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diff --git a/old/53770-0.txt b/old/53770-0.txt deleted file mode 100644 index 379cb98..0000000 --- a/old/53770-0.txt +++ /dev/null @@ -1,2853 +0,0 @@ -The Project Gutenberg EBook of Hymnological Studies, by Matthew N. Lundquist - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Hymnological Studies - -Author: Matthew N. Lundquist - -Release Date: December 20, 2016 [EBook #53770] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK HYMNOLOGICAL STUDIES *** - - - - -Produced by Stephen Hutcheson, MFR and the Online -Distributed Proofreading Team at http://www.pgdp.net - - - - - - - - - - Hymnological Studies - - - _by_ - MATTHEW N. LUNDQUIST - A.M., Mus. Doc. - - - _WARTBURG PUBLISHING HOUSE_ - _Chicago_ - - - - - PREFACE - - -This humble little work is the outcome of personal interest and some -lecture work in the field of Hymnology. I trust that this little volume -will be of some value, especially to fellow Lutheran organists and choir -directors. For further study the student is referred to John Julian’s -great “Dictionary of Hymnology” and Benson’s “The English Hymn,” as well -as works by Duffield, Breed, Ninde, and others. Every organist and choir -director ought to read “The Hymn as Literature” by Jeremiah Bascom -Reeves. - - MATTHEW N. LUNDQUIST - - January, 1926 - Wartburg College - Clinton, Iowa - - - - - CONTENTS - - - I. THE HYMNODY OF THE LUTHERAN CHURCH 1 - Religious Character (Biblical and Congregational) 1 - Poetical Quality (Lyrical Beauty) 8 - II. THE LUTHERAN HYMN BOOK 15 - Arrangements of Hymns in the Hymnal 15 - Dogmatic Method of Arrangement 15 - Liturgical Method of Arrangement 15 - GENERAL SURVEY OF THE HISTORY OF THE CHRISTIAN CHURCH HYMNS 19 - III. EARLY CHRISTIAN HYMNODY 19 - Early Greek Hymns 20 - Early Latin Hymns 22 - IV. MEDIAEVAL CHRISTIAN HYMNODY 27 - Mediaeval Latin Hymns 28 - Mediaeval German Hymns 32 - Mediaeval Scandinavian Hymnody 34 - The Sequences 35 - St. Gall 36 - V. LUTHERAN HYMNOLOGY 39 - Martin Luther 41 - German Lutheran Hymnody 44 - Scandinavian Lutheran Hymnody 50 - American Lutheran Hymnody 54 - Conclusion 61 - - ADDENDA - Reformed Church Song 69 - A List of Hymnists 71 - - - - - SECTION I - THE HYMNODY OF THE LUTHERAN CHURCH - - -The hymnody of the Lutheran Church is the body of sacred songs sung by -the Church. These songs may be studied in their twofold aspect; as to -their religious and as to their poetical character; they are _church -hymns_ and also _sacred poems_. - -(The Lutheran church hymns have been called psalms. According to old -linguistic usage, psalm is the same thing as sacred or religious song, -not song in general. In secular Greek the word psalm does not mean song, -but it refers more particularly to the ability or technique in playing -upon stringed instruments—the Greek word “psalmos” means to play a -stringed instrument. By psalm we mean a sacred song or lyric, as of the -Old Testament Book of Psalms; a hymn.) - - - THE RELIGIOUS CHARACTER - -With respect to the religious character of the Lutheran church hymns, it -must be quite clear that if these hymns have grown up out of the soil of -the Church, if they are expressions of the spirit of the Church, then -they ought to reflect quite faithfully the nature and peculiarities of -the Church. The Church, the Communion of Saints, where the Gospel is -preached in its purity and where the Sacraments are administered -according to the teachings of the Gospel, may be considered partly with -regard to the unique _religious life-content_, which is communicated to -the faithful through the Word and the Sacraments and which not only -unites them to Christ, the Head of the Church, but also unites them with -one another; partly with regard to her nature as a _congregation_, a -communion or community in external form with characteristic expressions -and order of life. The same twofold point of view arises in our study of -the church hymns. The religious character of the church hymn may, -therefore, be determined partly from the point of view of religious -life, having its source and standard in Holy Writ, and partly from the -point of view of the church communion or the congregation, of whose -common life the church hymn is an expression and reflection, and whose -common purpose it seeks to promote. The religious character of the -church hymn thus centers in the fact that both as to content and form it -must be Biblical and congregational. - -1. The Biblical character of the church hymn: - -First of all, the church hymn must be thoroughly Biblical. It cannot -move only in the realm of general religious truth, not only sing the -praise of certain abstract ideas about God’s being, about the -immortality of the soul, about virtue, etc. Not even such subjects as -God’s attributes, the providence of God, Creation, “man’s physical and -spiritual attributes, reason, will, conscience, nature and purpose,” -have any place in the hymns of the Church, when these subjects are -treated in an abstract way, isolated from God’s revelation through Jesus -Christ and detached from human life. The subject of the church hymn, -provided it possesses sound religious character, is, briefly stated, -_Christ for us and Christ in us_; on the one hand the objective saving -grace through Jesus Christ, and on the other hand the subjective -appropriation of faith, with love and submission and devotion to God. -The sphere of the church hymn will not thereby be restricted to an -incessant reiteration of the name of Jesus, his wounds and blood, his -love, etc. The church hymn sings the praise of God’s entire means of -salvation: God’s thoughts and works of love through Christ for humanity; -His sure and saving institutions of grace upon earth; the work of the -Holy Spirit in the hearts of men unto repentance, faith and -sanctification; the benefits, struggles and victories of His kingdom of -grace; the glory of the heavenly bridegroom; death and judgment; the -world to come and eternal life. All these subjects become the object of -the hymns of the Church. The faithful express through the church hymn -their ardent desire for these things; they meditate upon these things, -they rejoice in their possession, they describe them and they extol -them; they adore, thank, and laud their Saviour, and they give -themselves up to God. Since the content of positive Christian faith, or -God’s revelation of salvation through Jesus Christ, is the principal -subject of the church hymn, it is clear that the church hymn must be in -perfect harmony with the Word of God, the Bible, the very source of the -revelation of salvation. But this does not mean that the Church should -use exclusively the hymns of the Bible, as, for example, the Psalms of -David. It is perfectly well to use other hymns, provided they are -permeated by the Holy Spirit and constitute a vital reproduction of -Biblical truths, grown up out of the soul-experiences of the Church in -perfect harmony with Holy Writ. Then the liturgical principles of truth -and freedom will come into proper use in congregational hymn singing. - -With this character of religious truth in the objective sense, or the -conformity of the church hymn to Holy Writ, goes also the matter of -religious truth in the subjective or psychological sense. This means -that the religious experience, expressed in the church hymn, is not -merely a product of human imagination, more or less foreign to those who -gather their spiritual life and their soul experiences from the fountain -of Holy Writ under the guidance of the Holy Spirit, but it is far more -an experience gained from the reality of true spiritual life, and -thoroughly accordant therewith, something to which, therefore, every -true Christian can easily agree. - -Finally, the Biblical character of the true church hymn reveals itself -also in the style of language, which follows very closely Biblical -expression, idiom and form. The language of the church hymn harmonizes -very well with that type of religious language which has attained a deep -appreciation among Christians; the language of the popular old religious -books of the Church; Biblical language. This old hymnic language -possesses very decidedly a character of immortality, depending upon the -character of the content, whose linguistic garb it is, and with which it -has become so closely united. As the content is rooted in eternity and -fundamentally consists of God’s incorruptible thoughts and works, so the -hymnic language, which is the vessel for these realities of the eternal -world, in a way also attains a character of eternity. The history of the -church hymns also shows very clearly that whenever this peculiar -character of hymnic language has been disregarded, whenever there have -been vigorous attempts at modernization of the good old church hymns, -when new and modern hymns have been sought, to satisfy some modern -aesthetic or aristocratic need, then the true church hymn has suffered -very greatly and lost much of its original soundness and genuineness. -Indeed, the hymn writer, like any other poet, is influenced more or less -by his age; his hymns may show more or less the influence of the -peculiar turn of mind, the stage of development and the demands of the -age in which he lives; personal ability as a poet and personal life -experiences may be distinctly reflected in his hymns. But it should also -be true, that if the poet is a sincere student and lover of the Bible -and delights in singing its praises, then his hymns ought to possess -Biblical tone and content, since there is a very close union between -content and form in every human religious product. A church hymn -possessing Biblical tone and language ought to be understood and -appreciated by the present age. Biblical language is antique but it will -never be antiquated; it is old but eternally new and youthful. In all -ages and in all churches the thoroughly Biblical church hymn holds the -prize for youthful health and beauty. - -2. The congregational character of the church hymn: - -In the second place, the church hymn should be suitable for use in the -congregation, it should possess a congregational character. This quality -of the church hymn implies, of course, that it must not contain anything -which is at variance with the confession or the doctrines of the Church. -The Lutheran Church may use hymns that have been written by non-Lutheran -hymn writers, provided these hymns contain nothing offensive to sound -Lutheran doctrine. So Lutheran hymnals may contain hymns taken from the -Reformed Churches, and Reformed church hymnals may contain many Lutheran -hymns. - -The congregational element in the Lutheran church hymn further means -that it must be free from all unsound and unjustifiable subjectivity. -The church hymn is the work of a poet who is vitally united with the -religious organism—he is a member of the Church—and from this -consciousness of perfect communion his hymns emerge. Writes Dr. Martin -Luther: “Church hymns are so called, because the Church has accepted -them and uses them as if produced by the Church and as her own hymns. We -do not say: thus sings Ambrose, Gregory the Great, Prudentius, Sedulius; -but we say: thus sings the Christian Church. It is the songs of the -Church that Ambrose, Prudentius and others sing with the Church and the -Church with them; when they are dead and gone, the Church remains, and -continues to sing their songs.” Personal poetic gifts and temporal -conditions and circumstances influence the church hymns. The true church -hymn does not lack individuality; but it is free from individualism. The -experiences which the church hymn expresses, the soul states which it -describes, should not be of an extreme, a singular or an abnormal -character, but they should be normal and common to the Church. Not that -the church hymn must restrict itself to what every member, in whatsoever -condition of spiritual life, would readily subscribe to. Such a -requirement would be unreasonable, because the participants in divine -worship have reached different stages of spiritual development; in fact, -this would restrict the subject matter of the church hymn to only -certain general facts and abstract ideas. But it must be required of -every church hymn that it express only such religious experiences as are -_in the main_ common to the whole communion of the faithful, only such -soul states and spiritual stages of development as are _essentially_ -experienced by every true Christian. - -If the requirement of community in the church hymnody permits dealing -with special situations and experiences in the realm of spiritual life, -then it ought to follow that this character of community will not be -violated if the content of the church hymn bears upon certain external -conditions and circumstances in which the entire congregation never can -find itself at any one time. Since there are liturgical acts which -directly affect only certain individuals in the congregation, not the -congregation as a whole, there may be church hymns for certain -individuals and special occasions. There are church hymns for marriage, -confirmation, ordination, etc. It is also perfectly well to have church -hymns for the aged, for the sick, for the dying, for prisoners, in time -of war, etc. Since the church members should be kindly and lovingly -interested in each other, the congregation may well give expression to -certain sympathetic feelings in the church hymns. But such conditions -and circumstances in the life of an individual as are quite exceptional -and of special interest only to him, not to the congregation as such, -are unsuitable as subjects for church hymns, since they may quite easily -form a disturbing digression from that character of community which -should distinguish the church hymns as such. Hymns “for a father or a -mother at New Year, for a poor young man, for a young lady, for a blind -man,” and the like, really have no place in the hymnal. - -The congregational character of the church hymn also finds expression in -the language and style of presentation. This must be plain and clear, so -that the hymn may be easily understood and appreciated by all who -possess a reasonable religious training, young or old. The mode of -expression is original, naive, true-hearted and graphic. The true church -hymn avoids startling phrases, prettiness, and mere rhetoric. - - - THE POETICAL QUALITY - -The other point of view from which the church hymn may be considered is -the poetical; the church hymn is a _song_ thus a product of poetical -art. Before attempting to analyze the poetical quality of the church -hymn, it may be well to consider what kinds of poetry are used in the -hymnody of the Church. - -The three main kinds of poetry are the epic, the drama, and the lyric. -Epic and drama are not extensively used in the Lutheran Church. Works -exist which show that the graphic and plastic style of epic poetry has -been employed in the Christian Church when stories from sacred history -were paraphrased in metrical form. The Gospel lessons have often been -read or chanted in metrical form, as hymns. This poetical work may be -classified as didactic hymnody with an epic touch. The epic, strictly -speaking, requires an imaginative adornment of the historical material -to be treated, and this cannot very well