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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f4be236 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53770 (https://www.gutenberg.org/ebooks/53770) 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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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: ISO-8859-1 - -*** 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 Tomissn, Cl. Tndebinder 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 Lindskld, 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. - -Gnther, 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 Ltzen, - 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. - -Harsdrffer, 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 Nrnberg, 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. - -Lagerlf, 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. - -Lindschld, 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. - -Mortensn Tndebinder, 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. - -Mnter, 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. - -Nystrm, 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. - -Schtz, 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. - -Stenbck, 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. - -Astrm, Rev. Johan, b. 1767, d. 1844, important Swedish Lutheran - hymnist. - -dmann, 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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} -div.verse p { text-indent:-3em; } -div.trump dl.toc dt { text-align:left; } -div.trump dl.toc dt a { width: 4.5em; text-align:right; display:inline-block; margin-right:.7em; }</style> -</head> -<body> - - -<pre> - -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 - - - - - - -</pre> - -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="Hymnological Studies" width="500" height="750" /> -</div> -<div class="box"> -<h1>Hymnological Studies</h1> -<p class="center"><i>by</i> -<br /><span class="large">MATTHEW N. LUNDQUIST -<br />A.M., Mus. Doc.</span></p> -<div class="img" id="fig1"> -<img src="images/i1.jpg" alt="organ pipes" width="200" height="200" /> -</div> -<p class="tbcenter"><i>WARTBURG PUBLISHING HOUSE</i> -<br /><i>Chicago</i></p> -</div> -<h2>PREFACE</h2> -<p>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.</p> -<p><span class="lr">MATTHEW N. LUNDQUIST</span></p> -<div class="verse"> -<p class="t0">January, 1926</p> -<p class="t0">Wartburg College</p> -<p class="t0">Clinton, Iowa</p> -</div> -<h2>CONTENTS</h2> -<dl class="toc"> -<dt><a href="#c1"><span class="cn">I. </span>THE HYMNODY OF THE LUTHERAN CHURCH</a> 1</dt> -<dd><a href="#c2">Religious Character (Biblical and Congregational)</a> 1</dd> -<dd><a href="#c3">Poetical Quality (Lyrical Beauty)</a> 8</dd> -<dt><a href="#c4"><span class="cn">II. </span>THE LUTHERAN HYMN BOOK</a> 15</dt> -<dd><a>Arrangements of Hymns in the Hymnal</a> 15</dd> -<dd class="ddt"><a>Dogmatic Method of Arrangement</a> 15</dd> -<dd class="ddt"><a>Liturgical Method of Arrangement</a> 15</dd> -<dd><a href="#c5">GENERAL SURVEY OF THE HISTORY OF THE CHRISTIAN CHURCH HYMNS</a> 19</dd> -<dt><a href="#c6"><span class="cn">III. </span>EARLY CHRISTIAN HYMNODY</a> 19</dt> -<dd><a href="#c7">Early Greek Hymns</a> 20</dd> -<dd><a href="#c8">Early Latin Hymns</a> 22</dd> -<dt><a href="#c9"><span class="cn">IV. </span>MEDIAEVAL CHRISTIAN HYMNODY</a> 27</dt> -<dd><a href="#c10">Mediaeval Latin Hymns</a> 28</dd> -<dd><a href="#c11">Mediaeval German Hymns</a> 32</dd> -<dd><a href="#c12">Mediaeval Scandinavian Hymnody</a> 34</dd> -<dd><a href="#c13">The Sequences</a> 35</dd> -<dd><a href="#c14">St. Gall</a> 36</dd> -<dt><a href="#c15"><span class="cn">V. </span>LUTHERAN HYMNOLOGY</a> 39</dt> -<dd><a href="#c16">Martin Luther</a> 41</dd> -<dd><a href="#c17">German Lutheran Hymnody</a> 44</dd> -<dd><a href="#c18">Scandinavian Lutheran Hymnody</a> 50</dd> -<dd><a href="#c19">American Lutheran Hymnody</a> 54</dd> -<dd><a href="#c20">Conclusion</a> 61</dd> -<dt class="center"><a>ADDENDA</a></dt> -<dd><a href="#c21">Reformed Church Song</a> 69</dd> -<dd><a href="#c22">A List of Hymnists</a> 71</dd> -</dl> -<div class="pb" id="Page_1">1</div> -<h2 id="c1">SECTION I -<br />THE HYMNODY OF THE LUTHERAN CHURCH</h2> -<p>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 <i>church hymns</i> -and also <i>sacred poems</i>.</p> -<p>(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.)</p> -<h3 id="c2">THE RELIGIOUS CHARACTER</h3> -<p>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 -<span class="pb" id="Page_2">2</span> -according to the teachings of the Gospel, may be considered -partly with regard to the unique <i>religious life-content</i>, -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 <i>congregation</i>, 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.</p> -<p>1. The Biblical character of the church hymn:</p> -<p>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 -<span class="pb" id="Page_3">3</span> -sound religious character, is, briefly stated, <i>Christ for -us and Christ in us</i>; 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 -<span class="pb" id="Page_4">4</span> -perfect harmony with Holy Writ. Then the liturgical -principles of truth and freedom will come into proper -use in congregational hymn singing.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_5">5</span> -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.</p> -<p>2. The congregational character of the church hymn:</p> -<p>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 -<span class="pb" id="Page_6">6</span> -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.</p> -<p>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 -<span class="pb" id="Page_7">7</span> -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 <i>in the main</i> common -to the whole communion of the faithful, only such -soul states and spiritual stages of development as are -<i>essentially</i> experienced by every true Christian.</p> -<p>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 -<span class="pb" id="Page_8">8</span> -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.</p> -<p>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.</p> -<h3 id="c3">THE POETICAL QUALITY</h3> -<p>The other point of view from which the church -hymn may be considered is the poetical; the church -hymn is a <i>song</i> 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.