{"collection":"scripture-revelation","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_53770/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_53770","id":"gutenberg_53770","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/53770","summary":null,"tags":["Category: History - Religious","Category: Music","Category: Religion/Spirituality","Hymns -- History and criticism","Lutheran Church -- Hymns -- History and criticism"],"text":"Hymnological Studies\n\n\n                                  _by_\n                          MATTHEW N. LUNDQUIST\n                            A.M., Mus. Doc.\n\n\n                      _WARTBURG PUBLISHING HOUSE_\n                               _Chicago_\n\n\n\n\n                                PREFACE\n\n\nThis humble little work is the outcome of personal interest and some\nlecture work in the field of Hymnology. I trust that this little volume\nwill be of some value, especially to fellow Lutheran organists and choir\ndirectors. For further study the student is referred to John Julian\u2019s\ngreat \u201cDictionary of Hymnology\u201d and Benson\u2019s \u201cThe English Hymn,\u201d as well\nas works by Duffield, Breed, Ninde, and others. Every organist and choir\ndirector ought to read \u201cThe Hymn as Literature\u201d by Jeremiah Bascom\nReeves.\n\n                                                    MATTHEW N. LUNDQUIST\n\n  January, 1926\n  Wartburg College\n  Clinton, Iowa\n\n\n\n\n                                CONTENTS\n\n\n  I. THE HYMNODY OF THE LUTHERAN CHURCH                                 1\n      Religious Character (Biblical and Congregational)                 1\n      Poetical Quality (Lyrical Beauty)                                 8\n  II. THE LUTHERAN HYMN BOOK                                           15\n      Arrangements of Hymns in the Hymnal                              15\n      Dogmatic Method of Arrangement                                   15\n      Liturgical Method of Arrangement                                 15\n      GENERAL SURVEY OF THE HISTORY OF THE CHRISTIAN CHURCH HYMNS      19\n  III. EARLY CHRISTIAN HYMNODY                                         19\n      Early Greek Hymns                                                20\n      Early Latin Hymns                                                22\n  IV. MEDIAEVAL CHRISTIAN HYMNODY                                      27\n      Mediaeval Latin Hymns                                            28\n      Mediaeval German Hymns                                           32\n      Mediaeval Scandinavian Hymnody                                   34\n      The Sequences                                                    35\n      St. Gall                                                         36\n  V. LUTHERAN HYMNOLOGY                                                39\n      Martin Luther                                                    41\n      German Lutheran Hymnody                                          44\n      Scandinavian Lutheran Hymnody                                    50\n      American Lutheran Hymnody                                        54\n      Conclusion                                                       61\n\n                                 ADDENDA\n      Reformed Church Song                                             69\n      A List of Hymnists                                               71\n\n\n\n\n                               SECTION I\n                   THE HYMNODY OF THE LUTHERAN CHURCH\n\n\nThe hymnody of the Lutheran Church is the body of sacred songs sung by\nthe Church. These songs may be studied in their twofold aspect; as to\ntheir religious and as to their poetical character; they are _church\nhymns_ and also _sacred poems_.\n\n(The Lutheran church hymns have been called psalms. According to old\nlinguistic usage, psalm is the same thing as sacred or religious song,\nnot song in general. In secular Greek the word psalm does not mean song,\nbut it refers more particularly to the ability or technique in playing\nupon stringed instruments\u2014the Greek word \u201cpsalmos\u201d means to play a\nstringed instrument. By psalm we mean a sacred song or lyric, as of the\nOld Testament Book of Psalms; a hymn.)\n\n\n                        THE RELIGIOUS CHARACTER\n\nWith respect to the religious character of the Lutheran church hymns, it\nmust be quite clear that if these hymns have grown up out of the soil of\nthe Church, if they are expressions of the spirit of the Church, then\nthey ought to reflect quite faithfully the nature and peculiarities of\nthe Church. The Church, the Communion of Saints, where the Gospel is\npreached in its purity and where the Sacraments are administered\naccording to the teachings of the Gospel, may be considered partly with\nregard to the unique _religious life-content_, which is communicated to\nthe faithful through the Word and the Sacraments and which not only\nunites them to Christ, the Head of the Church, but also unites them with\none another; partly with regard to her nature as a _congregation_, a\ncommunion or community in external form with characteristic expressions\nand order of life. The same twofold point of view arises in our study of\nthe church hymns. The religious character of the church hymn may,\ntherefore, be determined partly from the point of view of religious\nlife, having its source and standard in Holy Writ, and partly from the\npoint of view of the church communion or the congregation, of whose\ncommon life the church hymn is an expression and reflection, and whose\ncommon purpose it seeks to promote. The religious character of the\nchurch hymn thus centers in the fact that both as to content and form it\nmust be Biblical and congregational.\n\n1. The Biblical character of the church hymn:\n\nFirst of all, the church hymn must be thoroughly Biblical. It cannot\nmove only in the realm of general religious truth, not only sing the\npraise of certain abstract ideas about God\u2019s being, about the\nimmortality of the soul, about virtue, etc. Not even such subjects as\nGod\u2019s attributes, the providence of God, Creation, \u201cman\u2019s physical and\nspiritual attributes, reason, will, conscience, nature and purpose,\u201d\nhave any place in the hymns of the Church, when these subjects are\ntreated in an abstract way, isolated from God\u2019s revelation through Jesus\nChrist and detached from human life. The subject of the church hymn,\nprovided it possesses sound religious character, is, briefly stated,\n_Christ for us and Christ in us_; on the one hand the objective saving\ngrace through Jesus Christ, and on the other hand the subjective\nappropriation of faith, with love and submission and devotion to God.\nThe sphere of the church hymn will not thereby be restricted to an\nincessant reiteration of the name of Jesus, his wounds and blood, his\nlove, etc. The church hymn sings the praise of God\u2019s entire means of\nsalvation: God\u2019s thoughts and works of love through Christ for humanity;\nHis sure and saving institutions of grace upon earth; the work of the\nHoly Spirit in the hearts of men unto repentance, faith and\nsanctification; the benefits, struggles and victories of His kingdom of\ngrace; the glory of the heavenly bridegroom; death and judgment; the\nworld to come and eternal life. All these subjects become the object of\nthe hymns of the Church. The faithful express through the church hymn\ntheir ardent desire for these things; they meditate upon these things,\nthey rejoice in their possession, they describe them and they extol\nthem; they adore, thank, and laud their Saviour, and they give\nthemselves up to God. Since the content of positive Christian faith, or\nGod\u2019s revelation of salvation through Jesus Christ, is the principal\nsubject of the church hymn, it is clear that the church hymn must be in\nperfect harmony with the Word of God, the Bible, the very source of the\nrevelation of salvation. But this does not mean that the Church should\nuse exclusively the hymns of the Bible, as, for example, the Psalms of\nDavid. It is perfectly well to use other hymns, provided they are\npermeated by the Holy Spirit and constitute a vital reproduction of\nBiblical truths, grown up out of the soul-experiences of the Church in\nperfect harmony with Holy Writ. Then the liturgical principles of truth\nand freedom will come into proper use in congregational hymn singing.\n\nWith this character of religious truth in the objective sense, or the\nconformity of the church hymn to Holy Writ, goes also the matter of\nreligious truth in the subjective or psychological sense. This means\nthat the religious experience, expressed in the church hymn, is not\nmerely a product of human imagination, more or less foreign to those who\ngather their spiritual life and their soul experiences from the fountain\nof Holy Writ under the guidance of the Holy Spirit, but it is far more\nan experience gained from the reality of true spiritual life, and\nthoroughly accordant therewith, something to which, therefore, every\ntrue Christian can easily agree.\n\nFinally, the Biblical character of the true church hymn reveals itself\nalso in the style of language, which follows very closely Biblical\nexpression, idiom and form. The language of the church hymn harmonizes\nvery well with that type of religious language which has attained a deep\nappreciation among Christians; the language of the popular old religious\nbooks of the Church; Biblical language. This old hymnic language\npossesses very decidedly a character of immortality, depending upon the\ncharacter of the content, whose linguistic garb it is, and with which it\nhas become so closely united. As the content is rooted in eternity and\nfundamentally consists of God\u2019s incorruptible thoughts and works, so the\nhymnic language, which is the vessel for these realities of the eternal\nworld, in a way also attains a character of eternity. The history of the\nchurch hymns also shows very clearly that whenever this peculiar\ncharacter of hymnic language has been disregarded, whenever there have\nbeen vigorous attempts at modernization of the good old church hymns,\nwhen new and modern hymns have been sought, to satisfy some modern\naesthetic or aristocratic need, then the true church hymn has suffered\nvery greatly and lost much of its original soundness and genuineness.\nIndeed, the hymn writer, like any other poet, is influenced more or less\nby his age; his hymns may show more or less the influence of the\npeculiar turn of mind, the stage of development and the demands of the\nage in which he lives; personal ability as a poet and personal life\nexperiences may be distinctly reflected in his hymns. But it should also\nbe true, that if the poet is a sincere student and lover of the Bible\nand delights in singing its praises, then his hymns ought to possess\nBiblical tone and content, since there is a very close union between\ncontent and form in every human religious product. A church hymn\npossessing Biblical tone and language ought to be understood and\nappreciated by the present age. Biblical language is antique but it will\nnever be antiquated; it is old but eternally new and youthful. In all\nages and in all churches the thoroughly Biblical church hymn holds the\nprize for youthful health and beauty.\n\n2. The congregational character of the church hymn:\n\nIn the second place, the church hymn should be suitable for use in the\ncongregation, it should possess a congregational character. This quality\nof the church hymn implies, of course, that it must not contain anything\nwhich is at variance with the confession or the doctrines of the Church.\nThe Lutheran Church may use hymns that have been written by non-Lutheran\nhymn writers, provided these hymns contain nothing offensive to sound\nLutheran doctrine. So Lutheran hymnals may contain hymns taken from the\nReformed Churches, and Reformed church hymnals may contain many Lutheran\nhymns.\n\nThe congregational element in the Lutheran church hymn further means\nthat it must be free from all unsound and unjustifiable subjectivity.\nThe church hymn is the work of a poet who is vitally united with the\nreligious organism\u2014he is a member of the Church\u2014and from this\nconsciousness of perfect communion his hymns emerge. Writes Dr. Martin\nLuther: \u201cChurch hymns are so called, because the Church has accepted\nthem and uses them as if produced by the Church and as her own hymns. We\ndo not say: thus sings Ambrose, Gregory the Great, Prudentius, Sedulius;\nbut we say: thus sings the Christian Church. It is the songs of the\nChurch that Ambrose, Prudentius and others sing with the Church and the\nChurch with them; when they are dead and gone, the Church remains, and\ncontinues to sing their songs.\u201d Personal poetic gifts and temporal\nconditions and circumstances influence the church hymns. The true church\nhymn does not lack individuality; but it is free from individualism. The\nexperiences which the church hymn expresses, the soul states which it\ndescribes, should not be of an extreme, a singular or an abnormal\ncharacter, but they should be normal and common to the Church. Not that\nthe church hymn must restrict itself to what every member, in whatsoever\ncondition of spiritual life, would readily subscribe to. Such a\nrequirement would be unreasonable, because the participants in divine\nworship have reached different stages of spiritual development; in fact,\nthis would restrict the subject matter of the church hymn to only\ncertain general facts and abstract ideas. But it must be required of\nevery church hymn that it express only such religious experiences as are\n_in the main_ common to the whole communion of the faithful, only such\nsoul states and spiritual stages of development as are _essentially_\nexperienced by every true Christian.\n\nIf the requirement of community in the church hymnody permits dealing\nwith special situations and experiences in the realm of spiritual life,\nthen it ought to follow that this character of community will not be\nviolated if the content of the church hymn bears upon certain external\nconditions and circumstances in which the entire congregation never can\nfind itself at any one time. Since there are liturgical acts which\ndirectly affect only certain individuals in the congregation, not the\ncongregation as a whole, there may be church hymns for certain\nindividuals and special occasions. There are church hymns for marriage,\nconfirmation, ordination, etc. It is also perfectly well to have church\nhymns for the aged, for the sick, for the dying, for prisoners, in time\nof war, etc. Since the church members should be kindly and lovingly\ninterested in each other, the congregation may well give expression to\ncertain sympathetic feelings in the church hymns. But such conditions\nand circumstances in the life of an individual as are quite exceptional\nand of special interest only to him, not to the congregation as such,\nare unsuitable as subjects for church hymns, since they may quite easily\nform a disturbing digression from that character of community which\nshould distinguish the church hymns as such. Hymns \u201cfor a father or a\nmother at New Year, for a poor young man, for a young lady, for a blind\nman,\u201d and the like, really have no place in the hymnal.\n\nThe congregational character of the church hymn also finds expression in\nthe language and style of presentation. This must be plain and clear, so\nthat the hymn may be easily understood and appreciated by all who\npossess a reasonable religious training, young or old. The mode of\nexpression is original, naive, true-hearted and graphic. The true church\nhymn avoids startling phrases, prettiness, and mere rhetoric.