be applied to Biblical history -without a certain amount of injury. Besides, it would be difficult to -excel the beauty of the Biblical presentation, with its pre-eminent epic -vividness and simplicity. The mediaeval Church employed the dramatic -form in the mysteries and miracles, religious plays, which were used -especially at great festival occasions to present to the laity in a -dramatic and effective way the historical facts pertaining to the -festival. More closely related to the Christian cultus was the Passion -play, performed by the clergy in the churches during Lent. The Passion -play, and a number of dramatic-liturgical ceremonies, especially at -Christmas and Easter, were quite freely employed in the early Lutheran -Church. But this dramatic activity did not remain permanently in the -Lutheran Church. Perhaps the Church felt that the dramatic reproduction -of Biblical history did not harmonize very well with that element of -personal truth which must exist throughout the cultus and which may -suffer injury as the dramatic illusion becomes greater. - -While epic and dramatic poetry have little or no place in the -Evangelical Lutheran cultus, and so can not very well be employed in the -hymnody of the Church, the third kind of poetry, the lyric, is very -extensively used. A noteworthy characteristic of lyrical poetry is that -the object of the song is most closely united with the singing subject; -they are as one; the object lives within the subject and is the real -content of the subject. If the cultus is a meeting between God and the -Church, in which God imparts his gifts to the congregation and the -latter faithfully receives, enjoys, and acknowledges the divine gifts of -grace; a meeting, in other words, in which the divine objects join the -worshipping subject, in which the latter is permeated by the former, -then it seems only very natural that religious lyrical poetry should -here find its proper use; when the worshipping congregation gives -expression to its life of faith and love through sacred song, through -the hymns of the Church, these hymns are lyrical poetry. - -Although the fusion of the object and the subject is a characteristic -feature of all religious lyrics, it is to be noted that these two -elements, the objective and the subjective, are never present in equal -degree in the church hymns, but that the one or the other element -predominates, wherefore it becomes necessary to classify the church -hymns into the _relatively objective_ hymns and the _relatively -subjective_ hymns. To the former class belong the hymn proper and the -didactic or doctrinal hymns; the latter class, the lyrical hymns in a -narrower sense, consists of what may be called hymns of experience and -sacrifice. The hymn proper sings the praises of God’s majesty and -highness, God’s glorious works and attributes, not as something wholly -outside of the subject, yet something which is looked up to with -worshipful joy and admiration. “A mighty Fortress is our God” is a good -example of this class of church hymns. The didactic or doctrinal hymn -presents for quiet and instructive contemplation either certain facts -from sacred history or certain parts of the Lutheran doctrine. Examples -of this kind are “Nun freut euch, lieben Christen g’mein” and “Es ist -das Heil uns kommen her.” In these relatively objective hymns, true -church hymns, the objective element is more or less permeated by the -life, emotion, and sympathy of the subject. In the hymn proper the -subject sings its own joy and its jubilation in the great God and His -glorious works. The didactic or doctrinal hymn is not merely rhymed -history or rhymed dogmatics, but in it the divine events and truths are -celebrated as treasures of faith, sources of spiritual life; by means of -it the congregation embraces, acknowledges and utters its confident Yea -and Amen to the divine revelation of salvation. The relatively -subjective church hymns, the lyrical church hymns in a restricted sense, -may be characterized as hymns of experience, because they describe and -express religious life in its inner experience, emotions, conditions and -manifestations, or because they include meditations which a Christian -engages in because of his inner and outer condition; to this class of -church hymns belong also the so-called hymns of sacrifice, which are -more directly an expression of individual devotion to Jesus Christ. -Since the chiefly subjective hymns, because of their nature, are subject -to the danger of losing themselves in the individual and the incidental, -it is very important that they be supported and permeated by a sound -religious philosophy. God’s revelation of salvation, especially Jesus -Christ, who in His person and work is at once the vital cause, the life, -and the living standard of all the various phenomena and forms in the -world of divine grace and truth, must form the background which -everywhere gleams forth in the hymnody of the Church, the sun that gives -light and warmth to the content, the perfect law which restricts the -description and keeps the subjectivity within proper bounds. - -Since the church hymn is lyrical poetry, it should be beautiful. But the -beauty of the church hymn consists in what? It must be emphasized that -this beauty is not something applied to the church hymn from without, -but this beauty grows up naturally and spontaneously out of the subject -which is to be celebrated in song. This beauty is nothing else than the -faithful reflection, the telling concrete revelation of its inner -harmony, nobility and sublimity. The communion of the congregation with -God through Jesus Christ, which seeks concrete expression in the church -hymn, is in itself the highest, the most noble, and the most harmonious -of all the realities of human life. When this divine communion seeks -expression in the church hymn, then the poetical art to be employed must -be such as will adequately express and convey the emotions and -experiences peculiar to this communion. The inner harmony of the matter -should reveal itself in the poetical form of presentation as outer -harmony, as beauty. The entire tone of the church hymn will then become, -by an inner necessity, graceful, elevated, sublime. It is to be noted -that this hymnic beauty is modified according to the specific character -of the hymn. In the church hymn proper, like “Ein’ feste Burg,” this -hymnic beauty is more elevated, majestic, sublime. In the didactic or -doctrinal hymn, it is characterized by the purity, positiveness, and -sonorousness of the faithful testimony of truth. In the lyrical church -hymn in a restricted sense, it is more colored by subjective qualities -such as fervor, sincerity, and affection. The lyrical beauty of the -church hymn is free from ostentation; it is distinguished by simplicity -and naturalness. This simplicity of expression is a poetical as well as -a congregational requirement. Also, the entire presentation of the -subject must bear the impress of spontaneity, of freshness. The church -hymn should not present abstract ideas, reflective thought, conceptions, -and definitions; but, instead, it should present to the eyes of the -heart living pictures, concrete realities; just as the Biblical -presentation, which the church hymn must follow, and Christianity -itself, which the church hymn must reflect, pre-eminently possess this -character of concrete and vital reality. - -The beauty of the church hymn implies further that its line of thought -and disposition be clear and well arranged, that each stanza express a -complete thought, and that there be not too many stanzas—the church hymn -must not be too long. The phraseology, syntax and metrical form must be -free from such defects as mar and desecrate the sublime content of the -hymn or make it offensive, unclear, or even incomprehensible to the -congregation. This does not mean to commend that vandalism whereby -modernists have sought to remove from the old church hymns every -obsolete word and construction as well as everything which seemed to be -at variance with the rules of secular poetry—a process whereby many -excellent old church hymns have been deprived of their original power -and simplicity. Most certainly, revision and purification of the outer -form of the old church hymns is sometimes necessary, in order to make -them popularly intelligible and usable. But such revision and -purification should be undertaken only by Christians of poetic mind and -sound authority. - - - - - SECTION II - THE LUTHERAN HYMN BOOK OR THE ARRANGEMENT OF THE HYMNS IN THE HYMNAL - - -Two different hymnological methods of disposition have arisen -historically within the Church, namely, the _dogmatic_ or the -_dogmatic-ethical_ method, and the _liturgical_ method. The former -method came into existence in the eighteenth century. By this method the -hymns in the hymnal are arranged according to the usual order of -dogmatics. For an illustration of this method of arranging the hymns, -look into almost any good hymnal of the Reformed Church; The Methodist -Hymnal, for example. The liturgical method is the original, the -standard, and the correct method of disposition. In support of this -assertion, it may be well to observe that since the Lutheran hymnal is a -liturgical book, a book intended for the needs of the worshipping -congregation, the succession of the hymns as well as their content and -character should reflect the spirit of the Church, as it finds immediate -expression in the cultus and its various acts, and as it seeks -indirectly to exert a hallowing influence on social life in larger or -smaller circles. - -It may be well to take a general view of the main factors or stages of -this liturgical work of the Church, so as to see more clearly what -subjects may be considered in the hymn book and in what order the -various subjects or rubrics may follow each other. - -The reason and the vital basis for the existence of the Church is God’s -revelation of salvation through Jesus Christ, i. e., the incarnation and -the work of redemption of the Son of God and the sending of the Holy -Spirit; and these divine works of salvation are the great objectives of -the three great church festivals, Christmas, Easter, and Pentecost, -around which the cycles and days of the church year are grouped. The -Church is the result of this revelation. Therefore our attention turns -towards the Church, her nature, her establishment, and her extension in -this world through missionary activity; further, toward her inner -growth, by which she gives expression to her religious and harmonious -life as a communion in solemn divine worship, and through her sacred -acts and order consecrates human life unto a vessel for divine life. But -this self-edification is brought about in the Church only through the -Holy Spirit who dwells and lives within the Church and in and through -the Church and her institutions of grace produces in the hearts of the -redeemed personal conversion, sanctification, and salvation. Thus the -Church grows both outwardly and inwardly and proceeds towards her -eternal perfection. But the Church has to do not only with purely -spiritual conditions, things divine and eternal. By her life she seeks -to permeate, sanctify, and glorify all conditions, even the temporal. -The Church seeks to penetrate, in a highly beneficial way, the civic -community, to ennoble its affairs and impart support and exhortation -both to the governing and the governed, in times of prosperity and in -times of trouble. The Church is deeply interested in her educational -institutions, these nurseries of time and eternity; the Christian school -is not only a creation of the Church, but it needs the whole-hearted -support of the Church. The Church is also deeply interested in the -welfare of domestic life—she seeks to make the home a happy Christian -home. The Church also desires to support and accompany the individual -member throughout his course of life, especially in its more difficult -stages, so that this temporal life may lead to eternal life. - -If these are the most important factors in ecclesiastical-liturgical -activity, and if the church hymnal is to be in perfect harmony with the -life of the Church, then the hymns in the hymnal may be arranged as -follows: 1. _Festival Hymns_, arranged according to the festivals, -cycles and holy-days of the church year—Advent, Christmas, New Year, -Epiphany, etc. 2. _Hymns about the Church and ecclesiastical acts_: the -Word, the Church, Missions, ecclesiastical acts (worship, Holy Baptism, -Holy Communion, confirmation, ordination and installation, dedication of -churches, etc., also marriage and burial). 3. _Hymns about the Christian -life_: repentance, faith, justification and state of grace, -sanctification (the fruits of regeneration, prayer, cross and -consolation), the completion (the resurrection, judgment, eternity). 4. -_Hymns for certain people, times and circumstances_: the Christian -community (fatherland, the authorities and the subjects, judges and -those suing for justice, temporal necessities, war and peace, plagues -and calamities, etc.), the Christian school or Christian education, the -Christian home (husband and wife, parents and children, master and -servant, morning and evening hymns, etc.), conditions in the life of an -individual (health, sickness, death, etc.). - - - - - GENERAL SURVEY OF THE HISTORY OF THE CHRISTIAN CHURCH HYMNS - - - - - SECTION III - EARLY CHRISTIAN HYMNODY - To About 600 A. D. - - -The Christians of the first century sang hymns, both in private and in -public worship. The writings of the New Testament testify to this fact, -as for example 1 Cor., chapter 14, also the well known places Eph. 5:19 -and Col. 3:16. To begin with the Christians sang the hymns of the Old -Testament, especially the Psalms of David. Among early Christian songs, -we note the following: the Gloria in excelsis Deo (the angelic hymn), -the Gloria Patri, the Ter Sanctus (Isaiah 6:3), the Hallelujah, the -Benedicite, the Nunc Dimittis (Luke 2:29), the Magnificat (Luke 1:46), -the Benedictus (Luke 1:68), and the Te Deum Laudamus. - -From Paul’s references to sacred song in his epistles we learn that the -early Christians possessed hymns of their own composition, besides the -Bible songs. But we know very little about these very early hymns of the -Apostolic Age; we know of no great hymn writer of that age. One of the -earliest hymn writers that we know of is Clement of Alexandria, who -lived about 200 A. D. To him is attributed the Greek hymn, “Shepherd of -tender youth,” which has been regarded as the first Christian hymn. It -is found in most of our standard American hymnals—number 282 in Common -Service Book. In 1846 this hymn was freely translated into English by -Rev. Dr. Henry Martyn Dexter, editor of The Congregationalist, Boston. - - - EARLY GREEK HYMNS - -Looking at the Christian ancestry of our church hymnody, in a narrower -way, it may be said that its history goes back to the hymn writing of -christianized Greece—1500 years back—1500 years of Christian hymn -writing and hymn singing. The church hymnody of the different countries -varies, of course, in time and duration. A German, for example, finds -about seven hundred years of German hymn writing in his hymn book. We -have inherited and appropriated this common