sacred literature. In 1816 he was called to the pastorate of the Lutheran church at Elberfeld, where he made great progress in establishing the socalled ‘‘Mission Societies.” On account of overexertion he began to suffer from lung disease, from which he died in 1844. He is one of the best and most prolific hymn writers of the 19th century. His hymns give expression to an intense love of the Lord, but many of them show signs of having been produced hastily and without much attention to detail. The greater number of his hymns were published in Christliches Haus- Gesangbuch, of which the first part appeared in 1821, and the second part in 1830. Doring wrote in all about 1,200 hymns. ‘Three of them have been translated into English. In Landstad’s Hymnal, No. 364 is by Doring. Fon Ne 109 Blessed Savior, who hast taught me. —J. M. NEALE. ae hymn appeared first in Neale’s Hymns for the Young, 1842, and had six stanzas. It is found in an abbreviated form in many hymnals. In some instances it has also been revised, the first line as follows: ‘‘Holy Father, Thou hast taught me.’ ‘The melody (Ripley) was composed by Lowell Mason, American church musician. It is based upon an old Gregorian chant. John Mason Neale, son of the preacher, Cor- nelius Neale, was born January 24, 1818, in Lon- don. He was graduated from Cambridge, 1840, and became Fellow at Downing College. Eleven times he won the Seatonian prize for religious poetry. He was ordained in 1841 and became warden of Sackville College, East Greenstead, 1846. Here he established the Sisterhood of Margaret, a school for nurses, which in time de- veloped into an extensive institution including an orphanage, an intermediate school for young girls, and a reformatory at Aldershot. Dr. Neale was an exceptionally active man, and his piety bordered on fanaticism. ‘Thruout his life he had to'struggle against poverty and poor health. His Stories for Children were written chiefly to gain the means of existence. He ‘wasted’ his - earnings in his charity work for others. Dr. Neale wrote many historical and theological treatises. But especially important is his valuable contribu- tion to the treasury of church hymns. Besides fur- nishing many original hymns, he made a large num- 215 ber of splendid translations of Latin and Greek hymns and sequences. Of these, nineteen have found a place in The Lutheran Hymnary. Neale died in 1866 at the age of 44 years. His great service in the interest of church hymns will be more fully mentioned in a later paragraph. 110 Fear, my child, thy God and Lord. Frygt, mit Barn, den sande Gud.—Landst. 13. —B. PEDERSEN. Te hymn was originally printed together with another spiritual song, about the year 1608, under the following title: “Tvende aandelige an- degtige Sange, Odense Byes, mine gunstige gode geistlige og verdslige Qvrigheder med deres Me- nigheder til et ydmygt Taknemmeligheds Tegn, udi denne Forms Bekostning dediceret af B. Pedersen, K. ibidem’” (Kannik sammesteds). The author served as canon or minister in Odense or in some city in the district of Fyen. According to a resolu- tion of the church, the fourth stanza of this hymn was to be sung after Baptism, and the fifth stanza before Communion. It has been extensively used in the parochial schools of the church and as a closing hymn on confirmation day. Lil My God, accept my heart this day. —M. BrinGEs. W ITH my whole heart have I sought Thee: let me not wander from Thy commandments’ (Ps. 119:10). 216 This confirmation hymn, used largely in England and America, appeared first in the author’s Hymns of the Heart, 1848. In some hymnals it begins with the second stanza of the original, ‘‘Before the cross of Him who died.” ‘The melody (Evan) was writ- ten by the hymnwriter and composer, Rev. W. H. Havergal (1792-1842), who was a minister in the Episcopal Church of England and the father of Miss Frances Ridley Havergal. Matthew Bridges was born July 14, 1800, in Mal- don, Essex, England. He was educated in the Epis- copal Church, but in 1848 joined the Church of Rome. During his latter years he resided in Can- ada. Among his more important works may be mentioned Babbcombe, or Visions of Memory, with Other Poems, 1842. His hymns were published in Hymns of the Heart, 1848, and in The Passion of Jesus, 1852. Many of his hymns were first brought into use in America thru Henry Ward Beecher’s Plymouth Collection, 1855. Many of them are found in Roman Catholic and ritualistic collections. Bridges spent the latter part of his life in Quebec, where he died in 1893. 112 Hail to the brightness of Zion’s glad morning. —Tu. HAstInes. HIS hymn was included in Spiritual Songs, pub- lished by the author in 1831. ‘The melody (Wesley) was composed by Lowell Mason (b. 1792, d. 1872), an American musician and an earnest worker for the development of church song. His home and field of labor was Boston, Mass. 217 Thomas Hastings, son of Dr. Seth Hastings, was born October 15, 1784, at Washington, Litchfield county, Connecticut. [wo years later the family moved to Clinton, Oneida county, N. Y. The boy showed marked musical talent at an early age, and thru intense private study in music he was able, at the age of 22, to begin giving lessons. Seeking a larger field, he moved to Troy in 1817, then to Albany, and in 1823 to Utica. Here he published a religious journal, where he gave expression to his ideas on church music. He began to draw attention to his work, and in 1832 he was called to New York City to take charge of several church choirs. There he labored for forty years, instructing church choirs, writing hymns, and composing melodies. He edited and published several collections of anthems and music books. Many of his hymns and melodies became very popular. His musical fame rests on the melody (Toplady) for ‘‘Rock of Ages.” Hast- ings died in New York, 1872. The collections published by Hastings include the following: Spiritual Songs for Social Worship, Utica, 1831-32; in this work he was assisted by L. Mason; The Mother's Hymn Book, 1834; The Christian Psalmist, N. Y., 1836; Devotional Hymns and Poems, 1850; besides Musica Sacra, Church Melodies, and other song collections. 