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<body>
<div>*** START OF THE PROJECT GUTENBERG EBOOK 61393 ***</div>
<div class="img" id="cover">
<img id="coverpage" src="images/cover.jpg" alt="The Singing Church: The Hymns It Wrote and Sang" width="500" height="749" />
</div>
<div class="box">
<h1>THE
<br />SINGING CHURCH</h1>
<p class="center"><b>THE HYMNS IT WROTE AND SANG</b></p>
<p class="center"><span class="sc">By
<br />Edmund S. Lorenz, LL.D., Mus. Doc.</span></p>
<p class="center smaller">AUTHOR OF
<br />MUSIC IN WORK AND WORSHIP
<br />PRACTICAL HYMN STUDIES
<br />PRACTICAL CHURCH MUSIC
<br />CHURCH MUSIC</p>
<div class="img">
<img src="images/p1.jpg" alt="COKESBURY PRESS · GOOD BOOKS" width="200" height="200" />
</div>
<p class="center"><b>COKESBURY PRESS
<br /><span class="small">NASHVILLE</span></b></p>
</div>
<p class="tbcenter">THE SINGING CHURCH
<br />Copyright, MCMXXXVIII
<br />By WHITMORE & SMITH</p>
<p>All rights in this book are reserved. No part of the
text may be reproduced in any form without written permission
of the publishers, except brief quotations used
in connection with reviews in a magazine or newspaper.</p>
<p class="center"><i>Set up, electrotyped, printed, and bound by the Parthenon Press at Nashville Tennessee, United States of America</i></p>
<blockquote>
<p>“<i>Be filled with the Spirit; speaking to
yourselves in psalms and hymns and
spiritual songs, singing and making
melody in your heart to the Lord.</i>”
<span class="lr">(<span class="sc">Eph.</span> 5: 18, 19.)</span></p>
</blockquote>
<div class="pb" id="Page_7">7</div>
<h2 title=""><span class="h2line1">PREFACE</span></h2>
<p>In preparing this discussion of the Christian hymn, it has been
my ambition, not to be pre-eminently scholarly, but rather to
be pre-eminently helpful. The current treatment of this phase
of church worship is quite sufficiently thorough in its literary
analysis and historical research; there is nothing but praise for
this aspect of the study of the hymn in the many excellent
treatises in America as well as in England.</p>
<p>The fathers of American hymnology, Professors Austin
Phelps and Edwards A. Parks and Rev. Daniel L. Furber, set
a good example to later hymnologists in their <i>Hymns and
Choirs</i> in laying stress on the thought and sentiment of the
hymns and in devoting nearly one-third of their study to “The
Dignity and the Methods of Worship in Song,” discussing
choirs, congregational singing, organs, and many other practical
phases in the use of hymns. They gave little consideration
to the historicity of individual hymns; that viewpoint had
not risen above the horizon.</p>
<p>Later works have given more attention to the historical
background. The work of Dr. Louis F. Benson, the greatest
hymnologist America has produced, cannot be too highly commended
for its scholarly thoroughness and indefatigable research.
His <i>The English Hymn</i> and <i>The Hymnody of the
Christian Church</i> should be found in the library of every
minister. Other valuable American treatises on hymns are
Ninde’s <i>Story of the American Hymn</i>, Gilman’s <i>Evolution of
the English Hymn</i>, Reeves’ <i>The Hymn as Literature</i>, Marks’
<i>Rise and Growth of English Hymnody</i>, and Tillett’s <i>Our
Hymns and Their Authors</i>, all of which are most helpful and
illuminating discussions bearing on the literary and historical
<span class="pb" id="Page_8">8</span>
aspects of Christian hymns. On the other side of the sea are
other most valuable studies of the hymn. Horder’s <i>The
Hymn Lover</i> is particularly fresh and inspiring. Others are
instructive regarding the individual hymns, such as Josiah
Miller’s <i>Singers and Songs of the Church</i>, John Telford’s <i>The
Methodist Hymn-Book Illustrated</i> and <i>Evenings with the
Sacred Poets</i>, and W. T. Stead’s <i>Hymns That Have Helped</i>.
Supreme above them all is Julian’s <i>Dictionary of Hymnology</i>,
which is a stupendous work of vast comprehensiveness and
indefatigable industry, the last word in the history and critical
study of Christian hymns of all lands and all Christian ages.</p>
<p>The justification of another survey of the field lies in the fact
that all these admirable books confine themselves to the purely
literary and historical data regarding each hymn, with side
glances in only a few cases at the practical values involved.
While the fundamental urge of expressing religious emotions
back of Christian hymns is not denied or even deprecated, the
emotional values are not developed or stressed.</p>
<p>In order to assure this lacking element of practical helpfulness,
this discussion includes four chapters on the purposeful
use of hymns in the work of the Church.</p>
<p>It is proper that I should recognize the sympathetic and
cordial helpfulness in an advisory way of Professor Herman
von Berge, my editorial associate in the musical work to which
I have devoted the larger part of my life. His scholarship and
wide practical experience, both as pastor and theological seminary
professor, have helped me solve some problems that
rather daunted me. Acknowledgment is also due to my son,
Rev. Edward H. Lorenz, and to Mrs. F. C. Goodlin, my private
secretary, in typing and proofreading my longhand
manuscript. Last but not least, the co-operation of my brother,
Dr. D. E. Lorenz, organizer of the church of the Good Shepherd
in New York City and its pastor for thirty-four years, in
the indexing and proofreading, calls for grateful recognition.
Only an experienced author can fully measure the
value of such efficient helpers.</p>
<p><span class="lr">E. S. L.</span></p>
<p>Dayton Ohio.</p>
<div class="pb" id="Page_9">9</div>
<h2 id="toc" title="Contents">CONTENTS</h2>
<dl class="toc">
<dt><a href="#ch1">INTRODUCTION</a> 17</dt>
<dd>THE PLACE AND IMPORTANCE OF THE HYMN.</dd>
<dd><a href="#c2">The Impulse to Sing Is Constitutional in Man.</a></dd>
<dd><a href="#c3">Biblical Authority for the Singing of Hymns.</a></dd>
<dd><a href="#c4">The Use of Hymns in the Development of the Christian Church.</a></dd>
<dd><a href="#c5">Cultural Value of Hymns.</a></dd>
<dd><a href="#c6">Spiritual Value of Hymns.</a></dd>
<dd><a href="#c7">The Value of Singing Hymns Too Often Overlooked.</a></dd>
<dd><a href="#c8">The Need of Emphasis on Efficient Use of Hymns.</a></dd>
<dt class="center"><span class="small">PART I</span><br />THE CHARACTER OF THE HYMN</dt>
<dt class="center"><span class="smaller">CHAPTER I</span></dt>
<dt><a href="#ch9">WHAT IS A HYMN?</a> 25</dt>
<dd><span class="cn">I </span>DEFINITION OF THE HYMN.</dd>
<dd><a href="#c10">Importance of Accurate Definition.</a></dd>
<dd><a href="#c11">Inadequate Definition.</a></dd>
<dd><a href="#c12">Definition Must Be Based on Practical Considerations.</a></dd>
<dd><a href="#c13">Types of Hymns.</a></dd>
<dd><a href="#c14">Definition of the Congregational Hymn.</a></dd>
<dd><span class="cn">II </span>THE HYMN MUST BE POETRY.</dd>
<dd><a href="#c15">To Be Poetry, It Must Be Emotional.</a></dd>
<dd><a href="#c16">It Must Have Poetical Form.</a></dd>
<dd><a href="#c17">It Must Be Poetic in Spirit.</a></dd>
<dd><a href="#c18">The Hymn Must Have Unity.</a></dd>
<dd><a href="#c19">The Poetical Element Is Contributory Only.</a></dd>
<dd><span class="cn">III </span>THE CHRISTIAN HYMN MUST BE DISTINCTLY RELIGIOUS.</dd>
<dd><a href="#c20">Poems of Semi-religious Fancy Are No Hymns.</a></dd>
<dd><a href="#c21">Mere Moralizing Will Not Serve.</a></dd>
<dd><a href="#c22">Special Propaganda Is Not Admissible.</a></dd>
<dd><a href="#c23">Christian Hymns Should Be Genuinely Christocentric.</a></dd>
<dd><span class="cn">IV </span>SCRIPTURAL ELEMENTS OF THE HYMN.</dd>
<dd><a href="#c24">Hymns Based on the Scriptures.</a></dd>
<dd><a href="#c25">Use of Scriptural Forms Desirable.</a></dd>
<dd><span class="cn">V </span>THE HYMN MUST BE FITTED FOR MASS SINGING.</dd>
<dd><a href="#c26">Congregational Singing Is a Pronouncedly Christian Exercise.</a></dd>
<dd><a href="#c27">Meter Essential to Mass Singing.</a></dd>
<dd><span class="cn">VI </span>PRACTICABILITY FOR ACTUAL USE.</dd>
<dd><a href="#c28">Ideas Must Be Plainly Evident.</a></dd>
<dd><a href="#c29">Hymns May Not Be Extremely Individualistic.</a></dd>
<dd><a href="#c30">Distracting Figures and Forms of Expression.</a></dd>
<dd><a href="#c31">Verses Must Be Complete in Themselves.</a></dd>
<dd><a href="#c32">Musical Limitations.</a></dd>
<dd><a href="#c33">Outworn Hymns.</a></dd>
<dd><a href="#c34">Mistaken Objections to Some Hymns.</a></dd>
<dt class="center"><span class="smaller">CHAPTER II</span></dt>
<dt><a href="#ch35">THE PURPOSE AND VALUE OF HYMNS</a> 40</dt>
<dd><span class="cn">I </span>THE IMPULSE TO WRITE HYMNS.</dd>
<dd><span class="cn">II </span>PURPOSE IN WRITING HYMNS.</dd>
<dd><a href="#c36">The Influence of Purpose.</a></dd>
<dd><a href="#c37">The Purpose Must Affect Only the Practical Aspects.</a></dd>
<dd><span class="cn">III </span>PURPOSE OF THE USER OF HYMNS.</dd>