\n\n\n                          THE POETICAL QUALITY\n\nThe other point of view from which the church hymn may be considered is\nthe poetical; the church hymn is a _song_ thus a product of poetical\nart. Before attempting to analyze the poetical quality of the church\nhymn, it may be well to consider what kinds of poetry are used in the\nhymnody of the Church.\n\nThe three main kinds of poetry are the epic, the drama, and the lyric.\nEpic and drama are not extensively used in the Lutheran Church. Works\nexist which show that the graphic and plastic style of epic poetry has\nbeen employed in the Christian Church when stories from sacred history\nwere paraphrased in metrical form. The Gospel lessons have often been\nread or chanted in metrical form, as hymns. This poetical work may be\nclassified as didactic hymnody with an epic touch. The epic, strictly\nspeaking, requires an imaginative adornment of the historical material\nto be treated, and this cannot very well be applied to Biblical history\nwithout a certain amount of injury. Besides, it would be difficult to\nexcel the beauty of the Biblical presentation, with its pre-eminent epic\nvividness and simplicity. The mediaeval Church employed the dramatic\nform in the mysteries and miracles, religious plays, which were used\nespecially at great festival occasions to present to the laity in a\ndramatic and effective way the historical facts pertaining to the\nfestival. More closely related to the Christian cultus was the Passion\nplay, performed by the clergy in the churches during Lent. The Passion\nplay, and a number of dramatic-liturgical ceremonies, especially at\nChristmas and Easter, were quite freely employed in the early Lutheran\nChurch. But this dramatic activity did not remain permanently in the\nLutheran Church. Perhaps the Church felt that the dramatic reproduction\nof Biblical history did not harmonize very well with that element of\npersonal truth which must exist throughout the cultus and which may\nsuffer injury as the dramatic illusion becomes greater.\n\nWhile epic and dramatic poetry have little or no place in the\nEvangelical Lutheran cultus, and so can not very well be employed in the\nhymnody of the Church, the third kind of poetry, the lyric, is very\nextensively used. A noteworthy characteristic of lyrical poetry is that\nthe object of the song is most closely united with the singing subject;\nthey are as one; the object lives within the subject and is the real\ncontent of the subject. If the cultus is a meeting between God and the\nChurch, in which God imparts his gifts to the congregation and the\nlatter faithfully receives, enjoys, and acknowledges the divine gifts of\ngrace; a meeting, in other words, in which the divine objects join the\nworshipping subject, in which the latter is permeated by the former,\nthen it seems only very natural that religious lyrical poetry should\nhere find its proper use; when the worshipping congregation gives\nexpression to its life of faith and love through sacred song, through\nthe hymns of the Church, these hymns are lyrical poetry.\n\nAlthough the fusion of the object and the subject is a characteristic\nfeature of all religious lyrics, it is to be noted that these two\nelements, the objective and the subjective, are never present in equal\ndegree in the church hymns, but that the one or the other element\npredominates, wherefore it becomes necessary to classify the church\nhymns into the _relatively objective_ hymns and the _relatively\nsubjective_ hymns. To the former class belong the hymn proper and the\ndidactic or doctrinal hymns; the latter class, the lyrical hymns in a\nnarrower sense, consists of what may be called hymns of experience and\nsacrifice. The hymn proper sings the praises of God\u2019s majesty and\nhighness, God\u2019s glorious works and attributes, not as something wholly\noutside of the subject, yet something which is looked up to with\nworshipful joy and admiration. \u201cA mighty Fortress is our God\u201d is a good\nexample of this class of church hymns. The didactic or doctrinal hymn\npresents for quiet and instructive contemplation either certain facts\nfrom sacred history or certain parts of the Lutheran doctrine. Examples\nof this kind are \u201cNun freut euch, lieben Christen g\u2019mein\u201d and \u201cEs ist\ndas Heil uns kommen her.\u201d In these relatively objective hymns, true\nchurch hymns, the objective element is more or less permeated by the\nlife, emotion, and sympathy of the subject. In the hymn proper the\nsubject sings its own joy and its jubilation in the great God and His\nglorious works. The didactic or doctrinal hymn is not merely rhymed\nhistory or rhymed dogmatics, but in it the divine events and truths are\ncelebrated as treasures of faith, sources of spiritual life; by means of\nit the congregation embraces, acknowledges and utters its confident Yea\nand Amen to the divine revelation of salvation. The relatively\nsubjective church hymns, the lyrical church hymns in a restricted sense,\nmay be characterized as hymns of experience, because they describe and\nexpress religious life in its inner experience, emotions, conditions and\nmanifestations, or because they include meditations which a Christian\nengages in because of his inner and outer condition; to this class of\nchurch hymns belong also the so-called hymns of sacrifice, which are\nmore directly an expression of individual devotion to Jesus Christ.\nSince the chiefly subjective hymns, because of their nature, are subject\nto the danger of losing themselves in the individual and the incidental,\nit is very important that they be supported and permeated by a sound\nreligious philosophy. God\u2019s revelation of salvation, especially Jesus\nChrist, who in His person and work is at once the vital cause, the life,\nand the living standard of all the various phenomena and forms in the\nworld of divine grace and truth, must form the background which\neverywhere gleams forth in the hymnody of the Church, the sun that gives\nlight and warmth to the content, the perfect law which restricts the\ndescription and keeps the subjectivity within proper bounds.\n\nSince the church hymn is lyrical poetry, it should be beautiful. But the\nbeauty of the church hymn consists in what? It must be emphasized that\nthis beauty is not something applied to the church hymn from without,\nbut this beauty grows up naturally and spontaneously out of the subject\nwhich is to be celebrated in song. This beauty is nothing else than the\nfaithful reflection, the telling concrete revelation of its inner\nharmony, nobility and sublimity. The communion of the congregation with\nGod through Jesus Christ, which seeks concrete expression in the church\nhymn, is in itself the highest, the most noble, and the most harmonious\nof all the realities of human life. When this divine communion seeks\nexpression in the church hymn, then the poetical art to be employed must\nbe such as will adequately express and convey the emotions and\nexperiences peculiar to this communion. The inner harmony of the matter\nshould reveal itself in the poetical form of presentation as outer\nharmony, as beauty. The entire tone of the church hymn will then become,\nby an inner necessity, graceful, elevated, sublime. It is to be noted\nthat this hymnic beauty is modified according to the specific character\nof the hymn. In the church hymn proper, like \u201cEin\u2019 feste Burg,\u201d this\nhymnic beauty is more elevated, majestic, sublime. In the didactic or\ndoctrinal hymn, it is characterized by the purity, positiveness, and\nsonorousness of the faithful testimony of truth. In the lyrical church\nhymn in a restricted sense, it is more colored by subjective qualities\nsuch as fervor, sincerity, and affection. The lyrical beauty of the\nchurch hymn is free from ostentation; it is distinguished by simplicity\nand naturalness. This simplicity of expression is a poetical as well as\na congregational requirement. Also, the entire presentation of the\nsubject must bear the impress of spontaneity, of freshness. The church\nhymn should not present abstract ideas, reflective thought, conceptions,\nand definitions; but, instead, it should present to the eyes of the\nheart living pictures, concrete realities; just as the Biblical\npresentation, which the church hymn must follow, and Christianity\nitself, which the church hymn must reflect, pre-eminently possess this\ncharacter of concrete and vital reality.\n\nThe beauty of the church hymn implies further that its line of thought\nand disposition be clear and well arranged, that each stanza express a\ncomplete thought, and that there be not too many stanzas\u2014the church hymn\nmust not be too long. The phraseology, syntax and metrical form must be\nfree from such defects as mar and desecrate the sublime content of the\nhymn or make it offensive, unclear, or even incomprehensible to the\ncongregation. This does not mean to commend that vandalism whereby\nmodernists have sought to remove from the old church hymns every\nobsolete word and construction as well as everything which seemed to be\nat variance with the rules of secular poetry\u2014a process whereby many\nexcellent old church hymns have been deprived of their original power\nand simplicity. Most certainly, revision and purification of the outer\nform of the old church hymns is sometimes necessary, in order to make\nthem popularly intelligible and usable. But such revision and\npurification should be undertaken only by Christians of poetic mind and\nsound authority.\n\n\n\n\n                               SECTION II\n  THE LUTHERAN HYMN BOOK OR THE ARRANGEMENT OF THE HYMNS IN THE HYMNAL\n\n\nTwo different hymnological methods of disposition have arisen\nhistorically within the Church, namely, the _dogmatic_ or the\n_dogmatic-ethical_ method, and the _liturgical_ method. The former\nmethod came into existence in the eighteenth century. By this method the\nhymns in the hymnal are arranged according to the usual order of\ndogmatics. For an illustration of this method of arranging the hymns,\nlook into almost any good hymnal of the Reformed Church; The Methodist\nHymnal, for example. The liturgical method is the original, the\nstandard, and the correct method of disposition. In support of this\nassertion, it may be well to observe that since the Lutheran hymnal is a\nliturgical book, a book intended for the needs of the worshipping\ncongregation, the succession of the hymns as well as their content and\ncharacter should reflect the spirit of the Church, as it finds immediate\nexpression in the cultus and its various acts, and as it seeks\nindirectly to exert a hallowing influence on social life in larger or\nsmaller circles.\n\nIt may be well to take a general view of the main factors or stages of\nthis liturgical work of the Church, so as to see more clearly what\nsubjects may be considered in the hymn book and in what order the\nvarious subjects or rubrics may follow each other.\n\nThe reason and the vital basis for the existence of the Church is God\u2019s\nrevelation of salvation through Jesus Christ, i. e., the incarnation and\nthe work of redemption of the Son of God and the sending of the Holy\nSpirit; and these divine works of salvation are the great objectives of\nthe three great church festivals, Christmas, Easter, and Pentecost,\naround which the cycles and days of the church year are grouped. The\nChurch is the result of this revelation. Therefore our attention turns\ntowards the Church, her nature, her establishment, and her extension in\nthis world through missionary activity; further, toward her inner\ngrowth, by which she gives expression to her religious and harmonious\nlife as a communion in solemn divine worship, and through her sacred\nacts and order consecrates human life unto a vessel for divine life. But\nthis self-edification is brought about in the Church only through the\nHoly Spirit who dwells and lives within the Church and in and through\nthe Church and her institutions of grace produces in the hearts of the\nredeemed personal conversion, sanctification, and salvation. Thus the\nChurch grows both outwardly and inwardly and proceeds towards her\neternal perfection. But the Church has to do not only with purely\nspiritual conditions, things divine and eternal. By her life she seeks\nto permeate, sanctify, and glorify all conditions, even the temporal.\nThe Church seeks to penetrate, in a highly beneficial way, the civic\ncommunity, to ennoble its affairs and impart support and exhortation\nboth to the governing and the governed, in times of prosperity and in\ntimes of trouble. The Church is deeply interested in her educational\ninstitutions, these nurseries of time and eternity; the Christian school\nis not only a creation of the Church, but it needs the whole-hearted\nsupport of the Church. The Church is also deeply interested in the\nwelfare of domestic life\u2014she seeks to make the home a happy Christian\nhome. The Church also desires to support and accompany the individual\nmember throughout his course of life, especially in its more difficult\nstages, so that this temporal life may lead to eternal life.\n\nIf these are the most important factors in ecclesiastical-liturgical\nactivity, and if the church hymnal is to be in perfect harmony with the\nlife of the Church, then the hymns in the hymnal may be arranged as\nfollows: 1. _Festival Hymns_, arranged according to the festivals,\ncycles and holy-days of the church year\u2014Advent, Christmas, New Year,\nEpiphany, etc. 2. _Hymns about the Church and ecclesiastical acts_: the\nWord, the Church, Missions, ecclesiastical acts (worship, Holy Baptism,\nHoly Communion, confirmation, ordination and installation, dedication of\nchurches, etc., also marriage and burial). 3. _Hymns about the Christian\nlife_: repentance, faith, justification and state of grace,\nsanctification (the fruits of regeneration, prayer, cross and\nconsolation), the completion (the resurrection, judgment, eternity). 4.\n_Hymns for certain people, times and circumstances_: the Christian\ncommunity (fatherland, the authorities and the subjects, judges and\nthose suing for justice, temporal necessities, war and peace, plagues\nand calamities, etc.), the Christian school or Christian education, the\nChristian home (husband and wife, parents and children, master and\nservant, morning and evening hymns, etc.), conditions in the life of an\nindividual (health, sickness, death, etc.).\n\n\n\n\n      GENERAL SURVEY OF THE HISTORY OF THE CHRISTIAN CHURCH HYMNS\n\n\n\n\n                              SECTION III\n                        EARLY CHRISTIAN HYMNODY\n                           To About 600 A. D.\n\n\nThe Christians of the first century sang hymns, both in private and in\npublic worship. The writings of the New Testament testify to this fact,\nas for example 1 Cor., chapter 14, also the well known places Eph. 5:19\nand Col. 3:16. To begin with the Christians sang the hymns of the Old\nTestament, especially the Psalms of David. Among early Christian songs,\nwe note the following: the Gloria in excelsis Deo (the angelic hymn),\nthe Gloria Patri, the Ter Sanctus (Isaiah 6:3), the Hallelujah, the\nBenedicite, the Nunc Dimittis (Luke 2:29), the Magnificat (Luke 1:46),\nthe Benedictus (Luke 1:68), and the Te Deum Laudamus.\n\nFrom Paul\u2019s references to sacred song in his epistles we learn that the\nearly Christians possessed hymns of their own composition, besides the\nBible songs. But we know very little about these very early hymns of the\nApostolic Age; we know of no great hymn writer of that age. One of the\nearliest hymn writers that we know of is Clement of Alexandria, who\nlived about 200 A. D. To him is attributed the Greek hymn, \u201cShepherd of\ntender youth,\u201d which has been regarded as the first Christian hymn. It\nis found in most of our standard American hymnals\u2014number 282 in Common\nService Book. In 1846 this hymn was freely translated into English by\nRev. Dr. Henry Martyn Dexter, editor of The Congregationalist, Boston.