</p> -<p>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, -<span class="pb" id="Page_9">9</span> -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.</p> -<p>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 -<span class="pb" id="Page_10">10</span> -congregation gives expression to its life of -faith and love through sacred song, through the hymns -of the Church, these hymns are lyrical poetry.</p> -<p>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 <i>relatively objective</i> hymns -and the <i>relatively subjective</i> 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 -<span class="pb" id="Page_11">11</span> -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.</p> -<p>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 -<span class="pb" id="Page_12">12</span> -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 -<span class="pb" id="Page_13">13</span> -Christianity itself, which the church hymn must reflect, -pre-eminently possess this character of concrete and -vital reality.</p> -<p>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.</p> -<div class="pb" id="Page_15">15</div> -<h2 id="c4">SECTION II -<br />THE LUTHERAN HYMN BOOK OR THE ARRANGEMENT OF THE HYMNS IN THE HYMNAL</h2> -<p>Two different hymnological methods of disposition -have arisen historically within the Church, namely, the -<i>dogmatic</i> or the <i>dogmatic-ethical</i> method, and the <i>liturgical</i> -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.</p> -<p>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.</p> -<div class="pb" id="Page_16">16</div> -<p>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 -<span class="pb" id="Page_17">17</span> -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.</p> -<p>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. <i>Festival Hymns</i>, arranged according to the festivals, -cycles and holy-days of the church year—Advent, Christmas, -New Year, Epiphany, etc. 2. <i>Hymns about the -Church and ecclesiastical acts</i>: 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. <i>Hymns about the Christian life</i>: repentance, -faith, justification and state of grace, sanctification (the -fruits of regeneration, prayer, cross and consolation), -the completion (the resurrection, judgment, eternity). -4. <i>Hymns for certain people, times and circumstances</i>: -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.).</p> -<div class="pb" id="Page_19">19</div> -<h2 id="c5">GENERAL SURVEY OF THE HISTORY OF THE CHRISTIAN CHURCH HYMNS</h2> -<h2 id="c6">SECTION III -<br />EARLY CHRISTIAN HYMNODY -<br />To About 600 A. D.</h2> -<p>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.</p> -<p>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 -<span class="pb" id="Page_20">20</span> -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.</p> -<h3 id="c7">EARLY GREEK HYMNS</h3> -<p>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.</p> -<p>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.</p> -<div class="pb" id="Page_21">21</div> -<p>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.</p> -<p>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 -<span class="pb" id="Page_22">22</span> -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.</p> -<p>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.</p> -<h3 id="c8">EARLY LATIN HYMNS</h3> -<p>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.</p> -<p>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. -<span class="pb" id="Page_23">23</span> -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.</p> -<p>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.</p> -<div class="verse"> -<p class="t0">O Jesus, Lord of heavenly grace,</p> -<p class="t0">Thou Brightness of Thy Father’s face,</p> -<p class="t0">Thou Fountain of eternal light,</p> -<p class="t0">Whose beams disperse the shades of night.</p> -</div> -<p>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 -<span class="pb" id="Page_24">24</span> -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.</p> -<div class="verse"> -<p class="t0">Of the Father’s love begotten,</p> -<p class="t0">Ere the worlds began to be,</p> -<p class="t0">He is Alpha and Omega,</p> -<p class="t0">He the source, the ending He,</p> -<p class="t0">Of the things that are, that have been,</p> -<p class="t0">And that future years shall see,</p> -<p class="t0">Evermore and evermore.</p> -</div> -<p>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.</p> -<p>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 -<span class="pb" id="Page_25">25</span> -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,</p> -<div class="verse"> -<p class="t0">O Christ, our King, Creator, Lord,</p> -<p class="t0">Saviour of all who trust Thy word,</p> -<p class="t0">To them who seek Thee ever near,</p> -<p class="t0">Now to our praises bend Thine ear.</p> -</div> -<p>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.</p> -<div class="verse"> -<p class="t0">Welcome, happy morning! age to age shall say;</p> -<p class="t0">Hell today is vanquished; heaven is won today.</p> -<p class="t0">Lo! the Dead is living, God for evermore!</p> -<p class="t0">Him their true Creator, all His works adore.</p> -<p class="t0">Welcome, happy morning! age to age shall say.</p> -</div> -<p>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 -<span class="pb" id="Page_26">26</span> -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.</p> -<div class="pb" id="Page_27">27</div> -<h2 id="c9">SECTION IV -<br />MEDIAEVAL CHRISTIAN HYMNODY -<br />A. D. 600-1520</h2> -<p>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 -<span class="pb" id="Page_28">28</span> -more fully of the Sequences and their remarkable birthplace.</p> -<p>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.</p> -<h3 id="c10">MEDIAEVAL LATIN HYMNS</h3> -<p>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.</p> -<p>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.</p> -<div class="verse"> -<p class="t0">Brief life is here our portion;</p> -<p class="t">Brief sorrow, short-lived care;</p> -<p class="t0">The life that knows no ending,</p> -<p class="t">The tearless life, is there.</p> -</div> -<div class="pb" id="Page_29">29</div> -<div class="verse"> -<p class="t0">Oh, happy retribution!</p> -<p class="t">Short toil, eternal rest;</p> -<p class="t0">For mortals, and for sinners,</p> -<p class="t">A mansion with the blest.