<dd><span class="cn">IV </span>PURPOSES SERVED BY SINGING HYMNS.</dd>
<dd><a href="#c38">Hymns Unite Christians in Worship and Christian Activities.</a></dd>
<dd><a href="#c39">Hymns Concentrate Interest and Attention.</a></dd>
<dd><a href="#c40">Hymns Afford a Means of Expression for the Congregation.</a></dd>
<dd><a href="#c41">Hymns Provide Help and Comfort in Dark Hours.</a></dd>
<dd><a href="#c42">Hymns Afford Clear Expression of Christian Truth.</a></dd>
<dd><a href="#c43">Hymns Give Opportunity for Active Participation by All.</a></dd>
<dd><a href="#c44">Hymns Provide Variety.</a></dd>
<dd><a href="#c45">Hymns Create a Religious Atmosphere.</a></dd>
<dd><a href="#c46">Hymns in the Home.</a></dd>
<dd><a href="#c47">Hymns in Personal Work.</a></dd>
<dd><span class="cn">V </span>REASONS FOR THE MINISTER’S APPRECIATION OF HYMNS.</dd>
<dd><a href="#c48">Hymns Are Evidence of the Effect of the Bible.</a></dd>
<dd><a href="#c49">Hymns and Psalms Affected the Life of Church.</a></dd>
<dd><a href="#c50">Hymns in Personal Christian Experience.</a></dd>
<dd><a href="#c51">Hymns as Stimulating the Spiritual Life of the Minister.</a></dd>
<dd><a href="#c52">Hymns Approved by Paul.</a></dd>
<dd><a href="#c53">Hymns in the Early Church.</a></dd>
<dd><a href="#c54">Hymns Prepared the Church for Periods of Marked Progress.</a></dd>
<dd><span class="cn">VI </span>STRANGE INDIFFERENCE TO HYMNS.</dd>
<dd><a href="#c55">The Minister’s Indifference.</a></dd>
<dd><a href="#c56">Indifference of the Congregation.</a></dd>
<dt class="center"><span class="smaller">CHAPTER III</span></dt>
<dt><a href="#ch57">THE LITERARY ASPECT OF HYMNS</a> 53</dt>
<dd><span class="cn">I </span>WHAT MAKES THE HYMN LITERATURE?</dd>
<dd><a href="#c58">Its Character as a Transcript of Life.</a></dd>
<dd><a href="#c59">Its Wide Distribution.</a></dd>
<dd><a href="#c60">Its Acceptance Through Many Generations.</a></dd>
<dd><a href="#c61">Its Profound Influence.</a></dd>
<dd><span class="cn">II </span>OBJECTIONS TO RECOGNIZING ITS LITERARY CHARACTER.</dd>
<dd><a href="#c62">Due to Narrow Definition of Literature.</a></dd>
<dd><a href="#c63">Due to Failure to Realize Limitations of Hymns.</a></dd>
<dd><a href="#c64">Some Critics and Their Criticisms.</a></dd>
<dd><span class="cn">III </span>THE WRITING OF HYMNS.</dd>
<dd><a href="#c65">The Handicap of Thought and Diction.</a></dd>
<dd><a href="#c66">The Handicap of Meter.</a></dd>
<dd><span class="cn">IV </span>LITERARY QUALITY NOT TO BE OVERESTIMATED.</dd>
<dd><a href="#c67">Literary Quality Not the Supreme Consideration.</a></dd>
<dd><a href="#c68">Literary Quality Should Be Subconscious.</a></dd>
<dt class="center"><span class="smaller">CHAPTER IV</span></dt>
<dt><a href="#ch69">THE EMENDATION OF HYMNS</a> 63</dt>
<dd><span class="cn">I </span>THE CHANGES IN OUR HYMNS.</dd>
<dd><a href="#c70">Early Changes.</a></dd>
<dd><a href="#c71">The Abuse of the Editorial Revision.</a></dd>
<dd><a href="#c72">The Return to the Originals.</a></dd>
<dd><span class="cn">II </span>PRINCIPLES OF EQUITY INVOLVED IN THESE CHANGES.</dd>
<dd><a href="#c73">The Rights of the Original Writer.</a></dd>
<dd><a href="#c74">The Limits of the Author’s Rights.</a></dd>
<dd><span class="cn">III </span>EFFECT OF CHANGES ON QUALITY.</dd>
<dd><a href="#c75">Loss of Original Writer’s Vision.</a></dd>
<dd><a href="#c76">Biblical Precedent.</a></dd>
<dd><span class="cn">IV </span>ANALYSIS OF CHANGES MADE.</dd>
<dd><a href="#c77">The Omission of Verses.</a></dd>
<dd><a href="#c78">Reconstructing and Rewriting Faulty Hymns.</a></dd>
<dd><a href="#c79">Minor Felicitous Changes.</a></dd>
<dt class="center"><span class="smaller">CHAPTER V</span></dt>
<dt><a href="#ch80">THE CONTENT OF THE HYMN</a> 76</dt>
<dd><span class="cn">I </span>ITS RELATION TO GOD.</dd>
<dd><a href="#c81">Thanksgiving.</a></dd>
<dd><a href="#c82">Prayer for Future Blessing.</a></dd>
<dd><a href="#c83">Adoration.</a></dd>
<dd><a href="#c84">The Hymn of Communion.</a></dd>
<dd><span class="cn">II </span>RELATION TO THE SINGER.</dd>
<dd><a href="#c85">The Hymn of Emotion.</a></dd>
<dd><a href="#c86">The Hymn of Inspiration.</a></dd>
<dd><a href="#c87">The Hymn of Personal Experience.</a></dd>
<dd><a href="#c88">The Hymn of Meditation.</a></dd>
<dd><a href="#c89">The Hymn of Exhortation.</a></dd>
<dd><a href="#c90">The Didactic Hymn.</a></dd>
<dd><a href="#c91">The Doctrinal Hymn.</a></dd>
<dd><a href="#c92">The Homiletical Hymn.</a></dd>
<dd><a href="#c93">The Hymn of Propaganda.</a></dd>
<dd><a href="#c94">Hymns of the Social Gospel.</a></dd>
<dd><a href="#c95">Special Hymns.</a></dd>
<dd><a href="#c96">The Great Hymnic Themes.</a></dd>
<dt class="center"><span class="smaller">CHAPTER VI</span></dt>
<dt><a href="#ch97">THE GOSPEL HYMN</a> 89</dt>
<dd><a href="#c98">Lack of Discrimination.</a></dd>
<dd><a href="#c99">Wrong Assumptions of the Opposition.</a></dd>
<dd><a href="#c100">Unfairness in Comparisons Made.</a></dd>
<dd><a href="#c101">Criteria for Evaluation.</a></dd>
<dd><a href="#c102">Gospel Hymns and the Unsaved.</a></dd>
<dd><a href="#c103">Gospel Hymns and the Demands of Worship.</a></dd>
<dd><a href="#c104">Gospel Hymns in the Preparatory Service.</a></dd>
<dd><a href="#c105">Gospel Hymns in the Laboratory.</a></dd>
<dd><a href="#c106">The Advantages of Gospel Hymns.</a></dd>
<dd><a href="#c107">Discrimination in the Use of Gospel Songs Needed.</a></dd>
<dt class="center"><span class="small">PART II</span><br />HISTORY OF THE DEVELOPMENT OF THE CHRISTIAN HYMN</dt>
<dt class="center"><span class="smaller">CHAPTER VII</span></dt>
<dt><a href="#ch108">APOSTOLIC ORIGIN AND DEVELOPMENT</a> 103</dt>
<dd>SACRED SONG IN THE NEW CHRISTIAN CHURCH.</dd>
<dd><a href="#c109">The Rise of Sacred Song in Apostolic Times.</a></dd>
<dd><a href="#c110">Apostolic Emphasis of Sacred Song.</a></dd>
<dd><a href="#c111">Traces of Hymns in the Epistles.</a></dd>
<dd><a href="#c112">The Hymns of the Apocalypse.</a></dd>
<dd><a href="#c113">“The Odes of Solomon.”</a></dd>
<dd><a href="#c114">The Failure of Apostolic Spiritual Songs to Survive.</a></dd>
<dt class="center"><span class="smaller">CHAPTER VIII</span></dt>
<dt><a href="#ch115">THE POST-APOSTOLIC HYMN</a> 109</dt>
<dd><a href="#c116">The Post-Apostolic Church a Singing Church.</a></dd>
<dd><a href="#c117">The Earliest Surviving Hymns.</a></dd>
<dd><a href="#c118">The Relation of Hymns to Psalms and Canticles.</a></dd>
<dd><a href="#c119">The Hymn as Propaganda.</a></dd>
<dt class="center"><span class="smaller">CHAPTER IX</span></dt>
<dt><a href="#ch120">THE GREEK HYMNODY</a> 114</dt>
<dd>Introduction. THE SYRIAC HYMN-WRITERS.</dd>
<dd><a href="#c121"><span class="cn">I </span>EARLY GREEK HYMNS.</a></dd>
<dd><a href="#c122"><span class="cn">II </span>THE LATER GREEK HYMNS.</a></dd>
<dt class="center"><span class="smaller">CHAPTER X</span></dt>
<dt><a href="#ch123">THE LATIN HYMNODY</a> 119</dt>
<dd><a href="#c124"><span class="cn">I </span>THE BEGINNING OF LATIN HYMNODY.</a></dd>
<dd><a href="#c125"><span class="cn">II </span>EARLY LATIN HYMN-WRITERS.</a></dd>
<dd><a href="#c126"><span class="cn">III </span>GREAT LATIN HYMNS.</a></dd>
<dd><a href="#c127"><span class="cn">IV </span>MEDIEVAL DEVOTIONAL POEMS.</a></dd>
<dd><a href="#c128"><span class="cn">V </span>MEDIEVAL POPULAR HYMNODY.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XI</span></dt>
<dt><a href="#ch129">LUTHER AND THE GERMAN HYMN</a> 130</dt>
<dd><a href="#c130"><span class="cn">I </span>PRE-REFORMATION VERNACULAR HYMNS.</a></dd>
<dd><a href="#c131"><span class="cn">II </span>LUTHER’S RELATION TO GERMAN HYMNODY.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XII</span></dt>
<dt><a href="#ch132">THE LATER GERMAN HYMNODY</a> 137</dt>
<dd><a href="#c133"><span class="cn">I </span>THE RISING STANDARD OF LITERARY VALUES.</a></dd>
<dd><a href="#c134"><span class="cn">II </span>THE GOLDEN AGE OF GERMAN HYMNODY.</a></dd>
<dd><a href="#c135"><span class="cn">III </span>THE PIETISTIC HYMN-WRITERS.</a></dd>
<dd><a href="#c136"><span class="cn">IV </span>GERMAN REFORMED HYMNODY.</a></dd>
<dd><a href="#c137"><span class="cn">V </span>TRANSITION TO RATIONALISTIC HYMNS.</a></dd>
<dd><a href="#c138"><span class="cn">VI </span>RATIONALISM IN HYMNODY.</a></dd>
<dd><a href="#c139"><span class="cn">VII </span>HYMNS OF RENEWED RELIGIOUS LIFE.</a></dd>
<dd><a href="#c140"><span class="cn">VIII </span>HYMNS OF PIETISTIC TYPE.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XIII</span></dt>
<dt><a href="#ch141">METRICAL PSALMODY</a> 148</dt>
<dd><a href="#c142"><span class="cn">I </span>CALVIN’S CONCEPTION OF CONGREGATIONAL SINGING.</a></dd>
<dd><a href="#c143"><span class="cn">II </span>CALVIN’S FOLLOWERS MORE EXTREME.</a></dd>
<dd><a href="#c144"><span class="cn">III </span>MAROT’S SUCCESSFUL VERSIONS.</a></dd>
<dd><a href="#c145"><span class="cn">IV </span>DEVELOPMENT OF THE GENEVAN PSALTER.</a></dd>
<dd><a href="#c146"><span class="cn">V </span>ENGLISH PSALM VERSIONS BEFORE STERNHOLD.</a></dd>