\n\n\n                           EARLY GREEK HYMNS\n\nLooking at the Christian ancestry of our church hymnody, in a narrower\nway, it may be said that its history goes back to the hymn writing of\nchristianized Greece\u20141500 years back\u20141500 years of Christian hymn\nwriting and hymn singing. The church hymnody of the different countries\nvaries, of course, in time and duration. A German, for example, finds\nabout seven hundred years of German hymn writing in his hymn book. We\nhave inherited and appropriated this common legacy.\n\nIn Syria there arose in the second century several prolific hymn\nwriters. They were Gnostics, who sought to propagate their heretical\nteachings through sacred song. Bardesanes and his son Harmonius were the\nleaders of this Gnostic hymnody in the Syriac Church. This heretical\nhymnody was the negative cause of the great hymn writing of Ephrem\nSyrus, who was born at Nisibis in Northern Mesopotamia, 307 A. D., and\ndied at Edessa, 373. He is regarded as the foremost representative of\nthe orthodox hymnody of the old Syriac Church. In order to counteract\nthe dangerous influences of Gnosticism, Ephrem Syrus produced a large\nnumber of fine hymns, which became very popular throughout the Eastern\nChurch. Thus a new era in Christian hymnody was introduced. See pages\n63-68 in \u201cThe Hymn as Literature,\u201d by J. B. Reeves.\n\nLike the Gnostics of Syria in the second century, so also the Arians of\nConstantinople in the fourth century sought to propagate their heretical\ndoctrines through sacred song. Again great champions of orthodoxy arose,\nmen like Ephrem Syrus, who produced fine hymns, mainly in defense of the\ndoctrines of the Trinity and Christ\u2019s divine nature. Among early well\nknown Greek hymn writers we note the following: Gregory of Nazianzus\n(died 389), Anatolius (seventh or eighth century), St. Andrew of\nJerusalem (660-732), St. Cosmas, the Melodist (died about 760), St. John\nof Damascus (died about 780), St. Stephen of St. Sabas (died 794), and\nSt. Joseph the Hymnographer (died about 840). As examples of their hymns\nwe have \u201cO Thou the One supreme o\u2019er all\u201d by Gregory, \u201cThe day is past\nand over\u201d by Anatolius, \u201cThe day of resurrection\u201d by St. John of\nDamascus, and \u201cArt thou weary, art thou languid\u201d by St. Stephen. Rev.\nDr. John Mason Neale (1818-1866) of East Grimstead, England, has\nproduced many excellent translations of the old Greek hymns, which are\nfound in nearly all modern hymnals.\n\nIn the Eastern Church, as early as the third century, the custom of\nsinging had become so general as to be recognized as one of the Church\u2019s\npredominating features. In the Eastern Church, at Antioch, antiphonal\ncongregational hymn singing had its origin, and from thence spread in\nall directions in the fourth century. An interesting fact comes to light\nin connection with the use the Eastern Church made of its hymns.\nTheodoret, in his historical writings, tells us that \u201cwhile Chrysostom\n(347-407) was bishop of Constantinople, at the opening of the fifth\ncentury, the orthodox Christians were in the habit of assembling\nthemselves in the public squares, then marching in midnight processions,\nthrough the city, singing sacred songs, in order to combat those who\nwere enemies of Christ\u2019s divinity.\u201d This is a testimony concerning the\nanti-Arian hymnody.\n\nThe early hymnody of the Eastern Church possesses a great deal of poetic\nbeauty and fine rhetorical style. But many of these old Greek hymns\nindulge in a certain amount of tedious broadness and dogmatic prosiness.\nThey are often vague and fantastic. Fine language seems often to be of\ngreater importance than spiritual content. In the Eastern Church sacred\nsong never received the development and the place in the life and the\ncultus of the congregation as in the Western Church. During the last\nhalf of the third century the Eastern Church advocated the use of the\nPsalms of David only in divine service. It must also be borne in mind\nthat attempts were made in the Eastern Church about the middle of the\nfourth century to suppress congregational singing. The character of the\nhymns that were produced in the Eastern Church, their bombastic and\noften turgid style, their complicated rhythmical structure, and their\nunpractical Christianity, prevented them from becoming a property of the\ncommon people.\n\n\n                           EARLY LATIN HYMNS\n\nEarly sacred song in the Western Church is characterized by noble\nsimplicity and clearness in form, as well as by a more practical\nChristianity; fine qualities which go to make the old Latin hymns more\naccessible and serviceable to us than the old Greek hymns.\n\nThe fourth century witnessed a remarkable activity in Latin hymnody. The\nWestern Church was far more active in the hymnological field than the\nEastern Church. One of the founders of Latin hymnody was St. Hilary, the\ngood bishop of Poitiers, great scholar, and great defender of the\nChristian faith. During his exile (356-360) in Phrygia, St. Hilary came\nin touch with Arian hymn singing. When he was permitted to return to\nGaul, he brought with him a great enthusiasm for hymn singing. He edited\nthe first hymn book of the Western Church, and introduced singing of\northodox hymns among his people. He died in 368 A. D.\n\nBut the great author and leader of Latin hymnody is, undoubtedly, St.\nAmbrose, the admirable and amiable bishop of Milan. He was born in 340\nand died on Good Friday, 397. St. Ambrose has been called the father of\nLatin church song, because of his great work in hymnody and church\nmusic. The first stanza of one of his beautiful hymns is here quoted.\n\n  O Jesus, Lord of heavenly grace,\n  Thou Brightness of Thy Father\u2019s face,\n  Thou Fountain of eternal light,\n  Whose beams disperse the shades of night.\n\nPrudentius (Aurelius Prudentius Clemens) is a prominent Latin hymn\nwriter of this period. He was born in Spain, 348 A. D. Prudentius has\nbeen called \u201cthe first great Christian poet.\u201d With him the Latin, the\nlanguage of a stern and hard people, is, as it were, tempered by faith.\nHe, like most of the early Latin hymnists, sings the praises of the\nfaith, hope and love of the Christian Church. The subjective, with its\n\u201cI,\u201d \u201cme\u201d and \u201cmine,\u201d so characteristic of modern hymnody, had no place\nin the hymns of Prudentius. He received high honors from the Roman\nemperor, but in old age he preferred to devote himself quietly to\nreligious literary work. He died about 410 A. D. We quote the first\nstanza of a beautiful Christmas hymn, Corde natus ex Parentis, from\nPrudentius, the translation by Neale.\n\n  Of the Father\u2019s love begotten,\n  Ere the worlds began to be,\n  He is Alpha and Omega,\n  He the source, the ending He,\n  Of the things that are, that have been,\n  And that future years shall see,\n  Evermore and evermore.\n\nSt. Patrick (fifth century), called the Apostle of Ireland, wrote\nseveral hymns for his people. Coelius Sedulius, of the fifth century,\nwrote several great Latin hymns, among which we refer to one that has\nbeen sung quite extensively, namely, A solis ortus cardine\u2014From lands\nthat see the sun arise.\n\nGregory the Great (545-604) and Venantius Fortunatus (530-609) mark a\nperiod of transition in the hymn singing of the Western Church. It was\nat this time, about 600 A. D., that the Ambrosian church song was\nsuperseded by the Gregorian. Here it was that congregational song in the\nWestern Church was abandoned and that part of public worship given over\nto the priests and the monks. The only part the congregation took was in\na few responses. Gregory the Great was a man of unusual ability. He was\npope from 590 until his death in 604. He was a zealous missionary to\nBritain, great as a champion against the heretics, and great as a\npreacher, but his best service to the Church is undoubtedly his\nliturgical and musical contribution. He strove to make public worship\nworthy of Him to whom it was rendered. It must be borne in mind that\ngood congregational singing was something which presented great and\nperplexing problems in those days. The Gregorian chants, still in use,\nafter a lapse of more than a dozen centuries, show the Gregorian style\nand indicate how Gregory changed the melodious and flowing hymns of St.\nAmbrose into the more severe and solemn style of the new period. But we\nhave several hymns from Gregory\u2019s pen which indicate that he was not\nwithout the Ambrosian spirit. Take, for example, his beautiful hymn,\n\n  O Christ, our King, Creator, Lord,\n  Saviour of all who trust Thy word,\n  To them who seek Thee ever near,\n  Now to our praises bend Thine ear.\n\nVenantius Fortunatus, the troubadour, holds a very important place in\nearly Latin hymnody. He wrote one of the greatest hymns of the Western\nChurch, namely, Vexilla Regis\u2014The royal banners forward go, the Cross\nshines forth in mystic glow. We quote the first stanza of another great\nhymn by Fortunatus, a grand Easter hymn.\n\n  Welcome, happy morning! age to age shall say;\n  Hell today is vanquished; heaven is won today.\n  Lo! the Dead is living, God for evermore!\n  Him their true Creator, all His works adore.\n  Welcome, happy morning! age to age shall say.\n\nSimplicity, depth, fervor, divine sentiment, full-hearted confession,\nare some of the outstanding characteristics of the early Latin hymns.\nThey are, on the whole, Scriptural, pure, and devotional. The key-note\nin these venerable old hymns consists of the main points of\nChristianity, the protection and care of the Father, the redemption of\nChrist, the sanctification of the Holy Spirit, strains of thanksgiving\nand praise, invocation of God\u2019s support against the devil, the flesh and\nthe world.\n\n\n\n\n                               SECTION IV\n                      MEDIAEVAL CHRISTIAN HYMNODY\n                             A. D. 600-1520\n\n\nWhen the Western Church passed into the mediaeval era of its history,\nabout 600 A. D., we find church song in a new and different situation.\nDuring the ancient era of the Christian Church, it may be said that\nchurch song was, for the most part, a song of the people of God, a\ncongregational song. Attempts had been made before this time, it is\ntrue, to suppress congregational song, but they had proven more or less\nunsuccessful. During the Middle Ages, however, the Church was successful\nin definitely transferring church song from the people to the clergy and\na well trained clerical choir. Latin was the liturgical language of the\nentire Western Church, wherefore the mediaeval church hymns were written\nin that language. The Carolingian age, productive in so many respects,\nalso produced a number of very beautiful hymns, resembling the best\nproductions of the Ambrosian era of hymnody. Charlemagne was not only a\nzealous promoter but also a practiser of sacred poesy. In the ninth\ncentury Notker Balbulus of St. Gall monastery produced hymns called\nSequences, which differed in their metrical structure from the older\nhymns. These Sequences had three or six lines in each verse, while the\nverses of the older hymns had four lines each. In a subsequent chapter\nwe shall speak more fully of the Sequences and their remarkable\nbirthplace.\n\nPassing over into the mediaeval Church, we find that our church hymnody\nhad three different sources in the time before the Reformation. One\nsource was the Latin church hymnody. The second source consisted of the\nGerman songs, called Leisen. The third source was the religious\nfolk-song of the common people.\n\n\n                         MEDIAEVAL LATIN HYMNS\n\nDuring the second half of the Middle Ages, beginning with the eleventh\ncentury, a number of great hymn writers arose. King Robert of France,\nwho died 1031 A. D., probably wrote one of the greatest hymns of the\nLatin Church, namely, Veni Sancte Spiritus. Dr. S. W. Duffield claims\nthat this great Sequence was written by Hermannus Contractus, the\ncrippled monk of Reichenau, in the eleventh century.\n\nBernard of Cluny and Bernard of Clairvaux are two Latin hymn writers who\nhold a very important place in Christian hymnody. From Bernard of Cluny\n(twelfth century) comes the well known hymn, \u201cJerusalem the golden, with\nmilk and honey blest.\u201d This hymn comes from his famous and only poem\nLaus Patriae Celestis which consists of some three thousand lines of\ndactylic hexameter. We quote the first stanza of another well known hymn\nthat comes from the same poem.\n\n  Brief life is here our portion;\n    Brief sorrow, short-lived care;\n  The life that knows no ending,\n    The tearless life, is there.\n\n  Oh, happy retribution!\n    Short toil, eternal rest;\n  For mortals, and for sinners,\n    A mansion with the blest.\n\nFrom St. Bernard of Clairvaux we have such great hymns as \u201cLight of the\nanxious heart,\u201d \u201cWide open are Thy hands,\u201d \u201cO Jesus, King most\nwonderful,\u201d \u201cJesus, the very thought of Thee,\u201d \u201cJesus, Thou Joy of\nloving hearts,\u201d and \u201cO Sacred Head, now wounded.\u201d St. Bernard was born\nin Fountaines, Burgundy, 1091. History speaks of him as highly\nimaginative, great champion of the faith, great orator, great teacher,\nfounder and abbot of the Cistercian monastery at Clairvaux, and leader\nin mediaeval mysticism. He died in 1153. Luther called him \u201cthe best\nmonk that ever lived.\u201d Hymns from the two Bernards can be found in any\nstandard modern hymn book and they are worth careful study.\n\nAdam of St. Victor (twelfth century) is another important Latin hymnist.\nHe was choirmaster at the great St. Victor monastery at Paris. Trench\nspeaks of him as \u201cthe foremost among the sacred Latin poets of the\nMiddle Ages.\u201d\n\nThomas of Celano, whose birthplace is unknown, was one of the first\nmembers of the Franciscan order. In 1221 he went to Germany and remained\nthere for nine years; then he returned to Italy, where he died in 1255.\nThomas of Celano wrote the greatest hymn of the Latin Church\u2014Dies Irae.\nThere are nineteen verses to this great Sequence, of which we quote the\nfirst two. The translation is by Wm. J. Irons.\n\n  Day of wrath, that Day of mourning,\n  See fulfilled the prophet\u2019s warning,\n  Heaven and earth in ashes burning.\n\n  O what fear man\u2019s bosom rendeth,\n  When from heaven the Judge descendeth,\n  On whose sentence all dependeth.\n\nThomas Aquinas was born in a Neapolitan castle, Italy, about 1225. He\nwas a Dominican and the strongest of the scholastics, theological\nprofessor at several universities, Doctor of Theology from Paris, also\ncalled Doctor Angelicus. He was a prolific writer; his Summa Theologiae\nis a great dogmatic work. He died in a prominent monastery at Naples in\n1274. Thomas Aquinas produced a number of excellent hymns. His \u201cLauda,\nSion, salvatorem\u201d is generally regarded as one of the greatest hymns of\nLatin hymnody. It can be found in almost any standard hymnal, beginning\n\u201cSion, to thy Saviour singing.\u201d\n\nJacoponus (died 1306) wrote one of the greatest hymns of the Roman\nChurch, namely, Stabat Mater Dolorosa. This hymn is found in many\nProtestant hymnals, beginning \u201cAt the Cross her station keeping.\u201d Thomas\na Kempis (1380-1471) of Holland and John Huss (1369-1415) of Bohemia,\nmade valuable contributions to mediaeval hymnody.\n\nThese Latin hymn writers have produced hymns which are characterized by\ndeep ardor, great love of Christ, and soul-stirring earnestness. The\nLatin church hymnody is very wealthy indeed; more than 20,000 Latin\nchurch hymns have been discovered. Of these Latin hymns we have\nappropriated a large number of beautiful festival church hymns. Their\nform is very plain. Without any comment the festival subject is\npresented in a very plain and simple statement of the event in question.