</p> -</div> -<p>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.</p> -<p>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.”</p> -<p>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.</p> -<div class="verse"> -<p class="t0">Day of wrath, that Day of mourning,</p> -<p class="t0">See fulfilled the prophet’s warning,</p> -<p class="t0">Heaven and earth in ashes burning.</p> -</div> -<div class="pb" id="Page_30">30</div> -<div class="verse"> -<p class="t0">O what fear man’s bosom rendeth,</p> -<p class="t0">When from heaven the Judge descendeth,</p> -<p class="t0">On whose sentence all dependeth.</p> -</div> -<p>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.”</p> -<p>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.</p> -<p>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; -<span class="pb" id="Page_31">31</span> -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.</p> -<p>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:</p> -<div class="verse"> -<p class="t0">Lord Jesus Christ! To Thee we pray,</p> -<p class="t0">From us God’s wrath Thou turn’st away,</p> -<p class="t0">Thine agony and bitter death</p> -<p class="t0">Redeem us from eternal wrath.</p> -</div> -<p>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:</p> -<div class="verse"> -<p class="t0">Jesus, the very thought of Thee</p> -<p class="t0">With sweetness fills the breast;</p> -<p class="t0">But sweeter far Thy face to see,</p> -<p class="t0">And in Thy presence rest.</p> -</div> -<p>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 -<span class="pb" id="Page_32">32</span> -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.</p> -<p>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.</p> -<h3 id="c11">MEDIAEVAL GERMAN HYMNS</h3> -<p>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 -<span class="pb" id="Page_33">33</span> -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.</p> -<p>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,</p> -<div class="verse"> -<p class="t0">Christ ist erstanden</p> -<p class="t0">Von der Marter Banden,</p> -<p class="t0">Des sollen wir alle froh sein,</p> -<p class="t0">Christ will unser Trost sein,</p> -<p class="t2">Kyrie Eleison.</p> -</div> -<p>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 -<span class="pb" id="Page_34">34</span> -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.</p> -<h3 id="c12">MEDIAEVAL SCANDINAVIAN HYMNODY</h3> -<p>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 -<span class="pb" id="Page_35">35</span> -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.”</p> -<h3 id="c13">THE SEQUENCES</h3> -<p>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 -<span class="pb" id="Page_36">36</span> -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.</p> -<h3 id="c14">ST. GALL</h3> -<p>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 -<span class="pb" id="Page_37">37</span> -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.</p> -<p>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.</p> -<div class="pb" id="Page_39">39</div> -<h2 id="c15">SECTION V -<br />LUTHERAN HYMNOLOGY -<br />1520—</h2> -<p>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 -<span class="pb" id="Page_40">40</span> -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.<a class="fn" id="fr_1" href="#fn_1">[1]</a></p> -<p>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 -<span class="pb" id="Page_41">41</span> -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.</p> -<h3 id="c16">MARTIN LUTHER</h3> -<p>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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_42">42</span> -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.</p> -<p>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.</p> -<p>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,”</p> -<div class="verse"> -<p class="t0">The Word they still shall let remain,</p> -<p class="t">Nor any thanks have for it;</p> -<div class="pb" id="Page_43">43</div> -<p class="t0">He’s by our side upon the plain</p> -<p class="t">With His good gifts and Spirit.</p> -<p class="t2">Take they then our life,</p> -<p class="t2">Goods, fame, child, and wife,</p> -<p class="t2">When their worst is done,</p> -<p class="t2">They yet have nothing won:</p> -<p class="t">The Kingdom ours remaineth.</p> -</div> -<p>with one of the stanzas from “Vom Himmel hoch da -komm ich her”,</p> -<div class="verse"> -<p class="t0">Ah, dearest Jesus, Holy Child,</p> -<p class="t0">Make Thee a bed, soft, undefiled,</p> -<p class="t0">Here in my poor heart’s inmost shrine,</p> -<p class="t0">That I may evermore be Thine.</p> -</div> -<p>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.</p> -<p class="tb">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:</p> -<div class="verse"> -<p class="t0">Erhalt uns, Herr, bei deinem Wort</p> -<p class="t0">Und steure deiner Feinde Mord,</p> -<p class="t0">(Original: und steur des Pabsts und Tuerken Mord).</p> -<p class="t0">Die Jesum Christum, deinen Sohn,</p> -<p class="t0">Stuerzen wollen von deinem Thron.</p> -</div> -<div class="pb" id="Page_44">44</div> -<div class="verse"> -<p class="t0">Lord, keep us steadfast in Thy Word;</p> -<p class="t0">Curb those who fain by craft or sword</p> -<p class="t0">Would wrest the kingdom from Thy Son,</p> -<p class="t0">And set at naught all He hath done.</p> -</div> -<p>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.</p> -<p>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”:</p> -<div class="verse"> -<p class="t0">Then let us feast this Easter day</p> -<p class="t0">On the true Bread of heaven;</p> -<p class="t0">The Word of grace hath purged away</p> -<p class="t0">The old and wicked leaven:</p> -<p class="t0">Christ alone our souls will feed;</p> -<p class="t0">He is our meat and drink indeed;</p> -<p class="t0">Faith lives upon no other!</p> -<p class="t3">Alleluia!</p> -</div> -<p>We recommend a careful study of “Luther’s -Hymns” by James F. Lambert.</p> -<h3 id="c17">GERMAN HYMNODY</h3> -<p>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 -<span class="pb" id="Page_45">45</span> -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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_46">46</span> -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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_47">47</span> -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.