<dd><a href="#c147"><span class="cn">VI </span>VERSION OF STERNHOLD AND HOPKINS.</a></dd>
<dd><a href="#c148"><span class="cn">VII </span>THE SCOTCH VERSION.</a></dd>
<dd><a href="#c149"><span class="cn">VIII </span>ROUS’ VERSION.</a></dd>
<dd><a href="#c150"><span class="cn">IX </span>TATE AND BRADY’S “NEW VERSION.”</a></dd>
<dd><a href="#c151"><span class="cn">X </span>AMERICAN PSALMODY.</a></dd>
<dd><a href="#c152"><span class="cn">XI </span>THE VALUE OF THE PSALM VERSIONS.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XIV</span></dt>
<dt><a href="#ch153">THE ENGLISH HYMN BEFORE WATTS</a> 158</dt>
<dd><a href="#c154"><span class="cn">I </span>THE EARLIEST ENGLISH HYMN.</a></dd>
<dd><a href="#c155"><span class="cn">II </span>ENGLISH HYMNODY SUBMERGED BY REFORMED PSALMODY.</a></dd>
<dd><a href="#c156"><span class="cn">III </span>ENGLISH LITERARY IDEALS UNFAVORABLE TO HYMN-WRITING.</a></dd>
<dd><a href="#c157"><span class="cn">IV </span>THE DEVELOPMENT OF THE TECHNIC OF WRITING SINGING HYMNS.</a></dd>
<dd><a href="#c158"><span class="cn">V </span>THE IDEAL OF THE SINGING HYMN REALIZED.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XV</span></dt>
<dt><a href="#ch159">ISAAC WATTS AND HIS PERIOD</a> 168</dt>
<dd><a href="#c160"><span class="cn">I </span>THE HYMNIC NEED OF THE TIME.</a></dd>
<dd><a href="#c161"><span class="cn">II </span>THE LIFE OF WATTS.</a></dd>
<dd><a href="#c162"><span class="cn">III </span>WATTS AS A HYMN-WRITER.</a></dd>
<dd><a href="#c163"><span class="cn">IV </span>WATTS’ ARGUMENT FOR THE HYMN.</a></dd>
<dd><a href="#c164"><span class="cn">V </span>WATTS’ INSISTENCE ON PRACTICABILITY.</a></dd>
<dd><a href="#c165"><span class="cn">VI </span>THE INESTIMABLE VALUE OF WATTS’ HYMNS.</a></dd>
<dd><a href="#c166"><span class="cn">VII </span>CONTEMPORARIES OF WATTS.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XVI</span></dt>
<dt><a href="#ch167">THE WESLEYS AND THEIR ERA</a> 180</dt>
<dd><a href="#c168"><span class="cn">I </span>THE INFLUENCE OF WATTS ON THE WESLEYS.</a></dd>
<dd><a href="#c169"><span class="cn">II </span>THE HOME OF THE WESLEYS.</a></dd>
<dd><a href="#c170"><span class="cn">III </span>THE MORAVIAN INFLUENCE.</a></dd>
<dd><a href="#c171"><span class="cn">IV </span>JOHN WESLEY.</a></dd>
<dd><a href="#c172"><span class="cn">V </span>CHARLES WESLEY.</a></dd>
<dd><a href="#c173"><span class="cn">VI </span>CHARLES WESLEY’S HYMNS QUITE SUBJECTIVE.</a></dd>
<dd><a href="#c174"><span class="cn">VII </span>WATTS AND CHARLES WESLEY.</a></dd>
<dd><a href="#c175"><span class="cn">VIII </span>ISSUES OF THE WESLEYAN HYMNS.</a></dd>
<dd><a href="#c176"><span class="cn">IX </span>THE METHODIST TUNES.</a></dd>
<dd><a href="#c177"><span class="cn">X </span>INFLUENCES OPPOSING THE WESLEYAN HYMNS.</a></dd>
<dd><a href="#c178"><span class="cn">XI </span>OTHER METHODIST HYMN-WRITERS.</a></dd>
<dd><a href="#c179"><span class="cn">XII </span>CALVINISTIC-METHODIST HYMN-WRITERS.</a></dd>
<dd><a href="#c180"><span class="cn">XIII </span>BAPTIST HYMN-WRITERS.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XVII</span></dt>
<dt><a href="#ch181">HYMNS IN THE CHURCH OF ENGLAND</a> 193</dt>
<dd><a href="#c182"><span class="cn">I </span>RISE OF SPIRITUAL LIFE IN THE ENGLISH CHURCH.</a></dd>
<dd><a href="#c183"><span class="cn">II </span>EARLY COLLECTIONS OF EVANGELICAL HYMNS.</a></dd>
<dd><a href="#c184"><span class="cn">III </span>EVANGELICAL HYMN-WRITERS.</a></dd>
<dd><a href="#c185"><span class="cn">IV </span>HYMN-WRITERS OF THE ROMANTIC SCHOOL.</a></dd>
<dd><a href="#c186"><span class="cn">V </span>CONTEMPORARY HYMN-WRITERS.</a></dd>
<dd><a href="#c187"><span class="cn">VI </span>MINOR HYMN-WRITERS.</a></dd>
<dd><a href="#c188"><span class="cn">VII </span>THE HYMNS OF THE OXFORD MOVEMENT.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XVIII</span></dt>
<dt><a href="#ch189">AMERICAN HYMNODY</a> 209</dt>
<dd><a href="#c190"><span class="cn">I </span>THE TRANSITION FROM PSALMODY TO HYMNODY.</a></dd>
<dd><a href="#c191"><span class="cn">II </span>THE INTRODUCTION OF WATTS’ HYMNS.</a></dd>
<dd><a href="#c192"><span class="cn">III </span>THE BEGINNINGS OF AMERICAN HYMNODY.</a></dd>
<dd><a href="#c193"><span class="cn">IV </span>COLLECTIONS OF AMERICAN HYMNS.</a></dd>
<dd><a href="#c194"><span class="cn">V </span>EPISCOPAL HYMN-WRITERS.</a></dd>
<dd><a href="#c195"><span class="cn">VI </span>UNITARIAN HYMNODY.</a></dd>
<dd><a href="#c196"><span class="cn">VII </span>LATER ORTHODOX HYMN-WRITERS.</a></dd>
<dt class="center"><span class="small">PART III</span><br />PRACTICAL HYMNOLOGY</dt>
<dt class="center"><span class="smaller">CHAPTER XIX</span></dt>
<dt><a href="#ch197">THE STUDY OF HYMNS</a> 229</dt>
<dd><a href="#c198"><span class="cn">I </span>IMPORTANCE OF THE STUDY OF HYMNS.</a></dd>
<dd><a href="#c199"><span class="cn">II </span>PERSONAL ADVANTAGES OF SUCH STUDY OF HYMNS.</a></dd>
<dd><a href="#c200">Literary Pleasure.</a></dd>
<dd><a href="#c201">Literary Culture.</a></dd>
<dd><a href="#c202">Development of Emotional Nature.</a></dd>
<dd><a href="#c203"><span class="cn">III </span>THE PRACTICAL VALUES OF INDIVIDUAL HYMNS.</a></dd>
<dd><a href="#c204">Classifying Hymns by Their Nature.</a></dd>
<dd><a href="#c205">Classifying Hymns by Their Fitness for Definite Purposes.</a></dd>
<dd><a href="#c206"><span class="cn">IV </span>THE MINUTE STUDY OF HYMNS.</a></dd>
<dd><a href="#c207">Analysis of the Hymn.</a></dd>
<dd><a href="#c208">The Background of the Hymn.</a></dd>
<dd><a href="#c209">Making a Hymnal of His Own.</a></dd>
<dd><a href="#c210">Memorizing Hymns.</a></dd>
<dd><a href="#c211"><span class="cn">V </span>A STUDY OF METHODS OF USE.</a></dd>
<dd><a href="#c212">Using Hymns in Sermons.</a></dd>
<dd><a href="#c213">Studying Responsiveness of the Congregation.</a></dd>
<dd><a href="#c214">Studying Methods of Announcement and Securing Participation.</a></dd>
<dd><a href="#c215">Studying Use of Hymnal for Specific Purposes.</a></dd>
<dd><a href="#c216"><span class="cn">VI </span>A STUDY OF THE TUNES.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XX</span></dt>
<dt><a href="#ch217">THE PRACTICAL USE OF HYMNS</a> 248</dt>
<dd><a href="#c218"><span class="cn">I </span>THE HYMN AS A MEANS TO AN END.</a></dd>
<dd><a href="#c219"><span class="cn">II </span>ANALYSIS OF PRACTICAL APPLICATION OF HYMNS.</a></dd>
<dd><a href="#c220"><span class="cn">III </span>THE USE OF HYMNS FOR CREATING RELIGIOUS INTEREST.</a></dd>
<dd><a href="#c221"><span class="cn">IV </span>THE HYMN AS AN OPPORTUNITY FOR TEACHING TRUTH.</a></dd>
<dd><a href="#c222"><span class="cn">V </span>HYMN SERMONS AND HYMN SERVICES.</a></dd>
<dd><a href="#c223"><span class="cn">VI </span>THE USE OF HYMNS IN EMERGENCIES.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XXI</span></dt>
<dt><a href="#ch224">THE SELECTION OF HYMNS</a> 256</dt>
<dd><a href="#c225"><span class="cn">I </span>SELECTION SHOULD SECURE UNITY OF SERVICE.</a></dd>
<dd><a href="#c226">Narrow Conception of Unity.</a></dd>
<dd><a href="#c227">Broader Conception of Unity.</a></dd>
<dd><a href="#c228">Unity Based on Purpose.</a></dd>
<dd><a href="#c229"><span class="cn">II </span>SUGGESTIVE SELECTIONS OF HYMNS.</a></dd>
<dd><a href="#c230">Hymns for Service on God’s Omnipotence.</a></dd>
<dd><a href="#c231">Hymns for Service on God’s Love.</a></dd>
<dd><a href="#c232">Hymns for a Missionary Service.</a></dd>
<dd><a href="#c233"><span class="cn">III </span>IMPORTANCE OF THE TUNES.</a></dd>
<dt class="center"><span class="smaller">CHAPTER XXII</span></dt>
<dt><a href="#ch234">THE ANNOUNCEMENT AND TREATMENT OF HYMNS</a> 266</dt>
<dd><a href="#c235"><span class="cn">I </span>THE ANNOUNCEMENT OF HYMNS.</a></dd>
<dd><a href="#c236"><span class="cn">II </span>THE TREATMENT OF HYMNS.</a></dd>
<dt><a href="#ch237">EPILOGUE</a> 274</dt>
<dt><a href="#ch238">REFERENCES AND NOTES</a> 277</dt>
<dt><a href="#ch239">GENERAL INDEX</a> 285</dt>
<dt><a href="#ch240">INDEX OF HYMNS</a> 291</dt>
</dl>
<div class="pb" id="Page_17">17</div>
<h2 id="ch1"><span class="h2line1">INTRODUCTION</span></h2>
<h3>THE PLACE AND IMPORTANCE OF THE HYMN</h3>
<p>The Church of God has been and is a singing church. This
was true in the antediluvian centuries, which was its seminal
period, for some of its canticles have survived. In its pupal
stage, the Old Testament church life developed both the
form and the content of the future hymnody.</p>
<p>To the solo forms of the preceding period, the Mosaic social
and religious organization now adds both the choral and the
congregational forms of vocal worship. To the fear and awe
of previous generations, the Christian development of the
Church of God has added the intimate phases of adoration,
of gratitude, of love, based on consciousness of communion
with the Triune Deity.</p>
<p>Outside of the Israelitish Church and its Christian consummation,
there has been little or no song in religious worship.