\nThe singer loses himself in his subject; there is nothing here of\nself-assertion. Note such hymns as \u201cA great and mighty wonder,\u201d \u201cAll\npraise to Thee, Eternal Lord,\u201d \u201cThe strife is o\u2019er, the battle done,\u201d\n\u201cChrist, the Lord, is ris\u2019n today,\u201d \u201cJesus Christ is risen today,\nAlleluia,\u201d etc.\n\nMightily through the ages sound the hymns of penance and judgment;\nperhaps too strong at times. Note that mighty and most powerful hymn,\nDies irae, dies illa. But the mediaeval hymnody is not without the\nevangelical spirit; this is clearly seen in our hymn books, especially\nin the Communion hymns. In spite of magic and abuse, it was nevertheless\nin the Holy Communion that the true Christian of the Middle Ages came\nclosest to Christ. Note two mediaeval Communion hymns:\n\n  Lord Jesus Christ! To Thee we pray,\n  From us God\u2019s wrath Thou turn\u2019st away,\n  Thine agony and bitter death\n  Redeem us from eternal wrath.\n\nThis hymn comes from John Huss and was translated by Martin Luther. The\nother Communion hymn is \u201cJesu dulcis memoria,\u201d probably by St. Bernard\nof Clairvaux:\n\n  Jesus, the very thought of Thee\n  With sweetness fills the breast;\n  But sweeter far Thy face to see,\n  And in Thy presence rest.\n\nIt is a very difficult task to translate these old Latin hymns; much is\nlost by the translation. It is not an easy matter to construct a bridge\nbetween the great glow of St. Bernard\u2019s mysticism and the powerful, yet\ncold faith of the seventeenth century. If \u201cJesu dulcis memoria\u201d was not\nwritten by St. Bernard, it must have been written by one of his devout\npupils. We are here at the very fountain-head of Christian poetry, so\nclosely related to the Song of Solomon, i. e., it presents the relation\nof the faithful to Christ\u2014the love of the bride to the bridegroom. From\nthis circle came the great hymn \u201cO Sacred Head, now wounded,\u201d translated\nand perfected by Paul Gerhardt.\n\nNo wonder that the schools and cathedrals clung so tenaciously to the\nold Latin hymnody. It exerted great influence. Too bad, indeed, that we\nhave permitted this Latin song to become extinct. Perhaps our taste in\nthings religious would not have declined so low, and religious song\nwould not have come to be despised so generally, had our good leaders\nrealized that there are better things than American jazz.\n\n\n                         MEDIAEVAL GERMAN HYMNS\n\nAlong with this Latin-clerical church song there existed in the Germanic\nmediaeval Church a religious popular poetry or congregational song.\nUnder the hierarchic autocracy of the Gregorian song it had gone so far\nthat the active participation of the congregation in public worship was\nreduced to a joining only in the response Kyrie Eleison (Lord have mercy\nupon us), repeated one hundred or more times at any one church service.\nBut in the sad tones of this Kyrie Eleison, this cry for compassion from\na people spiritually oppressed and enslaved, there emerged in the\nGermanic mediaeval Church the first attempts at congregational song in\nthe vernacular. At the close of the ninth century they began to supply\nthe tune of the mechanically repeated Kyrie Eleison with religious\nverses in the language of the people. Every verse of these songs ended\nwith the refrain Kyrie Eleison. Thus arose the first German church hymns\ncalled Kirleison or Leisen, as they had grown out of and ended with the\nKyrie Eleison.\n\nIn the twelfth and thirteenth centuries, when significant religious\nawakenings and the Crusades (1096-1273) stirred up great enthusiasm\namong the people, these German hymns took on new life and gained great\nfavor among the people. These religious songs of the people were used\nmore and more freely both in public worship and at other religious and\nsecular festive occasions. Some of these mediaeval German hymns or\nLeisen are: Also heilig ist der Tag; Mitten wir im Leben sind; Christ\nist erstanden; Nun bitten wir den heiligen Geist. One of the best of\nthese Leisen is,\n\n  Christ ist erstanden\n  Von der Marter Banden,\n  Des sollen wir alle froh sein,\n  Christ will unser Trost sein,\n      Kyrie Eleison.\n\nBut even though the people sang these hymns in the church services, such\nsinging was merely tolerated and had no set place. These German hymns of\nthe people were different from the Latin hymns of the cloisters. They\npossess a more simple, popular and hearty key-note, though their form\nmay be poor and their style rugged. But these hymns, with their singable\ntunes, were greatly loved by the people, and so they lived and thrived\nin the hearts of the common people during the deplorable times and\nconditions of the mediaeval Church. The secular Minnesingers (thirteenth\ncentury) and the Meistersingers (fourteenth century) exerted\nconsiderable influence upon German hymnody, especially with respect to\npoetic form and music. In the fourteenth and fifteenth centuries the\n\u201cBrethren of the Common Life\u201d (Netherlands) and the significant\nreligious movements associated with John Wycliffe and John Huss gave to\nhymnody in the vernacular a powerful revival and a purer evangelical\ncontent. Desirable Latin hymns were translated and new hymns in the\nvernacular were written. The Germans and the Bohemians possessed, before\n1500, about five hundred church hymns in the vernacular. In the\nfifteenth century the Bohemians sang these hymns in the regular church\nservices.\n\n\n                     MEDIAEVAL SCANDINAVIAN HYMNODY\n\nBecause of the close connection which existed in mediaeval times between\nGermanic countries and peoples,\u2014a natural outcome of their racial\naffinity,\u2014it was quite natural that the movements of mediaeval hymnody\nin Germany would become known among the people of the North. The Swedish\nmediaeval Church possessed a hymnody both in Latin and in Swedish. Only\na very few of the Swedish mediaeval religious songs remain to-day. These\npopular religious songs, like secular folk songs and ballads, were\ntransmitted not in writing but as a living tradition on the lips of the\npeople from generation to generation. Thus only very few of these old\nSwedish religious songs have survived the century of the Reformation. By\nway of example we may note the old mediaeval song, \u201cThe blessed day\nwhich we behold\u201d\u2014this is found in all Swedish Lutheran hymn books. It\nexisted in the fourteenth century. In its present form it has been\ngreatly improved by the greatest of Swedish hymnologists, J. O. Wallin.\nEricus Olai is the only known Swedish hymn writer of mediaeval times.\nOne of his hymns, \u201cThe Rich Man,\u201d a metrical paraphrase of the Gospel\nlesson which deals with the rich man and Lazarus, Olaus Petri, the great\nSwedish reformer, included in the first Swedish Lutheran hymn book. It\nwas also included in the Swedish Lutheran hymn book of 1695. An\ninteresting and valuable testimony concerning the fact that also in the\nSwedish mediaeval Church the people were allowed to sing in public\nworship, is found in the answer that King Gustavus I gave to the\ncomplaint of the Dalecarlians, in 1527. Among other things, the king\nsays that \u201cit is an old custom in our country, in our churches, to sing\nin Swedish and praise God, and it is well that this is done in our own\nlanguage, which we understand, and not in Latin, which we do not\nunderstand.\u201d\n\n\n                             THE SEQUENCES\n\nThe Sequences were religious liturgical songs, which developed from the\nflorid vocalizations upon the last syllable of the Hallelujah. At first\nonly a melody or tune with words, but later on it became an art form\nboth in music and in sacred poetry. Musically often of finer quality\nthan the hymn. The Sequences usually consisted of two verses, three\nlines to each verse, with the same melody for each of the two verses.\nThe form seems to have originated at the convent of St. Gall in\nSwitzerland, about 875 A. D. During the later part of the mediaeval era\nthe Sequences became very popular, and the number of Sequences that were\nsung in the Catholic Church reached nearly one thousand. The church\nmusic decisions of the Council of Trent (1545-1563) operated very\nstrongly against the Sequences, and so they practically disappeared\nabout 1570. Only five Sequences were retained, namely, Victime paschali\nlaudes, Veni Sancte Spiritus, Lauda Sion salvatorem, Stabat Mater\ndolorosa, and Dies Irae.\n\n\n                                ST. GALL\n\nWe close our study of mediaeval hymnody with a story about St. Gall. St.\nGall is a very remarkable old monastery. Men of quite different minds\nand dispositions got along very amicably under the Benedictine rule at\nSt. Gall. Among its one hundred monks there were in the ninth century\nfour monks whose names were well known throughout the Western Church,\nnamely, the learned Ratpert, the enthusiastic Notker, the highly gifted\nand greatly admired artist Tutilo, and the unrivalled hand-printer of\nbooks, Sintram, whose very beautiful handwriting was greatly admired\nthroughout Europe. Ratpert, a stern educator, never sparing the rod, and\nnot deeply interested in his devotional exercises\u2014a great scholar.\nNotker Balbulus (stammerer), the saint-like, ascetic tune-writer and\nplant specialist, who had strange visions and lived in another world\u2014a\ndreamer. Then there was also the ingenious, humorous Tutilo. These three\nmonks were as different as three highly gifted persons could be, and yet\nthey were always as one soul. Ratpert respected Tutilo\u2019s fine\nscholarship; at night they were often found with Notker Balbulus in the\nwriting-room, comparing and improving the works that Sintram was about\nto copy. Notker who wrote many fine hymn tunes, wanted them sung by\nTutilo who was a good singer and clever performer upon several musical\ninstruments. Tutilo wrote several excellent hymn tunes, and he also\nproduced several noble hymns of which the most popular are Hodie\ncantandus, Viri Galilei, and Gaudete et cantate.\n\nNotker\u2019s genuine affection for Tutilo was not disturbed by Tutilo\u2019s\ngood-natured submission to unreasonable monastic regulations, which\nNotker regarded as symbolically significant. The Benedictine regulations\nwere meant for the monasteries of southern Italy, and did not suit the\nconvent of St. Gall very well. A midday nap was one of the Benedictine\nregulations, and so the monks of St. Gall had to retire and sleep two or\nthree hours at midday every day. The Benedictine rule prescribed a diet\nof fish, fruit and vegetables\u2014the usual diet of southern Italy. But fish\nand fruit were difficult to secure at St. Gall; meat, which was\nplentiful, was forbidden. And so the diet of St. Gall consisted mainly\nof pulse and pap. Notker who was the guardian of the discipline of the\nmonastery, never had an occasion to bring up any reproach against\nTutilo. Tutilo observed the midday nap, and flavoured with merriment the\nmonotonous diet which maintained his splendid mortal clay.\n\n\n\n\n                               SECTION  V\n                           LUTHERAN HYMNOLOGY\n                                 1520\u2014\n\n\nThe Reformation of the sixteenth century put life into congregational\nhymn singing. Before this time it had been heard only in strains,\nbroken, timid, and vague. The Reformation endowed congregational hymn\nsinging with a sonorousness and power, as never before in the history of\nthe Church. One of the main principles of the Reformation was that all\nChristians, as a spiritual priesthood (Rev. 1:6 and 1 Pet. 2:5), are\nprivileged and obliged to approach God and bring Him their offering,\nwithout human mediators and deputies, only because of the merits of\nChrist, the one true mediator; and this not only individually in private\nlife but also in public worship. The Reformation brought into play all\nserviceable forces and means to promote and make possible the\nrealization of this principle in the cultus. The reformers sought to\nmake the liturgy intelligible and accessible to the common people\u2014for\nthe Latin they substituted the language of the people, and the\ncongregation was given an opportunity to take an active part in public\nworship. It was perfectly natural that church song could not remain in\nits mediaeval form, an exclusive privilege of the clergy, but be\ntransferred to the people. And so popular church hymns were produced.\nLuther became the leader also in this great work. What kind of hymns he\nwanted, is quite clearly seen in one of his letters to the electoral\ncourt chaplain, Spalatin, whom he called upon to assist in this\nhymnological work: \u201cI am willing to make German psalms for the people,\nafter the example of the prophets and the ancient fathers; that is,\nspiritual hymns whereby the Word of God, through singing, may conserve\nitself among the people.\u201d Later on in the same letter, he makes the\nfollowing suggestion: \u201cI desire, however, that new-fangled words, and\ncourtly expressions, be omitted, in order that the language may be the\nsimplest and most familiar to the people, and yet, at the same time,\npure, and well suited to the clear sense of the psalm.\u201d Such church\nhymns, thoroughly Biblical and at the same time popular, the great\nreformer wanted for the people. And Luther produced several church\nhymns, which have never been surpassed and rarely equaled. He translated\nand versified Davidic Psalms; he translated and revised old Latin hymns;\nhe revised several old religious folk songs; and he wrote several\noriginal hymns. He was not alone in this hymnological work; many able\nassistants came forward. Thus the great Lutheran hymnody began.[1]\n\nThe outstanding merit of these church hymns is that they proclaim and\nextol God\u2019s great works of love, in words and strains that burst forth\nfrom the very soul of the people\u2014immediately they became the property of\nthe people. As silent and yet as most eloquent witnesses of evangelical\ntruth, these hymns made their way even to distant lands and awakened the\nlanguishing hearts of the people to new life, to joy and praise. The\nannals of the Reformation are rich in the most remarkable testimonies\nconcerning these things, how the Lutheran hymns powerfully conquered the\nlove of the people and how the people heartily sang them in the churches\nand in the homes, in weal and woe. And this great legacy from the\nReformation era, the Lutheran Church has preserved, used well, and\nrichly increased. The church hymn is the special glory of the Lutheran\nChurch. No church communion can be compared to the Lutheran Church in\nthis respect. Not without reason has the Lutheran Church been called the\nsinging church.\n\n\n                             MARTIN LUTHER\n\nWhen we think of the Lutheran hymnody from the historical point of view,\nwe must dwell, if but briefly, on its classical formation in the\nmotherland of the Lutheran Church, Germany. Something permanent and\npeculiarly typical is present in the hymnody of the Reformation days.\n\nWith respect to Luther himself, his best hymns are our most precious\npossession. \u201cEin\u2019 feste Burg\u201d is known the world over. Christians\neverywhere are familiar with it.\n\nAt first Luther did not seem to be aware of his poetical gifts. It was\nnot until in July, 1523, when two Belgian martyrs of the Lutheran Church\nhad been burnt at the stake, that Luther\u2019s first poetical product came\ninto existence\u2014in the folk song style. This song, \u201cEin neues Lied wir\nheben an,\u201d spread very rapidly throughout Germany. Soon thereafter came\ntwo hymns, one about penance, and one about faith: \u201cOut of the depths I\ncry to Thee\u201d and \u201cDear Christians one and all rejoice.