legacy. - -In Syria there arose in the second century several prolific hymn -writers. They were Gnostics, who sought to propagate their heretical -teachings through sacred song. Bardesanes and his son Harmonius were the -leaders of this Gnostic hymnody in the Syriac Church. This heretical -hymnody was the negative cause of the great hymn writing of Ephrem -Syrus, who was born at Nisibis in Northern Mesopotamia, 307 A. D., and -died at Edessa, 373. He is regarded as the foremost representative of -the orthodox hymnody of the old Syriac Church. In order to counteract -the dangerous influences of Gnosticism, Ephrem Syrus produced a large -number of fine hymns, which became very popular throughout the Eastern -Church. Thus a new era in Christian hymnody was introduced. See pages -63-68 in “The Hymn as Literature,” by J. B. Reeves. - -Like the Gnostics of Syria in the second century, so also the Arians of -Constantinople in the fourth century sought to propagate their heretical -doctrines through sacred song. Again great champions of orthodoxy arose, -men like Ephrem Syrus, who produced fine hymns, mainly in defense of the -doctrines of the Trinity and Christ’s divine nature. Among early well -known Greek hymn writers we note the following: Gregory of Nazianzus -(died 389), Anatolius (seventh or eighth century), St. Andrew of -Jerusalem (660-732), St. Cosmas, the Melodist (died about 760), St. John -of Damascus (died about 780), St. Stephen of St. Sabas (died 794), and -St. Joseph the Hymnographer (died about 840). As examples of their hymns -we have “O Thou the One supreme o’er all” by Gregory, “The day is past -and over” by Anatolius, “The day of resurrection” by St. John of -Damascus, and “Art thou weary, art thou languid” by St. Stephen. Rev. -Dr. John Mason Neale (1818-1866) of East Grimstead, England, has -produced many excellent translations of the old Greek hymns, which are -found in nearly all modern hymnals. - -In the Eastern Church, as early as the third century, the custom of -singing had become so general as to be recognized as one of the Church’s -predominating features. In the Eastern Church, at Antioch, antiphonal -congregational hymn singing had its origin, and from thence spread in -all directions in the fourth century. An interesting fact comes to light -in connection with the use the Eastern Church made of its hymns. -Theodoret, in his historical writings, tells us that “while Chrysostom -(347-407) was bishop of Constantinople, at the opening of the fifth -century, the orthodox Christians were in the habit of assembling -themselves in the public squares, then marching in midnight processions, -through the city, singing sacred songs, in order to combat those who -were enemies of Christ’s divinity.” This is a testimony concerning the -anti-Arian hymnody. - -The early hymnody of the Eastern Church possesses a great deal of poetic -beauty and fine rhetorical style. But many of these old Greek hymns -indulge in a certain amount of tedious broadness and dogmatic prosiness. -They are often vague and fantastic. Fine language seems often to be of -greater importance than spiritual content. In the Eastern Church sacred -song never received the development and the place in the life and the -cultus of the congregation as in the Western Church. During the last -half of the third century the Eastern Church advocated the use of the -Psalms of David only in divine service. It must also be borne in mind -that attempts were made in the Eastern Church about the middle of the -fourth century to suppress congregational singing. The character of the -hymns that were produced in the Eastern Church, their bombastic and -often turgid style, their complicated rhythmical structure, and their -unpractical Christianity, prevented them from becoming a property of the -common people. - - - EARLY LATIN HYMNS - -Early sacred song in the Western Church is characterized by noble -simplicity and clearness in form, as well as by a more practical -Christianity; fine qualities which go to make the old Latin hymns more -accessible and serviceable to us than the old Greek hymns. - -The fourth century witnessed a remarkable activity in Latin hymnody. The -Western Church was far more active in the hymnological field than the -Eastern Church. One of the founders of Latin hymnody was St. Hilary, the -good bishop of Poitiers, great scholar, and great defender of the -Christian faith. During his exile (356-360) in Phrygia, St. Hilary came -in touch with Arian hymn singing. When he was permitted to return to -Gaul, he brought with him a great enthusiasm for hymn singing. He edited -the first hymn book of the Western Church, and introduced singing of -orthodox hymns among his people. He died in 368 A. D. - -But the great author and leader of Latin hymnody is, undoubtedly, St. -Ambrose, the admirable and amiable bishop of Milan. He was born in 340 -and died on Good Friday, 397. St. Ambrose has been called the father of -Latin church song, because of his great work in hymnody and church -music. The first stanza of one of his beautiful hymns is here quoted. - - O Jesus, Lord of heavenly grace, - Thou Brightness of Thy Father’s face, - Thou Fountain of eternal light, - Whose beams disperse the shades of night. - -Prudentius (Aurelius Prudentius Clemens) is a prominent Latin hymn -writer of this period. He was born in Spain, 348 A. D. Prudentius has -been called “the first great Christian poet.” With him the Latin, the -language of a stern and hard people, is, as it were, tempered by faith. -He, like most of the early Latin hymnists, sings the praises of the -faith, hope and love of the Christian Church. The subjective, with its -“I,” “me” and “mine,” so characteristic of modern hymnody, had no place -in the hymns of Prudentius. He received high honors from the Roman -emperor, but in old age he preferred to devote himself quietly to -religious literary work. He died about 410 A. D. We quote the first -stanza of a beautiful Christmas hymn, Corde natus ex Parentis, from -Prudentius, the translation by Neale. - - Of the Father’s love begotten, - Ere the worlds began to be, - He is Alpha and Omega, - He the source, the ending He, - Of the things that are, that have been, - And that future years shall see, - Evermore and evermore. - -St. Patrick (fifth century), called the Apostle of Ireland, wrote -several hymns for his people. Coelius Sedulius, of the fifth century, -wrote several great Latin hymns, among which we refer to one that has -been sung quite extensively, namely, A solis ortus cardine—From lands -that see the sun arise. - -Gregory the Great (545-604) and Venantius Fortunatus (530-609) mark a -period of transition in the hymn singing of the Western Church. It was -at this time, about 600 A. D., that the Ambrosian church song was -superseded by the Gregorian. Here it was that congregational song in the -Western Church was abandoned and that part of public worship given over -to the priests and the monks. The only part the congregation took was in -a few responses. Gregory the Great was a man of unusual ability. He was -pope from 590 until his death in 604. He was a zealous missionary to -Britain, great as a champion against the heretics, and great as a -preacher, but his best service to the Church is undoubtedly his -liturgical and musical contribution. He strove to make public worship -worthy of Him to whom it was rendered. It must be borne in mind that -good congregational singing was something which presented great and -perplexing problems in those days. The Gregorian chants, still in use, -after a lapse of more than a dozen centuries, show the Gregorian style -and indicate how Gregory changed the melodious and flowing hymns of St. -Ambrose into the more severe and solemn style of the new period. But we -have several hymns from Gregory’s pen which indicate that he was not -without the Ambrosian spirit. Take, for example, his beautiful hymn, - - O Christ, our King, Creator, Lord, - Saviour of all who trust Thy word, - To them who seek Thee ever near, - Now to our praises bend Thine ear. - -Venantius Fortunatus, the troubadour, holds a very important place in -early Latin hymnody. He wrote one of the greatest hymns of the Western -Church, namely, Vexilla Regis—The royal banners forward go, the Cross -shines forth in mystic glow. We quote the first stanza of another great -hymn by Fortunatus, a grand Easter hymn. - - Welcome, happy morning! age to age shall say; - Hell today is vanquished; heaven is won today. - Lo! the Dead is living, God for evermore! - Him their true Creator, all His works adore. - Welcome, happy morning! age to age shall say. - -Simplicity, depth, fervor, divine sentiment, full-hearted confession, -are some of the outstanding characteristics of the early Latin hymns. -They are, on the whole, Scriptural, pure, and devotional. The key-note -in these venerable old hymns consists of the main points of -Christianity, the protection and care of the Father, the redemption of -Christ, the sanctification of the Holy Spirit, strains of thanksgiving -and praise, invocation of God’s support against the devil, the flesh and -the world. - - - - - SECTION IV - MEDIAEVAL CHRISTIAN HYMNODY - A. D. 600-1520 - - -When the Western Church passed into the mediaeval era of its history, -about 600 A. D., we find church song in a new and different situation. -During the ancient era of the Christian Church, it may be said that -church song was, for the most part, a song of the people of God, a -congregational song. Attempts had been made before this time, it is -true, to suppress congregational song, but they had proven more or less -unsuccessful. During the Middle Ages, however, the Church was successful -in definitely transferring church song from the people to the clergy and -a well trained clerical choir. Latin was the liturgical language of the -entire Western Church, wherefore the mediaeval church hymns were written -in that language. The Carolingian age, productive in so many respects, -also produced a number of very beautiful hymns, resembling the best -productions of the Ambrosian era of hymnody. Charlemagne was not only a -zealous promoter but also a practiser of sacred poesy. In the ninth -century Notker Balbulus of St. Gall monastery produced hymns called -Sequences, which differed in their metrical structure from the older -hymns. These Sequences had three or six lines in each verse, while the -verses of the older hymns had four lines each. In a subsequent chapter -we shall speak more fully of the Sequences and their remarkable -birthplace. - -Passing over into the mediaeval Church, we find that our church hymnody -had three different sources in the time before the Reformation. One -source was the Latin church hymnody. The second source consisted of the -German songs, called Leisen. The third source was the religious -folk-song of the common people. - - - MEDIAEVAL LATIN HYMNS - -During the second half of the Middle Ages, beginning with the eleventh -century, a number of great hymn writers arose. King Robert of France, -who died 1031 A. D., probably wrote one of the greatest hymns of the -Latin Church, namely, Veni Sancte Spiritus. Dr. S. W. Duffield claims -that this great Sequence was written by Hermannus Contractus, the -crippled monk of Reichenau, in the eleventh century. - -Bernard of Cluny and Bernard of Clairvaux are two Latin hymn writers who -hold a very important place in Christian hymnody. From Bernard of Cluny -(twelfth century) comes the well known hymn, “Jerusalem the golden, with -milk and honey blest.” This hymn comes from his famous and only poem -Laus Patriae Celestis which consists of some three thousand lines of -dactylic hexameter. We quote the first stanza of another well known hymn -that comes from the same poem. - - Brief life is here our portion; - Brief sorrow, short-lived care; - The life that knows no ending, - The tearless life, is there. - - Oh, happy retribution! - Short toil, eternal rest; - For mortals, and for sinners, - A mansion with the blest. - -From St. Bernard of Clairvaux we have such great hymns as “Light of the -anxious heart,” “Wide open are Thy hands,” “O Jesus, King most -wonderful,” “Jesus, the very thought of Thee,” “Jesus, Thou Joy of -loving hearts,” and “O Sacred Head, now wounded.” St. Bernard was born -in Fountaines, Burgundy, 1091. History speaks of him as highly -imaginative, great champion of the faith, great orator, great teacher, -founder and abbot of the Cistercian monastery at Clairvaux, and leader -in mediaeval mysticism. He died in 1153. Luther called him “the best -monk that ever lived.” Hymns from the two Bernards can be found in any -standard modern hymn book and they are worth careful study. - -Adam of St. Victor (twelfth century) is another important Latin hymnist. -He was choirmaster at the great St. Victor monastery at Paris. Trench -speaks of him as “the foremost among the sacred Latin poets of the -Middle Ages.” - -Thomas of Celano, whose birthplace is unknown, was one of the first -members of the Franciscan order. In 1221 he went to Germany and remained -there for nine years; then he returned to Italy, where he died in 1255. -Thomas of Celano wrote the greatest hymn of the Latin Church—Dies Irae. -There are nineteen verses to this great Sequence, of which we quote the -first two. The translation is by Wm. J. Irons. - - Day of wrath, that Day of mourning, - See fulfilled the prophet’s warning, - Heaven and earth in ashes burning. - - O what fear man’s bosom rendeth, - When from heaven the Judge descendeth, - On whose sentence all dependeth. - -Thomas Aquinas was born in a Neapolitan castle, Italy, about 1225. He -was a Dominican and the strongest of the scholastics, theological -professor at several universities, Doctor of Theology from Paris, also -called Doctor Angelicus. He was a prolific writer; his Summa Theologiae -is a great dogmatic work. He died in a prominent monastery at Naples in -1274. Thomas Aquinas produced a number of excellent hymns. His “Lauda, -Sion, salvatorem” is generally regarded as one of the greatest hymns of -Latin hymnody. It can be found in almost any standard hymnal, beginning -“Sion, to thy Saviour singing.” - -Jacoponus (died 1306) wrote one of the greatest hymns of the Roman -Church, namely, Stabat Mater Dolorosa. This hymn is found in many -Protestant hymnals, beginning “At the Cross her station keeping.” Thomas -a Kempis (1380-1471) of Holland and John Huss (1369-1415) of Bohemia, -made valuable contributions to mediaeval hymnody. - -These Latin hymn writers have produced hymns which are characterized by -deep ardor, great love of Christ, and soul-stirring earnestness. The -Latin church hymnody is very wealthy indeed; more than 20,000 Latin -church hymns have been discovered. Of these Latin hymns we have -appropriated a large number of beautiful festival church hymns. Their -form is very plain. Without any comment the festival subject is -presented in a very plain and simple statement of the event in question. -The singer loses himself in his subject; there is nothing here of -self-assertion. Note such hymns as “A great and mighty wonder,” “All -praise to Thee, Eternal Lord,” “The strife is o’er, the battle done,” -“Christ, the Lord, is ris’n today,” “Jesus Christ is risen today, -Alleluia,” etc. - -Mightily through the ages sound the hymns of penance and