The heathen deities were honored only with rude vocal and
instrumental noises made by temple singers and players. It is
the Church of God under all dispensations which was a singing
church. To this day the voice of sacred song is practically
absent from heathen temple.</p>
<h4 id="c2"><i>The Impulse to Sing Is Constitutional in Man.</i></h4>
<p>In the beginning,
song was a spontaneous expression of feeling, being
based on man’s original constitution as fully as breathing or
speaking. Its exercise did not rise high enough in the consciousness
of men, nor so conspicuously affect the current of
<span class="pb" id="Page_18">18</span>
events, that account should be made of it in the sketchy outlines
of the early history of the race. None the less do we
hear unrelated echoes from Lamech and Jubal,<a class="fn" id="fr1_1" href="#fn1_1">[1]</a> and from
Laban’s complaint that Jacob gave him no opportunity to bid
farewell “with songs, with tabret, and with harp.”<a class="fn" id="fr1_2" href="#fn1_2">[2]</a> During
the great Exodus, these echoes multiply and become more
articulate at the Red Sea,<a class="fn" id="fr1_3" href="#fn1_3">[3]</a> at the digging of the well at Beer,<a class="fn" id="fr1_4" href="#fn1_4">[4]</a>
about the walls of Jericho,<a class="fn" id="fr1_5" href="#fn1_5">[5]</a> Deborah,<a class="fn" id="fr1_6" href="#fn1_6">[6]</a> Barak,<a class="fn" id="fr1_7" href="#fn1_7">[7]</a> and Hannah,<a class="fn" id="fr1_8" href="#fn1_8">[8]</a>
and the school of the prophets,<a class="fn" id="fr1_9" href="#fn1_9">[9]</a> developing a grand <i>crescendo</i>
which culminates in the full-voiced chorus and orchestra of
the times of David and Solomon.<a class="fn" id="fr1_10" href="#fn1_10">[10]</a> Undoubtedly all these
were surviving manifestations of the unbroken tide of social
and religious song that flowed on through the ages. The Hebrew
church carried on the model constructed by the organizing
instinct of Samuel and the musical and literary genius
of David, through the succeeding ages, and passed on the
devotional impulse to the Christian Church.</p>
<h4 id="c3"><i>Biblical Authority for the Singing of Hymns.</i></h4>
<p>If any authority
for the use of hymns were needed beyond the unfailing
urge of a sanctified soul to find expression for its spiritual
experiences and to persuade other souls to seek a like blessed
privilege, there would be ample provision in the development
of religious song in the Jewish church, in the participation of
Jesus in such a song at so high a peak of religious solemnity
as the institution of “The Lord’s Supper,”<a class="fn" id="fr1_11" href="#fn1_11">[11]</a> in the use of song
by the Apostles in their private meetings and in unusual personal
experiences from the very beginning,<a class="fn" id="fr1_12" href="#fn1_12">[12]</a> in the exhortations
of Paul<a class="fn" id="fr1_13" href="#fn1_13">[13]</a> and James,<a class="fn" id="fr1_14" href="#fn1_14">[14]</a> and in the choral scenes of the
great Apocalypse.<a class="fn" id="fr1_15" href="#fn1_15">[15]</a></p>
<h4 id="c4"><i>The Use of Hymns in the Development of the Christian Church.</i></h4>
<p>But the use God has made of song through the succeeding
centuries of the development of the Christian Church,
is an even more striking indication of the high importance
placed upon sacred song by the divine mind.</p>
<p>The results of the thoughtful use of song, both in ancient
<span class="pb" id="Page_19">19</span>
times and the recent past, abundantly illustrate its value and
are genuine laboratory proof of its power in deepening the
spirituality of individuals, of communities, and even of nations.
The hymns of Huss and of Luther, the psalmody of
Calvin and of Knox, the preparatory effect of the hymns of
Watts for the great Second Reformation in England and its
intensification by the hymns of the Wesleys, the joyous singing
of rudely fashioned psalms and the newly introduced hymns
in the Great Awakening in New England, the great evangelistic
movement in America and in England with its enthusiastic
singing of unpretentious Gospel songs—all establish
on unquestionably scientific basis the spiritual value of sacred
song.</p>
<h4 id="c5"><i>Cultural Value of Hymns.</i></h4>
<p>Compare the number of people
in any given city or community who read poetry in any of its
forms with the number of church attendants who read, even
when they do not sing, from three to eight hymns every
Lord’s Day. In literary influence, unconsciously absorbed,
this wide use of hymns is vastly more effective upon the public
at large than the more intensive and conscious influence of
distinctly literary verse.</p>
<p>Millions of homes in Great Britain and America have copies
of the Bible and of some hymnbook, while few of them have
books of poetry. Phrases from hymns and psalms are a large
part of the religious vocabulary of millions. They are quoted
not only in sermons, but in essays and general writings and in
the public press, perhaps more generally than are poems.</p>
<p>They have been appreciated by the greatest minds, who
found them to be of great comfort and even delight, including
such men as Benjamin Franklin (who first issued Watts’
hymns in America), George Washington, John Adams,
Thomas Jefferson, and William Ewart Gladstone. They
deeply interested the man, Matthew Arnold, although the
literary critic, Matthew Arnold, had no use for them.</p>
<h4 id="c6"><i>Spiritual Value of Hymns.</i></h4>
<p>Hymns touch and influence the
<span class="pb" id="Page_20">20</span>
most intimate life of men, the moral and spiritual, and are
always influential for good. They concentrate the comforting
truths of the Gospel, make them rememberable; what is even
more important, they add the emotional vitality to those truths
that make them real and actual.</p>
<p>To leave out the hymns from a single service might be an
interesting experiment; but omit them permanently, as was
the former custom among the Friends, and note how arid and
flat the service becomes.</p>
<p>To some, the hymnbook is simply the Bible in another form,
bringing its doctrines, its ideals, its hopes, its promises, its
comforts, and its spiritual inspirations in a more apprehensible
form. Having passed through the crucible of the actual personal
experience of the writers of the hymns, they are more
concrete, more appealing, more actual.</p>
<h4 id="c7"><i>The Value of Singing Hymns Too Often Overlooked.</i></h4>
<p>Since
the hymn has so high a spiritual value, it is all the more distressing
that its possibilities of spiritual helpfulness are so generally
overlooked and ignored by our ministers and their
people. Even where it seems to be distinctly cultivated and
emphasized, it is often the merely physiological effects that are
sought. In other apparently earnest endeavors to develop its
value, there is the aridity of merely artistic and literary emphasis,
or the formal liturgical aspect that is stressed!</p>
<p>There is an absence of clear comprehension of what the
hymns are intended to accomplish, of their meaning, of the
emotions they are supposed to express, and of the methods
to be used to vitalize them and to make them effective. They
are used mechanically, in deference to tradition and good
ecclesiastical form. Most ministers select hymns to fit the
themes of their discourses, fitness depending solely on logical
relations.</p>
<p>The spiritual life of the churches is not only the poorer
and the shallower because of this loss of the quickening influence
of the hymn, but this mechanical attitude is carried
<span class="pb" id="Page_21">21</span>
over to the other exercises of the divine service. The preacher
who sings mechanically will pray mechanically, preach mechanically.</p>
<h4 id="c8"><i>The Need of Emphasis on Efficient Use of Hymns.</i></h4>
<p>The
actual fact is that in the hymn the preacher has a most valuable
factor in making his service spiritually effective. Even as a
perfunctory exercise it has at least a social value; but if its
emotional and spiritual possibilities are fully developed and
exploited, it becomes one of the most impressive and thrilling
means of securing genuinely religious results among his
people. It is a tragedy that so many clergymen have such
dull and unattractive services when through a proper use of
hymns they might be made thrillingly interesting. Professor
H. M. Poteat, of Wake Forest College, does not use too
severe language in his <i>Practical Hymnology</i> when he says,
“As a result of inexcusable ignorance, carelessness, and laziness,
the singing of hymns, in all too many churches, instead
of being an act of worship, has degenerated into a mere incident
of the service, holding its place solely because of immemorial
custom.”</p>
<p>It is the purpose of this treatise at least to prevent the
ignorance Professor Poteat complains of so bitterly. The other
difficulties can be removed only “by fasting and prayer.”</p>
<div class="pb" id="Page_23">23</div>
<h1 title="">THE SINGING CHURCH</h1>
<h2 title=""><span class="h2line1">PART I</span>
<br />THE CHARACTER OF THE HYMN</h2>
<div class="pb" id="Page_25">25</div>
<h2 id="ch9"><span class="h2line1"><i>Chapter I</i></span>
<br />WHAT IS A HYMN?</h2>
<h3>I. DEFINITION OF THE HYMN</h3>
<h4 id="c10"><i>Importance of Accurate Definition.</i></h4>
<p>Before undertaking the
study of the hymn in its various aspects and relations, theoretical
and practical, it should be very carefully defined. This
is all the more necessary because the word “hymn” is used to
cover so wide a sweep of religious poetry, and because our
discussion is to be largely limited to its practical use in church
work.</p>
<p>Dr. Austin Phelps’ test of a genuine hymn, “Genuineness
of religious emotion, refinement of poetic taste, and fitness to
musical cadence—these are essential to a faultless hymn, as the
three chief graces to a faultless character,”<a class="fn" id="fr2_1" href="#fn2_1">[1]</a> is a very clear and
charming statement of some essentials of a hymn, which
needed emphasis in his rather prosaic day, but does not include
all the requisites of a useful hymn.</p>
<h4 id="c11"><i>Inadequate Definition.</i></h4>
<p>The narrow etymological definition
of a hymn would confine it to sacred poems that, in at least
some part of them, are directly addressed to some person of
the Deity. St. Augustine limits the word “hymn” to “songs
with praise to God—without praise they are not hymns. If
they praise aught but God, they are not hymns.” Even now
there are hymnologists who insist upon this limited conception.
No less a writer than W. Garrett Horder, in his fresh
and illuminating <i>The Hymn Lover</i>, insists that “the cardinal
test of a hymn should be that it is in some one, if not the
<span class="pb" id="Page_26">26</span>
whole of its parts, addressed to God.” This shuts out the use
of sacred poetry in instruction, inspiration, exhortation, and
special practical applications of hymns. Moreover, if the hymn
is to be limited to worship, then the unconverted can never
sing sincerely in the public service, and the ancient and
medieval churches were justified in withdrawing the privilege
of religious song from the general laity.</p>
<h4 id="c12"><i>Definition Must Be Based on Practical Considerations.</i></h4>
<p>The
hymn is simply a means to the supreme end of all religious
effort. That form of the hymn, that method of its use, and
that musical assistance, which realize most fully the immediate
and ultimate ends in view under given circumstances can be
approved and used. This practical basis of actual spiritual
results must govern in formulating the conception of the
Christian hymn, as well as in forms of worship and prayer,
in preaching, or in church organization.</p>
<p>Since our discussion of the hymn has in view its contributing
efficiently to concrete spiritual results, its definition must
have a practical basis. Etymological, scholastic, traditional,
abstractly idealistic considerations can have only minor weight.</p>
<h4 id="c13"><i>Types of Hymns.</i></h4>
<p>The hymn may be viewed from too many
angles to confine it to any one definition. Hence we must
recognize different types of the hymn: (a) There is the poem
regarding religious life and feeling that cannot be brought
within the limitations of a musical setting, constituting the
<i>Reading Hymn</i>; (b) we have the formless, but elevated, expression
of worship or religious truth that at best can only be
chanted, which we may call the Canticle, in which may be
included such hymns as the Te Deum, the Sanctus, and unmetrical
psalms; these, together with poems that are expressions
of emotion, yet are not fitted for mass singing but may
be effectively set to music of a different order, may be recognized
as Solo, or Choral, Hymns, such of The Stabat Mater,
The Dies Irae, and Sunset and Evening Star.</p>
<p>There is left us the sacred poem of such a form and type
<span class="pb" id="Page_27">27</span>
that it may be called the <i>Congregational</i> or <i>Singing Hymn</i>,
which is really the subject of the present practical discussion,
and may be strictly defined as follows:</p>
<h4 id="c14"><i>Definition of the Congregational Hymn.</i></h4>
<p>The Congregational
Hymn is a poem expressing worship, praise, thanksgiving,
and prayer on the Godward side; personal spiritual experience,
emotion, and inspiration on the human side; and instruction
on the religious side. It must be adapted to mass thinking
and expression, in a form fitted to be sung by a Christian
congregation, and calculated to express and stimulate or create
religious feeling and purpose.</p>
<h3>II. THE HYMN MUST BE POETRY</h3>
<h4 id="c15"><i>To Be Poetry, It Must Be Emotional.</i></h4>
<p>The initiating force of
all poetry must be emotion of some kind. That emotion may
be mere earnestness, it may be satire, it may be satisfaction in
contemplation of beautiful scenes, or satisfaction in ideas and
memories, or displeasure at impressions painful or abhorrent.