\u201d They were\nsupplied with tunes and spread very rapidly throughout the land.\n\n1524 was the hymn-year of the Reformation. 24 of Luther\u2019s 37 hymns\nappeared in various publications. \u201cEin\u2019 feste Burg\u201d seems to belong to\nthe year 1527. Luther\u2019s musical assistants were Conrad Rupf and Johann\nWalther. It is said that while these two musicians sat at the table,\nbusy with the writing of the music, Luther walked about the large room\nand tried the tunes, singing them, or playing them on his flute. When we\nstop to consider what was then formed and created, we see clearly that\nthis is a historical situation of epoch-making significance. Luther at\nthe church door in Wittenberg, Luther at Worms, at Wartburg, in his\nhome; so also Luther with his musical friends, creating or remodelling\npoetry and music for the new Church\u2014a central figure in the history of\nthe Church.\n\nTo characterize Luther\u2019s hymns is no easy task, because of their\nrichness. Luther\u2019s soul possessed an enormous span of faith and\nspiritual life. It experienced the mediaeval thunder-tones of judgment\nas well as the brightness of the Gospel. Compare, for example, the two\nhymns, \u201cThough in midst of life we be\u201d and \u201cDear Christians one and all\nrejoice.\u201d Compare the following stanza from \u201cEin feste Burg,\u201d\n\n  The Word they still shall let remain,\n    Nor any thanks have for it;\n  He\u2019s by our side upon the plain\n    With His good gifts and Spirit.\n      Take they then our life,\n      Goods, fame, child, and wife,\n      When their worst is done,\n      They yet have nothing won:\n    The Kingdom ours remaineth.\n\nwith one of the stanzas from \u201cVom Himmel hoch da komm ich her\u201d,\n\n  Ah, dearest Jesus, Holy Child,\n  Make Thee a bed, soft, undefiled,\n  Here in my poor heart\u2019s inmost shrine,\n  That I may evermore be Thine.\n\nIt is obvious that in \u201cDear Christians one and all rejoice\u201d\u2014Nun freut\neuch, lieben Christen g\u2019mein\u2014we have the outline of Luther\u2019s entire\nexperience of faith, from the moment he felt himself condemned by God\ntill he could triumph in songs of praise. This hymn forms a very clear\nparallel to his exposition of the Second Article.\n\n\nMost of Luther\u2019s hymns ought to be found in our English Lutheran hymn\nbooks. They are noble church hymns\u2014all Lutherans should know them. The\nChurch Militant is one of Luther\u2019s chief subjects. Note his great heroic\nhymn \u201cEin feste Burg.\u201d Note also one of his last hymns:\n\n  Erhalt uns, Herr, bei deinem Wort\n  Und steure deiner Feinde Mord,\n  (Original: und steur des Pabsts und Tuerken Mord).\n  Die Jesum Christum, deinen Sohn,\n  Stuerzen wollen von deinem Thron.\n\n  Lord, keep us steadfast in Thy Word;\n  Curb those who fain by craft or sword\n  Would wrest the kingdom from Thy Son,\n  And set at naught all He hath done.\n\nPowerful and courageous Lutheran hymns! Ach Gott, vom Himmel sieh\ndarein\u2014Look down, O Lord, from heaven behold\u2014seems to be as valid\nagainst the disintegrating subjectivism and super-culture of our time as\nagainst the age in which it was born, which dissolved God\u2019s kingdom and\ndivine will at pleasure and put uncontrolled human will in their place.\nWhether this refers to clericalism and papism or modern culture and mass\ndominion, makes little or no difference; the result in both cases is\ndestruction.\n\nNearly all of Luther\u2019s hymns close with words of praise\u2014note this\nconsciousness of communion with Christ. Take for example the last stanza\nof \u201cChrist lag in Todesbanden\u201d:\n\n  Then let us feast this Easter day\n  On the true Bread of heaven;\n  The Word of grace hath purged away\n  The old and wicked leaven:\n  Christ alone our souls will feed;\n  He is our meat and drink indeed;\n  Faith lives upon no other!\n        Alleluia!\n\nWe recommend a careful study of \u201cLuther\u2019s Hymns\u201d by James F. Lambert.\n\n\n                             GERMAN HYMNODY\n\nThe history of German hymnody after 1500 may be divided into five\nperiods: 1) the foundation period, including the time of the Reformation\nand down to the close of the sixteenth century; 2) the period of\nprosperity, from about 1600 to about 1700; 3) the period of\nsubjectivism, embracing the time from 1700 to 1750; 4) the period of\ndecline, from 1750 to about 1820; 5) a time of renovation and general\ndevelopment, from about 1820 to about 1900.\n\nTo present a clear, yet reasonably complete, survey of the history of\nthe church hymn in Germany during the century of the Reformation, is not\nan easy task. The period is rich in victories and reverses. It embraces\nnot only the first victories of the new Church but also the\nCounter-Reformation with its regaining of lost ground. It includes the\nsad story of the internal struggles of the early Lutheran Church, which\nresulted in dissension and weakness, bitterness and discouragement. All\nthis is reflected in the hymnody of the Church. The sixteenth century\nproduced many great hymnists, to whom we are greatly indebted. Luther\u2019s\nhymns alone would form a valuable little hymn book. But it would be\nstill more valuable, if we included in it the best Lutheran church hymns\nof the entire century. A hymn book containing all the great Lutheran\nchurch hymns of the sixteenth century\u2014a remarkable Lutheran hymn book.\n\nThe Reformation hymnody possesses a preponderatingly objective\ncharacter. Definite and true evangelical faith is its keynote. Christ\u2019s\nredemption and the sinner\u2019s justification by faith are the outstanding\nexpressions in this hymnody. The human and the individual, the\nsubjective, receives a secondary place. In fact there is hardly any\nindication in this hymnody of a proper coalescence of the subjective and\nthe objective. A great many of the hymns are translations of old Greek\nand Latin hymns. But the thoughts are hearty, vigorous, powerful, and\nserious. The outward form is simple, even faulty at times. Yet it is the\nsong of earnest and sincere Christians.\n\nThe foremost hymnist of this period is, of course, Martin Luther. Other\ngreat hymnists of this period are Justus Jonas, Paul Eber, Paul\nSperatus, Nikolaus Decius, Lazarus Spengler, Nikolaus Hermann, Barthol.\nRingwaldt, and Nikolaus Selnecker. Michael Weiss of Bohemia belongs to\nthis period, because he produced a number of excellent German\ntranslations of church hymns which had been in use among the followers\nof John Huss.\n\nThe second period of German hymnody, the seventeenth century, may be\nregarded as one of great prosperity. In it the objective and the\nsubjective seem to attain a fine balance. The church hymn now comes more\ndirectly from the soul of the communion of the faithful. In form and\nexpression there is healthy progress. A very fine type of lyrical poetry\ndevelops. During the first years of this period we note such excellent\nhymnists as L. Helmbold, Martin Schalling, Valerius Herberger, and\nPhilipp Nicolai. Among hymn writers during the hard times of the Thirty\nYears War, who produced excellent hymns of consolation, powerful hymns,\nwe note especially John Heermann, Paul Fleming, J. M. Meyfart, Martin\nRinkart, John Rist, and Simon Dach. The objective-subjective hymnody of\nthe seventeenth century, in its purest and noblest form, is to be found\nin the hymns of Paul Gerhardt, writer of more than one hundred hymns, in\nwhich the ardor and fervor of Christian subjectivity attained a most\nhappy union with the firm evangelical faith and the noble popular\nelements of the Reformation period. He is one of the greatest German\nhymn writers, if not the greatest. With him we note Georg Neumark, J.\nFranck, and M. Schirmer.\n\nThe third period, from the end of the seventeenth century to about 1750,\nmay be called the age of subjective hymnody. To this period belong such\ngreat hymn writers as Johann Scheffler (Angelus Silesius) and Countess\nLudemilia Elisabeth of Schwartzburg-Rudolstadt. Both of these hymn\nwriters are quite strongly inclined towards sound Mysticism. At the\nopening of the eighteenth century, Pietism brought about a great\nawakening in hymn writing. Several of the followers of Spener and\nFrancke produced a large number of devotional hymns which are full of\nsound and sincere piety in simple and noble form. To this group of hymn\nwriters belong Samuel Rodigast, Gottfried Arnold, Johann Freylinghausen,\nHerrnschmidt, Richter, Countess Emilie Juliane of Schwartzburg, J. J.\nRambach, and Woltersdorf. In this connection we must also mention\nGerhard Tersteegen, a preacher without a church, and a leader among\n\u201cawakened souls.\u201d The followers of J. A. Bengel, or the so-called Bible\nTheologians, produced a number of fine devotional hymns. Leading hymn\nwriters in this group are Johann Mentzer and Phillip Friedrich Hiller.\nCount Zinzendorf, the great leader among the Herrnhuters, or Moravian\nBrethren, wrote a number of excellent hymns. Besides these hymnological\nfruits of Pietism, the orthodox tendency did not remain unproductive.\nPietism exerted considerable influence upon the orthodox hymnody. To\nthis group of orthodox hymn writers belong Erdmann Neumeister, Benjamin\nSchmolck, and Salomo Franck. Towards the middle of the eighteenth\ncentury a dull and degraded Pietism began to react upon sacred poetry. A\nsound and vigorous tone was superseded by the subjective and lyrical\neffusions of the individual. The hymns began to treat more and more of\npersonal feelings and soul experiences, of events and situations in\nprivate life. A number of poor hymn books appeared. Public taste for the\nright kind of church song was spoiled. This paved the way for a\nhymnological revolution, brought about mainly by Rationalism, during the\nlast half of the eighteenth century.\n\nThe fourth period, the era of decline, includes the last half of the\neighteenth century and the first decades of the nineteenth. This is the\ntime of the destructive influences of Neologism or Rationalism in\nGermany. German hymnody suffered. Rationalism is a denial of positive\nChristian life, and lacks sympathy for the primitive, the simple, and\nthe popular. It cannot attend to the needs of the common people. It\npossesses a character of superficial and heartless intellectualism.\nReason was made the highest authority in all religious matters. Genuine\nhymn writing could not grow up in a soil which was destitute both of\npoetry and of true Christianity. The dominion of rationalism in German\nhymnody began about the middle of the eighteenth century with a revision\nof the old church hymns in accordance with the new ideas of the age, an\nage of enlightenment and illumination. To begin with this hymnological\nrevision was mainly in the interest of form. Severity, irregularity and\narchaism in expression and style, in rhyme and meter, etc., had to be\neliminated from the church hymns. Up-to-date language had to be used.\nThe revision of form was soon followed by a revision of content. Old\nideas in the hymns had to be removed. The church hymns had to be in\nharmony with the new ethical ideas of the age. A great work in\nhymnological vandalism was in progress. It was not sufficient to merely\nimprove the old hymns. Most of the grand old church hymns were dropped\nand new ones produced\u2014new hymns which were in perfect harmony with the\nnew ideas of the age. The new hymn book was to be a kind of textbook in\nmoral philosophy. The new hymn book should instruct the people in many\nuseful things. Hymns were written on such subjects as profitable\neconomy, extravagance, superstition, scepticism, quiet and peaceful\nlife, contentedness, integrity, the right use of pleasure, commerce,\nagriculture, vaccination, sleep, etc. The direction was not heavenward\nso much as worldward.\n\nThe leading hymnological revisor or editor was Friedrich Gottlieb\nKlopstock (1724-1803). He also wrote a few original hymns. One of the\nbest hymn writers of this hymnological era was Christian Fuerchtegott\nGellert (1715-1769). He wrote a number of excellent hymns. Johann Casper\nLavater (1741-1801) was perhaps the greatest hymn writer of this period.\n\nThe fifth period of German hymnody, an era of renovation, from about\n1825 to about 1910, is known not so much for original hymn writing as\nfor its general return to the best of old German hymnody. The neological\nhymn books of the preceding period were condemned and rejected. New hymn\nbooks were published, which contained the best church hymns of all\ntimes. Outstanding hymnological compilers and editors are Dr. Hermann\nAdalbert Daniel, Dr. Carl Eduard Philipp Wackernagel, and Stip. Albert\nKnapp and Dr. Carl Johann Spitta are important German hymnists of this\nperiod. Important English translators are Miss Catherine Winkworth, Miss\nFrances Elizabeth Cox, Miss Jane Borthwick and her sister\u2014Mrs.\nFindlater, Rev. Richard Massie, and Rev. A. Tozar Russell.\n\n\n                     SCANDINAVIAN LUTHERAN HYMNODY\n\nThe Reformation era, the sixteenth century.\u2014The hymnody of the\nScandinavian Church during this period was, for the most part, an echo\nof that of the German mother Church. Among important hymnists of this\nperiod we note Hans Taussen, Hans Tomiss\u00f6n, Cl. T\u00f6ndebinder and Nils\nJespersen of the Danish Church. In the Swedish Church we note especially\nthe two brothers, Olaus and Laurentius Petri, the two great Swedish\nreformers, students under Dr. Martin Luther at the University of\nWittenberg. The first Swedish Lutheran hymn book was issued by Olaus\nPetri, 1526, called \u201cSwedish Songs\u201d (about ten hymns). Revised and\nenlarged editions of this hymn book appeared in 1530 and 1536. In this\nfirst Swedish Lutheran hymn book we find hymns by the Swedish poet Olaf\nSwensson, who distinguished himself as a zealous polemic against the\nRoman Catholic Church and \u201cAntichrist\u201d (the pope). In 1567 appeared\nanother Swedish Lutheran hymn book, containing 99 hymns, which has been\ncalled \u201cthe hymn book of Laurentius Petri,\u201d because it contained many\ntranslations and several original hymns by him. A revised and enlarged\nedition of this hymn book appeared in 1572. In this hymnal appeared the\npopular and beautiful Swedish Lutheran hymn, \u201cA sinful man, who lay in\ntrance of sin, he heard a voice from heaven: Awake, awake, list to the\nWord that comfort gives.\u201d It has been claimed by several authorities\nthat this hymn is the foremost hymn in the Swedish literature of the\nsixteenth century, and also one of the greatest of Swedish Lutheran\nhymns. It is probably the work of Laurentius Petri Gothus.\n\nScandinavian Lutheran hymnody may be divided into five hymnological\nperiods, similar to the five periods of German Lutheran hymnody. The\nhymnological periods of German and Scandinavian hymnody are parallel.\n\nThe second period, the seventeenth century.\u2014The seventeenth century is\nsaid to be the days of glory in the history of Scandinavian Lutheran\nhymnody\u2014its foremost period. While the Danish hymnists Hans Sthen, A.\nArreboe, and especially T. Kingo wrote their hymns, the hymnody of the\nSwedish Church developed somewhat independently, with Swedish fervor and\nvirility in connection with Biblical and practical simplicity in the\nbest sense. The advance of this period on the Reformation era was much\ngreater in the Swedish Church than in the German Church. It is also to\nbe noted that the highest point in Swedish Lutheran hymn writing was\nreached in the later part of the seventeenth century, somewhat later\nthan in Germany. Important Swedish hymnists of this period are Samuel\nColumbus, Erik Lindsk\u00f6ld, Petrus Brask, Gustaf Ollon, Israel Kolmodin,\nJacob Boethius, Jakob Arrhenius, and especially the two bishops, Haquin\nSpegel and Jesper Swedberg. The Swedish Lutheran hymnal of 1695 was a\nmasterwork.