judgment; -perhaps too strong at times. Note that mighty and most powerful hymn, -Dies irae, dies illa. But the mediaeval hymnody is not without the -evangelical spirit; this is clearly seen in our hymn books, especially -in the Communion hymns. In spite of magic and abuse, it was nevertheless -in the Holy Communion that the true Christian of the Middle Ages came -closest to Christ. Note two mediaeval Communion hymns: - - Lord Jesus Christ! To Thee we pray, - From us God’s wrath Thou turn’st away, - Thine agony and bitter death - Redeem us from eternal wrath. - -This hymn comes from John Huss and was translated by Martin Luther. The -other Communion hymn is “Jesu dulcis memoria,” probably by St. Bernard -of Clairvaux: - - Jesus, the very thought of Thee - With sweetness fills the breast; - But sweeter far Thy face to see, - And in Thy presence rest. - -It is a very difficult task to translate these old Latin hymns; much is -lost by the translation. It is not an easy matter to construct a bridge -between the great glow of St. Bernard’s mysticism and the powerful, yet -cold faith of the seventeenth century. If “Jesu dulcis memoria” was not -written by St. Bernard, it must have been written by one of his devout -pupils. We are here at the very fountain-head of Christian poetry, so -closely related to the Song of Solomon, i. e., it presents the relation -of the faithful to Christ—the love of the bride to the bridegroom. From -this circle came the great hymn “O Sacred Head, now wounded,” translated -and perfected by Paul Gerhardt. - -No wonder that the schools and cathedrals clung so tenaciously to the -old Latin hymnody. It exerted great influence. Too bad, indeed, that we -have permitted this Latin song to become extinct. Perhaps our taste in -things religious would not have declined so low, and religious song -would not have come to be despised so generally, had our good leaders -realized that there are better things than American jazz. - - - MEDIAEVAL GERMAN HYMNS - -Along with this Latin-clerical church song there existed in the Germanic -mediaeval Church a religious popular poetry or congregational song. -Under the hierarchic autocracy of the Gregorian song it had gone so far -that the active participation of the congregation in public worship was -reduced to a joining only in the response Kyrie Eleison (Lord have mercy -upon us), repeated one hundred or more times at any one church service. -But in the sad tones of this Kyrie Eleison, this cry for compassion from -a people spiritually oppressed and enslaved, there emerged in the -Germanic mediaeval Church the first attempts at congregational song in -the vernacular. At the close of the ninth century they began to supply -the tune of the mechanically repeated Kyrie Eleison with religious -verses in the language of the people. Every verse of these songs ended -with the refrain Kyrie Eleison. Thus arose the first German church hymns -called Kirleison or Leisen, as they had grown out of and ended with the -Kyrie Eleison. - -In the twelfth and thirteenth centuries, when significant religious -awakenings and the Crusades (1096-1273) stirred up great enthusiasm -among the people, these German hymns took on new life and gained great -favor among the people. These religious songs of the people were used -more and more freely both in public worship and at other religious and -secular festive occasions. Some of these mediaeval German hymns or -Leisen are: Also heilig ist der Tag; Mitten wir im Leben sind; Christ -ist erstanden; Nun bitten wir den heiligen Geist. One of the best of -these Leisen is, - - Christ ist erstanden - Von der Marter Banden, - Des sollen wir alle froh sein, - Christ will unser Trost sein, - Kyrie Eleison. - -But even though the people sang these hymns in the church services, such -singing was merely tolerated and had no set place. These German hymns of -the people were different from the Latin hymns of the cloisters. They -possess a more simple, popular and hearty key-note, though their form -may be poor and their style rugged. But these hymns, with their singable -tunes, were greatly loved by the people, and so they lived and thrived -in the hearts of the common people during the deplorable times and -conditions of the mediaeval Church. The secular Minnesingers (thirteenth -century) and the Meistersingers (fourteenth century) exerted -considerable influence upon German hymnody, especially with respect to -poetic form and music. In the fourteenth and fifteenth centuries the -“Brethren of the Common Life” (Netherlands) and the significant -religious movements associated with John Wycliffe and John Huss gave to -hymnody in the vernacular a powerful revival and a purer evangelical -content. Desirable Latin hymns were translated and new hymns in the -vernacular were written. The Germans and the Bohemians possessed, before -1500, about five hundred church hymns in the vernacular. In the -fifteenth century the Bohemians sang these hymns in the regular church -services. - - - MEDIAEVAL SCANDINAVIAN HYMNODY - -Because of the close connection which existed in mediaeval times between -Germanic countries and peoples,—a natural outcome of their racial -affinity,—it was quite natural that the movements of mediaeval hymnody -in Germany would become known among the people of the North. The Swedish -mediaeval Church possessed a hymnody both in Latin and in Swedish. Only -a very few of the Swedish mediaeval religious songs remain to-day. These -popular religious songs, like secular folk songs and ballads, were -transmitted not in writing but as a living tradition on the lips of the -people from generation to generation. Thus only very few of these old -Swedish religious songs have survived the century of the Reformation. By -way of example we may note the old mediaeval song, “The blessed day -which we behold”—this is found in all Swedish Lutheran hymn books. It -existed in the fourteenth century. In its present form it has been -greatly improved by the greatest of Swedish hymnologists, J. O. Wallin. -Ericus Olai is the only known Swedish hymn writer of mediaeval times. -One of his hymns, “The Rich Man,” a metrical paraphrase of the Gospel -lesson which deals with the rich man and Lazarus, Olaus Petri, the great -Swedish reformer, included in the first Swedish Lutheran hymn book. It -was also included in the Swedish Lutheran hymn book of 1695. An -interesting and valuable testimony concerning the fact that also in the -Swedish mediaeval Church the people were allowed to sing in public -worship, is found in the answer that King Gustavus I gave to the -complaint of the Dalecarlians, in 1527. Among other things, the king -says that “it is an old custom in our country, in our churches, to sing -in Swedish and praise God, and it is well that this is done in our own -language, which we understand, and not in Latin, which we do not -understand.” - - - THE SEQUENCES - -The Sequences were religious liturgical songs, which developed from the -florid vocalizations upon the last syllable of the Hallelujah. At first -only a melody or tune with words, but later on it became an art form -both in music and in sacred poetry. Musically often of finer quality -than the hymn. The Sequences usually consisted of two verses, three -lines to each verse, with the same melody for each of the two verses. -The form seems to have originated at the convent of St. Gall in -Switzerland, about 875 A. D. During the later part of the mediaeval era -the Sequences became very popular, and the number of Sequences that were -sung in the Catholic Church reached nearly one thousand. The church -music decisions of the Council of Trent (1545-1563) operated very -strongly against the Sequences, and so they practically disappeared -about 1570. Only five Sequences were retained, namely, Victime paschali -laudes, Veni Sancte Spiritus, Lauda Sion salvatorem, Stabat Mater -dolorosa, and Dies Irae. - - - ST. GALL - -We close our study of mediaeval hymnody with a story about St. Gall. St. -Gall is a very remarkable old monastery. Men of quite different minds -and dispositions got along very amicably under the Benedictine rule at -St. Gall. Among its one hundred monks there were in the ninth century -four monks whose names were well known throughout the Western Church, -namely, the learned Ratpert, the enthusiastic Notker, the highly gifted -and greatly admired artist Tutilo, and the unrivalled hand-printer of -books, Sintram, whose very beautiful handwriting was greatly admired -throughout Europe. Ratpert, a stern educator, never sparing the rod, and -not deeply interested in his devotional exercises—a great scholar. -Notker Balbulus (stammerer), the saint-like, ascetic tune-writer and -plant specialist, who had strange visions and lived in another world—a -dreamer. Then there was also the ingenious, humorous Tutilo. These three -monks were as different as three highly gifted persons could be, and yet -they were always as one soul. Ratpert respected Tutilo’s fine -scholarship; at night they were often found with Notker Balbulus in the -writing-room, comparing and improving the works that Sintram was about -to copy. Notker who wrote many fine hymn tunes, wanted them sung by -Tutilo who was a good singer and clever performer upon several musical -instruments. Tutilo wrote several excellent hymn tunes, and he also -produced several noble hymns of which the most popular are Hodie -cantandus, Viri Galilei, and Gaudete et cantate. - -Notker’s genuine affection for Tutilo was not disturbed by Tutilo’s -good-natured submission to unreasonable monastic regulations, which -Notker regarded as symbolically significant. The Benedictine regulations -were meant for the monasteries of southern Italy, and did not suit the -convent of St. Gall very well. A midday nap was one of the Benedictine -regulations, and so the monks of St. Gall had to retire and sleep two or -three hours at midday every day. The Benedictine rule prescribed a diet -of fish, fruit and vegetables—the usual diet of southern Italy. But fish -and fruit were difficult to secure at St. Gall; meat, which was -plentiful, was forbidden. And so the diet of St. Gall consisted mainly -of pulse and pap. Notker who was the guardian of the discipline of the -monastery, never had an occasion to bring up any reproach against -Tutilo. Tutilo observed the midday nap, and flavoured with merriment the -monotonous diet which maintained his splendid mortal clay. - - - - - SECTION V - LUTHERAN HYMNOLOGY - 1520— - - -The Reformation of the sixteenth century put life into congregational -hymn singing. Before this time it had been heard only in strains, -broken, timid, and vague. The Reformation endowed congregational hymn -singing with a sonorousness and power, as never before in the history of -the Church. One of the main principles of the Reformation was that all -Christians, as a spiritual priesthood (Rev. 1:6 and 1 Pet. 2:5), are -privileged and obliged to approach God and bring Him their offering, -without human mediators and deputies, only because of the merits of -Christ, the one true mediator; and this not only individually in private -life but also in public worship. The Reformation brought into play all -serviceable forces and means to promote and make possible the -realization of this principle in the cultus. The reformers sought to -make the liturgy intelligible and accessible to the common people—for -the Latin they substituted the language of the people, and the -congregation was given an opportunity to take an active part in public -worship. It was perfectly natural that church song could not remain in -its mediaeval form, an exclusive privilege of the clergy, but be -transferred to the people. And so popular church hymns were produced. -Luther became the leader also in this great work. What kind of hymns he -wanted, is quite clearly seen in one of his letters to the electoral -court chaplain, Spalatin, whom he called upon to assist in this -hymnological work: “I am willing to make German psalms for the people, -after the example of the prophets and the ancient fathers; that is, -spiritual hymns whereby the Word of God, through singing, may conserve -itself among the people.” Later on in the same letter, he makes the -following suggestion: “I desire, however, that new-fangled words, and -courtly expressions, be omitted, in order that the language may be the -simplest and most familiar to the people, and yet, at the same time, -pure, and well suited to the clear sense of the psalm.” Such church -hymns, thoroughly Biblical and at the same time popular, the great -reformer wanted for the people. And Luther produced several church -hymns, which have never been surpassed and rarely equaled. He translated -and versified Davidic Psalms; he translated and revised old Latin hymns; -he revised several old religious folk songs; and he wrote several -original hymns. He was not alone in this hymnological work; many able -assistants came forward. Thus the great Lutheran hymnody began.[1] - -The outstanding merit of these church hymns is that they proclaim and -extol God’s great works of love, in words and strains that burst forth -from the very soul of the people—immediately they became the property of -the people. As silent and yet as most eloquent witnesses of evangelical -truth, these hymns made their way even to distant lands and awakened the -languishing hearts of the people to new life, to joy and praise. The -annals of the Reformation are rich in the most remarkable testimonies -concerning these things, how the Lutheran hymns powerfully conquered the -love of the people and how the people heartily sang them in the churches -and in the homes, in weal and woe. And this great legacy from the -Reformation era, the Lutheran Church has preserved, used well, and -richly increased. The church hymn is the special glory of the Lutheran -Church. No church communion can be compared to the Lutheran Church in -this respect. Not without reason has the Lutheran Church been called the -singing church. - - - MARTIN LUTHER - -When we think of the Lutheran hymnody from the historical point of view, -we must dwell, if but briefly, on its classical formation in the -motherland of the Lutheran Church, Germany. Something permanent and -peculiarly typical is present in the hymnody of the Reformation days. - -With respect to Luther himself, his best hymns are our most precious -possession. “Ein’ feste Burg” is known the world over. Christians -everywhere are familiar with it. - -At first Luther did not seem to be aware of his poetical gifts. It was -not until in July, 1523, when two Belgian martyrs of the Lutheran Church -had been burnt at the stake, that Luther’s first poetical product came -into existence—in the folk song style. This song, “Ein neues Lied wir -heben an,” spread very rapidly throughout Germany. Soon thereafter came -two hymns, one about penance, and one about faith: “Out of the depths I -cry to Thee” and “Dear Christians one and all rejoice.” They were -supplied with tunes and spread very rapidly throughout the land. - -1524 was the hymn-year of the Reformation. 