</p> -<p>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 -<span class="pb" id="Page_48">48</span> -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.</p> -<p>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 -<span class="pb" id="Page_49">49</span> -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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_50">50</span> -Winkworth, Miss Frances Elizabeth Cox, Miss -Jane Borthwick and her sister—Mrs. Findlater, Rev. -Richard Massie, and Rev. A. Tozar Russell.</p> -<h3 id="c18">SCANDINAVIAN LUTHERAN HYMNODY</h3> -<p>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 -<span class="pb" id="Page_51">51</span> -sixteenth century, and also one of the greatest of Swedish -Lutheran hymns. It is probably the work of Laurentius -Petri Gothus.</p> -<p>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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_52">52</span> -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.</p> -<p>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.</p> -<p>The fifth period, the nineteenth century.—The hymnological -situation in Sweden in the nineteenth century -<span class="pb" id="Page_53">53</span> -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.</p> -<p>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 -<span class="pb" id="Page_54">54</span> -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.</p> -<p>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.</p> -<p>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.</p> -<h3 id="c19">AMERICAN LUTHERAN HYMNODY</h3> -<p>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. -<span class="pb" id="Page_55">55</span> -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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_56">56</span> -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.</p> -<p>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 -<span class="pb" id="Page_57">57</span> -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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_58">58</span> -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.”</p> -<div class="verse"> -<p class="t0">Rise, ye children of salvation,</p> -<p class="t">All who cleave to Christ the Head!</p> -<p class="t0">Wake, arise, O mighty nation,</p> -<p class="t">Ere the foe on Zion tread:</p> -<p class="t0">He draws nigh, and would defy</p> -<p class="t0">All the hosts of God Most High.</p> -</div> -<div class="verse"> -<p class="t0">Saints and heroes, long before us,</p> -<p class="t">Firmly on this ground have stood;</p> -<p class="t0">See their banner waving o’er us,</p> -<p class="t">Conquerors through the Saviour’s Blood!</p> -<p class="t0">Ground we hold, whereon of old</p> -<p class="t0">Fought the faithful and the bold.</p> -</div> -<p>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 -<span class="pb" id="Page_59">59</span> -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.</p> -<p>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.</p> -<p>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 -<span class="pb" id="Page_60">60</span> -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.</p> -<div class="pb" id="Page_61">61</div> -<h2 id="c20">CONCLUSION</h2> -<p>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.</p> -<p>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?</p> -<div class="pb" id="Page_62">62</div> -<p>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.</p> -<p>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.</p> -<p>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.</p> -<p>Take for example one of F. M. Franzen’s greatest -hymns, the first stanza of which follows:</p> -<div class="verse"> -<p class="t0">Prepare the way, O Zion!</p> -<p class="t0">Ye awful deeps, rise high,</p> -<p class="t0">Sink low, ye towering mountains;</p> -<p class="t0">The Lord is drawing nigh:</p> -<p class="t0">The righteous King of glory,</p> -<p class="t0">Foretold in sacred story.</p> -<p class="t0">Oh, blest is He that came</p> -<p class="t0">In God the Father’s Name!</p> -</div> -<p>How much there is in that stanza! And it is only -the first stanza of a truly great Lutheran church hymn. -<span class="pb" id="Page_63">63</span> -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.</p> -<p>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.</p> -<p>Much must be done before we can really claim that -the American Lutheran Church has fully taken over -this rich legacy.</p> -<p>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.</p> -<p>Looking at the history of the church hymn, we -may lay down as a fundamental principle that the church -<span class="pb" id="Page_64">64</span> -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.</p> -<p>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.</p> -<p>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, <i>a Lutheran -church hymn</i>, 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.</p> -<div class="pb" id="Page_65">65</div> -<p>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?</p> -<p>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.</p> -<p>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.</p> -<p>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 <i>harmonious co-operation</i> between all if we are to -have VITAL worship and VITAL song.</p> -<p>The good pastor of a large Lutheran church in -Connecticut thanked his organist and choirmaster in a -<span class="pb" id="Page_66">66</span> -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.</p> -<p>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.</p> -<div class="verse"> -<p class="t0">But when here devoutly soareth</p> -<p class="t0">High the temple-anthem sweet,</p> -<p class="t0">Grief grows calm, no plaint outpoureth—</p> -<p class="t0">Hearts with holy rapture beat:</p> -<p class="t0">Free from earthly clouds the soul</p> -<p class="t0">Presses toward a higher goal,</p> -<p class="t0">Takes from hope the comfort given,</p> -<p class="t0">Speaks e’en now the tongue of heaven.</p> -</div> -<div class="verse"> -<p class="t0">O my soul, thy wing ascending,</p> -<p class="t0">Yet on Salem’s mount shall rest;</p> -<p class="t0">There where cherub-harps are blending</p> -<p class="t0">With the singing of the blest;</p> -<p class="t0">Let thy note of praise and prayer</p> -<p class="t0">To thy God precede thee there,</p> -<p class="t0">While e’en yet a care-worn mortal,</p> -<p class="t0">Still without thy Father’s portal.