Few of us realize how unfailing is the flow of emotion in our
minds responding to the world about us and in us.</p>
<p>To view life and the world through the eye of reason is
valuable, of course; but if that vision lacks the support of the
eye of emotion, it brings only a silhouette, without perspective,
wanting a sense of reality. That is the weakness of abstract
thinking, whether in theology or political economy.</p>
<p>If the hymn, therefore, is to perform its functions, it must
be definitely emotional to a greater or less extent. This is
particularly true of hymns of Christian experience or in the
hymn’s functioning in inspiration and exhortation. To confuse
animal excitement with emotion is bad psychology. The
genuine emotionality of a hymn is the best criterion of its
practical value, for only through emotion can the will be
reached.</p>
<h4 id="c16"><i>It Must Have Poetical Form.</i></h4>
<p>The first requirement in this
definition is that the hymn must be poetry. It should have
<span class="pb" id="Page_28">28</span>
meter and rhyme, else there can be no musical setting practicable
for congregational use. The first task Calvin and his
associates faced, after reaching the conclusion that only the
inspired Psalms could be sung in the public religious assembly,
was the preparation of a metrical version. True, the Psalms
had been sung by the Greek and Roman Catholic churches,
but only as chants by priestly choirs. In the English church
service, these chants were frequently only led by the choir,
the congregation joining in their singing. But this was practicable
only in larger and long-established congregations, and
even then there was more or less confusion. In general, this
chanting was a failure, and the English church adopted the
metrical versions. The use of the Psalms for responsive readings
in our modern church services is a definitely practicable
way of utilizing their liturgical and spiritual values.</p>
<p>The ostensible hymns of the Greek Church, of which Dr.
Neale and Dr. Brownlie have furnished translations, or rather
transformations, are not verse but prose. They were not sung
by the congregations, or put into their hands, but were reserved
for the reading of the clergy.</p>
<p>In like manner, the Latin hymns, although poetical in form—often
complicated to an absurd degree—were not sung by
the people, but were versified devotions inserted in the prose
Psalms usually read by the priests.</p>
<p>In the Reformed churches for many centuries the word
“hymn” referred to verses of “human composure,” as opposed
to metrified inspired Psalms.</p>
<p>The famous American hymnologist, Dr. Louis J. Benson,
lays less stress on this metrical form: “A Christian hymn,
therefore, is a form of words appropriate to be sung or
chanted in public devotions.” This opens the way for the inclusion
of the “Te Deum Laudamus,” the “Sanctus,” and
other canticles among our hymns. But as these historic texts
are rarely or never sung by the people outside of the Church
of England service, and used chiefly as texts for more or
<span class="pb" id="Page_29">29</span>
less elaborate musical compositions sung by choirs, we may
accept the common conception of the hymn as a metrical
composition.</p>
<h4 id="c17"><i>It Must Be Poetic in Spirit.</i></h4>
<p>While having the superficial
music of the regularly recurring accents, and the liquid harmony
of the vowels and consonants of the words as they
flow through the lines, there must be also the deeper, more
entrancing music of the literary grace of spiritual thought
singing its beautiful expression. If poetry is “the expression
of thought steeped in imagination and feeling,” all the more
must the hymn be expressive of religious thought transfigured
by deep and sincere emotion.</p>
<p>While a hymn may be didactic, formulating doctrine, or
enforcing obligation, it is not a really good and effective hymn
unless the thought or exhortation is vitalized by imagination
and emotion. Arid versification of Christian doctrines
metaphysically conceived, or of ethical discussions with no
heat of conviction, will stir no pulses of body, mind, or soul,
but will conduce to the all too prevalent sense of the unreality
of religious ideas and life.</p>
<h4 id="c18"><i>The Hymn Must Have Unity.</i></h4>
<p>It must have unity of thought,
emotion, and expression, all growing out of a definite vision
of emotion, having a beginning, middle, and end, which mark
the progress of the idea or feeling seeking formulation.<a class="fn" id="fr2_2" href="#fn2_2">[2]</a></p>
<h4 id="c19"><i>The Poetical Element Is Contributory Only.</i></h4>
<p>Yet this element
must be felt in the spirit of the hymn rather than in intention.
Preciosity of phrase, elaborate metaphors and similes, obscure
allusions, flights of fancy, are rarely in place. John Newton,
the great hymn writer, speaks to this point in his usual forceful
way: “Perspicuity, simplicity, and ease should be chiefly attended
to; and the imagery and coloring of poetry, if admitted
at all, should be indulged in very sparingly and with great
judgment.” Sir Roundell Palmer is more detailed in his criticism:
“Affectation or visible artifice is worse than excess of
homeliness; a hymn is easily spoiled by a single falsetto note.”<a class="fn" id="fr2_3" href="#fn2_3">[3]</a></p>
<div class="pb" id="Page_30">30</div>
<p>The emphasis of the literary and poetical elements in hymns
has produced some most valuable sacred lyrics, notably the
hymns of Keble and Heber; but occasionally it has also led to
such refinement, to such sought-out subtlety, and to such conscious
preciosity that the virility and emotional contagion of
what might have been an otherwise really effective hymn have
been lost.</p>
<h2 title=""><span class="h2line1">III. THE CHRISTIAN HYMN MUST BE DISTINCTLY RELIGIOUS</span></h2>
<h4 id="c20"><i>Poems of Semi-religious Fancy Are Not Hymns.</i></h4>
<p>Poems of
fancy with a few religious allusions cannot be classed as Christian
hymns. The objection to the “Beautiful Isle of Somewhere”<a class="fn" id="fr2_4" href="#fn2_4">[4]</a>
has been rather heatedly urged, and there is no small
justification for the criticism. The aboriginal idea of “the
happy hunting grounds” might be referred to by its rather
invertebrate fancy, instead of the heaven of the Christian
faith. Eugene Field’s “The Divine Lullaby” so vaguely suggests
the divine care that it can hardly pass muster as a
hymn. For use as a hymn, a poem must be explicitly Christian
in thought and expression.</p>
<h4 id="c21"><i>Mere Moralizing Will Not Serve.</i></h4>
<p>That a poem has a good
moral does not authorize it to pose as a Christian hymn.
“Brighten the Corner Where You Are” cannot be recognized
as a Christian hymn, since it has no direct religious significance.
There are recent ostensible sociological and humanitarian
hymns that are open to the same criticism. It is not
enough that the underlying assumptions are of Christian
origin; they must be fundamentally religious, no matter what
the application to practical living may be.</p>
<h4 id="c22"><i>Special Propaganda Is Not Admissible.</i></h4>
<p>The value of hymns
as a method of introducing and enforcing doctrines was
recognized by the enemies of Christianity early in its history.
The Arians in Asia Minor and in Northern Africa,
and later throughout the Roman Empire, flooded the world
<span class="pb" id="Page_31">31</span>
with songs sung to the popular melodies attacking the deity
of Christ; and by their influence nearly wrecked Christianity.
In our own day various “sports” from Christianity, and
hybrids with other religions, are issuing collections of songs
and garbled Christian hymns to serve their purposes. The
Buddhists of Japan also are taking Christian songs bodily,
with such changes as seem to them necessary. Unitarian hymnal
editors have not hesitated to alter orthodox hymns to suit
their own views.</p>
<p>That these emasculated hymns are no longer Christian
hymns need not be argued at length. The difficulty is that
they have lost the kernel of genuine Christian thought. The
same is true of humanistic lyrics of propaganda in behalf
of brotherhood or social welfare or economic justice, in which
the religious motive is not urged. In general, a controversial
poem cannot be recognized as a hymn; there is no religious
help in controversy. Its emotions are combative, not devout.</p>
<h4 id="c23"><i>Christian Hymns Should Be Genuinely Christocentric.</i></h4>
<p>A
Christian hymn should express some definite recognition of
God as manifested in Jesus Christ. Even if, as in metrical
psalms, the name of Christ is not used, it should be implied,
and unanimously accepted as implied. It may be worship,
praise, prayer, confession, acceptance of salvation through
Jesus Christ, spiritual experience, consecration, Christian doctrine,
Christian hopes—or any other aspect or activity of the
Christian faith. This is the very heart of the Christian hymn.</p>
<h2 title=""><span class="h2line1">IV. SCRIPTURAL ELEMENTS OF THE HYMN</span></h2>
<h4 id="c24"><i>Hymns Based on the Scriptures.</i></h4>
<p>If the hymn is to be religious
and Christian, it must be based on scriptural ideas, of
course; we have no other authoritative source for our doctrines
or experiences. All our other religious ideas and methods—our
doctrines, our ethics, our religious ideals and impulses—find
their roots there. We cannot afford to sing far-fetched
inferences from unrelated scriptural passages when we have
<span class="pb" id="Page_32">32</span>
such bodies of stupendous truth awaiting our contemplation,
and when the hymnic expression of the emotions which those
high and conspicuous doctrines call forth is so freely available.
Scriptural truth, so plain that he who runs may sing,
is the only raw material from which Christian hymns can be
produced. It will provide for every religious need of the
individual and of the Church.</p>
<h4 id="c25"><i>Use of Scriptural Forms Desirable.</i></h4>
<p>There can be no question
but that when scriptural phraseology is used spontaneously,
it adds very much to the impressiveness of the hymn because
of the devout associations it brings up in the minds of
the singers. The hymn by so much acquires an authoritativeness
and elevation beyond ordinary verbiage.</p>
<p>But while the body of thought in a hymn must be distinctly
religious, and therefore scriptural, it does not follow that the
forms of expression must be scriptural as well. A distinguished
writer on the subject here seems to be at fault:
“Nothing should be called a hymn and nothing should be
sung in our assemblies which is not virtually a paraphrase—and
that a very faithful one—of Scripture passages, whether
they are immediately connected in the Holy Word or not.”