\n\nThe third period, from 1700 to 1750.\u2014The Scandinavian Church was not\nsubject to the hymnological fluctuations that the German Church\nexperienced in this period, because the excellent Swedish hymnal of 1695\nremained throughout the 18th century as the only official and popular\nhymn book. Efforts were made to produce new hymnals. About 1765 appeared\nan orthodox hymnal, \u201csound in doctrine and unpoetical\u201d\u2014called the Celsic\nhymnal, because O. Celsius had a great deal to do with its compilation.\nPietistic and Moravianistic hymnals appeared. As an example of the\nPietistic hymnals we note \u201cThe Songs of Moses and the Lamb,\u201d by\nLybecker, 1717. \u201cThe Songs of Zion\u201d was a Moravianistic product,\npublished about 1745. The Danes and the Norwegians were fortunate in\nhaving as their foremost hymnist the great H. A. Brorson, a most noble\nPietistic hymn writer.\n\nThe fourth period.\u2014This period includes the last half of the eighteenth\ncentury and the first fifteen years of the nineteenth. The neological\nspirit did not get into the church life of Sweden as thoroughly as in\nGermany. This fortunate condition is plainly seen in the hymnody of the\nSwedish Church. The hymnal that was published in 1793, the year of the\n200th anniversary of the important Church Council at Upsala (1593),\ncontained very few new hymns, and the old hymns retained were only\nslightly revised. But this hymnal was not accepted by the Swedish\nChurch. About twenty years later, in 1814, appeared a new project in the\nmatter of a revised and improved hymnal, the result of neological\nefforts to produce new church hymns. Many very able hymnists united in\nthis great hymnological project, to show what genius and good taste can\naccomplish. It was a great work, but, on the whole, unsuccessful\u2014too\nfine, perhaps.\n\nThe fifth period, the nineteenth century.\u2014The hymnological situation in\nSweden in the nineteenth century was somewhat similar to that in\nGermany. But it is hardly a question of returning to the old, because\nneological activities were not able to deprive the Swedish Church of her\nold hymnody. Efforts to give to the Church a large number of the best of\nthe old church hymns (Greek, Latin, German and Scandinavian), carefully\nedited, and some new Swedish church hymns, resulted in the important\nSwedish Hymnal of 1819. It has remained to this day (1925) the official\nand popular Hymnal of the Swedish Church. It is the Swedish hymn book of\nthe Augustana Synod. With respect to the old church hymns in the hymnal,\nit may be said that much was gained by this work of revision. Most of\nthe new hymns are excellent. A few of the hymns betray neological\ninfluences. On the whole, however, the Hymnal of 1819 is a very fine\nLutheran hymn book. It contains 500 hymns. Revision is undoubtedly\nneeded, and such work has been going on for some time.\n\nAmong Swedish hymn writers who contributed to the Hymnal of 1819 we note\nespecially Bishop J. O. Wallin (died 1839) and Bishop F. M. Franzen\n(died 1847). Wallin produced 128 original hymns and revised or\ntranslated very many old and new hymns. The Hymnal of 1819 has often\nbeen called Wallin\u2019s Hymnal. Most of his hymns are immortal\nmasterpieces. Franzen produced 22 original hymns. As a hymnist Franzen\npossessed less rhetorical elevation and force than Wallin, but he is\nfully equal to Wallin not only in the Biblical-evangelical quality of\nthe content but also in the lyrical heartiness of the tone as well as in\nthe transparency and simplicity of the language. Other important Swedish\nhymn writers of this period are Samuel J. Hedborn (died 1849) and Erik\nGustaf Geijer (died 1847). Johan Henrik Thomander and Per Wieselgren are\nthe editors of the Swedish Hymnal (1819) that is used in the Swedish\nLutheran Augustana Synod, U. S. A.\n\nIn the Danish Church the well known N. F. S. Grundtvig (died 1872) has\nrendered great service as a reviser of old church hymns and writer of\nseveral excellent original hymns. The Norwegian Lutheran hymn book by\nRev. M. B. Landstad (died 1881) is a very important hymnological work.\nIt is a popular hymnal in the Norwegian Church. An important Swedish\nhymn book was published in Finland in 1880, which contained many\nexcellent old church hymns from Swedish and German sources, but also\nseveral new hymns by such well known Finnish scholars as Johan Ludvig\nRuneberg (died 1877), Zacharias Topelius (died 1898), and others.\n\nBishop J. O. Wallin brought about a very high hymnic standard in the\nSwedish Church\u2014perhaps the highest hymnic standard in the entire\nLutheran world. When we examine what Grundtvig and Landstad gave the\nDanish and Norwegian churches, we find a great deal of the folk song\nelement in that hymnody\u2014not an unwholesome attribute. Wallin\u2019s work\nbelongs rather to the sphere of the solemn and sublime church hymn. The\nhymnody of the Swedish Lutheran Church is among the finest in the whole\nfield of Lutheran hymnology, a church hymnody born in the days of the\nReformation, four hundred years ago.\n\n\n                       AMERICAN LUTHERAN HYMNODY\n\nThe early Lutherans in America came from lands where church song had\nattained high position and where a large number of noble church hymns\nhad been produced. The early German Lutherans sang from a great variety\nof hymn books which they had brought with them from the homeland. Dr.\nHenry Eyster Jacobs makes the following statement in \u201cA History of the\nEvangelical Lutheran Church in the United States\u201d: \u201cMuhlenberg had\ncomplained greatly of the variety of hymn books in use in the\ncongregations, and generally within the same congregation. Of these, the\nMarburg hymn book gained precedence, and an American edition was\npublished by Christopher Saur, Germantown, in 1762.\u201d This hymn book\ncontained over six hundred hymns.\n\nAbout the same thing may be said of the earlier Lutheran immigrants, the\nDutch and the Swedes. About 1675 the Swedes appealed to the King of\nSweden for 12 Bibles, 100 hymn books, etc. In 1696 a ship carrying\nmissionaries and a large supply of books left Sweden for America.\n\nThe work of organizing the early Lutheran Church in America fell to Rev.\nDr. Henry Melchior Muhlenberg, often called the Patriarch of the\nAmerican Lutheran Church. He came to Philadelphia in 1742. The first\nEvangelical Lutheran Synod in America was organized by Muhlenberg at\nPhiladelphia in 1748. This body is known as the Evangelical Lutheran\nMinisterium of Pennsylvania and Adjacent States. In 1782 this synod\nresolved to have a new hymn book printed for the united congregations. A\nhymn book committee was appointed and given the following instructions:\n\u201cAs far as possible to follow the arrangement of the Halle hymn book,\nand not to omit any of the old standard hymns, especially of Luther and\nPaul Gerhardt.\u201d This German hymn book appeared in 1786, having been\nprepared by Muhlenberg, Kunze, and Helmuth. Poor health prevented\nMuhlenberg from taking a more active part in the compilation of this\nhymn book. While it was used extensively, it seems that the book did not\nfully meet the wishes of the synod. Apparently the active editors,\nespecially Dr. Helmuth, had not been successful in the selection and\nrevision of the hymns. The inter-denominational (Lutheran and Reformed)\nhymn book of 1817, the \u201cGemeinschaftliches Gesangbuch,\u201d was an inferior\nhymnological work. It was meant to take the place of the Pennsylvania\nhymn book of 1786. In 1849 the Ministerium of Pennsylvania published a\nnew hymn book, prepared chiefly by Dr. C. R. Demme. The Synods of New\nYork and West Pennsylvania co-operated in this issue. Although popular,\nthis Pennsylvania hymn book did not measure up to that of 1786. About\nthe middle of the nineteenth century, several German Lutheran hymn books\nwere published by different synods. The Kirchenbuch of the General\nCouncil, published in 1877, is a hymnological work of high merit.\n\nThe first English Lutheran hymn book used in America was the \u201cPsalmodia\nGermanica\u201d of 1725, 1732, and 1756. It came to America from London,\nEngland. It contained 122 hymns, several by Luther and Paul Gerhardt. In\n1795 Dr. John C. Kunze of New York published \u201cA Hymn and Prayer Book,\nfor the use of such Lutheran Churches as use the English language.\u201d Its\n240 hymns were gathered from German Lutheran, Moravian, English and\nAmerican sources. In 1797 Rev. George Strebeck issued \u201cA Collection of\nEvangelical Hymns, made from Different Authors and Collections, for the\nEnglish Lutheran Church in New York.\u201d This was a rather un-Lutheran hymn\nbook. Rev. Strebeck and his New York congregation went over to the\nProtestant Episcopal Church. In 1806 Rev. Ralph Williston published \u201cA\nChoice Selection of Evangelical Hymns from Various Authors, for the Use\nof the English Lutheran Church in New York.\u201d While this hymn book met\nwith popularity within the New York Ministerium, it was not a Lutheran\nhymn book. Most of its hymns were taken from Watts and Charles Wesley.\nRev. Williston and his New York congregation also went over to the\nProtestant Episcopal Church. In 1815 appeared \u201cA Collection of Hymns and\na Liturgy for the Use of Evangelical Lutheran Churches.\u201d Published by\norder of the Evangelical Lutheran Synod of the State of New York. The\neditors were Drs. Quitman and Wackerhagen. This book contained 520\ncarefully selected hymns.\n\nA number of English hymn books were published before 1850, but they were\nfound more or less unsatisfactory. Some of them were quite un-Lutheran.\nIn 1863 the Ministerium of Pennsylvania decided to issue a new English\nhymn book. A hymn book committee was appointed, which did very thorough\nwork. This resulted in the publication of the Church Book by the General\nCouncil in 1868. This is undoubtedly one of the best English Lutheran\nhymn books of the American Lutheran Church. It has been highly praised\nby prominent hymnologists of Europe, and it has remained a very popular\nEnglish hymn book throughout the American Lutheran Church for over fifty\nyears. It has passed through several editions.\n\nRev. Justus Falckner (1672-1723) wrote what may be called the first\nAmerican Lutheran hymn. He is said to be the first German Lutheran\npastor in America and was ordained by the Swedish Lutheran pastors in\nGloria Dei Church at Wicaco in 1703. This was the first Lutheran\nordination in America. We quote here the first two stanzas of Rev.\nJustus Falckner\u2019s beautiful hymn. The hymn was originally written in\nGerman\u2014\u201cAuf, ihr Christen, Christi Glieder.\u201d\n\n  Rise, ye children of salvation,\n    All who cleave to Christ the Head!\n  Wake, arise, O mighty nation,\n    Ere the foe on Zion tread:\n  He draws nigh, and would defy\n  All the hosts of God Most High.\n\n  Saints and heroes, long before us,\n    Firmly on this ground have stood;\n  See their banner waving o\u2019er us,\n    Conquerors through the Saviour\u2019s Blood!\n  Ground we hold, whereon of old\n  Fought the faithful and the bold.\n\nThe American Lutheran Church cannot as yet point to an American Lutheran\nhymnist like Paul Gerhardt or John Olof Wallin. The English Lutheran\nhymn books in America contain translations of German, Scandinavian, old\nGreek, and old Latin hymns, also a large number of carefully selected\nEnglish (Reformed) hymns. The matter of translating great German and\nScandinavian Lutheran hymns into English is a very difficult task. But\nthere are Lutherans in America who write hymns worthy of more general\nacceptance. They would find it if it were, first of all, accorded to\nthem by their fellow-Lutherans of other synods. So long as the hymn\nwriters of another synod are largely ignored in American Lutheran\nsynodical hymnals, it is not to be expected that what they write will\nfind its way into the hymnals of other denominations. Among the most\nsuccessful translators and hymn writers within the American Lutheran\nChurch the following may be mentioned: Rev. H. Brueckner, Rev. Dr.\nMatthias Loy, Rev. Dr. Charles Poterfield Krauth, Rev. John Casper\nMattes, Rev. Dr. Alfred Ramsey, Rev. Dr. Charles William Schaeffer, Rev.\nDr. Joseph Augustus Seiss, Mrs. Harriett Reynolds Spaeth, Rev. Dr. C. H.\nL. Schuette, Miss Anna Hoppe, and Rev. Dr. Paul E. Kretzmann. Miss\nCatherine Winkworth, Anglican, has produced a large number of excellent\ntranslations of German Lutheran hymns.\n\nSeveral excellent English Lutheran hymn books have been published within\nthe American Lutheran Church. Perhaps the foremost work is the Common\nService Book, authorized by the General Synod, the General Council, and\nthe United Synod in the South. The Evangelical Lutheran Hymnal,\npublished by order of the First English District of the Joint Synod of\nOhio and Other States, is a worthy American Lutheran hymn book. The\nWartburg Hymnal, edited by Professor O. Hardwig and published by\nWartburg Publishing House, is noteworthy. The Scandinavian Lutherans\nhave also published commendable hymn books. The new Hymnal of the\nAugustana Synod (1925) is excellent. Hymn book committees are at work on\nthe compilation of better and more serviceable English Lutheran hymnals.\n\nThe history of hymnody in the American Lutheran Church is in many\nrespects discouraging. A prominent American Lutheran theologian recently\nmade the following statement: \u201cFew of our ministers have ever had an\nappreciation of the treasures of Lutheran church song\u201d The training of\nthe clergy in hymnology and church music is not what it ought to be. The\neducation of the church organist and choir director is woefully\ndeficient. More serious study in liturgics, hymnology and church music\nis needed. Yet some very good work has been done by American Lutheran\nhymnists, hymnologists and church musicians. The Memoirs of the Lutheran\nLiturgical Association contain much valuable information concerning\nAmerican Lutheran church song; so also the Essays on Church Music,\nvolumes which contain papers read at Lutheran church music conventions\nheld chiefly in Pennsylvania. Other sources of information are: \u201cThe\nEnglish Hymn\u201d by Dr. Louis F. Benson, pages 410-420 and 560-563. \u201cThe\nLutheran Cyclopedia\u201d by Jacobs and Haas, pages 235-238 and 96-97. \u201cA\nHistory of the Evangelical Lutheran Church in the United States\u201d by\nHenry Eyster Jacobs, the references to hymn books and hymns. History of\nthe Liturgical Development of the Ministerium of Pennsylvania, vol.\nXVII, page 93, Lutheran Church Review. The Common Service Book and\nHymnal, vol. XXXVII, page 289, Lutheran Church Review.\n\n\n\n\n                               CONCLUSION\n\n\nHow old is Lutheran church song? Four hundred years\u2014the historical age\nof the most vigorous production in the realm of sacred song. We must not\nforget that one thousand popular evangelical Lutheran church hymns are a\nselection from perhaps one hundred thousand church hymns. What a great\nvital power! Is there any reason to believe that this vitality is about\nto cease? Is Lutheran hymn writing a thing of the past? The power to\ncreate is not yet extinct. The hymnody of the Church is steadily\nconquering new ground. In the Episcopal Church the church hymn has taken\non greater and greater significance. Wherever evangelical missionary\nwork is gaining ground, the church hymns find favor. So long as the\nLutheran Church lives, Lutheran church song will flourish.