</p> -</div> -<div class="pb" id="Page_67">67</div> -<div class="verse"> -<p class="t0">Let us, Christians, here that wander,</p> -<p class="t0">As our fathers in their day,</p> -<p class="t0">Piously together ponder,</p> -<p class="t0">Gladly sing and meekly pray;</p> -<p class="t0">Be the children’s voices raised</p> -<p class="t0">To the God their fathers praised.</p> -<p class="t0">Let Thy bounty failing never</p> -<p class="t0">Be on us and all forever.</p> -<p class="lr">(From J. O. Wallin)</p> -</div> -<div class="pb" id="Page_69">69</div> -<h2 id="c21">ADDENDA -<br />REFORMED CHURCH SONG</h2> -<p>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.</p> -<p>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 -<span class="pb" id="Page_70">70</span> -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.”</p> -<div class="pb" id="Page_71">71</div> -<h2 id="c22">A LIST OF HYMN WRITERS -<br />(Mainly Lutheran)</h2> -<p class="blist">Adam of St. Victor (died 1177), Latin hymnist.</p> -<p class="blist">Adlerbeth, G. G., state secretary, b. 1751, d. 1818, -Swedish hymnist.</p> -<p class="blist">Afzelius, A. A., court chaplain, b. 1785, d. 1871, Swedish -hymnist.</p> -<p class="blist">Agricola, Johann, court chaplain, b. 1492, d. 1566, German -hymnist.</p> -<p class="blist">Ahnfelt, O., bishop in Swedish Church, b. 1854, d. 1910.</p> -<p class="blist">Ahnfelt, P. G., pastor in Swedish Church, b. 1803, d. -1863.</p> -<p class="blist">Albert, Heinrich, b. 1604, d. 1651, German Lutheran -hymnist.</p> -<p class="blist">Albinus, Rev. Johann Georg, b. 1624, d. 1679, German -Lutheran hymnist.</p> -<p class="blist">Albrecht (IV) Jr., d. 1557, German hymnist.</p> -<p class="blist">Alin, S., rural dean in Swedish Church, b. 1852.</p> -<p class="blist">Altenburg, Rev. Johann Michael, b. 1584, d. 1640, German -Lutheran hymnist.</p> -<p class="blist">Ambrose, Aurelius, Bishop of Milan, b. 340, d. 397, -Latin hymnist.</p> -<p class="blist">Amnelius, Rev. A. P., b. 1638, d. 1692, Swedish hymnist.</p> -<p class="blist">Anatolius, cir. VIII century, Greek hymnist.</p> -<p class="blist">Andrew of Crete, Archbishop, b. 660, d. 732, Greek -hymnist.</p> -<p class="blist">Arndt, Ernst Moritz, professor, b. 1769, d. 1860, German -hymnist.</p> -<div class="pb" id="Page_72">72</div> -<p class="blist">Arrhenius, Rev. Jacob, Upsala University professor, -b. 1642, d. 1725, great Swedish Lutheran hymnist.</p> -<p class="blist">Augustine, Aurelius, great Bishop of Hippo, b. 354, d. -430.</p> -<p class="blist">Ausius, Hakan, d. 1653, Swedish hymnist.</p> -<p class="blist">Bahnmaier, Rev. Jonathan Friederich, b. 1774, d. 1841, -German Lutheran hymnist.</p> -<p class="blist">Becker, Cornelius, pastor in Leipzig, b. 1561, d. 1604.</p> -<p class="blist">Bede, the Venerable, b. 673, d. 735, Latin hymnist.</p> -<p class="blist">Bellman, Carl Michael, Swedish poet, b. 1740, d. 1795.</p> -<p class="blist">Bengel, J. A., consistorial counselor in Stuttgart, Bible -Theologian, b. 1687, d. 1752.</p> -<p class="blist">Bergstedt, C. F., Swedish author, b. 1817, d. 1903.</p> -<p class="blist">Bernard of Clairvaux, b. 1091, d. 1153, Latin hymnist.</p> -<p class="blist">Bernard of Cluny, b. cir. 1145, Latin hymnist.</p> -<p class="blist">Beza, Theodore, b. 1519, Burgundy, professor at Lausanne, -preacher at Geneva, French Switzerland, d. -1605.</p> -<p class="blist">Blix, E., professor, Norwegian Church, b. 1836, d. 1902.</p> -<p class="blist">Boethius, Rev. Jacob, Swedish Church, b. 1647, d. 1718.</p> -<p class="blist">Boethius, S. J., professor, Swedish Church, b. 1850.</p> -<p class="blist">Begatsky, Karl Heinrich von, b. 1690, Silesia, Lutheran -Pietist, d. 1774.</p> -<p class="blist">Borthwick, Miss Jane Laurie, b. 1813, d. 1897, important -English translator of German hymns.</p> -<p class="blist">Brag, Karl J., pastor and dean at Gothenburg, Swedish -Church, b. 1735, d. 1781.</p> -<p class="blist">Brask, Peter, b. 1641, d. 1691, Swedish hymnist.</p> -<p class="blist">Brorson, Hans Adolf, bishop in Danish Church, b. 1694, -d. 1764, important Danish hymnist.</p> -<p class="blist">Buermeyer, Ferdinand Frederick, M. A., D. D., b. 1846, -New York, Lutheran.</p> -<div class="pb" id="Page_73">73</div> -<p class="blist">Canitz, Friedrich Rudolph Ludwig, Freiherr von, b. -1654, d. 1699, German Lutheran.</p> -<p class="blist">Carlberg, Birger, pastor in Swedish Church, b. 1641, -d. 1683.</p> -<p class="blist">Cassel, Karl Gustaf, state official, b. 1783, d. 1866, -Swedish Lutheran hymnist.</p> -<p class="blist">Cavallin, S., rural dean in Swedish Church, b. 1820, d. -1886.</p> -<p class="blist">Choraeus, Michael, professor, b. 1774, d. 1806, Swedish-Finnish -hymnist.</p> -<p class="blist">Claudius, Matthias, b. 1740, d. 1815, German Lutheran -hymnist.</p> -<p class="blist">Clausnitzer, Rev. Tobias, M. A., b. 1619, d. 1684, German -Lutheran hymnist.</p> -<p class="blist">Clement of Alexandria (Titus Flavius Clemens), b. cir. -170, d. cir. 220, Greek hymnist.</p> -<p class="blist">Columbus, Samuel, b. 1642, d. 1679, Swedish Lutheran -hymnist.</p> -<p class="blist">Cornelius, C. A., bishop in Swedish Church, b. 1828, -d. 1893.</p> -<p class="blist">Cox, Miss Frances Elizabeth, b. 1812, d. 1897, English -translator of German hymns.</p> -<p class="blist">Cruciger, Elizabeth, died 1558, German hymnist.</p> -<p class="blist">Dach, Simon, professor, b. 1605, d. 1659, German Lutheran -hymnist.</p> -<p class="blist">Dachstein, Wolfgang, organist at St. Thomas Church, -Strassburg, left monastic life 1524, German Lutheran -hymnist.</p> -<p class="blist">Dahl, Kristoffer, Upsala University professor, b. 1758, -d. 1809.</p> -<p class="blist">v. Dalin, Olof, Swedish poet and historian, b. 1708, d. -1763.</p> -<p class="blist">Dalius, Sven, b. 1604, d. 1693, Swedish hymn writer.</p> -<div class="pb" id="Page_74">74</div> -<p class="blist">Decius, Nikolaus, b. Bavaria, d. 1529, German Lutheran -hymnist.</p> -<p class="blist">Denicke, David, b. 1603, d. 1680, German Lutheran -hymnist.</p> -<p class="blist">Dilluer, J., dean in Swedish Church, b. 1785, d. 1862, -important Swedish Lutheran hymnologist.</p> -<p class="blist">Diterich, J. S., pastor in Berlin, Germany, b. 1721, d. -1797.