Apply that rule to our hymnbooks and what would we have
left?</p>
<p>Although biblical phrases do occur in many hymns, a
very close adherence to this rule would stifle the poet’s
spontaneity and make his hymn stiff and mechanical, like
most of the metrical psalms. Such a rule may seem very
devout to the cursory reader, but really it is mischievous; it
is sheer bibliolatry, an emphasis of the letter that killeth at
the expense of the spirit that maketh alive.</p>
<h2 title=""><span class="h2line1">V. THE HYMN MUST BE FITTED FOR MASS SINGING</span></h2>
<p>That the hymn is a distinctly social expression, participated
in by the varied personalities massed in a congregation, introduces
marked limitations that cannot be evaded.</p>
<div class="pb" id="Page_33">33</div>
<h4 id="c26"><i>Congregational Singing Is a Pronounced Christian Exercise.</i></h4>
<p>It is a remarkable fact that only in Hebrew and Christian
worship is a congregational use of hymns conspicuous. With
all their literary and poetic urge for expression, the Greeks had
no singing connected with their temple rites.<a class="fn" id="fr2_5" href="#fn2_5">[5]</a> In so far as the
Egyptians had musical elements in their temple ritual, it was
choral and not congregational. In visiting pagan temples, one
is struck by the utter absence of organized assembled worship;
what worship occurs is individual only.</p>
<p>The Vedic hymns were not singing hymns, but reading
hymns, for recital and meditation. According to Max
Mueller, the only share the women had in the sacrifices was
that the wife of the officiating priest, or head of the house,
should recite the necessary hymns. Although in India there
is singing connected with great festivals and processions, the
songs used are so obscene that respectable Hindus are making
an effort to have the public singing of them forbidden. They
are usually sung by the female attendants of the idol, temple
prostitutes, who are the professional singers of these ostensibly
religious songs.<a class="fn" id="fr2_6" href="#fn2_6">[6]</a></p>
<p>The reason for this absence of true hymns is correctly indicated
by W. Garrett Horder in his <i>The Hymn Lover</i>: “But
so far as the material before us enables us to form an opinion,
it is that hymns, as an essential of worship, have been mostly
characteristic of the Christian and, in a less degree, of its
progenitor, the Hebrew religion. Nor is this much to be wondered
at, since it is the only religion calculated to draw out
at once the two elements necessary to such a form of worship—awe
and love—awe which lies at the heart of worship,
and love which kindles it into adoring song.”</p>
<h4 id="c27"><i>Meter Essential to Mass Singing.</i></h4>
<p>The form of the verse is
practically of commanding importance. The musical form of
the hymn tune definitely fixes the form of the stanza. It must
not be complicated or free in form, else the tune loses its
needed simplicity and symmetry. More elaborate forms of
<span class="pb" id="Page_34">34</span>
stanza may do for solo or choral numbers, where skilled
composers write music that follows the vagaries of the form
of the text; but the general congregation cannot be expected
to sing tunes of elaborate and confusing structure. Although
an occasional hymn of unusual form of stanza is fortunate in
finding a happy musical mate, like “Lead, kindly Light” or
“O Love, that wilt not let me go,” the usual hymn must be
adapted to one of about a dozen fundamental meters. Although
the Gospel song is not so circumscribed in its form,
because its setting goes with it, its forms are only rhythmical
variations of the standard meters.</p>
<h2 title=""><span class="h2line1">VI. PRACTICABILITY FOR ACTUAL USE</span></h2>
<h4 id="c28"><i>Ideas Must Be Plainly Evident.</i></h4>
<p>The thought of a good hymn
must lie on the surface. It must appeal not only to the
scholarly and subtle minds in a singing congregation, but also
to all who are expected to join the religious exercise. Paul’s
word regarding unknown tongues applies here: “Except ye
utter by the tongue words easy to be understood, how shall it
be understood, how shall it be known what is spoken?” The
practical Paul enforces the parallel by saying a few verses
further on, “I will sing with the spirit, and I will sing with
the understanding also.” No matter how high the thought
or how deep the sentiment of a poem may be, or how
felicitously they may be expressed, it is not an effective hymn
if study (for which there is no time at the moment of singing)
is required to bring out its meaning and feeling.</p>
<h4 id="c29"><i>Hymns May Not Be Extremely Individualistic.</i></h4>
<p>While a
hymn may be the expression of the individual poet, it must be
an appropriate expression of the mind and heart of the whole
congregation as it sings. Yet in addition to the evident, clearly
expressed thought, there may be singing, <i>sotto voce</i> between
the lines, of deeper experiences and higher soarings of the
spirit that only prolonged meditation can reveal.</p>
<p>Some sacred poems express a religious emotion in so individual
<span class="pb" id="Page_35">35</span>
and unusual a way that they are not at all fitted to
express the emotion of a congregation. As an illustration of
a poem too personal and individualistic, here are a few stanzas
of a hymn of Rev. Samuel J. Stone, which is found in an increasing
number of current hymnals:</p>
<div class="verse">
<p class="t0">“My feet are worn and weary with the march</p>
<p class="t">On the rough road and up the steep hillside;</p>
<p class="t0">O city of our God, I fain would see</p>
<p class="t">Thy pastures green where peaceful waters glide.</p>
</div>
<div class="verse">
<p class="tc"><span class="gs">* * * * * * *</span></p>
</div>
<div class="verse">
<p class="t0">Patience, poor soul! The Saviour’s feet were worn,</p>
<p class="t">The Saviour’s heart and hands were weary too;</p>
<p class="t0">His garments stained and travel-worn, and old,</p>
<p class="t">His vision blinded with pitying dew.”</p>
</div>
<p>This is a beautiful poem that would make an admirable text
for a solo, but it is out of place on the lips of a congregation.
Compare with this the very useful hymn by Bonar:</p>
<div class="verse">
<p class="t0">“I was a wand’ring sheep,</p>
<p class="t">I did not love the fold;</p>
<p class="t0">I did not love my Shepherd’s voice,</p>
<p class="t">I would not be controlled.”</p>
</div>
<p>Every one of the first eight lines of this once widely used
hymn begins with the pronoun of the first person singular,
yet there is no particular individuality in this confession; it is
the expression of the common experience in a straightforward
manner, void of all idiosyncrasy.</p>
<p>In some hymns there is found an intensity of feeling that
leads to an apparent extravagance of expression that a single
soul can sometimes sincerely accept as the vehicle of its own
experience, but which a gathering of miscellaneous people
cannot sing without the great mass of them being insincere.
For a careless person idly to sing with Faber,</p>
<div class="verse">
<p class="t0">“I love Thee so, I know not how</p>
<p class="t0">My transports to control,”</p>
</div>
<div class="pb" id="Page_36">36</div>
<p>or</p>
<div class="verse">
<p class="t0">“Ah, dearest Jesus, I have grown</p>
<p class="t0">Childish with love of Thee,”</p>
</div>
<p>is sheer blasphemy. It is the sin of Uzziah!</p>
<p>The following verses from one of Charles Wesley’s hymns
combine the two faults of extravagance and too-intense individualism:</p>
<div class="verse">
<p class="t0">“On the wings of His love I was carried above</p>
<p class="t">All sin and temptation and pain;</p>
<p class="t0">I could not believe that I ever should grieve,</p>
<p class="t">That I ever should suffer again.</p>
</div>
<div class="verse">
<p class="t0">I rode in the sky (freely justified I),</p>
<p class="t">Nor envied Elijah his seat;</p>
<p class="t0">My soul mounted higher in a chariot of fire,</p>
<p class="t">And the moon it was under my feet.”</p>
</div>
<h4 id="c30"><i>Distracting Figures and Forms of Expression.</i></h4>
<p>Other poems
are so full of imagination, so crowded with unusual and almost
bizarre figures of speech, that they fail to be the natural
expression of the religious emotion of an assembly of religious
people. George Herbert wrote a great many religious
poems whose beauty and charm are only enhanced by their
quaint and unusual imagery. Occasionally a hymnal editor
ventures on a selection, but it is so foreign to the methods
of thought and expression of the churches as not to appeal to
their taste and feeling. Take the beautiful poem on the
Sabbath day, “O day most calm, most bright.” The first line
is spontaneous, expressive, and musical, and appropriate for
a hymn. The second line, “The fruit of this, the next world’s
bud,” with its antithetical structure, is already somewhat
formal and forced. But when the third and fourth lines,</p>
<div class="verse">
<p class="t0">“The indorsement of supreme delight,</p>
<p class="t0">Writ by a Friend and with His blood,”</p>
</div>
<div class="pb" id="Page_37">37</div>
<p>offer a purely legal and unpoetical figure, one’s sense of song
is entirely obscured.</p>
<p>Yet, when Herbert’s imagery is most matter-of-fact and
ungenial, there is a body of thought and there are a certain
fitness and a clearness of relation that command admiration.</p>
<h4 id="c31"><i>Verses Must Be Complete in Themselves.</i></h4>
<p>Hymns that have
long, intricate sentences extending through two or more verses
are impracticable for use in a song service, as the break between
the stanzas dislocates the development of the idea.
Every verse must be practically complete in itself, no matter
what its relation to the development of the general idea of
the hymn may be.</p>
<h4 id="c32"><i>Musical Limitations.</i></h4>
<p>It must also be recognized that there
are limits to the expression congregational music can give. A
poem that is vividly descriptive, or is in part intensely dramatic,
cannot be recognized as a practicable hymn, since all
stanzas have the same tune, a tune which cannot vary its
musical effect to suit the differing stanzas.</p>
<p>Then there are hymns that are too majestic, too glowing,
for a hymn-tune composer to write a fitting tune out of the
limited resources of musical effects available to him. Such a
hymn is that one of Henry Kirke White, of lamented
memory:</p>
<div class="verse">
<p class="t0">“The Lord our God is clothed with might,</p>
<p class="t">The winds obey His will;</p>
<p class="t0">He speaks, and in His heavenly height</p>
<p class="t">The rolling sun stands still.</p>
</div>
<div class="verse">
<p class="tc"><span class="gs">* * * * * * *</span></p>
</div>
<div class="verse">
<p class="t0">His voice sublime is heard afar,</p>
<p class="t">In distant peals it dies;</p>
<p class="t0">He yokes the whirlwind to His car</p>
<p class="t">And sweeps the howling skies.”</p>
</div>
<p>With a chorus of a thousand trained singers, an organ of
extraordinary power, and an orchestra of five hundred instruments,
<span class="pb" id="Page_38">38</span>
all concentrated on “St. Anne,” one might make the
music adequate to the words, but in an ordinary congregation
the incongruity is painful. This must remain a reading hymn.</p>
<h4 id="c33"><i>Outworn Hymns.</i></h4>
<p>The efficient hymn must not distinctly
belong to previous generations in its style and vocabulary or
in its peculiar formulation of doctrine. Only as many of the
older hymns have been purged of their obsolete and archaic
words and turns of thought have they survived. For instance,
we no longer sing, “Eye-strings break in death,” as
Toplady originally wrote it.</p>
<h4 id="c34"><i>Mistaken Objections to Some Hymns.</i></h4>
<p>Some minds, although
strong and keen, seem to have a very small visual angle.
Some such persons condemn all hymns that are not direct
praise. The line in Lyte’s “Abide with Me”—“Hold Thou
Thy cross before my closing eyes”—has been objected to as
Romish by some, blind to the fact that it is a prayer to Christ.</p>
<p>Others exclude hymns in which the pronoun of the first
person singular occurs. Bishop Wordsworth, himself a hymn-writer
of no mean merit (<i>vide</i> “O Day of rest and gladness”
and “See, the Conqueror rides in triumph”), says, in his
introduction to his <i>Holy Year</i>, that while the ancient hymns
are distinguished by self-forgetfulness, the modern hymns are
characterized by self-consciousness. As illustrative examples,
he cites the following: “When I can read my title clear,”
“When I survey the wondrous cross,” “My God, the spring
of all my joys,” and “Jesus, Lover of my soul.” It is strange
that so keen a mind should not have seen that his objection
would apply to all liturgies!</p>
<p>The minister with his eye fixed upon his spiritual purpose
can afford to ignore all these supersensitive critics who have
refined refinement until sensibility becomes hyperesthesia, a
veritable disease.</p>
<p>The use of hymns of a somewhat indifferent literary value
is often thoughtlessly condemned because the importance of
the recognition of its topic is overlooked. Such a topic as
<span class="pb" id="Page_39">39</span>
“Church Erection,” or “Education,” may not occasion the deep
feeling necessary to the writing of a great hymn, and yet it
must find a place in the practical work of the church. Here
again Dr. Phelps gives a useful warning: “The severity of
aesthetic taste must not be permitted to contract the range of
devotional expression in song.... Our desire to restrict the
number of hymns upon occasions, and other hymns of infrequent
use, ought not to banish such hymns entirely.... A
hymn intrinsically inferior, therefore, may be so valuable
relatively, as justly to displace a hymn which is intrinsically
its superior.”</p>
<p>Aside from the topical symmetry referred to, this principle
will find other applications in the practical use of hymns.
Some inferior hymns have for some occasions a greater immediate
effect than much better ones, perhaps because of a
more singable tune or because its sentiment fits into the
situation or because it makes a desired impression in a more
efficient way.</p>
<div class="pb" id="Page_40">40</div>
<h2 id="ch35"><span class="h2line1"><i>Chapter II</i></span>
<br />THE PURPOSE AND VALUE OF HYMNS</h2>
<h2 title=""><span class="h2line1">I. THE IMPULSE TO WRITE HYMNS</span></h2>
<p>The writing of the best hymns of the Christian Church was
not a matter of ulterior purpose, any more than is the singing
of the hermit thrush in the wilderness. They are the result
of the urge for expression that lies back of all the best architecture,
literature, and art of the human race. There is the
vision, the sense of reality, the subjective response to truth,
to beauty, and to exalted experiences that must find an objective
bodying-forth in some appropriate form.</p>
<p>The great doctrines of Christianity loom up in their dignity
and majestic sweep, in their adequacy to the highest and
deepest needs of the human soul. The spontaneous hymn
is but a cry of astonished delight, of exalted inspiration, of
self-forgetful contemplation of the revealed glory, an instinctive
appeal to other souls to share the rapture of the vision.