\n\nEven from the literary point of view, this Lutheran hymnic vitality\nought to be appreciated. Is it not strange that poets whose work will be\nforgotten after a few decades, are treated at length in our histories of\nliterature, while this body of song, which has stood the test of\ncenturies, scarcely receives mention? Yet our Lutheran church hymn has\nperhaps very few literary competitors. As a representation of life, does\nit not fitly take its place beside the many legends that have delighted\nthe children of old India, or Homer\u2019s Iliad and Odyssey, or the metrical\nromances of the Middle Ages, or Dante\u2019s Divine Comedy, or a great\nShakespearean drama, or the songs of the Israelites?\n\nBut it is not because the Lutheran church hymn is great poetry that it\nlives. It is because of the life of the Church, the life of souls, the\nlife of the Christian faith, that the church hymn lives. From this it\ndraws its life and becomes an ever fresh source of spiritual life.\n\nLooking at the church hymn from this point of view, looking at the\ncontent of the church hymn, the outlook widens and goes far beyond the\ntime of four hundred years.\n\nIf the history of our evangelical church hymn has reference more\nparticularly to the historical evolution of the content and the making\nof the form, then this history embraces several thousand years of the\nreligious development of our race. This holds good also from the\nliterary point of view. It is obvious that our popular Lutheran church\nhymns contain material from all classical ages revealed by history, from\nthe first literary days of old Israel down to the present time, and this\nvery often in the most intimate fusion.\n\nTake for example one of F. M. Franzen\u2019s greatest hymns, the first stanza\nof which follows:\n\n  Prepare the way, O Zion!\n  Ye awful deeps, rise high,\n  Sink low, ye towering mountains;\n  The Lord is drawing nigh:\n  The righteous King of glory,\n  Foretold in sacred story.\n  Oh, blest is He that came\n  In God the Father\u2019s Name!\n\nHow much there is in that stanza! And it is only the first stanza of a\ntruly great Lutheran church hymn. In all this, which may seem quite\ncommonplace, there really is something truly wonderful; an old, old\nstory about the life of faith and its expression in song and worship\u2014an\nexceedingly beautiful testimony about the fulness of God\u2019s work in the\nhistory of spiritual life on earth.\n\nOur hymnological annotations must draw to a close. They may be regarded\nas observations and reflections during the study of a great subject: Our\nLutheran church song. Perhaps they will be of some value to those who\nhave much to do with Lutheran hymn singing as well as to those who teach\nand instruct our young people in this branch of our ecclesiastical\ninheritance.\n\nMuch must be done before we can really claim that the American Lutheran\nChurch has fully taken over this rich legacy.\n\nA church hymn sung by a Lutheran congregation as it should be sung\u2014that\nmay at first thought seem to be a very simple and insignificant matter.\nBut taken in its historical and religious connections, the matter is far\nfrom simple or insignificant. And taken as a problem\u2014it is not easily\nsolved. Its relations to the facts and conditions of spiritual life\nextend far and wide. Hymnological study gives us an idea of these\nthings. Our Lutheran hymnody is four hundred years old\u2014many of our best\nLutheran hymns are four hundred years old\u2014four hundred years, think of\nit, full of ups and downs, ecclesiastically and politically\u2014four hundred\nyears of sacred song through all kinds of significant life experiences.\nFour hundred years\u2014turn to mediaeval and modern history.\n\nLooking at the history of the church hymn, we may lay down as a\nfundamental principle that the church hymn cannot live without\nconnection with the life that has passed through the ages, from the\nprophets of old, Christ, the Reformation, and down to the present. Only\nin this connection does the church hymn possess a positive significance\nor the significance of a life-promoting factor.\n\nThe correctness of this principle may be confirmed from actual\nexperience. In the history of languishing and dying church song, we can\nread about languishing and dying Christian nations\u2014nations in deplorable\ncondition both ecclesiastically and nationally\u2014nations of emigration,\nnon-patriotism, and of little or no sense of duty\u2014nations of imported\nreligious thinking and poorly translated songs.\n\nThe question has often been raised: Does the American Lutheran Church\nreally sing? Yes and No\u2014for the most part No. Most of our American\nLutheran country congregations do not sing. How about the city churches?\nA sad affair! In most cases the situation is far from ideal. A church\nhymn, _a Lutheran church hymn_, cannot be sung properly by those who\nforget God, Bible, history, etc., in order to practise a little general\nculture and enjoy a little tasty personal aesthetics. If a noble\nLutheran church hymn is sung, it is usually sung by the choir, perhaps\nas a concert number, disconnected from its vital connection. And\ndetached from its connection, the noble Lutheran church hymn becomes,\nlike everything else that has vital significance, nothing. That which\ndoes not really hang together, becomes patchwork, bandages, finery,\nrags\u2014we may praise it enthusiastically. Very much like American\nculture\u2014sorry to say. Uniting, cementing, productive LIFE is lacking.\n\nMany American Lutheran churches do not sing Lutheran church hymns at\nall. How deplorable! We often attend Lutheran church services where not\na single Lutheran church hymn or Lutheran chorale is sung. Here is a\nserious flaw in American Lutheran education and leadership. How about\nthe hymn singing in our American Lutheran Sunday schools? Would it not\nbe well to sing at least one Lutheran church hymn each Sunday? Or shall\nwe permit Lutheran hymnody to die? Is great Lutheran hymnody a thing of\nthe past?\n\nBut what is the most serious thing that our American Lutheran\ncongregational hymn singing lacks? One thing\u2014LIFE. That is our great\nproblem\u2014life in our church song\u2014new life\u2014LIFE. With this go all the\ndifficulties of the problem of life.\n\nSince it is the business of the Church to sing the church hymn, the\nquestion becomes very complicated. So many factors must co-operate in\nthis matter, if we are to get anywhere\u2014to sing a Lutheran church hymn as\nit should be sung. Our American Lutheran colleges and theological\nseminaries will have to undertake more serious educational work in the\nimportant field of hymnology and church music. A strong summer school of\nLutheran church music, liturgics and hymnology would be very valuable.\n\nTake the familiar situation: The great festival hymn of the Reformation\nis sung. We have before us altar, pulpit, pipe organ; we have before us\nminister, organist, choir, congregation. The ideal of the problem is a\n_harmonious co-operation_ between all if we are to have VITAL worship\nand VITAL song.\n\nThe good pastor of a large Lutheran church in Connecticut thanked his\norganist and choirmaster in a very hearty way after a fine Sunday\nmorning service. The good organist and choirmaster answered: \u201cWell, who\ncannot play and sing when the pastor preaches such soul-stirring sermons\nand conducts the liturgy so beautifully?\u201d And the good pastor replied:\n\u201cWell, who cannot preach and conduct the liturgy when the organist and\nchoirmaster does such excellent work?\u201d That is real co-operation\u2014they\nhelped each other in a beautiful way. They co-operated in the selection\nof hymns and choir music\u2014every Tuesday or Wednesday evening that pastor\nand organist were together in conference concerning the song of the\nchurch. That is work very much worth while for the Church service.\n\nIn our thousands of Lutheran churches throughout the United States of\nAmerica, the American Lutheran Church is to be built up and built\ntogether into ONE great Church, into ONE people that really sings\u2014a\npeople of God.\n\n  But when here devoutly soareth\n  High the temple-anthem sweet,\n  Grief grows calm, no plaint outpoureth\u2014\n  Hearts with holy rapture beat:\n  Free from earthly clouds the soul\n  Presses toward a higher goal,\n  Takes from hope the comfort given,\n  Speaks e\u2019en now the tongue of heaven.\n\n  O my soul, thy wing ascending,\n  Yet on Salem\u2019s mount shall rest;\n  There where cherub-harps are blending\n  With the singing of the blest;\n  Let thy note of praise and prayer\n  To thy God precede thee there,\n  While e\u2019en yet a care-worn mortal,\n  Still without thy Father\u2019s portal.\n\n  Let us, Christians, here that wander,\n  As our fathers in their day,\n  Piously together ponder,\n  Gladly sing and meekly pray;\n  Be the children\u2019s voices raised\n  To the God their fathers praised.\n  Let Thy bounty failing never\n  Be on us and all forever.\n                                                     (From J. O. Wallin)\n\n\n\n\n                                ADDENDA\n                          REFORMED CHURCH SONG\n\n\nThe founders of the so-called Reformed Church, Ulrich Zwingli and John\nCalvin, sought to restore apostolic simplicity in the matter of public\nworship. All images and ornaments were removed from the Reformed\nchurches. The altars were changed to plain tables. Musical instruments\nwere not allowed in the churches. Zwingli made the sermon the chief part\nof the church service. The Latin chants and songs were abolished, and\ntheir places were seldom filled with congregational singing in the\nvernacular. With regard to church service, Calvin had on the whole the\nsame views as Zwingli. He introduced, however, congregational singing,\nusing translated and versified portions of the Psalms of David.\n\nThus the Reformed Church turned to Biblical Psalmody. Early versifiers\nof Davidic Psalms were Clement Marot (1495-1544), Theodore Beza\n(1519-1605), and Ambrosius Lobwasser (1515-1585). Joachim Neander\n(1650-1680), Gerhard Tersteegen (1697-1769), and Lavater (died 1801) are\nimportant Reformed hymnists. The Genevan Psalter, by Marot and Beza, a\nsuccessful and influential hymnological work, appeared about the middle\nof the sixteenth century. Ambrosius Lobwasser produced a German edition\nof the Genevan Psalter in 1573, which became very popular and exerted\nconsiderable influence. English Psalmody presents such important names\nas Miles Coverdale (1487-1569), George Buchanan (1506-1582), Thomas\nSternhold (sixteenth century), John Hopkins, Nahum Tate, Nicholas Brady,\nand Isaac Watts. In Scotch Psalmody the Royal Psalter and the celebrated\nRous\u2019 Version are significant hymnological works. The Bay Psalmist or\nthe New England Version was America\u2019s first hymn book. For further study\nof Reformed church song we recommend \u201cThe Hymn as Literature,\u201d by J. B.\nReeves, also Benson\u2019s \u201cThe English Hymn.\u201d\n\n\n\n\n                         A LIST OF HYMN WRITERS\n                           (Mainly Lutheran)\n\n\nAdam of St. Victor (died 1177), Latin hymnist.\n\nAdlerbeth, G. G., state secretary, b. 1751, d. 1818, Swedish hymnist.\n\nAfzelius, A. A., court chaplain, b. 1785, d. 1871, Swedish hymnist.\n\nAgricola, Johann, court chaplain, b. 1492, d. 1566, German hymnist.\n\nAhnfelt, O., bishop in Swedish Church, b. 1854, d. 1910.\n\nAhnfelt, P. G., pastor in Swedish Church, b. 1803, d. 1863.\n\nAlbert, Heinrich, b. 1604, d. 1651, German Lutheran hymnist.\n\nAlbinus, Rev. Johann Georg, b. 1624, d. 1679, German Lutheran hymnist.\n\nAlbrecht (IV) Jr., d. 1557, German hymnist.\n\nAlin, S., rural dean in Swedish Church, b. 1852.\n\nAltenburg, Rev. Johann Michael, b. 1584, d. 1640, German Lutheran\n    hymnist.\n\nAmbrose, Aurelius, Bishop of Milan, b. 340, d. 397, Latin hymnist.\n\nAmnelius, Rev. A. P., b. 1638, d. 1692, Swedish hymnist.\n\nAnatolius, cir. VIII century, Greek hymnist.\n\nAndrew of Crete, Archbishop, b. 660, d. 732, Greek hymnist.\n\nArndt, Ernst Moritz, professor, b. 1769, d. 1860, German hymnist.\n\nArrhenius, Rev. Jacob, Upsala University professor, b. 1642, d. 1725,\n    great Swedish Lutheran hymnist.\n\nAugustine, Aurelius, great Bishop of Hippo, b. 354, d. 430.\n\nAusius, Hakan, d. 1653, Swedish hymnist.\n\nBahnmaier, Rev. Jonathan Friederich, b. 1774, d. 1841, German Lutheran\n    hymnist.\n\nBecker, Cornelius, pastor in Leipzig, b. 1561, d. 1604.\n\nBede, the Venerable, b. 673, d. 735, Latin hymnist.\n\nBellman, Carl Michael, Swedish poet, b. 1740, d. 1795.\n\nBengel, J. A., consistorial counselor in Stuttgart, Bible Theologian, b.\n    1687, d. 1752.\n\nBergstedt, C. F., Swedish author, b. 1817, d. 1903.\n\nBernard of Clairvaux, b. 1091, d. 1153, Latin hymnist.\n\nBernard of Cluny, b. cir. 1145, Latin hymnist.\n\nBeza, Theodore, b. 1519, Burgundy, professor at Lausanne, preacher at\n    Geneva, French Switzerland, d. 1605.\n\nBlix, E., professor, Norwegian Church, b. 1836, d. 1902.\n\nBoethius, Rev. Jacob, Swedish Church, b. 1647, d. 1718.\n\nBoethius, S. J., professor, Swedish Church, b. 1850.\n\nBegatsky, Karl Heinrich von, b. 1690, Silesia, Lutheran Pietist, d.\n    1774.\n\nBorthwick, Miss Jane Laurie, b. 1813, d. 1897, important English\n    translator of German hymns.\n\nBrag, Karl J., pastor and dean at Gothenburg, Swedish Church, b. 1735,\n    d. 1781.\n\nBrask, Peter, b. 1641, d. 1691, Swedish hymnist.\n\nBrorson, Hans Adolf, bishop in Danish Church, b. 1694, d. 1764,\n    important Danish hymnist.\n\nBuermeyer, Ferdinand Frederick, M. A., D. D., b. 1846, New York,\n    Lutheran.\n\nCanitz, Friedrich Rudolph Ludwig, Freiherr von, b. 1654, d. 1699, German\n    Lutheran.\n\nCarlberg, Birger, pastor in Swedish Church, b. 1641, d. 1683.\n\nCassel, Karl Gustaf, state official, b. 1783, d. 1866, Swedish Lutheran\n    hymnist.\n\nCavallin, S., rural dean in Swedish Church, b. 1820, d. 1886.\n\nChoraeus, Michael, professor, b. 1774, d. 1806, Swedish-Finnish hymnist.\n\nClaudius, Matthias, b. 1740, d. 1815, German Lutheran hymnist.\n\nClausnitzer, Rev. Tobias, M. A., b. 1619, d. 1684, German Lutheran\n    hymnist.\n\nClement of Alexandria (Titus Flavius Clemens), b. cir. 170, d. cir. 220,\n    Greek hymnist.\n\nColumbus, Samuel, b. 1642, d. 1679, Swedish Lutheran hymnist.\n\nCornelius, C. A., bishop in Swedish Church, b. 1828, d. 1893.\n\nCox, Miss Frances Elizabeth, b. 1812, d. 1897, English translator of\n    German hymns.\n\nCruciger, Elizabeth, died 1558, German hymnist.\n\nDach, Simon, professor, b. 1605, d. 1659, German Lutheran hymnist.\n\nDachstein, Wolfgang, organist at St. Thomas Church, Strassburg, left\n    monastic life 1524, German Lutheran hymnist.\n\nDahl, Kristoffer, Upsala University professor, b. 1758, d. 1809.\n\nv. Dalin, Olof, Swedish poet and historian, b. 1708, d. 1763.\n\nDalius, Sven, b. 1604, d. 1693, Swedish hymn writer.\n\nDecius, Nikolaus, b. Bavaria, d. 1529, German Lutheran hymnist.\n\nDenicke, David, b. 1603, d. 1680, German Lutheran hymnist.\n\nDilluer, J., dean in Swedish Church, b. 1785, d. 1862, important Swedish\n    Lutheran hymnologist.\n\nDiterich, J. S., pastor in Berlin, Germany, b. 1721, d. 1797.\n\nDueben, J. von, b. 1671, d. 1730, Swedish Lutheran hymnist.\n\nEber, Rev. Paul, b. 1511, d. 1569, German Lutheran hymnist.\n\nEkdahl, F. N., rural dean in Swedish Church, b. 1853.\n\nEvers, Edvard, court chaplain, b. 1853, Swedish hymnologist.\n\nFant, Erik M., Upsala University professor, b. 1754, d. 1817.\n\nFindlater, Mrs. Sarah (Borthwick), b. 1823, d. 1907, English translator\n    of German hymns.\n\nFleming, Paul, physician, b. 1609, d. 1640, German hymnist.\n\nFortunatus, Venantius, bishop of Poitiers, b. 530, d. 609, Latin\n    hymnist.\n\nFranck, Johann, burgomaster, b. 1618, d. 1677, German Lutheran hymnist.\n\nFranck, Salomo, b. 1659, d. 1725, German Lutheran hymnist.\n\nFranzen, Frans Michael, bishop, b. 1772, d. 1847, great Swedish Lutheran\n    hymnist.