</p> -<p class="blist">Dueben, J. von, b. 1671, d. 1730, Swedish Lutheran -hymnist.</p> -<p class="blist">Eber, Rev. Paul, b. 1511, d. 1569, German Lutheran -hymnist.</p> -<p class="blist">Ekdahl, F. N., rural dean in Swedish Church, b. 1853.</p> -<p class="blist">Evers, Edvard, court chaplain, b. 1853, Swedish hymnologist.</p> -<p class="blist">Fant, Erik M., Upsala University professor, b. 1754, -d. 1817.</p> -<p class="blist">Findlater, Mrs. Sarah (Borthwick), b. 1823, d. 1907, -English translator of German hymns.</p> -<p class="blist">Fleming, Paul, physician, b. 1609, d. 1640, German -hymnist.</p> -<p class="blist">Fortunatus, Venantius, bishop of Poitiers, b. 530, d. -609, Latin hymnist.</p> -<p class="blist">Franck, Johann, burgomaster, b. 1618, d. 1677, German -Lutheran hymnist.</p> -<p class="blist">Franck, Salomo, b. 1659, d. 1725, German Lutheran -hymnist.</p> -<p class="blist">Franzen, Frans Michael, bishop, b. 1772, d. 1847, great -Swedish Lutheran hymnist.</p> -<p class="blist">Freylinghausen, Johann, b. 1670, d. 1739, German -hymnist.</p> -<p class="blist">Frimann, Claus, pastor, b. 1746, d. 1829, Norwegian -hymnist.</p> -<div class="pb" id="Page_75">75</div> -<p class="blist">Funcke, Rev. Friedrich, b. 1642, d. 1699, German Lutheran -hymnist.</p> -<p class="blist">Gardie, Magnus Gabriel de la, chancellor, count, etc., -b. 1622, d. 1688, Swedish hymnist.</p> -<p class="blist">Geijer, Erik Gustaf, Upsala University professor, great -Swedish poet, historian, b. 1783, d. 1847, Swedish -Lutheran hymnist.</p> -<p class="blist">Gellert, Rev. Christian F., professor, Leipzig, b. 1715, -d. 1769.</p> -<p class="blist">Gerdes (Gerdessen), Johann, pastor of German Church, -Stockholm, Sweden, b. 1624, d. 1673.</p> -<p class="blist">Gerhardt, Paul, b. 1607, d. 1676, great German Lutheran -hymnist.</p> -<p class="blist">Gezelius, J., bishop in Swedish Church, b. 1647, d. 1718.</p> -<p class="blist">Gesenius, Rev. Dr. Justus, court chaplain, court preacher, -b. 1601, d. 1673, German Lutheran hymnist.</p> -<p class="blist">Gotter, Ludwig Andreas, b. 1661, d. 1735, German Lutheran -hymnist.</p> -<p class="blist">Gramann, Johann, pastor, b. 1487, d. 1541, early German -Lutheran hymnist.</p> -<p class="blist">Gregory the Great, b. 540, d. 604, important early Latin -hymnist.</p> -<p class="blist">Gripenhjelm, Edmund, Upsala University professor, -senator, etc., b. 1622, d. 1675, Swedish Lutheran -hymnist.</p> -<p class="blist">Grundtvig, Rev. N. F. S., b. 1783, d. 1872, great Danish -Lutheran hymnist.</p> -<p class="blist">Günther, Cyriacus, b. 1649, d. 1704, German hymnist.</p> -<p class="blist">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.</p> -<div class="pb" id="Page_76">76</div> -<p class="blist">Gyllenborg, Gustaf Fredrik, count, Secretary of State, -great Swedish poet, b. 1731, d. 1808.</p> -<p class="blist">Hardenberg, Freiherr von, b. 1772, d. 1801, German -Lutheran hymnist.</p> -<p class="blist">Harsdörffer, Georg Philipp, councillor, b. 1607, d. 1658, -German hymnist.</p> -<p class="blist">Hauge, A., dean in Norwegian Church, b. 1815, d. 1892, -important Norwegian hymnist and hymnologist.</p> -<p class="blist">Hedborn, Samuel J., court chaplain, pastor, great -Swedish poet, b. 1783, d. 1849, great Swedish Lutheran -hymnist.</p> -<p class="blist">Heermann, Johann, pastor, b. 1585, d. 1647, great German -Lutheran hymnist.</p> -<p class="blist">Held, Heinrich, d. 1655, lawyer, German Lutheran -hymnist.</p> -<p class="blist">Helmbold, Ludwig, superintendent, b. 1532, d. 1598, -German Lutheran hymnist.</p> -<p class="blist">Herberger, Valerius, pastor, b. 1562, d. 1627, German -Lutheran hymnist.</p> -<p class="blist">Hermann, Nicolaus, schoolmaster, cantor and organist, -d. 1561, important German-Bohemian hymnist.</p> -<p class="blist">Herzog, Joh. Friedrich, LL.D., Dresden, b. 1647, d. 1699, -German hymnist.</p> -<p class="blist">Hey, Rev. Johann Wilhelm, b. 1789, d. 1854, German -Lutheran Pietist.</p> -<p class="blist">Heyd, Sebaldus, rector at Nürnberg, b. 1498, d. 1561.</p> -<p class="blist">Hilarius (Hilary), famous Bishop of Poitiers, d. 368, -first Latin hymnist.</p> -<p class="blist">Hiller, Philipp, pastor, b. 1699, d. 1769, German Lutheran -hymnist.</p> -<p class="blist">Hjerten, J., pastor, b. 1781, d. 1835, Swedish Lutheran -hymnist.</p> -<div class="pb" id="Page_77">77</div> -<p class="blist">Homberg, Ernst Christoph, lawyer, b. 1605, d. 1681, -German Lutheran hymnist.</p> -<p class="blist">Hoppe, Miss Anna, of the Evangelical Lutheran Synod -of Wisconsin, American Lutheran hymnist.</p> -<p class="blist">Hubert, Konrad, deacon, Strassburg, b. 1507, d. 1577, -German hymnist.</p> -<p class="blist">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.</p> -<p class="blist">Ingemann, Bernhardt Severin, poet, professor, b. 1789, -d. 1862, great Danish Lutheran hymnist.</p> -<p class="blist">Jacobs, Henry Eyster, D.D., LL.D., S.T.D., b. 1844, -Pennsylvania, dean Philadelphia Theological Seminary, -Lutheran Theologian and Author.</p> -<p class="blist">Jacoponus (Jacopone da Todi), Franciscan monk, d. -1306, Latin hymnist.</p> -<p class="blist">Johannis Gothus, Peter, pastor, b. 1536, d. 1616, Swedish -hymnist.</p> -<p class="blist">John of Damascus, d. 780, great Greek hymnist.</p> -<p class="blist">Jonae Gestritius, Laurentius, pastor, d. 1597, Swedish -hymnist.</p> -<p class="blist">Johansson, J., seminary rector, b. 1867, Swedish hymnologist.</p> -<p class="blist">Joseph the Hymnographer, d. 883, great Greek hymnist.</p> -<p class="blist">Kahl, Johan, b. 1660, d. 1742, Swedish hymnist.</p> -<p class="blist">Kingo, Thomas, bishop, b. 1634, d. 1703, great Danish -hymnist.</p> -<p class="blist">Klopstock, Friedrich Gottlieb, author, b. 1724, d. 1803, -German hymnist.</p> -<p class="blist">Knapp, Rev. Albert, b. 1798, d. 1864, German Lutheran -hymnist.</p> -<div class="pb" id="Page_78">78</div> -<p class="blist">Knoll, Christoph, deacon, b. 1563, d. 1621, German -hymnist.</p> -<p class="blist">Knorr von Rosenroth, Christian, b. 1636, d. 1689, German -Lutheran hymnist.</p> -<p class="blist">Kock, Karl Anton, lawyer and government official, b. -1788, d. 1843, Swedish Lutheran hymnist.</p> -<p class="blist">Kolmodin, Israel, professor of theology, Upsala University, -b. 1643, d. 1709, great Swedish hymnist.</p> -<p class="blist">Kolmodin, Rev. Olof, b. 1690, d. 1753, important Swedish -hymnist.