218 113 The morning light is breaking. | —S. F. SMITH. ae mission hymn was written in 1832 and printed the same year in Spiritual Songs, pub- lished by Hastings. It has gained great favor and has been translated into many languages. ‘The author himself relates that he has heard it sung in five or six different languages in Europe, Asia, and South America. The melody (Morning Light) was composed by G. J. Webb (b. 1803, d. 1887), organist in Boston. It was first printed in The Odeon, a collection of secular melodies published by Webb and Mason, Boston, 1837. It appeared here as the setting for the song, ‘‘’ Tis dawn, the lark is singing.” As a hymn tune it was first employed in The Wesleyan Psalmist, 1842. Samuel Francis Smith was born October 21, 1808, in Boston. He was educated at Harvard and Andover. He studied theology at the latter place. In 1832 he became preacher in the Baptist Church and associate editor of the Baptist Missionary Mag- azine. He also wrote several articles for the En- cyclopedia Americana. From 1834 to 1842 he served as pastor at Waterville, Maine, and as pro- fessor of modern languages in Waterville College. In 1843 he removed to Newton, Massachusetts, where he became editor of the Baptist Missionary Union. He also assisted in preparing the Baptist hymnal, The Psalmist, where several of his own hymns were published. He published Lyric Gems, 1854, and Rock of Ages, 1870. Many of Dr. Z19 Smith’s hymns are sung in America and quite a few are in use in England. His best known hymn is “My Country, ’tis of thee,” written in 1832, and sung for the first time the 4th of July, at a chil- dren’s festival in Park Street Church, Boston. S. F. Smith died November 16, 1895. 114 Savior, sprinkle many nations. —A. C. COXE. O shall He sprinkle many nations” (Isaiah SAN A The first part of this hymn was written on Good Friday, 1850. The hymn was completed the fol- lowing year during the author’s visit to England. The words came to him as he was walking near Magdalen College, Oxford. This is commonly ac- cepted as Coxe’s best hymn. It is also one of our best missionary hymns and is used as such in Amer- ica and England. It was first printed in a collec- tion of hymns published by the Rev. E. Hawkins, 1851, on the occasion of the jubilee festival of the “Society for the Propagation of the Gospel.” The hymn was not taken up in the American Episcopal Hymnary. Coxe was himself a member of the com- mittee drafting this hymnary, and he would not permit the committee to include any of his hymns in that collection. The melody (Love Divine) was SCompascain wlS72) by Goi Bo Leleune ile. was originally written for C. Wesley’s hymn, ‘‘Love divine, all love excelling.” Arthur Cleveland Coxe was born May 10, 1818, at Mendham, New Jersey. His father was 220 Dr. Samuel Hanson Coxe, a pastor in the Pres- byterian Church. A. C. Coxe was educated at the University of New York, where he was graduated in 1838. Later he studied theology at the seminary of the Presbyterian Church and was ordained to the ministry 1841. He served for a time as pastor of Morisania, Hartford, and Baltimore. In 1863 he moved to Calvary Church, New York City. Two years later he was chosen bishop of Western New York with residence in Buffalo. Previous to this he had been chosen bishop of Texas, but did not accept the election. He died in Buffalo, July 21, 1896. Bishop Coxe was a prominent man of his time, a strong personality, and a prolific writer. His Christian Ballads have gained wider popu than any of his other works. 115 Look from Thy sphere of endless day. —W. C. BRYANT. aus hymn was written in 1840 for a mission festival. It was first printed in Songs for the Sanctuary, 1864. It has since been taken up in many hymnals in America and England. ‘The mel- ody (Halborn Hill) is taken from the English col- lection, St. Alban’s Tune Book, printed 1865. William Cullen Bryant, the first American poet of rank, was born November 3, 1794, in Cumming- ton, Mass. He was educated at Williams College. He was called to the bar in 1815, and spent a few years as an attorney in Great Barrington. In 1825 he left his practice there and removed to New York City, where he became the editor of The New York 221 Review. He had already before this time written considerable poetry and had won fame thru his poem Thanatopsis, which was published in the New York Review in 1817. From 1829 he served for a number of years as editor-in-chief of The New York Evening Post. In this capacity he made several trips to Europe and various parts of America and sent extensive contributions to The Review. ‘These were later published in three volumes. One volume containing his addresses was published in 1873. When the question of slavery became an issue, he came forward as an ardent abolitionist. minary-Speer Cc | | 2S o = Princeton ty pre te Uy 7 \4) rw iy Ves yee we ney US NEY eM ney ¥, y ; ys roy) ALC i i ky yh pa ie AY Khe Cea gees 5a ea Gt yee ea i PX Vy. ahve ALN ens ; A ; rey ff ; ) ea A wy. ey ra ‘ z 7 i | LK hed ne A Ky Za ayy hy VR MY YN Py yet oeuy # re “— “~ mt