24 of Luther’s 37 hymns -appeared in various publications. “Ein’ feste Burg” seems to belong to -the year 1527. Luther’s musical assistants were Conrad Rupf and Johann -Walther. It is said that while these two musicians sat at the table, -busy with the writing of the music, Luther walked about the large room -and tried the tunes, singing them, or playing them on his flute. When we -stop to consider what was then formed and created, we see clearly that -this is a historical situation of epoch-making significance. Luther at -the church door in Wittenberg, Luther at Worms, at Wartburg, in his -home; so also Luther with his musical friends, creating or remodelling -poetry and music for the new Church—a central figure in the history of -the Church. - -To characterize Luther’s hymns is no easy task, because of their -richness. Luther’s soul possessed an enormous span of faith and -spiritual life. It experienced the mediaeval thunder-tones of judgment -as well as the brightness of the Gospel. Compare, for example, the two -hymns, “Though in midst of life we be” and “Dear Christians one and all -rejoice.” Compare the following stanza from “Ein feste Burg,” - - The Word they still shall let remain, - Nor any thanks have for it; - He’s by our side upon the plain - With His good gifts and Spirit. - Take they then our life, - Goods, fame, child, and wife, - When their worst is done, - They yet have nothing won: - The Kingdom ours remaineth. - -with one of the stanzas from “Vom Himmel hoch da komm ich her”, - - Ah, dearest Jesus, Holy Child, - Make Thee a bed, soft, undefiled, - Here in my poor heart’s inmost shrine, - That I may evermore be Thine. - -It is obvious that in “Dear Christians one and all rejoice”—Nun freut -euch, lieben Christen g’mein—we have the outline of Luther’s entire -experience of faith, from the moment he felt himself condemned by God -till he could triumph in songs of praise. This hymn forms a very clear -parallel to his exposition of the Second Article. - - -Most of Luther’s hymns ought to be found in our English Lutheran hymn -books. They are noble church hymns—all Lutherans should know them. The -Church Militant is one of Luther’s chief subjects. Note his great heroic -hymn “Ein feste Burg.” Note also one of his last hymns: - - Erhalt uns, Herr, bei deinem Wort - Und steure deiner Feinde Mord, - (Original: und steur des Pabsts und Tuerken Mord). - Die Jesum Christum, deinen Sohn, - Stuerzen wollen von deinem Thron. - - Lord, keep us steadfast in Thy Word; - Curb those who fain by craft or sword - Would wrest the kingdom from Thy Son, - And set at naught all He hath done. - -Powerful and courageous Lutheran hymns! Ach Gott, vom Himmel sieh -darein—Look down, O Lord, from heaven behold—seems to be as valid -against the disintegrating subjectivism and super-culture of our time as -against the age in which it was born, which dissolved God’s kingdom and -divine will at pleasure and put uncontrolled human will in their place. -Whether this refers to clericalism and papism or modern culture and mass -dominion, makes little or no difference; the result in both cases is -destruction. - -Nearly all of Luther’s hymns close with words of praise—note this -consciousness of communion with Christ. Take for example the last stanza -of “Christ lag in Todesbanden”: - - Then let us feast this Easter day - On the true Bread of heaven; - The Word of grace hath purged away - The old and wicked leaven: - Christ alone our souls will feed; - He is our meat and drink indeed; - Faith lives upon no other! - Alleluia! - -We recommend a careful study of “Luther’s Hymns” by James F. Lambert. - - - GERMAN HYMNODY - -The history of German hymnody after 1500 may be divided into five -periods: 1) the foundation period, including the time of the Reformation -and down to the close of the sixteenth century; 2) the period of -prosperity, from about 1600 to about 1700; 3) the period of -subjectivism, embracing the time from 1700 to 1750; 4) the period of -decline, from 1750 to about 1820; 5) a time of renovation and general -development, from about 1820 to about 1900. - -To present a clear, yet reasonably complete, survey of the history of -the church hymn in Germany during the century of the Reformation, is not -an easy task. The period is rich in victories and reverses. It embraces -not only the first victories of the new Church but also the -Counter-Reformation with its regaining of lost ground. It includes the -sad story of the internal struggles of the early Lutheran Church, which -resulted in dissension and weakness, bitterness and discouragement. All -this is reflected in the hymnody of the Church. The sixteenth century -produced many great hymnists, to whom we are greatly indebted. Luther’s -hymns alone would form a valuable little hymn book. But it would be -still more valuable, if we included in it the best Lutheran church hymns -of the entire century. A hymn book containing all the great Lutheran -church hymns of the sixteenth century—a remarkable Lutheran hymn book. - -The Reformation hymnody possesses a preponderatingly objective -character. Definite and true evangelical faith is its keynote. Christ’s -redemption and the sinner’s justification by faith are the outstanding -expressions in this hymnody. The human and the individual, the -subjective, receives a secondary place. In fact there is hardly any -indication in this hymnody of a proper coalescence of the subjective and -the objective. A great many of the hymns are translations of old Greek -and Latin hymns. But the thoughts are hearty, vigorous, powerful, and -serious. The outward form is simple, even faulty at times. Yet it is the -song of earnest and sincere Christians. - -The foremost hymnist of this period is, of course, Martin Luther. Other -great hymnists of this period are Justus Jonas, Paul Eber, Paul -Speratus, Nikolaus Decius, Lazarus Spengler, Nikolaus Hermann, Barthol. -Ringwaldt, and Nikolaus Selnecker. Michael Weiss of Bohemia belongs to -this period, because he produced a number of excellent German -translations of church hymns which had been in use among the followers -of John Huss. - -The second period of German hymnody, the seventeenth century, may be -regarded as one of great prosperity. In it the objective and the -subjective seem to attain a fine balance. The church hymn now comes more -directly from the soul of the communion of the faithful. In form and -expression there is healthy progress. A very fine type of lyrical poetry -develops. During the first years of this period we note such excellent -hymnists as L. Helmbold, Martin Schalling, Valerius Herberger, and -Philipp Nicolai. Among hymn writers during the hard times of the Thirty -Years War, who produced excellent hymns of consolation, powerful hymns, -we note especially John Heermann, Paul Fleming, J. M. Meyfart, Martin -Rinkart, John Rist, and Simon Dach. The objective-subjective hymnody of -the seventeenth century, in its purest and noblest form, is to be found -in the hymns of Paul Gerhardt, writer of more than one hundred hymns, in -which the ardor and fervor of Christian subjectivity attained a most -happy union with the firm evangelical faith and the noble popular -elements of the Reformation period. He is one of the greatest German -hymn writers, if not the greatest. With him we note Georg Neumark, J. -Franck, and M. Schirmer. - -The third period, from the end of the seventeenth century to about 1750, -may be called the age of subjective hymnody. To this period belong such -great hymn writers as Johann Scheffler (Angelus Silesius) and Countess -Ludemilia Elisabeth of Schwartzburg-Rudolstadt. Both of these hymn -writers are quite strongly inclined towards sound Mysticism. At the -opening of the eighteenth century, Pietism brought about a great -awakening in hymn writing. Several of the followers of Spener and -Francke produced a large number of devotional hymns which are full of -sound and sincere piety in simple and noble form. To this group of hymn -writers belong Samuel Rodigast, Gottfried Arnold, Johann Freylinghausen, -Herrnschmidt, Richter, Countess Emilie Juliane of Schwartzburg, J. J. -Rambach, and Woltersdorf. In this connection we must also mention -Gerhard Tersteegen, a preacher without a church, and a leader among -“awakened souls.” The followers of J. A. Bengel, or the so-called Bible -Theologians, produced a number of fine devotional hymns. Leading hymn -writers in this group are Johann Mentzer and Phillip Friedrich Hiller. -Count Zinzendorf, the great leader among the Herrnhuters, or Moravian -Brethren, wrote a number of excellent hymns. Besides these hymnological -fruits of Pietism, the orthodox tendency did not remain unproductive. -Pietism exerted considerable influence upon the orthodox hymnody. To -this group of orthodox hymn writers belong Erdmann Neumeister, Benjamin -Schmolck, and Salomo Franck. Towards the middle of the eighteenth -century a dull and degraded Pietism began to react upon sacred poetry. A -sound and vigorous tone was superseded by the subjective and lyrical -effusions of the individual. The hymns began to treat more and more of -personal feelings and soul experiences, of events and situations in -private life. A number of poor hymn books appeared. Public taste for the -right kind of church song was spoiled. This paved the way for a -hymnological revolution, brought about mainly by Rationalism, during the -last half of the eighteenth century. - -The fourth period, the era of decline, includes the last half of the -eighteenth century and the first decades of the nineteenth. This is the -time of the destructive influences of Neologism or Rationalism in -Germany. German hymnody suffered. Rationalism is a denial of positive -Christian life, and lacks sympathy for the primitive, the simple, and -the popular. It cannot attend to the needs of the common people. It -possesses a character of superficial and heartless intellectualism. -Reason was made the highest authority in all religious matters. Genuine -hymn writing could not grow up in a soil which was destitute both of -poetry and of true Christianity. The dominion of rationalism in German -hymnody began about the middle of the eighteenth century with a revision -of the old church hymns in accordance with the new ideas of the age, an -age of enlightenment and illumination. To begin with this hymnological -revision was mainly in the interest of form. Severity, irregularity and -archaism in expression and style, in rhyme and meter, etc., had to be -eliminated from the church hymns. Up-to-date language had to be used. -The revision of form was soon followed by a revision of content. Old -ideas in the hymns had to be removed. The church hymns had to be in -harmony with the new ethical ideas of the age. A great work in -hymnological vandalism was in progress. It was not sufficient to merely -improve the old hymns. Most of the grand old church hymns were dropped -and new ones produced—new hymns which were in perfect harmony with the -new ideas of the age. The new hymn book was to be a kind of textbook in -moral philosophy. The new hymn book should instruct the people in many -useful things. Hymns were written on such subjects as profitable -economy, extravagance, superstition, scepticism, quiet and peaceful -life, contentedness, integrity, the right use of pleasure, commerce, -agriculture, vaccination, sleep, etc. The direction was not heavenward -so much as worldward. - -The leading hymnological revisor or editor was Friedrich Gottlieb -Klopstock (1724-1803). He also wrote a few original hymns. One of the -best hymn writers of this hymnological era was Christian Fuerchtegott -Gellert (1715-1769). He wrote a number of excellent hymns. Johann Casper -Lavater (1741-1801) was perhaps the greatest hymn writer of this period. - -The fifth period of German hymnody, an era of renovation, from about -1825 to about 1910, is known not so much for original hymn writing as -for its general return to the best of old German hymnody. The neological -hymn books of the preceding period were condemned and rejected. New hymn -books were published, which contained the best church hymns of all -times. Outstanding hymnological compilers and editors are Dr. Hermann -Adalbert Daniel, Dr. Carl Eduard Philipp Wackernagel, and Stip. Albert -Knapp and Dr. Carl Johann Spitta are important German hymnists of this -period. Important English translators are Miss Catherine Winkworth, Miss -Frances Elizabeth Cox, Miss Jane Borthwick and her sister—Mrs. -Findlater, Rev. Richard Massie, and Rev. A. Tozar Russell. - - - SCANDINAVIAN LUTHERAN HYMNODY - -The Reformation era, the sixteenth century.—The hymnody of the -Scandinavian Church during this period was, for the most part, an echo -of that of the German mother Church. Among important hymnists of this -period we note Hans Taussen, Hans Tomissön, Cl. Töndebinder and Nils -Jespersen of the Danish Church. In the Swedish Church we note especially -the two brothers, Olaus and Laurentius Petri, the two great Swedish -reformers, students under Dr. Martin Luther at the University of -Wittenberg. The first Swedish Lutheran hymn book was issued by Olaus -Petri, 1526, called “Swedish Songs” (about ten hymns). Revised and -enlarged editions of this hymn book appeared in 1530 and 1536. In this -first Swedish Lutheran hymn book we find hymns by the Swedish poet Olaf -Swensson, who distinguished himself as a zealous polemic against the -Roman Catholic Church and “Antichrist” (the pope). In 1567 appeared -another Swedish Lutheran hymn book, containing 99 hymns, which has been -called “the hymn book of Laurentius Petri,” because it contained many -translations and several original hymns by him. A revised and enlarged -edition of this hymn book appeared in 1572. In this hymnal appeared the -popular and beautiful Swedish Lutheran hymn, “A sinful man, who lay in -trance of sin, he heard a voice from heaven: Awake, awake, list to the -Word that comfort gives.” It has been claimed by several authorities -that this hymn is the foremost hymn in the Swedish literature of the -sixteenth century, and also one of the greatest of Swedish Lutheran -hymns. It is probably the work of Laurentius Petri Gothus. - -Scandinavian Lutheran hymnody may be divided into five hymnological -periods, similar to the five periods of German Lutheran hymnody. The -hymnological periods of German and Scandinavian hymnody are parallel. - -The second period, the seventeenth century.—The seventeenth century is -said to be the days of glory in the history of Scandinavian Lutheran -hymnody—its foremost period. While the Danish hymnists Hans Sthen, A. -Arreboe, and especially T. Kingo wrote their hymns, the hymnody of the -Swedish Church developed somewhat independently, with Swedish fervor and -virility in connection with Biblical and practical simplicity in the -best sense. The advance of this period on the Reformation era was much -greater in the Swedish Church than in the German Church. It is also to -be noted that the highest point in Swedish Lutheran hymn writing was -reached in the later part of the seventeenth century, somewhat later -than in Germany. Important Swedish hymnists of this period are Samuel -Columbus, Erik Lindsköld, Petrus Brask, Gustaf Ollon, Israel Kolmodin, -Jacob Boethius, Jakob Arrhenius, and especially the two bishops, Haquin -Spegel and Jesper Swedberg. The Swedish Lutheran hymnal of 1695 was a -masterwork. - -The third period, from 1700 to 1750.