</p> -<p class="blist">Lagerlöf, Peter, Upsala University professor, historian, -scientist, poet, b. 1648, d. 1699, Swedish hymnist.</p> -<p class="blist">Landstad, Rev. M. B., b. 1802, d. 1881, great Norwegian -hymnist.</p> -<p class="blist">Laurenti, Laurentius, b. 1660, Schleswig, d. 1722, Cantor, -Director of Music, Roman Catholic Church, Bremen, -Lutheran.</p> -<p class="blist">Laurinus, Laurentius Laurentii, rector, pastor, b. 1573, -d. 1655, Swedish hymnist.</p> -<p class="blist">Lenngren, Anna Maria, great Swedish poet, b. 1755, -d. 1817.</p> -<p class="blist">Leopold, Karl Gustaf, state secretary, Swedish poet, -b. 1756, d. 1829.</p> -<p class="blist">Lindschöld, Erik, government official, b. 1634, d. 1690, -important Swedish hymnist.</p> -<p class="blist">Lobwasser, Ambrosius, professor of law, b. 1515, d. -1585, German Reformed.</p> -<p class="blist">Lohman, Karl Johan, pastor, Doctor of Theology, b. -1694, d. 1759, Swedish Lutheran hymnist.</p> -<p class="blist">Loy, Rev. Dr. Mathias, President of Capital University, -Columbus, Ohio, b. 1828, Pennsylvania, d. 1915, -American Lutheran hymnist.</p> -<p class="blist">Lucidor, L., poet, b. 1638, d. 1674, Swedish hymnist.</p> -<div class="pb" id="Page_79">79</div> -<p class="blist">Lundwall, Rev. Karl Johan, Upsala University professor, -b. 1775, d. 1858.</p> -<p class="blist">Luther, Dr. Martin, b. 1483, d. 1546, the father of the -evangelical hymn.</p> -<p class="blist">Lybecker, G., d. 1716, Swedish Pietistic hymnist.</p> -<p class="blist">Marci, Rev. Georg, court chaplain, b. 1540, d. 1613, Swedish -hymnist.</p> -<p class="blist">Marot, Clement, first Reformed versifier of Davidic -Psalms, Geneva, French Switzerland, b. about 1495, -d. about 1544.</p> -<p class="blist">Martini, Rev. Olaus, bishop, b. 1557, d. 1609, Swedish -hymnist.</p> -<p class="blist">Massie, Richard, pastor, b. 1800, d. 1887, Anglican, -important English translator of German hymns.</p> -<p class="blist">Mattes, Rev. John Casper, M. A., b. 1876, Pennsylvania, -Lutheran.</p> -<p class="blist">Melanchthon, Philip, Wittenberg University professor, -Praeceptor Germaniae, Luther’s important assistant, -b. 1497, d. 1560.</p> -<p class="blist">Mentzer, Rev. Johann, b. 1658, d. 1734, German hymnist.</p> -<p class="blist">Meuslin, Rev. Wolfgang, theological professor, b. 1497, -d. 1563, German hymnist.</p> -<p class="blist">Meyfart, Rev. Johann Matthaeus, Erfurt University -professor, b. 1590, d. 1642, German Lutheran hymnist.</p> -<p class="blist">Mortensön Töndebinder, Claus, pastor, b. about 1500, -d. about 1577, important early Danish Lutheran -hymnist.</p> -<p class="blist">Muraeus, Rev. Stefan Larsson, court chaplain, b. about -1600, d. 1675, Swedish hymnist.</p> -<p class="blist">Münter, Rev. Balthasar, b. 1735, d. 1793, German Lutheran -hymnist.</p> -<div class="pb" id="Page_80">80</div> -<p class="blist">Neander, Rev. Christ. Friedrich, b. 1723, d. 1802, German -Lutheran.</p> -<p class="blist">Neander, Joachim, b. 1650, d. 1680, important German -Reformed pietistic hymnist.</p> -<p class="blist">Neale, Rev. Dr. John Mason, hymnologist and liturgiologist, -b. 1818, d. 1866, important English translator -of Greek and Latin hymns.</p> -<p class="blist">Nelson, Rev. Augustus, Augustana Synod, U. S. A., -b. 1863.</p> -<p class="blist">Neumark, Georg, poet, b. 1621, d. 1681, German Lutheran -hymnist.</p> -<p class="blist">Neumeister, Rev. Erdmann, court preacher, etc., b. 1671, -d. 1756, German Lutheran hymnist.</p> -<p class="blist">Nicolai, Rev. Dr. Philipp, b. 1556, d. 1608, German -Lutheran hymnist.</p> -<p class="blist">Nibelius, Rev. Simon, b. 1747, d. 1820, Swedish Lutheran -hymnist.</p> -<p class="blist">Niemeyer, Aug. Herman, university chancellor, b. 1754, -d. 1828, German hymnist.</p> -<p class="blist">Norenius, Rev. Ericus Laurentii, b. 1635, d. 1696, Swedish -Lutheran hymnist.</p> -<p class="blist">Notker Balbulus, Benedictine monk, warden at St. Gall, -d. 912, important writer of Sequences.</p> -<p class="blist">Nygren, Rev. Carl, b. 1726, d. 1789, Swedish Lutheran -hymnist.</p> -<p class="blist">Nyström, Per Olof, government official, b. 1764, d. 1830, -Swedish Lutheran Hymnist.</p> -<p class="blist">Nilsson, Rev. Paul, court preacher, b. 1866, important -Swedish hymnologist.</p> -<p class="blist">Ohl, Rev. Dr. Jeremiah Franklin, b. 1850, Pennsylvania, -Lutheran.</p> -<p class="blist">Olai, Ericus, Upsala University professor, d. 1486, important -Swedish hymnist.</p> -<div class="pb" id="Page_81">81</div> -<p class="blist">Olearius, Rev. Dr. Johann, general superintendent Halle -and Weissenfels, b. 1611, d. 1684, German Lutheran -hymnist.</p> -<p class="blist">Ollon, Gustaf, b. 1646, d. 1703, important Swedish Lutheran -hymnist.</p> -<p class="blist">Opitz, Martin, historian, b. 1597, d. 1639, important -German hymnist.</p> -<p class="blist">Pappus, Joh., professor of theology, Strassburg, b. 1549, -d. 1610.</p> -<p class="blist">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.</p> -<p class="blist">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.</p> -<p class="blist">Poliander (Gramann or Graumann), Rev. Joh., b. 1487, -d. 1541, German hymnist.</p> -<p class="blist">Prudentius, Aurelius Clemens, bishop, b. 348, d. 413, -great early Latin hymnist.</p> -<p class="blist">Qwirsfeld, Joh., archdeacon, b. 1642, d. 1686, German -hymnist.</p> -<p class="blist">Rambach, Rev. Dr. Johann Jakob, professor of theology, -b. 1693, d. 1735, German Lutheran hymnist.</p> -<p class="blist">Ramsey, Rev. Dr. Alfred, b. 1860, Pennsylvania, professor, -Lutheran Theological Seminary, Chicago.</p> -<p class="blist">Reed, Rev. Dr. Luther D., b. 1873, Pennsylvania, professor, -Lutheran Theological Seminary, Philadelphia.</p> -<p class="blist">Richter, Christian Friedr., physician, b. 1676, d. 1711, -German hymnist.</p> -<div class="pb" id="Page_82">82</div> -<p class="blist">Ringwaldt, Rev. Bartholomew, b. 1530, d. 1598, German -hymnist.</p> -<p class="blist">Rinkart, Martin, cantor, archdeacon, b. 1586, d. 1649, -German Lutheran.</p> -<p class="blist">Rist, Rev. Johann, b. 1607, d. 1667, German Lutheran -hymnist.</p> -<p class="blist">Rodigast, Rev. Samuel, M.A., rector, b. 1649, d. 1708, -German Lutheran.</p> -<p class="blist">Rothe, Rev. Johann Andreas, M.A., b. 1688, d. 1758, -German Lutheran.</p> -<p class="blist">Rudbeck, Olof, Upsala University professor, b. 1660, -d. 1740, Swedish Lutheran hymnist.