Such a hymn is not calmly planned; it forces itself upon the
mind of the rapt poet.</p>
<h2 title=""><span class="h2line1">II. PURPOSE IN WRITING HYMNS</span></h2>
<h4 id="c36"><i>The Influence of Purpose.</i></h4>
<p>This instinct for sharing with
others, for winning their attention and participation in a
blessed experience, may produce a measure of premeditation
and become a more or less clearly defined purpose. The idea
of the needs of other souls, or of the Church at large, may become
<span class="pb" id="Page_41">41</span>
an additional factor, bringing in the recognition of the
importance of adaptation to the mental processes of those to be
helped, or of practical methods of reaching them.</p>
<p>Also the originating impulse may grow, as in the case of
Isaac Watts, out of the call of some perceived need among the
writer’s fellows, or of some lack in the work of the Church.
The emotional and poetic elements may be marshaled by
bringing up the memory of some past exalted vision of the
truth, or of some former quickening spiritual experience, or
(better yet!) by an abiding realization of the truth of some
doctrine, or by a perennial flow of devout feeling.</p>
<p>Dr. Martineau insisted that “every spontaneous utterance of
a deep devotion is poetry in its essence, and has only to fall
into lyrical form to be a hymn.” But he went further and
declared that “no expression of thought or feeling that has an
ulterior purpose (i.e., instruction, exposition, persuasion, or impression)
can have the spirit of poetry.” His idealism failed
to realize that the spirit of poetry in a writer may be associated
with a purpose of helpfulness urging expression in an efficient
form. To delete all the hymns in our church collections
that have definite spiritual purposes would rob the Christian
Church of most of its devoutest and most helpful hymns.</p>
<h4 id="c37"><i>The Purpose Must Affect Only the Practical Aspects.</i></h4>
<p>Both
the literary and devotional value of a hymn of purpose will
depend upon the writer’s ability to reproduce the mental conditions
of a purely spontaneous hymn. If the purpose can
be confined to the practical aspects of the hymn, while the
spiritual and poetic impulses control the thought and spirit,
then the most valuable and effective hymn may be produced.</p>
<p>But if the ulterior purpose fully occupies the mind of the
writer, the hymn will be mechanical and uninspiring. In
the more prolific hymn writers, like Watts and Charles Wesley,
the relative influence of vision and purpose is easily
detected. In their best hymns, the purpose is still present,
but latent, and its guidance unconscious.</p>
<div class="pb" id="Page_42">42</div>
<h2 title=""><span class="h2line1">III. PURPOSE OF THE USER OF HYMNS</span></h2>
<p>When we speak of the purpose of the hymn, therefore, it is
not so much the mental attitude of the writer that is to be
considered as that of the user of the hymn. He finds a body
of religious verse ready to his hand, some of which is adapted
to secure spiritual ends, or fitted to the social conditions which
he seeks to improve. His purpose controls not the production
of available verse, but the selection from existing stores of religious
lyrics.</p>
<p>The choice of hymns by the user will be determined by the
characteristics and limitations which his practical purposes demand.
There are three inevitable factors: the end to be
realized, the people to be influenced, and the hymns adapted
to affect both.</p>
<h2 title=""><span class="h2line1">IV. PURPOSES SERVED BY SINGING HYMNS</span></h2>
<h4 id="c38"><i>Hymns Unite Christians in Worship and Christian Activities.</i></h4>
<p>The singing of hymns is the most practicable method of
uniting assembled Christians in worship and praise and of
creating a common interest in the various church activities.
This is really the leading purpose of such a gathering.<a class="fn" id="fr3_1" href="#fn3_1">[1]</a></p>
<p>Worship in prayer, when it is spontaneous, must be largely
individual; when it is expressed in responsive ritual, there is
great danger of mechanical stiffness in the outward form of
the prayers and in their reading, and also in the limited area
of the thought to be expressed. But song is the natural and
spontaneous vehicle for exalted feeling and gives the greatest
opportunity for varied sentiment. No one individual could
hope to strike all the strings of noble praise as have a thousand
saints who have written our hymns.</p>
<h4 id="c39"><i>Hymns Concentrate Interest and Attention.</i></h4>
<p>There is a concentration
of interest and attention. The common thought,
the common emotion, the common impulse of devotion, the
common expression, the unanimous attitude of will and purpose—all
<span class="pb" id="Page_43">43</span>
quicken the susceptibilities and enlarge the spiritual
horizon. God seems nearer, more actual, and more realizable
as the source of every blessing. Abstract ideas of God as
Father, of his Son Jesus Christ as Saviour, of the Holy Spirit
as Comforter, quicken into blessed realities. It is easy to appropriate
the joy, the reverence, the adoration, the intimate
communion with God, which the hymns so clearly, so movingly,
so contagiously, even so rapturously express, and to
make them intimately our own. This is true worship, the
high peak in man’s experience of God.</p>
<p>The social elements in human nature come into play and
intensify the religious emotions. The personal distractions
and inhibitions that hamper devotion are eliminated. Under
properly effective conditions there is a mass attitude, a mass
emotion, that needs only a mass expression to affect every
individual unit. The contagion of the crowd in expression
and in action will affect the most sluggish and indifferent and
carry them into an experience that they could not have
reached alone. Add to this the stimulation of the music and
the physical exhilaration of singing, and the worship is lifted
to a pitch of enthusiasm not otherwise possible.</p>
<p>This worshipful use of hymns exercises a most inspiring and
vitalizing influence on the participants. The reaction of the
mind and soul of the singers to the exalted sentiments sung
must have a profoundly spiritualizing effect upon their natures.
One cannot sing the old Latin hymn, “Jesus, the very
thought of Thee,” in any genuine way without feeling an
accession of greater love to Christ; or “My faith looks up to
Thee,” by Ray Palmer, without a deeper realization of one’s
dependence on Jesus Christ for salvation and for keeping
grace.<a class="fn" id="fr3_2" href="#fn3_2">[2]</a></p>
<h4 id="c40"><i>Hymns Afford a Means of Expression for the Congregation.</i></h4>
<p>Another office of the church hymn is to give a voice to those
deep experiences in spiritual things that enrich the lives of the
children of God. Many excellent Christians are dumb, unable
<span class="pb" id="Page_44">44</span>
to give expression to their genuine spiritual experiences.
Others find their means of voicing what they feel totally
inadequate. The hymns they sing and appropriate to themselves
unstop their silent tongue. High tides of spiritual
blessings, times of refreshing when Christ is near to the soul,
hours of privilege when the whispering of the Holy Spirit is
heard, victories over fierce or subtle temptation when God’s
grace proves sufficient, moments of God’s overshadowing
presence when the whole world is transfigured, and a thousand
other marvelous experiences in the Christian life—all call
for hymns to express them. They must be tender hymns,
ecstatic hymns, triumphant hymns that will satisfy the craving
of the soul to voice forth its deepest love, its spiritual ecstasies,
its strange sense of overcoming power. The dumb soul, unable
to speak of its explorations of divine grace, finds a voice
in these hymns written by saints who had the divine gift of
expressing like glimpses of the divine glory.<a class="fn" id="fr3_3" href="#fn3_3">[3]</a></p>
<h4 id="c41"><i>Hymns Provide Help and Comfort in Dark Hours.</i></h4>
<p>These
hymns not only bring the joy of giving articulate expression
to these mountain-top experiences, thus reviving them again
and again, but they validate these experiences by showing that
others have shared them and give them reality in the hours
when faith fails and the temptation arises to consider them
mere mirages and illusions. Others have been with us in
Bunyan’s Beulah Land and verify our experiences of its delights.</p>
<h4 id="c42"><i>Hymns Afford Clear Expressions of Christian Truth.</i></h4>
<p>Another
purpose in the use of hymns is to secure the clearest,
most impressive, most appealing, most rememberable statement
of the leading truths of the Christian faith that will fix
them most ineradicably in the consciousness and the life of
the individual and of the church. Such hymns must not be
dry formulations of abstract doctrines, desiccated by logical
discussions and metaphysical hair-splittings. Truth that is dry
is no longer vital truth. Its vitamins of reality, of the deep
<span class="pb" id="Page_45">45</span>
feelings called forth by a sense of its actuality, of spiritual and
poetic intuition, of self-propagating vitality, have been lost.
Aridity of orthodoxy begets aridity of heterodoxy and is usually
responsible for it.</p>
<p>Didactic hymns that will serve the purposes of the Church
must be living hymns, expressing truth transfigured by the
feelings aroused by the contemplation of its glorious reality.
“There is little heresy in hymns.” Heresies for the most part
arise from arid mechanical reasonings; hymns flow from the
intuitions of the heart.<a class="fn" id="fr3_4" href="#fn3_4">[4]</a> This explains why some of our best
hymns about Christ were written by Unitarians.</p>
<h4 id="c43"><i>Hymns Give Opportunity for Active Participation by All.</i></h4>
<p>Another purpose of the singing of hymns is to secure the active
participation of the whole congregation in the service. Although
the responsive reading is valuable in this respect, the
union of all the voices of the people in song is more striking,
calls for more aggressive effort, and definitely wins the attention
of all to the sentiments expressed in the hymn. It creates
more interest and stimulates both body and mind.</p>
<h4 id="c44"><i>Hymns Provide Variety.</i></h4>
<p>The singing of hymns also adds
marked variety to the order of service and so renders it more
attractive. It supplies climaxes in different parts of the program
and relaxations of attention to the spoken word. It
represents a greater contrast with the other exercises because
it calls for active participation and produces entirely different
effects. The lack of song in the services of the Friends has
been one of the greatest factors in the limited growth of a
movement representing deep earnestness, conscientiousness,
and spirituality.</p>
<p>This variety and the opportunity to take a modest part in
the service have proved among the greatest attractions. The
more singing, the more people, is the universal experience.</p>
<h4 id="c45"><i>Hymns Create a Religious Atmosphere.</i></h4>
<p>The use of hymns
creates an atmosphere of religious interest and feeling that is
realized not only by the believers in the congregation, but by
<span class="pb" id="Page_46">46</span>
the unregenerate as well. They may not enter fully into the
spirit of the exercises, but an intellectual interest is awakened
by the singing that may rise into spiritual interest and into
an approach to the spiritual life. Rev. George F. Pentecost,
famous in his day as a preacher and as a very successful evangelist,
recognized the aggressive and practical value of hymn-singing:
“I am profoundly sure that among the divinely ordained
instrumentalities for the conversion and sanctification
of the soul, God has not given a greater, besides the preaching
of the Gospel, than the singing of psalms and hymns and
spiritual songs. I have known a hymn to do God’s work in
a soul when every other instrumentality has failed—I have
seen vast audiences melted and swayed by a simple hymn
when they have been unmoved by a powerful presentation of
the Gospel from the pulpit.”</p>
<h4 id="c46"><i>Hymns in the Home.</i></h4>
<p>No small practical value in Christian
hymns is found in their use in family life where young
and old sing them together and so sanctify and spiritualize
the household atmosphere. The storing of the memories of
the children with the leading hymns of the church is no small
factor in their Christian nurture. The older members of the
family also will be stimulated spiritually, finding in the
memorized hymns strength and solace while they bear the
heat and burden of the day. We have lost the spiritual atmosphere
in many of our Christian homes, not only by the neglect
of the family altar, but also by the neglect of the singing and
memorizing of the hymns and tunes of the church.</p>
<p>One of the chief influences in the preparation of Ira D.
Sankey for his great life-work was the singing of hymns as the
family gathered around the great log-fire in the homestead.