—The Scandinavian Church was not -subject to the hymnological fluctuations that the German Church -experienced in this period, because the excellent Swedish hymnal of 1695 -remained throughout the 18th century as the only official and popular -hymn book. Efforts were made to produce new hymnals. About 1765 appeared -an orthodox hymnal, “sound in doctrine and unpoetical”—called the Celsic -hymnal, because O. Celsius had a great deal to do with its compilation. -Pietistic and Moravianistic hymnals appeared. As an example of the -Pietistic hymnals we note “The Songs of Moses and the Lamb,” by -Lybecker, 1717. “The Songs of Zion” was a Moravianistic product, -published about 1745. The Danes and the Norwegians were fortunate in -having as their foremost hymnist the great H. A. Brorson, a most noble -Pietistic hymn writer. - -The fourth period.—This period includes the last half of the eighteenth -century and the first fifteen years of the nineteenth. The neological -spirit did not get into the church life of Sweden as thoroughly as in -Germany. This fortunate condition is plainly seen in the hymnody of the -Swedish Church. The hymnal that was published in 1793, the year of the -200th anniversary of the important Church Council at Upsala (1593), -contained very few new hymns, and the old hymns retained were only -slightly revised. But this hymnal was not accepted by the Swedish -Church. About twenty years later, in 1814, appeared a new project in the -matter of a revised and improved hymnal, the result of neological -efforts to produce new church hymns. Many very able hymnists united in -this great hymnological project, to show what genius and good taste can -accomplish. It was a great work, but, on the whole, unsuccessful—too -fine, perhaps. - -The fifth period, the nineteenth century.—The hymnological situation in -Sweden in the nineteenth century was somewhat similar to that in -Germany. But it is hardly a question of returning to the old, because -neological activities were not able to deprive the Swedish Church of her -old hymnody. Efforts to give to the Church a large number of the best of -the old church hymns (Greek, Latin, German and Scandinavian), carefully -edited, and some new Swedish church hymns, resulted in the important -Swedish Hymnal of 1819. It has remained to this day (1925) the official -and popular Hymnal of the Swedish Church. It is the Swedish hymn book of -the Augustana Synod. With respect to the old church hymns in the hymnal, -it may be said that much was gained by this work of revision. Most of -the new hymns are excellent. A few of the hymns betray neological -influences. On the whole, however, the Hymnal of 1819 is a very fine -Lutheran hymn book. It contains 500 hymns. Revision is undoubtedly -needed, and such work has been going on for some time. - -Among Swedish hymn writers who contributed to the Hymnal of 1819 we note -especially Bishop J. O. Wallin (died 1839) and Bishop F. M. Franzen -(died 1847). Wallin produced 128 original hymns and revised or -translated very many old and new hymns. The Hymnal of 1819 has often -been called Wallin’s Hymnal. Most of his hymns are immortal -masterpieces. Franzen produced 22 original hymns. As a hymnist Franzen -possessed less rhetorical elevation and force than Wallin, but he is -fully equal to Wallin not only in the Biblical-evangelical quality of -the content but also in the lyrical heartiness of the tone as well as in -the transparency and simplicity of the language. Other important Swedish -hymn writers of this period are Samuel J. Hedborn (died 1849) and Erik -Gustaf Geijer (died 1847). Johan Henrik Thomander and Per Wieselgren are -the editors of the Swedish Hymnal (1819) that is used in the Swedish -Lutheran Augustana Synod, U. S. A. - -In the Danish Church the well known N. F. S. Grundtvig (died 1872) has -rendered great service as a reviser of old church hymns and writer of -several excellent original hymns. The Norwegian Lutheran hymn book by -Rev. M. B. Landstad (died 1881) is a very important hymnological work. -It is a popular hymnal in the Norwegian Church. An important Swedish -hymn book was published in Finland in 1880, which contained many -excellent old church hymns from Swedish and German sources, but also -several new hymns by such well known Finnish scholars as Johan Ludvig -Runeberg (died 1877), Zacharias Topelius (died 1898), and others. - -Bishop J. O. Wallin brought about a very high hymnic standard in the -Swedish Church—perhaps the highest hymnic standard in the entire -Lutheran world. When we examine what Grundtvig and Landstad gave the -Danish and Norwegian churches, we find a great deal of the folk song -element in that hymnody—not an unwholesome attribute. Wallin’s work -belongs rather to the sphere of the solemn and sublime church hymn. The -hymnody of the Swedish Lutheran Church is among the finest in the whole -field of Lutheran hymnology, a church hymnody born in the days of the -Reformation, four hundred years ago. - - - AMERICAN LUTHERAN HYMNODY - -The early Lutherans in America came from lands where church song had -attained high position and where a large number of noble church hymns -had been produced. The early German Lutherans sang from a great variety -of hymn books which they had brought with them from the homeland. Dr. -Henry Eyster Jacobs makes the following statement in “A History of the -Evangelical Lutheran Church in the United States”: “Muhlenberg had -complained greatly of the variety of hymn books in use in the -congregations, and generally within the same congregation. Of these, the -Marburg hymn book gained precedence, and an American edition was -published by Christopher Saur, Germantown, in 1762.” This hymn book -contained over six hundred hymns. - -About the same thing may be said of the earlier Lutheran immigrants, the -Dutch and the Swedes. About 1675 the Swedes appealed to the King of -Sweden for 12 Bibles, 100 hymn books, etc. In 1696 a ship carrying -missionaries and a large supply of books left Sweden for America. - -The work of organizing the early Lutheran Church in America fell to Rev. -Dr. Henry Melchior Muhlenberg, often called the Patriarch of the -American Lutheran Church. He came to Philadelphia in 1742. The first -Evangelical Lutheran Synod in America was organized by Muhlenberg at -Philadelphia in 1748. This body is known as the Evangelical Lutheran -Ministerium of Pennsylvania and Adjacent States. In 1782 this synod -resolved to have a new hymn book printed for the united congregations. A -hymn book committee was appointed and given the following instructions: -“As far as possible to follow the arrangement of the Halle hymn book, -and not to omit any of the old standard hymns, especially of Luther and -Paul Gerhardt.” This German hymn book appeared in 1786, having been -prepared by Muhlenberg, Kunze, and Helmuth. Poor health prevented -Muhlenberg from taking a more active part in the compilation of this -hymn book. While it was used extensively, it seems that the book did not -fully meet the wishes of the synod. Apparently the active editors, -especially Dr. Helmuth, had not been successful in the selection and -revision of the hymns. The inter-denominational (Lutheran and Reformed) -hymn book of 1817, the “Gemeinschaftliches Gesangbuch,” was an inferior -hymnological work. It was meant to take the place of the Pennsylvania -hymn book of 1786. In 1849 the Ministerium of Pennsylvania published a -new hymn book, prepared chiefly by Dr. C. R. Demme. The Synods of New -York and West Pennsylvania co-operated in this issue. Although popular, -this Pennsylvania hymn book did not measure up to that of 1786. About -the middle of the nineteenth century, several German Lutheran hymn books -were published by different synods. The Kirchenbuch of the General -Council, published in 1877, is a hymnological work of high merit. - -The first English Lutheran hymn book used in America was the “Psalmodia -Germanica” of 1725, 1732, and 1756. It came to America from London, -England. It contained 122 hymns, several by Luther and Paul Gerhardt. In -1795 Dr. John C. Kunze of New York published “A Hymn and Prayer Book, -for the use of such Lutheran Churches as use the English language.” Its -240 hymns were gathered from German Lutheran, Moravian, English and -American sources. In 1797 Rev. George Strebeck issued “A Collection of -Evangelical Hymns, made from Different Authors and Collections, for the -English Lutheran Church in New York.” This was a rather un-Lutheran hymn -book. Rev. Strebeck and his New York congregation went over to the -Protestant Episcopal Church. In 1806 Rev. Ralph Williston published “A -Choice Selection of Evangelical Hymns from Various Authors, for the Use -of the English Lutheran Church in New York.” While this hymn book met -with popularity within the New York Ministerium, it was not a Lutheran -hymn book. Most of its hymns were taken from Watts and Charles Wesley. -Rev. Williston and his New York congregation also went over to the -Protestant Episcopal Church. In 1815 appeared “A Collection of Hymns and -a Liturgy for the Use of Evangelical Lutheran Churches.” Published by -order of the Evangelical Lutheran Synod of the State of New York. The -editors were Drs. Quitman and Wackerhagen. This book contained 520 -carefully selected hymns. - -A number of English hymn books were published before 1850, but they were -found more or less unsatisfactory. Some of them were quite un-Lutheran. -In 1863 the Ministerium of Pennsylvania decided to issue a new English -hymn book. A hymn book committee was appointed, which did very thorough -work. This resulted in the publication of the Church Book by the General -Council in 1868. This is undoubtedly one of the best English Lutheran -hymn books of the American Lutheran Church. It has been highly praised -by prominent hymnologists of Europe, and it has remained a very popular -English hymn book throughout the American Lutheran Church for over fifty -years. It has passed through several editions. - -Rev. Justus Falckner (1672-1723) wrote what may be called the first -American Lutheran hymn. He is said to be the first German Lutheran -pastor in America and was ordained by the Swedish Lutheran pastors in -Gloria Dei Church at Wicaco in 1703. This was the first Lutheran -ordination in America. We quote here the first two stanzas of Rev. -Justus Falckner’s beautiful hymn. The hymn was originally written in -German—“Auf, ihr Christen, Christi Glieder.” - - Rise, ye children of salvation, - All who cleave to Christ the Head! - Wake, arise, O mighty nation, - Ere the foe on Zion tread: - He draws nigh, and would defy - All the hosts of God Most High. - - Saints and heroes, long before us, - Firmly on this ground have stood; - See their banner waving o’er us, - Conquerors through the Saviour’s Blood! - Ground we hold, whereon of old - Fought the faithful and the bold. - -The American Lutheran Church cannot as yet point to an American Lutheran -hymnist like Paul Gerhardt or John Olof Wallin. The English Lutheran -hymn books in America contain translations of German, Scandinavian, old -Greek, and old Latin hymns, also a large number of carefully selected -English (Reformed) hymns. The matter of translating great German and -Scandinavian Lutheran hymns into English is a very difficult task. But -there are Lutherans in America who write hymns worthy of more general -acceptance. They would find it if it were, first of all, accorded to -them by their fellow-Lutherans of other synods. So long as the hymn -writers of another synod are largely ignored in American Lutheran -synodical hymnals, it is not to be expected that what they write will -find its way into the hymnals of other denominations. Among the most -successful translators and hymn writers within the American Lutheran -Church the following may be mentioned: Rev. H. Brueckner, Rev. Dr. -Matthias Loy, Rev. Dr. Charles Poterfield Krauth, Rev. John Casper -Mattes, Rev. Dr. Alfred Ramsey, Rev. Dr. Charles William Schaeffer, Rev. -Dr. Joseph Augustus Seiss, Mrs. Harriett Reynolds Spaeth, Rev. Dr. C. H. -L. Schuette, Miss Anna Hoppe, and Rev. Dr. Paul E. Kretzmann. Miss -Catherine Winkworth, Anglican, has produced a large number of excellent -translations of German Lutheran hymns. - -Several excellent English Lutheran hymn books have been published within -the American Lutheran Church. Perhaps the foremost work is the Common -Service Book, authorized by the General Synod, the General Council, and -the United Synod in the South. The Evangelical Lutheran Hymnal, -published by order of the First English District of the Joint Synod of -Ohio and Other States, is a worthy American Lutheran hymn book. The -Wartburg Hymnal, edited by Professor O. Hardwig and published by -Wartburg Publishing House, is noteworthy. The Scandinavian Lutherans -have also published commendable hymn books. The new Hymnal of the -Augustana Synod (1925) is excellent. Hymn book committees are at work on -the compilation of better and more serviceable English Lutheran hymnals. - -The history of hymnody in the American Lutheran Church is in many -respects discouraging. A prominent American Lutheran theologian recently -made the following statement: “Few of our ministers have ever had an -appreciation of the treasures of Lutheran church song” The training of -the clergy in hymnology and church music is not what it ought to be. The -education of the church organist and choir director is woefully -deficient. More serious study in liturgics, hymnology and church music -is needed. Yet some very good work has been done by American Lutheran -hymnists, hymnologists and church musicians. The Memoirs of the Lutheran -Liturgical Association contain much valuable information concerning -American Lutheran church song; so also the Essays on Church Music, -volumes which contain papers read at Lutheran church music conventions -held chiefly in Pennsylvania. Other sources of information are: “The -English Hymn” by Dr. Louis F. Benson, pages 410-420 and 560-563. “The -Lutheran Cyclopedia” by Jacobs and Haas, pages 235-238 and 96-97. “A -History of the Evangelical Lutheran Church in the United States” by -Henry Eyster Jacobs, the references to hymn books and hymns. History of -the Liturgical Development of the Ministerium of Pennsylvania, vol. -XVII, page 93, Lutheran Church Review. The Common Service Book and -Hymnal, vol. XXXVII, page 289, Lutheran Church Review. - - - - - CONCLUSION - - -How old is Lutheran church song? Four hundred years—the historical age -of the most vigorous production in the realm of sacred song. We must not -forget that one thousand popular evangelical Lutheran church hymns are a -selection from perhaps one hundred thousand church hymns. What a great -vital power! Is there any reason to believe that this vitality is about -to cease? Is Lutheran hymn writing a thing of the past? The power to -create is not yet extinct. The hymnody of the Church is steadily -conquering new ground. In the Episcopal Church the church hymn has taken -on greater and greater significance. Wherever evangelical missionary -work is gaining ground, the church hymns find favor. So long as the -Lutheran Church lives, Lutheran church song will flourish. - -Even from the literary point of view, this Lutheran hymnic vitality -ought to be appreciated. Is it not strange that poets whose work will be -forgotten after a few decades, are treated at length in our histories of -literature, while this body of song, which has stood the test of -centuries, scarcely