</p> -<p class="blist">Rudbeckius, Rev. Petrus Johannes, Upsala University -professor, b. 1578, d. 1629, Swedish Lutheran -hymnist.</p> -<p class="blist">Runeberg, C. L., professor, b. 1804, d. 1877, great Finnish -hymnist.</p> -<p class="blist">Rutilius, Martin, archdeacon, b. 1550, d. 1618, German -hymnist.</p> -<p class="blist">Sandzen, J. P., rural dean in Swedish Church, b. 1830, -d. 1904.</p> -<p class="blist">Schaeffer, Rev. Dr. Charles William, b. 1813, d. 1898, -professor Lutheran Theological Seminary, Philadelphia.</p> -<p class="blist">Schalling, Rev. Martin, b. 1532, d. 1608, German Lutheran -hymnist.</p> -<p class="blist">Schartau, Henric, rural dean in Swedish Church, b. -1757, d. 1825.</p> -<p class="blist">Scheffler (Angelus Silesius), Johann, physician, Lutheran, -later Franciscan, b. 1624, d. 1677, German -hymnist.</p> -<p class="blist">Schenk, Rev. Hartmann, b. 1634, d. 1699, German -hymnist.</p> -<div class="pb" id="Page_83">83</div> -<p class="blist">Schenk, Rev. Heinrich Theobald, b. 1656, d. 1727, German -Lutheran.</p> -<p class="blist">Schenkendorf, Max von, government official, b. 1783, -d. 1817, German hymnist.</p> -<p class="blist">Schirmer, Rev. Michael, M.A., b. 1606, d. 1676, German -Lutheran.</p> -<p class="blist">Schlegel, Joh. Adolf, professor, b. 1721, d. 1793, German -hymnist.</p> -<p class="blist">Schmedeman, Johan, government official, b. 1653, d. -1713, Swedish hymnist.</p> -<p class="blist">Schmolck, Rev. Benjamin, b. 1672, d. 1737, important -German hymnist.</p> -<p class="blist">Schütz, Johann Jakob, lawyer, b. 1640, d. 1690, German -hymnist.</p> -<p class="blist">Scriver, Christian, court chaplain, b. 1629, d. 1693, German -hymnist.</p> -<p class="blist">Seiss, Rev. Dr. Joseph Augustus, b. 1823, d. 1904, American -Lutheran hymnist.</p> -<p class="blist">Selnecker, Rev. Dr. Nikolaus, superintendent, b. 1530, -d. 1592, early German Lutheran hymnist.</p> -<p class="blist">Skarstedt, C. W., professor, b. 1815, d. 1908, Swedish -hymnist.</p> -<p class="blist">Sonden, Per Adolf, pastor, author, b. 1792, d. 1837, -Swedish hymnist.</p> -<p class="blist">Spegel, Haquin, court chaplain, archbishop, poet, b. -1645, d. 1714, important Swedish Lutheran hymnist.</p> -<p class="blist">Spengler, Lazarus, close friend of Luther, b. 1479, d. -1534, German Lutheran hymnist.</p> -<p class="blist">Speratus, Paul, bishop, b. 1484, d. 1551, early German -Lutheran hymnist.</p> -<p class="blist">Spitta, Rev. Karl Johann Philipp, b. 1801, d. 1859, important -German Lutheran hymnist.</p> -<p class="blist">Springer, Lars, 17th century, Swedish hymnist.</p> -<div class="pb" id="Page_84">84</div> -<p class="blist">Stegmann, Rev. Dr. Josua, b. 1588, d. 1632, German -Lutheran hymnist.</p> -<p class="blist">Stenbäck, Rev. L. J., b. 1811, d. 1870, important Finnish -hymnist.</p> -<p class="blist">Stenhammar, Rev. Mathias, b. 1766, d. 1852, Swedish -Lutheran hymnist.</p> -<p class="blist">Sthen, Hans Chr., pastor, b. 1540, d. 1610, Danish -hymnist.</p> -<p class="blist">Stolpe, Rev. Georg, b. 1775, d. 1852, Swedish Lutheran -hymnist.</p> -<p class="blist">Sturm, Rev. Christoph Christian, b. 1740, d. 1786, German -hymnist.</p> -<p class="blist">Swedberg, Jesper, bishop, b. 1653, d. 1735, father of -Emanuel Swedenborg, great Swedish hymnist.</p> -<p class="blist">Synesius of Cyrene, bishop of Ptolemais, b. cir. 395, -d. 430, early Greek hymnist.</p> -<p class="blist">Tegner, E., bishop, great Swedish scholar, b. 1782, d. -1846.</p> -<p class="blist">Tersteegen, Gerhard, b. 1697, d. 1769, important German -Reformed hymnist.</p> -<p class="blist">Thomander, Johan Henrik, bishop, b. 1798, d. 1865, -important Swedish Lutheran hymnologist.</p> -<p class="blist">Thomas Aquinas, confessor and the Angelical Doctor, -Dominican, b. cir. 1225, d. 1274, Latin hymnist.</p> -<p class="blist">Thomas of Celano, 13th century, Franciscan, important -Latin hymnist.</p> -<p class="blist">Tollstadius, Erik, great preacher, b. 1693, d. 1759, -Swedish Lutheran hymnist.</p> -<p class="blist">Topelius, Z., great Finnish scholar, b. 1818, d. 1898, -important Finnish Lutheran hymnist.</p> -<p class="blist">Vischer (Fischer), Rev. Christoph, d. 1600, German -Lutheran.</p> -<div class="pb" id="Page_85">85</div> -<p class="blist">Wallin, Rev. Dr. Johan Olof, archbishop, b. 1779, d. -1839, greatest Swedish Lutheran hymnist and hymnologist.</p> -<p class="blist">Walther, Johann, choirmaster and cantor, Torgau, -Luther’s musical assistant, b. 1496, d. 1570, German -Lutheran hymnist.</p> -<p class="blist">Weigel, Rev. Joh. Adam Valent., b. 1740, d. 1806, German -hymnist.</p> -<p class="blist">Weisse, Rev. Michael, monk, later Bohemian Brethren’s -Unity, b. cir. 1480, d. 1534.</p> -<p class="blist">Weissel, Rev. Georg, b. 1590, d. 1635, German Lutheran -hymnist.</p> -<p class="blist">Wieselgren, Per, cathedral dean, Gothenburg, b. 1800, -d. 1877, important Swedish Lutheran hymnist and -hymnologist.</p> -<p class="blist">Wilhelm II, b. 1598, d. 1662, German Lutheran hymnist.</p> -<p class="blist">Winkworth, Miss Catherine, b. 1829, d. 1878, great -English translator of German hymns.</p> -<p class="blist">Wirsen, C. D., b. 1842, d. 1912, important Swedish hymnist.</p> -<p class="blist">Wiwallius, Lars, b. 1605, d. 1669, Swedish hymnist.</p> -<p class="blist">Woltersdorf, Rev. Ernst Gottlieb, b. 1725, d. 1761, German -hymnist.</p> -<p class="blist">Wultejus, Rev. Johan, court chaplain, b. 1639, d. 1700, -Swedish hymnist.</p> -<p class="blist">Zinzendorf, Count, Moravian, b. 1700, d. 1760.</p> -<p class="blist">Aström, Rev. Johan, b. 1767, d. 1844, important Swedish -Lutheran hymnist.</p> -<p class="blist">Ödmann, Samuel, pastor, professor of theology, author, -b. 1750, d. 1829, great Swedish Lutheran hymnist.</p> -<h2 id="c23">FOOTNOTES</h2> -<div class="fnblock"><div class="fndef"><a class="fn" id="fn_1" href="#fr_1">[1]</a>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. -</div> -</div> -<h2>Transcriber’s Notes</h2> -<ul> -<li>Preserved copyright notice from the printed book, although this eBook is public-domain in the country of publication.</li> -<li>Corrected a few palpable typographical errors.</li> -<li>In the text versions only, text in italics is delimited by _underscores_.</li> -</ul> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Hymnological Studies, by Matthew N. 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