\n\nFreylinghausen, Johann, b. 1670, d. 1739, German hymnist.\n\nFrimann, Claus, pastor, b. 1746, d. 1829, Norwegian hymnist.\n\nFuncke, Rev. Friedrich, b. 1642, d. 1699, German Lutheran hymnist.\n\nGardie, Magnus Gabriel de la, chancellor, count, etc., b. 1622, d. 1688,\n    Swedish hymnist.\n\nGeijer, Erik Gustaf, Upsala University professor, great Swedish poet,\n    historian, b. 1783, d. 1847, Swedish Lutheran hymnist.\n\nGellert, Rev. Christian F., professor, Leipzig, b. 1715, d. 1769.\n\nGerdes (Gerdessen), Johann, pastor of German Church, Stockholm, Sweden,\n    b. 1624, d. 1673.\n\nGerhardt, Paul, b. 1607, d. 1676, great German Lutheran hymnist.\n\nGezelius, J., bishop in Swedish Church, b. 1647, d. 1718.\n\nGesenius, Rev. Dr. Justus, court chaplain, court preacher, b. 1601, d.\n    1673, German Lutheran hymnist.\n\nGotter, Ludwig Andreas, b. 1661, d. 1735, German Lutheran hymnist.\n\nGramann, Johann, pastor, b. 1487, d. 1541, early German Lutheran\n    hymnist.\n\nGregory the Great, b. 540, d. 604, important early Latin hymnist.\n\nGripenhjelm, Edmund, Upsala University professor, senator, etc., b.\n    1622, d. 1675, Swedish Lutheran hymnist.\n\nGrundtvig, Rev. N. F. S., b. 1783, d. 1872, great Danish Lutheran\n    hymnist.\n\nG\u00fcnther, Cyriacus, b. 1649, d. 1704, German hymnist.\n\nGustavus Adolphus, one of Sweden\u2019s greatest kings, great conquering hero\n    of oppressed Protestantism, b. 1594, fell in the battle of L\u00fctzen,\n    November 6, 1632.\n\nGyllenborg, Gustaf Fredrik, count, Secretary of State, great Swedish\n    poet, b. 1731, d. 1808.\n\nHardenberg, Freiherr von, b. 1772, d. 1801, German Lutheran hymnist.\n\nHarsd\u00f6rffer, Georg Philipp, councillor, b. 1607, d. 1658, German\n    hymnist.\n\nHauge, A., dean in Norwegian Church, b. 1815, d. 1892, important\n    Norwegian hymnist and hymnologist.\n\nHedborn, Samuel J., court chaplain, pastor, great Swedish poet, b. 1783,\n    d. 1849, great Swedish Lutheran hymnist.\n\nHeermann, Johann, pastor, b. 1585, d. 1647, great German Lutheran\n    hymnist.\n\nHeld, Heinrich, d. 1655, lawyer, German Lutheran hymnist.\n\nHelmbold, Ludwig, superintendent, b. 1532, d. 1598, German Lutheran\n    hymnist.\n\nHerberger, Valerius, pastor, b. 1562, d. 1627, German Lutheran hymnist.\n\nHermann, Nicolaus, schoolmaster, cantor and organist, d. 1561, important\n    German-Bohemian hymnist.\n\nHerzog, Joh. Friedrich, LL.D., Dresden, b. 1647, d. 1699, German\n    hymnist.\n\nHey, Rev. Johann Wilhelm, b. 1789, d. 1854, German Lutheran Pietist.\n\nHeyd, Sebaldus, rector at N\u00fcrnberg, b. 1498, d. 1561.\n\nHilarius (Hilary), famous Bishop of Poitiers, d. 368, first Latin\n    hymnist.\n\nHiller, Philipp, pastor, b. 1699, d. 1769, German Lutheran hymnist.\n\nHjerten, J., pastor, b. 1781, d. 1835, Swedish Lutheran hymnist.\n\nHomberg, Ernst Christoph, lawyer, b. 1605, d. 1681, German Lutheran\n    hymnist.\n\nHoppe, Miss Anna, of the Evangelical Lutheran Synod of Wisconsin,\n    American Lutheran hymnist.\n\nHubert, Konrad, deacon, Strassburg, b. 1507, d. 1577, German hymnist.\n\nHuss, Johann, b. 1369 at Hussinecz, Bohemia, precursor of the\n    Reformation, follower of John Wycliffe, pastor in Prague, rector of\n    University of Prague, excommunicated by the Pope as an arch-heretic,\n    burned at the stake during the Catholic Church Council at Constance,\n    July, 1415.\n\nIngemann, Bernhardt Severin, poet, professor, b. 1789, d. 1862, great\n    Danish Lutheran hymnist.\n\nJacobs, Henry Eyster, D.D., LL.D., S.T.D., b. 1844, Pennsylvania, dean\n    Philadelphia Theological Seminary, Lutheran Theologian and Author.\n\nJacoponus (Jacopone da Todi), Franciscan monk, d. 1306, Latin hymnist.\n\nJohannis Gothus, Peter, pastor, b. 1536, d. 1616, Swedish hymnist.\n\nJohn of Damascus, d. 780, great Greek hymnist.\n\nJonae Gestritius, Laurentius, pastor, d. 1597, Swedish hymnist.\n\nJohansson, J., seminary rector, b. 1867, Swedish hymnologist.\n\nJoseph the Hymnographer, d. 883, great Greek hymnist.\n\nKahl, Johan, b. 1660, d. 1742, Swedish hymnist.\n\nKingo, Thomas, bishop, b. 1634, d. 1703, great Danish hymnist.\n\nKlopstock, Friedrich Gottlieb, author, b. 1724, d. 1803, German hymnist.\n\nKnapp, Rev. Albert, b. 1798, d. 1864, German Lutheran hymnist.\n\nKnoll, Christoph, deacon, b. 1563, d. 1621, German hymnist.\n\nKnorr von Rosenroth, Christian, b. 1636, d. 1689, German Lutheran\n    hymnist.\n\nKock, Karl Anton, lawyer and government official, b. 1788, d. 1843,\n    Swedish Lutheran hymnist.\n\nKolmodin, Israel, professor of theology, Upsala University, b. 1643, d.\n    1709, great Swedish hymnist.\n\nKolmodin, Rev. Olof, b. 1690, d. 1753, important Swedish hymnist.\n\nLagerl\u00f6f, Peter, Upsala University professor, historian, scientist,\n    poet, b. 1648, d. 1699, Swedish hymnist.\n\nLandstad, Rev. M. B., b. 1802, d. 1881, great Norwegian hymnist.\n\nLaurenti, Laurentius, b. 1660, Schleswig, d. 1722, Cantor, Director of\n    Music, Roman Catholic Church, Bremen, Lutheran.\n\nLaurinus, Laurentius Laurentii, rector, pastor, b. 1573, d. 1655,\n    Swedish hymnist.\n\nLenngren, Anna Maria, great Swedish poet, b. 1755, d. 1817.\n\nLeopold, Karl Gustaf, state secretary, Swedish poet, b. 1756, d. 1829.\n\nLindsch\u00f6ld, Erik, government official, b. 1634, d. 1690, important\n    Swedish hymnist.\n\nLobwasser, Ambrosius, professor of law, b. 1515, d. 1585, German\n    Reformed.\n\nLohman, Karl Johan, pastor, Doctor of Theology, b. 1694, d. 1759,\n    Swedish Lutheran hymnist.\n\nLoy, Rev. Dr. Mathias, President of Capital University, Columbus, Ohio,\n    b. 1828, Pennsylvania, d. 1915, American Lutheran hymnist.\n\nLucidor, L., poet, b. 1638, d. 1674, Swedish hymnist.\n\nLundwall, Rev. Karl Johan, Upsala University professor, b. 1775, d.\n    1858.\n\nLuther, Dr. Martin, b. 1483, d. 1546, the father of the evangelical\n    hymn.\n\nLybecker, G., d. 1716, Swedish Pietistic hymnist.\n\nMarci, Rev. Georg, court chaplain, b. 1540, d. 1613, Swedish hymnist.\n\nMarot, Clement, first Reformed versifier of Davidic Psalms, Geneva,\n    French Switzerland, b. about 1495, d. about 1544.\n\nMartini, Rev. Olaus, bishop, b. 1557, d. 1609, Swedish hymnist.\n\nMassie, Richard, pastor, b. 1800, d. 1887, Anglican, important English\n    translator of German hymns.\n\nMattes, Rev. John Casper, M. A., b. 1876, Pennsylvania, Lutheran.\n\nMelanchthon, Philip, Wittenberg University professor, Praeceptor\n    Germaniae, Luther\u2019s important assistant, b. 1497, d. 1560.\n\nMentzer, Rev. Johann, b. 1658, d. 1734, German hymnist.\n\nMeuslin, Rev. Wolfgang, theological professor, b. 1497, d. 1563, German\n    hymnist.\n\nMeyfart, Rev. Johann Matthaeus, Erfurt University professor, b. 1590, d.\n    1642, German Lutheran hymnist.\n\nMortens\u00f6n T\u00f6ndebinder, Claus, pastor, b. about 1500, d. about 1577,\n    important early Danish Lutheran hymnist.\n\nMuraeus, Rev. Stefan Larsson, court chaplain, b. about 1600, d. 1675,\n    Swedish hymnist.\n\nM\u00fcnter, Rev. Balthasar, b. 1735, d. 1793, German Lutheran hymnist.\n\nNeander, Rev. Christ. Friedrich, b. 1723, d. 1802, German Lutheran.\n\nNeander, Joachim, b. 1650, d. 1680, important German Reformed pietistic\n    hymnist.\n\nNeale, Rev. Dr. John Mason, hymnologist and liturgiologist, b. 1818, d.\n    1866, important English translator of Greek and Latin hymns.\n\nNelson, Rev. Augustus, Augustana Synod, U. S. A., b. 1863.\n\nNeumark, Georg, poet, b. 1621, d. 1681, German Lutheran hymnist.\n\nNeumeister, Rev. Erdmann, court preacher, etc., b. 1671, d. 1756, German\n    Lutheran hymnist.\n\nNicolai, Rev. Dr. Philipp, b. 1556, d. 1608, German Lutheran hymnist.\n\nNibelius, Rev. Simon, b. 1747, d. 1820, Swedish Lutheran hymnist.\n\nNiemeyer, Aug. Herman, university chancellor, b. 1754, d. 1828, German\n    hymnist.\n\nNorenius, Rev. Ericus Laurentii, b. 1635, d. 1696, Swedish Lutheran\n    hymnist.\n\nNotker Balbulus, Benedictine monk, warden at St. Gall, d. 912, important\n    writer of Sequences.\n\nNygren, Rev. Carl, b. 1726, d. 1789, Swedish Lutheran hymnist.\n\nNystr\u00f6m, Per Olof, government official, b. 1764, d. 1830, Swedish\n    Lutheran Hymnist.\n\nNilsson, Rev. Paul, court preacher, b. 1866, important Swedish\n    hymnologist.\n\nOhl, Rev. Dr. Jeremiah Franklin, b. 1850, Pennsylvania, Lutheran.\n\nOlai, Ericus, Upsala University professor, d. 1486, important Swedish\n    hymnist.\n\nOlearius, Rev. Dr. Johann, general superintendent Halle and Weissenfels,\n    b. 1611, d. 1684, German Lutheran hymnist.\n\nOllon, Gustaf, b. 1646, d. 1703, important Swedish Lutheran hymnist.\n\nOpitz, Martin, historian, b. 1597, d. 1639, important German hymnist.\n\nPappus, Joh., professor of theology, Strassburg, b. 1549, d. 1610.\n\nPetri, Laurentius, b. 1499, d. 1573, Upsala University professor and\n    rector, first Lutheran archbishop of Sweden, pupil and follower of\n    Dr. Martin Luther, editor of one of earliest Swedish Lutheran hymn\n    books, important Swedish Lutheran hymnist.\n\nPetri, Olaus, b. 1493, d. 1552, pastor, great champion of Lutheranism in\n    Sweden, pupil and follower of Dr. Martin Luther, editor of first\n    Swedish Lutheran hymn book, important Swedish Lutheran hymnist.\n\nPoliander (Gramann or Graumann), Rev. Joh., b. 1487, d. 1541, German\n    hymnist.\n\nPrudentius, Aurelius Clemens, bishop, b. 348, d. 413, great early Latin\n    hymnist.\n\nQwirsfeld, Joh., archdeacon, b. 1642, d. 1686, German hymnist.\n\nRambach, Rev. Dr. Johann Jakob, professor of theology, b. 1693, d. 1735,\n    German Lutheran hymnist.\n\nRamsey, Rev. Dr. Alfred, b. 1860, Pennsylvania, professor, Lutheran\n    Theological Seminary, Chicago.\n\nReed, Rev. Dr. Luther D., b. 1873, Pennsylvania, professor, Lutheran\n    Theological Seminary, Philadelphia.\n\nRichter, Christian Friedr., physician, b. 1676, d. 1711, German hymnist.\n\nRingwaldt, Rev. Bartholomew, b. 1530, d. 1598, German hymnist.\n\nRinkart, Martin, cantor, archdeacon, b. 1586, d. 1649, German Lutheran.\n\nRist, Rev. Johann, b. 1607, d. 1667, German Lutheran hymnist.\n\nRodigast, Rev. Samuel, M.A., rector, b. 1649, d. 1708, German Lutheran.\n\nRothe, Rev. Johann Andreas, M.A., b. 1688, d. 1758, German Lutheran.\n\nRudbeck, Olof, Upsala University professor, b. 1660, d. 1740, Swedish\n    Lutheran hymnist.\n\nRudbeckius, Rev. Petrus Johannes, Upsala University professor, b. 1578,\n    d. 1629, Swedish Lutheran hymnist.\n\nRuneberg, C. L., professor, b. 1804, d. 1877, great Finnish hymnist.\n\nRutilius, Martin, archdeacon, b. 1550, d. 1618, German hymnist.\n\nSandzen, J. P., rural dean in Swedish Church, b. 1830, d. 1904.\n\nSchaeffer, Rev. Dr. Charles William, b. 1813, d. 1898, professor\n    Lutheran Theological Seminary, Philadelphia.\n\nSchalling, Rev. Martin, b. 1532, d. 1608, German Lutheran hymnist.\n\nSchartau, Henric, rural dean in Swedish Church, b. 1757, d. 1825.\n\nScheffler (Angelus Silesius), Johann, physician, Lutheran, later\n    Franciscan, b. 1624, d. 1677, German hymnist.\n\nSchenk, Rev. Hartmann, b. 1634, d. 1699, German hymnist.\n\nSchenk, Rev. Heinrich Theobald, b. 1656, d. 1727, German Lutheran.\n\nSchenkendorf, Max von, government official, b. 1783, d. 1817, German\n    hymnist.\n\nSchirmer, Rev. Michael, M.A., b. 1606, d. 1676, German Lutheran.\n\nSchlegel, Joh. Adolf, professor, b. 1721, d. 1793, German hymnist.\n\nSchmedeman, Johan, government official, b. 1653, d. 1713, Swedish\n    hymnist.\n\nSchmolck, Rev. Benjamin, b. 1672, d. 1737, important German hymnist.\n\nSch\u00fctz, Johann Jakob, lawyer, b. 1640, d. 1690, German hymnist.\n\nScriver, Christian, court chaplain, b. 1629, d. 1693, German hymnist.\n\nSeiss, Rev. Dr. Joseph Augustus, b. 1823, d. 1904, American Lutheran\n    hymnist.\n\nSelnecker, Rev. Dr. Nikolaus, superintendent, b. 1530, d. 1592, early\n    German Lutheran hymnist.\n\nSkarstedt, C. W., professor, b. 1815, d. 1908, Swedish hymnist.\n\nSonden, Per Adolf, pastor, author, b. 1792, d. 1837, Swedish hymnist.\n\nSpegel, Haquin, court chaplain, archbishop, poet, b. 1645, d. 1714,\n    important Swedish Lutheran hymnist.\n\nSpengler, Lazarus, close friend of Luther, b. 1479, d. 1534, German\n    Lutheran hymnist.\n\nSperatus, Paul, bishop, b. 1484, d. 1551, early German Lutheran hymnist.\n\nSpitta, Rev. Karl Johann Philipp, b. 1801, d. 1859, important German\n    Lutheran hymnist.\n\nSpringer, Lars, 17th century, Swedish hymnist.\n\nStegmann, Rev. Dr. Josua, b. 1588, d. 1632, German Lutheran hymnist.\n\nStenb\u00e4ck, Rev. L. J., b. 1811, d. 1870, important Finnish hymnist.\n\nStenhammar, Rev. Mathias, b. 1766, d. 1852, Swedish Lutheran hymnist.\n\nSthen, Hans Chr., pastor, b. 1540, d. 1610, Danish hymnist.\n\nStolpe, Rev. Georg, b. 1775, d. 1852, Swedish Lutheran hymnist.\n\nSturm, Rev. Christoph Christian, b. 1740, d. 1786, German hymnist.\n\nSwedberg, Jesper, bishop, b. 1653, d. 1735, father of Emanuel\n    Swedenborg, great Swedish hymnist.\n\nSynesius of Cyrene, bishop of Ptolemais, b. cir. 395, d. 430, early\n    Greek hymnist.\n\nTegner, E., bishop, great Swedish scholar, b. 1782, d. 1846.\n\nTersteegen, Gerhard, b. 1697, d. 1769, important German Reformed\n    hymnist.\n\nThomander, Johan Henrik, bishop, b. 1798, d. 1865, important Swedish\n    Lutheran hymnologist.\n\nThomas Aquinas, confessor and the Angelical Doctor, Dominican, b. cir.\n    1225, d. 1274, Latin hymnist.\n\nThomas of Celano, 13th century, Franciscan, important Latin hymnist.\n\nTollstadius, Erik, great preacher, b. 1693, d. 1759, Swedish Lutheran\n    hymnist.\n\nTopelius, Z., great Finnish scholar, b. 1818, d. 1898, important Finnish\n    Lutheran hymnist.\n\nVischer (Fischer), Rev. Christoph, d. 1600, German Lutheran.\n\nWallin, Rev. Dr. Johan Olof, archbishop, b. 1779, d. 1839, greatest\n    Swedish Lutheran hymnist and hymnologist.\n\nWalther, Johann, choirmaster and cantor, Torgau, Luther\u2019s musical\n    assistant, b. 1496, d. 1570, German Lutheran hymnist.\n\nWeigel, Rev. Joh. Adam Valent., b. 1740, d. 1806, German hymnist.\n\nWeisse, Rev. Michael, monk, later Bohemian Brethren\u2019s Unity, b. cir.\n    1480, d. 1534.\n\nWeissel, Rev. Georg, b. 1590, d. 1635, German Lutheran hymnist.\n\nWieselgren, Per, cathedral dean, Gothenburg, b. 1800, d. 1877, important\n    Swedish Lutheran hymnist and hymnologist.\n\nWilhelm II, b. 1598, d. 1662, German Lutheran hymnist.\n\nWinkworth, Miss Catherine, b. 1829, d. 1878, great English translator of\n    German hymns.\n\nWirsen, C. D., b. 1842, d. 1912, important Swedish hymnist.\n\nWiwallius, Lars, b. 1605, d. 1669, Swedish hymnist.\n\nWoltersdorf, Rev. Ernst Gottlieb, b. 1725, d. 1761, German hymnist.\n\nWultejus, Rev. Johan, court chaplain, b. 1639, d. 1700, Swedish hymnist.\n\nZinzendorf, Count, Moravian, b. 1700, d. 1760.\n\nAstr\u00f6m, Rev. Johan, b. 1767, d. 1844, important Swedish Lutheran\n    hymnist.\n\n\u00d6dmann, Samuel, pastor, professor of theology, author, b. 1750, d. 1829,\n    great Swedish Lutheran hymnist.\n\n\n\n\n                               FOOTNOTES\n\n\n[1]The first Lutheran hymn book was \u201cEtlich Christliche Lieder\u201d of 1524.\n    This little hymn book may have been published without Luther\u2019s\n    assistance. Perhaps the most important hymn book, containing a\n    number of Luther\u2019s hymns, was \u201cGeistliches Gesangbuechlein\u201d of 1524.\n    \u201cEnchiridion oder ein Handbuechlein\u201d appeared in 1524. Other\n    important hymn books appeared in 1526, 1531, and 1535.\n\n\n\n\n                          Transcriber\u2019s Notes\n\n\n--Preserved copyright notice from the printed book, although this eBook\n  is public-domain in the country of publication.\n\n--Corrected a few palpable typographical errors.\n\n--In the text versions only, text in italics is delimited by\n  _underscores_.","title":"Hymnological Studies","tradition":"scripture-revelation","translated_text":null,"word_count":19401}