receives mention? Yet our Lutheran church hymn has -perhaps very few literary competitors. As a representation of life, does -it not fitly take its place beside the many legends that have delighted -the children of old India, or Homer’s Iliad and Odyssey, or the metrical -romances of the Middle Ages, or Dante’s Divine Comedy, or a great -Shakespearean drama, or the songs of the Israelites? - -But it is not because the Lutheran church hymn is great poetry that it -lives. It is because of the life of the Church, the life of souls, the -life of the Christian faith, that the church hymn lives. From this it -draws its life and becomes an ever fresh source of spiritual life. - -Looking at the church hymn from this point of view, looking at the -content of the church hymn, the outlook widens and goes far beyond the -time of four hundred years. - -If the history of our evangelical church hymn has reference more -particularly to the historical evolution of the content and the making -of the form, then this history embraces several thousand years of the -religious development of our race. This holds good also from the -literary point of view. It is obvious that our popular Lutheran church -hymns contain material from all classical ages revealed by history, from -the first literary days of old Israel down to the present time, and this -very often in the most intimate fusion. - -Take for example one of F. M. Franzen’s greatest hymns, the first stanza -of which follows: - - Prepare the way, O Zion! - Ye awful deeps, rise high, - Sink low, ye towering mountains; - The Lord is drawing nigh: - The righteous King of glory, - Foretold in sacred story. - Oh, blest is He that came - In God the Father’s Name! - -How much there is in that stanza! And it is only the first stanza of a -truly great Lutheran church hymn. In all this, which may seem quite -commonplace, there really is something truly wonderful; an old, old -story about the life of faith and its expression in song and worship—an -exceedingly beautiful testimony about the fulness of God’s work in the -history of spiritual life on earth. - -Our hymnological annotations must draw to a close. They may be regarded -as observations and reflections during the study of a great subject: Our -Lutheran church song. Perhaps they will be of some value to those who -have much to do with Lutheran hymn singing as well as to those who teach -and instruct our young people in this branch of our ecclesiastical -inheritance. - -Much must be done before we can really claim that the American Lutheran -Church has fully taken over this rich legacy. - -A church hymn sung by a Lutheran congregation as it should be sung—that -may at first thought seem to be a very simple and insignificant matter. -But taken in its historical and religious connections, the matter is far -from simple or insignificant. And taken as a problem—it is not easily -solved. Its relations to the facts and conditions of spiritual life -extend far and wide. Hymnological study gives us an idea of these -things. Our Lutheran hymnody is four hundred years old—many of our best -Lutheran hymns are four hundred years old—four hundred years, think of -it, full of ups and downs, ecclesiastically and politically—four hundred -years of sacred song through all kinds of significant life experiences. -Four hundred years—turn to mediaeval and modern history. - -Looking at the history of the church hymn, we may lay down as a -fundamental principle that the church hymn cannot live without -connection with the life that has passed through the ages, from the -prophets of old, Christ, the Reformation, and down to the present. Only -in this connection does the church hymn possess a positive significance -or the significance of a life-promoting factor. - -The correctness of this principle may be confirmed from actual -experience. In the history of languishing and dying church song, we can -read about languishing and dying Christian nations—nations in deplorable -condition both ecclesiastically and nationally—nations of emigration, -non-patriotism, and of little or no sense of duty—nations of imported -religious thinking and poorly translated songs. - -The question has often been raised: Does the American Lutheran Church -really sing? Yes and No—for the most part No. Most of our American -Lutheran country congregations do not sing. How about the city churches? -A sad affair! In most cases the situation is far from ideal. A church -hymn, _a Lutheran church hymn_, cannot be sung properly by those who -forget God, Bible, history, etc., in order to practise a little general -culture and enjoy a little tasty personal aesthetics. If a noble -Lutheran church hymn is sung, it is usually sung by the choir, perhaps -as a concert number, disconnected from its vital connection. And -detached from its connection, the noble Lutheran church hymn becomes, -like everything else that has vital significance, nothing. That which -does not really hang together, becomes patchwork, bandages, finery, -rags—we may praise it enthusiastically. Very much like American -culture—sorry to say. Uniting, cementing, productive LIFE is lacking. - -Many American Lutheran churches do not sing Lutheran church hymns at -all. How deplorable! We often attend Lutheran church services where not -a single Lutheran church hymn or Lutheran chorale is sung. Here is a -serious flaw in American Lutheran education and leadership. How about -the hymn singing in our American Lutheran Sunday schools? Would it not -be well to sing at least one Lutheran church hymn each Sunday? Or shall -we permit Lutheran hymnody to die? Is great Lutheran hymnody a thing of -the past? - -But what is the most serious thing that our American Lutheran -congregational hymn singing lacks? One thing—LIFE. That is our great -problem—life in our church song—new life—LIFE. With this go all the -difficulties of the problem of life. - -Since it is the business of the Church to sing the church hymn, the -question becomes very complicated. So many factors must co-operate in -this matter, if we are to get anywhere—to sing a Lutheran church hymn as -it should be sung. Our American Lutheran colleges and theological -seminaries will have to undertake more serious educational work in the -important field of hymnology and church music. A strong summer school of -Lutheran church music, liturgics and hymnology would be very valuable. - -Take the familiar situation: The great festival hymn of the Reformation -is sung. We have before us altar, pulpit, pipe organ; we have before us -minister, organist, choir, congregation. The ideal of the problem is a -_harmonious co-operation_ between all if we are to have VITAL worship -and VITAL song. - -The good pastor of a large Lutheran church in Connecticut thanked his -organist and choirmaster in a very hearty way after a fine Sunday -morning service. The good organist and choirmaster answered: “Well, who -cannot play and sing when the pastor preaches such soul-stirring sermons -and conducts the liturgy so beautifully?” And the good pastor replied: -“Well, who cannot preach and conduct the liturgy when the organist and -choirmaster does such excellent work?” That is real co-operation—they -helped each other in a beautiful way. They co-operated in the selection -of hymns and choir music—every Tuesday or Wednesday evening that pastor -and organist were together in conference concerning the song of the -church. That is work very much worth while for the Church service. - -In our thousands of Lutheran churches throughout the United States of -America, the American Lutheran Church is to be built up and built -together into ONE great Church, into ONE people that really sings—a -people of God. - - But when here devoutly soareth - High the temple-anthem sweet, - Grief grows calm, no plaint outpoureth— - Hearts with holy rapture beat: - Free from earthly clouds the soul - Presses toward a higher goal, - Takes from hope the comfort given, - Speaks e’en now the tongue of heaven. - - O my soul, thy wing ascending, - Yet on Salem’s mount shall rest; - There where cherub-harps are blending - With the singing of the blest; - Let thy note of praise and prayer - To thy God precede thee there, - While e’en yet a care-worn mortal, - Still without thy Father’s portal. - - Let us, Christians, here that wander, - As our fathers in their day, - Piously together ponder, - Gladly sing and meekly pray; - Be the children’s voices raised - To the God their fathers praised. - Let Thy bounty failing never - Be on us and all forever. - (From J. O. Wallin) - - - - - ADDENDA - REFORMED CHURCH SONG - - -The founders of the so-called Reformed Church, Ulrich Zwingli and John -Calvin, sought to restore apostolic simplicity in the matter of public -worship. All images and ornaments were removed from the Reformed -churches. The altars were changed to plain tables. Musical instruments -were not allowed in the churches. Zwingli made the sermon the chief part -of the church service. The Latin chants and songs were abolished, and -their places were seldom filled with congregational singing in the -vernacular. With regard to church service, Calvin had on the whole the -same views as Zwingli. He introduced, however, congregational singing, -using translated and versified portions of the Psalms of David. - -Thus the Reformed Church turned to Biblical Psalmody. Early versifiers -of Davidic Psalms were Clement Marot (1495-1544), Theodore Beza -(1519-1605), and Ambrosius Lobwasser (1515-1585). Joachim Neander -(1650-1680), Gerhard Tersteegen (1697-1769), and Lavater (died 1801) are -important Reformed hymnists. The Genevan Psalter, by Marot and Beza, a -successful and influential hymnological work, appeared about the middle -of the sixteenth century. Ambrosius Lobwasser produced a German edition -of the Genevan Psalter in 1573, which became very popular and exerted -considerable influence. English Psalmody presents such important names -as Miles Coverdale (1487-1569), George Buchanan (1506-1582), Thomas -Sternhold (sixteenth century), John Hopkins, Nahum Tate, Nicholas Brady, -and Isaac Watts. In Scotch Psalmody the Royal Psalter and the celebrated -Rous’ Version are significant hymnological works. The Bay Psalmist or -the New England Version was America’s first hymn book. For further study -of Reformed church song we recommend “The Hymn as Literature,” by J. B. -Reeves, also Benson’s “The English Hymn.” - - - - - A LIST OF HYMN WRITERS - (Mainly Lutheran) - - -Adam of St. Victor (died 1177), Latin hymnist. - -Adlerbeth, G. G., state secretary, b. 1751, d. 1818, Swedish hymnist. - -Afzelius, A. A., court chaplain, b. 1785, d. 1871, Swedish hymnist. - -Agricola, Johann, court chaplain, b. 1492, d. 1566, German hymnist. - -Ahnfelt, O., bishop in Swedish Church, b. 1854, d. 1910. - -Ahnfelt, P. G., pastor in Swedish Church, b. 1803, d. 1863. - -Albert, Heinrich, b. 1604, d. 1651, German Lutheran hymnist. - -Albinus, Rev. Johann Georg, b. 1624, d. 1679, German Lutheran hymnist. - -Albrecht (IV) Jr., d. 1557, German hymnist. - -Alin, S., rural dean in Swedish Church, b. 1852. - -Altenburg, Rev. Johann Michael, b. 1584, d. 1640, German Lutheran - hymnist. - -Ambrose, Aurelius, Bishop of Milan, b. 340, d. 397, Latin hymnist. - -Amnelius, Rev. A. P., b. 1638, d. 1692, Swedish hymnist. - -Anatolius, cir. VIII century, Greek hymnist. - -Andrew of Crete, Archbishop, b. 660, d. 732, Greek hymnist. - -Arndt, Ernst Moritz, professor, b. 1769, d. 1860, German hymnist. - -Arrhenius, Rev. Jacob, Upsala University professor, b. 1642, d. 1725, - great Swedish Lutheran hymnist. - -Augustine, Aurelius, great Bishop of Hippo, b. 354, d. 430. - -Ausius, Hakan, d. 1653, Swedish hymnist. - -Bahnmaier, Rev. Jonathan Friederich, b. 1774, d. 1841, German Lutheran - hymnist. - -Becker, Cornelius, pastor in Leipzig, b. 1561, d. 1604. - -Bede, the Venerable, b. 673, d. 735, Latin hymnist. - -Bellman, Carl Michael, Swedish poet, b. 1740, d. 1795. - -Bengel, J. A., consistorial counselor in Stuttgart, Bible Theologian, b. - 1687, d. 1752. - -Bergstedt, C. F., Swedish author, b. 1817, d. 1903. - -Bernard of Clairvaux, b. 1091, d. 1153, Latin hymnist. - -Bernard of Cluny, b. cir. 1145, Latin hymnist. - -Beza, Theodore, b. 1519, Burgundy, professor at Lausanne, preacher at - Geneva, French Switzerland, d. 1605. - -Blix, E., professor, Norwegian Church, b. 1836, d. 1902. - -Boethius, Rev. Jacob, Swedish Church, b. 1647, d. 1718. - -Boethius, S. J., professor, Swedish Church, b. 1850. - -Begatsky, Karl Heinrich von, b. 1690, Silesia, Lutheran Pietist, d. - 1774. - -Borthwick, Miss Jane Laurie, b. 1813, d. 1897, important English - translator of German hymns. - -Brag, Karl J., pastor and dean at Gothenburg, Swedish Church, b. 1735, - d. 1781. - -Brask, Peter, b. 1641, d. 1691, Swedish hymnist. - -Brorson, Hans Adolf, bishop in Danish Church, b. 1694, d. 1764, - important Danish hymnist. - -Buermeyer, Ferdinand Frederick, M. A., D. D., b. 1846, New York, - Lutheran. - -Canitz, Friedrich Rudolph Ludwig, Freiherr von, b. 1654, d. 1699, German - Lutheran. - -Carlberg, Birger, pastor in Swedish Church, b. 1641, d. 1683. - -Cassel, Karl Gustaf, state official, b. 1783, d. 1866, Swedish Lutheran - hymnist. - -Cavallin, S., rural dean in Swedish Church, b. 1820, d. 1886. - -Choraeus, Michael, professor, b. 1774, d. 1806, Swedish-Finnish hymnist. - -Claudius, Matthias, b. 1740, d. 1815, German Lutheran hymnist. - -Clausnitzer, Rev. Tobias, M. A., b. 1619, d. 1684, German Lutheran - hymnist. - -Clement of Alexandria (Titus Flavius Clemens), b. cir. 170, d. cir. 220, - Greek hymnist. - -Columbus, Samuel, b. 1642, d. 1679, Swedish Lutheran hymnist. - -Cornelius, C. A., bishop in Swedish Church, b. 1828, d. 1893. - -Cox, Miss Frances Elizabeth, b. 1812, d. 1897, English translator of - German hymns. - -Cruciger, Elizabeth, died 1558, German hymnist. - -Dach, Simon, professor, b. 1605, d. 1659, German Lutheran hymnist. - -Dachstein, Wolfgang, organist at St. Thomas Church, Strassburg, left - monastic life 1524, German Lutheran hymnist. - -Dahl, Kristoffer, Upsala University professor, b. 1758, d. 1809. - -v. Dalin, Olof, Swedish poet and historian, b. 1708, d. 1763. - -Dalius, Sven, b. 1604, d. 1693, Swedish hymn writer. - -Decius, Nikolaus, b. Bavaria, d. 1529, German Lutheran hymnist. - -Denicke, David, b. 1603, d. 1680, German Lutheran hymnist. - -Dilluer, J., dean in Swedish Church, b. 1785, d. 1862, important Swedish - Lutheran hymnologist. - -Diterich, J. S., pastor in Berlin, Germany, b. 1721, d. 1797. - -Dueben, J. von, b. 1671, d. 1730, Swedish Lutheran hymnist. - -Eber, Rev. Paul, b. 1511, d. 1569, German Lutheran hymnist. - -Ekdahl, F. N., rural dean in Swedish Church, b. 1853. - -Evers, Edvard, court chaplain, b. 1853, Swedish hymnologist. - -Fant, Erik M., Upsala University professor, b. 1754, d. 1817. - -Findlater, Mrs. Sarah (Borthwick), b. 1823, d. 1907, English translator - of German hymns. - -Fleming, Paul, physician, b. 1609, d. 1640, German hymnist. - -Fortunatus, Venantius, bishop of Poitiers, b. 530, d. 609, Latin - hymnist. - -Franck, Johann, burgomaster, b. 1618, d. 1677, German Lutheran hymnist. - -Franck, Salomo, b. 1659, d. 1725, German Lutheran hymnist. - -Franzen, Frans Michael, bishop, b. 1772, d. 1847, great Swedish Lutheran - hymnist. - -Freylinghausen, Johann, b. 1670, d. 1739, German hymnist. - -Frimann, Claus, pastor, b. 1746, d. 1829, Norwegian hymnist. - -Funcke, Rev. Friedrich, b. 1642, d. 1699, German Lutheran hymnist. - -Gardie, Magnus Gabriel de la, chancellor, count, etc., b. 1622, d. 1688, - Swedish hymnist. - -Geijer, Erik Gustaf, Upsala University professor, great Swedish poet, - historian, b. 1783, d. 1847, Swedish Lutheran hymnist. - -Gellert, Rev. Christian F., professor, Leipzig, b. 1715, d. 1769. - -Gerdes (Gerdessen), Johann, pastor of German Church, Stockholm, Sweden, - b. 1624, d. 1673. - -Gerhardt, Paul, b. 1607, d. 1676, great German Lutheran hymnist. - -Gezelius, J., bishop in Swedish Church, b. 1647, d. 1718. - -Gesenius, Rev. Dr. Justus, court chaplain, court preacher, b. 1601, d. - 1673, German Lutheran hymnist. - -Gotter, Ludwig Andreas, b. 1661, d. 1735, German Lutheran hymnist. - -Gramann, Johann, pastor, b. 1487, d. 1541, early German Lutheran - hymnist. - -Gregory the Great, b. 540, d. 604, important early Latin hymnist. - -Gripenhjelm, Edmund, Upsala University professor, senator, etc., b. - 1622, d. 1675, Swedish Lutheran hymnist. - -Grundtvig, Rev. N. F. S., b. 1783, d. 1872, great Danish Lutheran - hymnist. - -Günther, Cyriacus, b. 1649, d. 1704, German hymnist. - -Gustavus Adolphus, one of Sweden’s greatest kings, great conquering hero - of oppressed Protestantism, b. 1594, fell in the battle of Lützen, - November 6, 1632. - -Gyllenborg, Gustaf Fredrik, count, Secretary of State, great Swedish - poet, b. 1731, d. 1808. - -Hardenberg, Freiherr von, b. 1772, d. 1801, German Lutheran hymnist. - -Harsdörffer, Georg Philipp, councillor, b. 1607, d. 1658, German - hymnist. - -Hauge, A., dean in Norwegian Church, b. 1815, d. 1892, important - Norwegian hymnist and hymnologist. - -Hedborn, Samuel J., court chaplain, pastor, great Swedish poet, b. 1783, - d. 1849, great Swedish Lutheran hymnist. - -Heermann, Johann, pastor, b. 1585, d. 1647, great German Lutheran - hymnist. - -Held, Heinrich, d. 1655, lawyer, German Lutheran hymnist. - -Helmbold, Ludwig, superintendent, b. 1532, d. 1598, German Lutheran - hymnist. - -Herberger, Valerius, pastor, b. 1562, d. 1627, German Lutheran hymnist. - -Hermann, Nicolaus, schoolmaster, cantor and organist, d. 1561, important - German-Bohemian hymnist. - -Herzog, Joh. Friedrich, LL.D., Dresden, b. 1647, d. 1699, German - hymnist. - -Hey, Rev. Johann Wilhelm, b. 1789, d. 1854, German Lutheran Pietist. - -Heyd, Sebaldus, rector at Nürnberg, b. 1498, d. 1561. - -Hilarius (Hilary), famous Bishop of Poitiers, d. 368, first Latin - hymnist. - -Hiller, Philipp, pastor, b. 1699, d. 1769, German Lutheran hymnist. - -Hjerten, J., pastor, b. 1781, d. 1835, Swedish Lutheran hymnist. - -Homberg, Ernst Christoph, lawyer, b. 1605, d. 1681, German Lutheran - hymnist. - -Hoppe, Miss Anna, of the Evangelical Lutheran Synod of Wisconsin, - American Lutheran hymnist. - -Hubert, Konrad, deacon, Strassburg, b. 1507, d. 1577, German hymnist. - -Huss, Johann, b. 1369 at Hussinecz, Bohemia, precursor of the - Reformation, follower of John Wycliffe, pastor in Prague, rector of - University of Prague, excommunicated by the Pope as an arch-heretic, - burned at the stake during the Catholic Church Council at Constance, - July, 1415. - -Ingemann, Bernhardt Severin, poet, professor, b. 1789, d. 1862, great - Danish Lutheran hymnist. - -Jacobs, Henry Eyster, D.D., LL.D., S.T.D., b. 1844, Pennsylvania, dean - Philadelphia Theological Seminary, Lutheran Theologian and Author. - -Jacoponus (Jacopone da Todi), Franciscan monk, d. 1306, Latin hymnist. - -Johannis Gothus, Peter, pastor, b. 1536, d. 1616, Swedish hymnist. - -John of Damascus, d. 780, great Greek hymnist. - -Jonae Gestritius, Laurentius, pastor, d. 1597, Swedish hymnist. - -Johansson, J., seminary rector, b. 1867, Swedish hymnologist. - -Joseph the Hymnographer, d. 883, great Greek hymnist. - -Kahl, Johan, b. 1660, d. 1742, Swedish hymnist. - -Kingo, Thomas, bishop, b. 1634, d. 1703, great Danish hymnist. - -Klopstock, Friedrich Gottlieb, author, b. 1724, d. 1803, German hymnist. - -Knapp, Rev. Albert, b. 1798, d. 1864, German Lutheran hymnist. - -Knoll, Christoph, deacon, b. 1563, d. 1621, German hymnist. - -Knorr von Rosenroth, Christian, b. 1636, d. 1689, German Lutheran - hymnist. - -Kock, Karl Anton, lawyer and government official, b. 1788, d. 1843, - Swedish Lutheran hymnist. - -Kolmodin, Israel, professor of theology, Upsala University, b. 1643, d. - 1709, great Swedish hymnist. - -Kolmodin, Rev. Olof, b. 1690, d. 1753, important Swedish hymnist. - -Lagerlöf, Peter, Upsala University professor, historian, scientist, - poet, b. 1648, d. 1699, Swedish hymnist. - -Landstad, Rev. M. B., b. 1802, d. 1881, great Norwegian hymnist. - -Laurenti, Laurentius, b. 1660, Schleswig, d. 1722, Cantor, Director of - Music, Roman Catholic Church, Bremen, Lutheran. - -Laurinus, Laurentius Laurentii, rector, pastor, b. 1573, d. 1655, - Swedish hymnist. - -Lenngren, Anna Maria, great Swedish poet, b. 1755, d. 1817. - -Leopold, Karl Gustaf, state secretary, Swedish poet, b. 1756, d. 1829. - -Lindschöld, Erik, government official, b. 1634, d. 1690, important - Swedish hymnist. - -Lobwasser, Ambrosius, professor of law, b. 1515, d. 1585, German - Reformed. - -Lohman, Karl Johan, pastor, Doctor of Theology, b. 1694, d. 1759, - Swedish Lutheran hymnist. - -Loy, Rev. Dr. Mathias, President of Capital University, Columbus, Ohio, - b. 1828, Pennsylvania, d. 1915, American Lutheran hymnist. - -Lucidor, L., poet, b. 1638, d. 1674, Swedish hymnist. - -Lundwall, Rev. Karl Johan, Upsala University professor, b. 1775, d. - 1858. - -Luther, Dr. Martin, b. 1483, d. 1546, the father of the evangelical - hymn. - -Lybecker, G., d. 1716, Swedish Pietistic hymnist. - -Marci, Rev. Georg, court chaplain, b. 1540, d. 1613, Swedish hymnist. - -Marot, Clement, first Reformed versifier of Davidic Psalms, Geneva, - French Switzerland, b. about 1495, d. about 1544. - -Martini, Rev. Olaus, bishop, b. 1557, d. 1609, Swedish hymnist. - -Massie, Richard, pastor, b. 1800, d. 1887, Anglican, important English - translator of German hymns. - -Mattes, Rev. John Casper, M. A., b. 1876, Pennsylvania, Lutheran. - -Melanchthon, Philip, Wittenberg University professor, Praeceptor - Germaniae, Luther’s important assistant, b. 1497, d. 1560. - -Mentzer, Rev. Johann, b. 1658, d. 1734, German hymnist. - -Meuslin, Rev. Wolfgang, theological professor, b. 1497, d. 1563, German - hymnist. - -Meyfart, Rev. Johann Matthaeus, Erfurt University professor, b. 1590, d. - 1642, German Lutheran hymnist. - -Mortensön Töndebinder, Claus, pastor, b. about 1500, d. about 1577, - important early Danish Lutheran hymnist. - -Muraeus, Rev. Stefan Larsson, court chaplain, b. about 1600, d. 1675, - Swedish hymnist. - -Münter, Rev. Balthasar, b. 1735, d. 1793, German Lutheran hymnist. - -Neander, Rev. Christ. Friedrich, b. 1723, d. 1802, German Lutheran. - -Neander, Joachim, b. 1650, d. 1680, important German Reformed pietistic - hymnist. - -Neale, Rev. Dr. John Mason, hymnologist and liturgiologist, b. 1818, d. - 1866, important English translator of Greek and Latin hymns. - -Nelson, Rev. Augustus, Augustana Synod, U. S. A., b. 1863. - -Neumark, Georg, poet, b. 1621, d. 1681, German Lutheran hymnist. - -Neumeister, Rev. Erdmann, court preacher, etc., b. 1671, d. 1756, German - Lutheran hymnist. - -Nicolai, Rev. Dr. Philipp, b. 1556, d. 1608, German Lutheran hymnist. - -Nibelius, Rev. Simon, b. 1747, d. 1820, Swedish Lutheran hymnist. - -Niemeyer, Aug. Herman, university chancellor, b. 1754, d. 1828, German - hymnist. - -Norenius, Rev. Ericus Laurentii, b. 1635, d. 1696, Swedish Lutheran - hymnist. - -Notker Balbulus, Benedictine monk, warden at St. Gall, d. 912, important - writer of Sequences. - -Nygren, Rev. Carl, b. 1726, d. 1789, Swedish Lutheran hymnist. - -Nyström, Per Olof, government official, b. 1764, d. 1830, Swedish - Lutheran Hymnist. - -Nilsson, Rev. Paul, court preacher, b. 1866, important Swedish - hymnologist. - -Ohl, Rev. Dr. Jeremiah Franklin, b. 1850, Pennsylvania, Lutheran. - -Olai, Ericus, Upsala University professor, d. 1486, important Swedish - hymnist. - -Olearius, Rev. Dr. Johann, general superintendent Halle and Weissenfels, - b. 1611, d. 1684, German Lutheran hymnist. - -Ollon, Gustaf, b. 1646, d. 1703, important Swedish Lutheran hymnist. - -Opitz, Martin, historian, b. 1597, d. 1639, important German hymnist. - -Pappus, Joh., professor of theology, Strassburg, b. 1549, d. 1610. - -Petri, Laurentius, b. 1499, d. 1573, Upsala University professor and - rector, first Lutheran archbishop of Sweden, pupil and follower of - Dr. Martin Luther, editor of one of earliest Swedish Lutheran hymn - books, important Swedish Lutheran hymnist. - -Petri, Olaus, b. 1493, d. 1552, pastor, great champion of Lutheranism in - Sweden, pupil and follower of Dr. Martin Luther, editor of first - Swedish Lutheran hymn book, important Swedish Lutheran hymnist. - -Poliander (Gramann or Graumann), Rev. Joh., b. 1487, d. 1541, German - hymnist. - -Prudentius, Aurelius Clemens, bishop, b. 348, d. 413, great early Latin - hymnist. - -Qwirsfeld, Joh., archdeacon, b. 1642, d. 1686, German hymnist. - -Rambach, Rev. Dr. Johann Jakob, professor of theology, b. 1693, d. 1735, - German Lutheran hymnist. - -Ramsey, Rev. Dr. Alfred, b. 1860, Pennsylvania, professor, Lutheran - Theological Seminary, Chicago. - -Reed, Rev. Dr. Luther D., b. 1873, Pennsylvania, professor, Lutheran - Theological Seminary, Philadelphia. - -Richter, Christian Friedr., physician, b. 1676, d. 1711, German hymnist. - -Ringwaldt, Rev. Bartholomew, b. 1530, d. 1598, German hymnist. - -Rinkart, Martin, cantor, archdeacon, b. 1586, d. 1649, German Lutheran. - -Rist, Rev. Johann, b. 1607, d. 1667, German Lutheran hymnist. - -Rodigast, Rev. Samuel, M.A., rector, b. 1649, d. 1708, German Lutheran. - -Rothe, Rev. Johann Andreas, M.A., b. 1688, d. 1758, German Lutheran. - -Rudbeck, Olof, Upsala University professor, b. 1660, d. 1740, Swedish - Lutheran hymnist. - -Rudbeckius, Rev. Petrus Johannes, Upsala University professor, b. 1578, - d. 1629, Swedish Lutheran hymnist. - -Runeberg, C. L., professor, b. 1804, d. 1877, great Finnish hymnist. - -Rutilius, Martin, archdeacon, b. 1550, d. 1618, German hymnist. - -Sandzen, J. P., rural dean in Swedish Church, b. 1830, d. 1904. - -Schaeffer, Rev. Dr. Charles William, b. 1813, d. 1898, professor - Lutheran Theological Seminary, Philadelphia. - -Schalling, Rev. Martin, b. 1532, d. 1608, German Lutheran hymnist. - -Schartau, Henric, rural dean in Swedish Church, b. 1757, d. 1825. - -Scheffler (Angelus Silesius), Johann, physician, Lutheran, later - Franciscan, b. 1624, d. 1677, German hymnist. - -Schenk, Rev. Hartmann, b. 1634, d. 1699, German hymnist. - -Schenk, Rev. Heinrich Theobald, b. 1656, d. 1727, German Lutheran. - -Schenkendorf, Max von, government official, b. 1783, d. 1817, German - hymnist. - -Schirmer, Rev. Michael, M.A., b. 1606, d. 1676, German Lutheran. - -Schlegel, Joh. Adolf, professor, b. 1721, d. 1793, German hymnist. - -Schmedeman, Johan, government official, b. 1653, d. 1713, Swedish - hymnist. - -Schmolck, Rev. Benjamin, b. 1672, d. 1737, important German hymnist. - -Schütz, Johann Jakob, lawyer, b. 1640, d. 1690, German hymnist. - -Scriver, Christian, court chaplain, b. 1629, d. 1693, German hymnist. - -Seiss, Rev. Dr. Joseph Augustus, b. 1823, d. 1904, American Lutheran - hymnist. - -Selnecker, Rev. Dr. Nikolaus, superintendent, b. 1530, d. 1592, early - German Lutheran hymnist. - -Skarstedt, C. W., professor, b. 1815, d. 1908, Swedish hymnist. - -Sonden, Per Adolf, pastor, author, b. 1792, d. 1837, Swedish hymnist. - -Spegel, Haquin, court chaplain, archbishop, poet, b. 1645, d. 1714, - important Swedish Lutheran hymnist. - -Spengler, Lazarus, close friend of Luther, b. 1479, d. 1534, German - Lutheran hymnist. - -Speratus, Paul, bishop, b. 1484, d. 1551, early German Lutheran hymnist. - -Spitta, Rev. Karl Johann Philipp, b. 1801, d. 1859, important German - Lutheran hymnist. - -Springer, Lars, 17th century, Swedish hymnist. - -Stegmann, Rev. Dr. Josua, b. 1588, d. 1632, German Lutheran hymnist. - -Stenbäck, Rev. L. J., b. 1811, d. 1870, important Finnish hymnist. - -Stenhammar, Rev. Mathias, b. 1766, d. 1852, Swedish Lutheran hymnist. - -Sthen, Hans Chr., pastor, b. 1540, d. 1610, Danish hymnist. - -Stolpe, Rev. Georg, b. 1775, d. 1852, Swedish Lutheran hymnist. - -Sturm, Rev. Christoph Christian, b. 1740, d. 1786, German hymnist. - -Swedberg, Jesper, bishop, b. 1653, d. 1735, father of Emanuel - Swedenborg, great Swedish hymnist. - -Synesius of Cyrene, bishop of Ptolemais, b. cir. 395, d. 430, early - Greek hymnist. - -Tegner, E., bishop, great Swedish scholar, b. 1782, d. 1846. - -Tersteegen, Gerhard, b. 1697, d. 1769, important German Reformed - hymnist. - -Thomander, Johan Henrik, bishop, b. 1798, d. 1865, important Swedish - Lutheran hymnologist. - -Thomas Aquinas, confessor and the Angelical Doctor, Dominican, b. cir. - 1225, d. 1274, Latin hymnist. - -Thomas of Celano, 13th century, Franciscan, important Latin hymnist. - -Tollstadius, Erik, great preacher, b. 1693, d. 1759, Swedish Lutheran - hymnist. - -Topelius, Z., great Finnish scholar, b. 1818, d. 1898, important Finnish - Lutheran hymnist. - -Vischer (Fischer), Rev. Christoph, d. 1600, German Lutheran. - -Wallin, Rev. Dr. Johan Olof, archbishop, b. 1779, d. 1839, greatest - Swedish Lutheran hymnist and hymnologist. - -Walther, Johann, choirmaster and cantor, Torgau, Luther’s musical - assistant, b. 1496, d. 1570, German Lutheran hymnist. - -Weigel, Rev. Joh. Adam Valent., b. 1740, d. 1806, German hymnist. - -Weisse, Rev. Michael, monk, later Bohemian Brethren’s Unity, b. cir. - 1480, d. 1534. - -Weissel, Rev. Georg, b. 1590, d. 1635, German Lutheran hymnist. - -Wieselgren, Per, cathedral dean, Gothenburg, b. 1800, d. 1877, important - Swedish Lutheran hymnist and hymnologist. - -Wilhelm II, b. 1598, d. 1662, German Lutheran hymnist. - -Winkworth, Miss Catherine, b. 1829, d. 1878, great English translator of - German hymns. - -Wirsen, C. D., b. 1842, d. 1912, important Swedish hymnist. - -Wiwallius, Lars, b. 1605, d. 1669, Swedish hymnist. - -Woltersdorf, Rev. Ernst Gottlieb, b. 1725, d. 1761, German hymnist. - -Wultejus, Rev. Johan, court chaplain, b. 1639, d. 1700, Swedish hymnist. - -Zinzendorf, Count, Moravian, b. 1700, d. 1760. - -Aström, Rev. Johan, b. 1767, d. 1844, important Swedish Lutheran - hymnist. - -Ödmann, Samuel, pastor, professor of theology, author, b. 1750, d. 1829, - great Swedish Lutheran hymnist. - - - - - FOOTNOTES - - -[1]The first Lutheran hymn book was “Etlich Christliche Lieder” of 1524. - This little hymn book may have been published without Luther’s - assistance. Perhaps the most important hymn book, containing a - number of Luther’s hymns, was “Geistliches Gesangbuechlein” of 1524. - “Enchiridion oder ein Handbuechlein” appeared in 1524. Other - important hymn books appeared in 1526, 1531, and 1535. - - - - - Transcriber’s Notes - - ---Preserved copyright notice from the printed book, although this eBook - is public-domain in the country of publication. - ---Corrected a few palpable typographical errors. - ---In the text versions only, text in italics is delimited by - _underscores_. - - - - - - - -End of Project Gutenberg's Hymnological Studies, by Matthew N. 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