He not only familiarized himself with the old hymns and
tunes and popular sacred songs, but he was impressed by
their spirit and by their adaptation to the needs of the human
soul.</p>
<h4 id="c47"><i>Hymns in Personal Work.</i></h4>
<p>The use of hymns in personal
<span class="pb" id="Page_47">47</span>
work, in the visitation of the sick, in improvised religious
gatherings in private homes, has been largely abandoned,
much to the loss of the churches. When D. L. Moody was
trying out Ira D. Sankey during the latter’s pregnant first
visit to Chicago, his singing to the sick and to the spiritually
needy ones they called upon was a notable item in the practical
test.</p>
<p>Prof. Waldo S. Pratt, of the Hartford Theological Seminary,
whose most valuable book has been quoted in these
pages again and again, sums up the results of an intelligent
and devout use of hymns most admirably: “Hymn-singing
may surely be called successful when it affords an avenue for
true approach to God in earnest and noble worship; when it
exerts a wholesome and uplifting reflex influence on those
who engage in it, establishing them in the truth and quickening
their spirituality; and when it creates a diffused atmosphere
of high religious sympathy and vigorous consecration,
so that even unbelievers are affected and constrained by it.”<a class="fn" id="fr3_5" href="#fn3_5">[5]</a></p>
<p>But if these purposes of the singing of hymns are to be
realized and their values exploited, they must be properly
employed. They must be made vital and their messages
brought home to the hearts of the people. There should be
no listless, merely formal singing of noble Christian hymns.
There is unwitting sacrilege in doing that. The truth of God,
the high experiences of his saints, are rendered unreal and
lose their appeal—they become stale.</p>
<p>There are multiplied millions of true believers who duplicate
the unhappy experience of a prominent London preacher who
declared that he did not exactly disbelieve the cardinal doctrines
of Christianity, but that they had become unreal to him.
They were only abstractions, playthings of his logical faculties,
husks from which the living kernel had fallen, which left his
soul hungry. How could a minister by the discussion of
what seemed to him unrealities inspire and spiritualize his
hearers? How can any minister to whom the hymns in his
<span class="pb" id="Page_48">48</span>
hymnal are dry and abstract rhymes about vague and uninteresting
platitudes at best, be able to make his song service a
vital contribution to the spiritual progress of his people? If
the hymns stir him, he can easily make them stir the people.</p>
<h2 title=""><span class="h2line1">V. REASONS FOR THE MINISTER’S APPRECIATION OF HYMNS</span></h2>
<h4 id="c48"><i>Hymns Are Evidences of the Effect of the Bible.</i></h4>
<p>The hymnbook
is an evidence of what the Bible can do with unregenerate
human nature. That the truth of the Bible should
be able to take Newton, the slave driver, and make of him a
minister of God, not only himself writing such hymns as
“Amazing grace, how sweet the sound,” “Glorious things of
Thee are spoken,” or “How sweet the name of Jesus sounds,”
but inspiring and encouraging the poor hypochondriac, William
Cowper, so that from his heart should well forth the
hymns, “There is a fountain filled with blood,” “God moves
in a mysterious way,” and “Sometimes a light surprises,” is in
itself one of the great evidences of Christianity.</p>
<h4 id="c49"><i>Hymns and Psalms Affected the Life of the Church.</i></h4>
<p>The
extraordinary result of the use of hymns and psalms in the life
of the church and of believers is another reason for the minister’s
valuing hymns highly. The awkward lines of Sternhold
and Hopkins’ version of the psalms entered into the speech
and private devotion of Scotch and English Christians as even
the Bible itself did not, becoming a very liturgy to the condemners
and flouters of liturgies. Thomas Jackson in his
life of Charles Wesley remarks that “it is doubtful whether
any human agency has contributed more directly to form the
character of the Methodist societies than the hymns. The sermons
of the preachers, the prayers of the people, both in their
families and social meetings, are all tinged with the sentiments
and phraseology of the hymns.”</p>
<h4 id="c50"><i>Hymns in Personal Christian Experience.</i></h4>
<p>Listen to the personal
experiences of Christians in our own day and you will
<span class="pb" id="Page_49">49</span>
hear more reference to hymns than to the Scriptures. There
is now no such committing to memory of passages of the Bible
and of hymns as there was in preceding generations, but almost
without set purpose, by simple absorption, the average
Christian can quote more lines of hymns than he can of
Scripture verses. This extraordinary place in the affections
and life of Christian people is no derogation to the Bible,
for the hymns are simply the Bible in another form.</p>
<h4 id="c51"><i>Hymns as Stimulating the Spiritual Life of the Minister.</i></h4>
<p>To
some men who lack emotional and poetic insight, the hymnbook
may appear dry and uninteresting. It certainly is uninteresting
to the unspiritual man, no matter how poetical he
may be, and this will account for the occasional attack upon
the hymns of the Christian Church as being without poetical
power or merit. But the Christian minister, who deals with
spiritual things, for whom the emotions of the human heart
give a great opportunity for sowing the seed of life, ought to
find the study of his hymnbook a great delight.</p>
<h4 id="c52"><i>Hymns Approved by Paul.</i></h4>
<p>If there were no other reason why
a minister should be profoundly interested in hymns and
their use in religious work, the example and exhortations of
Paul should be sufficient. He does not lay as much stress upon
preaching, nor upon praying, as he does on singing. He
admonishes the Ephesians that they “be filled with the Spirit”;
and that divine possession should manifest itself in “speaking
to yourselves in psalms and hymns and spiritual songs, singing
and making melody in your heart to the Lord.” A part of this
exercise of singing was to consist of “giving thanks unto God
and the Father in the name of our Lord Jesus Christ.”<a class="fn" id="fr3_6" href="#fn3_6">[6]</a></p>
<p>He exhorts the Colossians, “Let the word of Christ dwell in
you richly in all wisdom,” and one of the results of such
indwelling was to be “teaching and admonishing one another
in psalms and hymns and spiritual songs”; he even urges
earnestness and sincerity in such singing, “Singing with grace
in your hearts to the Lord.”<a class="fn" id="fr3_7" href="#fn3_7">[7]</a> Such singing should not be
<span class="pb" id="Page_50">50</span>
with mere enthusiasm, for he assures the Corinthians that his
singing was not only devout but intelligent as well: “I will
sing with the spirit, and I will sing with the understanding
also.”<a class="fn" id="fr3_8" href="#fn3_8">[8]</a> There is more than a suspicion that in some of his
most striking passages he is quoting a current hymn or interjecting
a part of an improvised hymn.</p>
<h4 id="c53"><i>Hymns in the Early Church.</i></h4>
<p>The emphasis placed on the
value of song by the early church is made clear by Tertullian,
who states that at the current “love feasts” each person in
attendance was invited at the close of the feast to sing either
from the Holy Scriptures or from the dictates of his own spirit
a song of adoration to God.</p>
<p>In the middle of the third century St. Basil testifies to the
value of congregational singing as practiced in his day: “If
the ocean is beautiful and worthy of praise to God, how much
more beautiful is the conduct of the Christian assembly where
the voices of men and women and children, blended and
sonorous like the waves that break upon the beach, rise amidst
our prayers to the very presence of God.” The remark is
made by one of the ancient fathers that the singing of the
churches often attracted “Gentiles”—i.e., unconverted persons—to
their services, who were baptized before their departure.</p>
<h4 id="c54"><i>Hymns Prepared the Church for Periods of Marked Progress.</i></h4>
<p>While by no means the only cause for such progress, a great
increase in the writing and singing of hymns has been a conspicuous
feature in every great religious movement. The
converse is also true that when the privilege of congregational
singing was curtailed or withdrawn, spiritual declension followed.</p>
<p>The victory of the Church over Arianism was a singing
victory both in the Eastern and Western churches. The Crusades
were marked by processional singing of religious songs.
The singing Lollards and Hussites heralded the Great Reformation,
and the most effective preaching of Huss and Luther
and Calvin was the hymns and metrical psalms they introduced.
<span class="pb" id="Page_51">51</span>
Watts prepared the way for the Wesleyan revival, and
the Wesley brothers entered the path he had blazed and made
a great highway of Christian song. Dour New England
found its voice during the Great Revival under Jonathan Edwards
and later under Nettleton. The preachers who saved
the pioneers of the Appalachian range of mountains and the
budding Middle West from relapsing into paganism and
savagery were “singing parsons” with their repertoire of “spiritual”
revival choruses and religious ballads.</p>
<p>Even Charles G. Finney, the great praying evangelist and
later founder of Oberlin College, whose revivals swept through
New York and northern Ohio like a prairie fire, had the popular
<i>Christian Lyre</i>, edited by Joshua Leavitt, as a breeze to fan
the flame, although he often forbade the singing of hymns in
certain conditions in his meetings. William B. Bradbury, S. J.
Vail, Robert Lowry, William H. Doane, Fanny Crosby,
George F. Root, Philip Phillips, P. P. Bliss, and many others
had written and taught the American people the songs that
prepared the way for the Moody and Sankey revival movement
which so profoundly affected the religious life of both
America and England and, through the missionaries, intensified
the faith of the Christian Church throughout the world.</p>
<p>Through all the centuries it has been the singing armies
that have won the religious wars. The successful denominations
and individual churches have been pre-eminently singing
churches led by singing preachers who swayed their
communities. Cardinal Newman is now chiefly remembered
for his hymn, “Lead, Kindly Light.” Washington Gladden,
a great religious leader, will have his memory kept green by
his hymn, “O Master, let me walk with Thee,” and Bishop
Phillips Brooks fifty years hence will be chiefly remembered
for his Christmas carol, “O little town of Bethlehem.”</p>
<h2 title=""><span class="h2line1">VI. STRANGE INDIFFERENCE TO HYMNS</span></h2>
<h4 id="c55"><i>The Minister’s indifference.</i></h4>
<p>In view of the considerations
<span class="pb" id="Page_52">52</span>
and facts here marshaled, how strange is the general lack of
interest among ministers toward their hymn service, toward
the hymns themselves, their history, their meaning, the methods
to be used in exploiting their great value. Is it saying too
much to suggest that three out of five ministers have no
adequate conception of the possibilities of hymn singing or
appreciation of its value?</p>
<h4 id="c56"><i>Indifference of the Congregation.</i></h4>
<p>Outside of the lamentable
weakness of egocentric human nature it is difficult to discover
why the part of the divine service devoted to sacred song
should be so utterly subordinated to the other parts of the
sacred program; but that it is true is so evident to any reasonable
observer that it needs little or no proof. The janitor religiously
postpones opening or shutting windows, or shaking
down the furnace, during the prayer, or sermon even, until the
hymn is being sung. Members of the congregation seize the
opportunity to leave the room, or to consult with others about
church affairs in all too audible voices.</p>
<p>The hymn ought to be the consummate note of prayer and
praise and devout meditation on sacred themes, the great co-operative
climax in the worship of God. It is too often looked
upon as a merely physical stimulus to liven up the tedious
service.<a class="fn" id="fr3_9" href="#fn3_9">[9]</a></p>
<p>This ought not so to be! For the primary object of assembling
the saints is united worship—united praise. There can
be no true public prayer without an element of worship; but
it has a recognition of personal needs and even wants. This
human factor makes it a composite of the human and the
divine and lowers its dignity. In genuine praise there is a
forgetfulness of the human element and a rising into the pure
realm of the divine. In true praise the human soul is unconscious
of self and utterly absorbed in God.</p>
<p>Hence it is not too much to say that congregational song is
the supreme element in all worship.</p>
<div class="pb" id="Page_53">53</div>
<h2 id="ch57"><span class="h2line1"><i>Chapter III</i></span>
<br />THE LITERARY ASPECT OF HYMNS</h2>
<h2 title=""><span class="h2line1">I. WHAT MAKES THE HYMN LITERATURE?</span></h2>
<h4 id="c58"><i>Its Character as a Transcript of Life.</i></h4>
<p>In so far as a hymn is a
transcript of a genuine conviction, intensified by emotion, or
of a profound experience, it is literature. There have gone
into it vision, feeling, imagination, sincerity, intimate experience—an
appropriation of the influences life offers a soul that
gazes upon it with wide-open eyes. It is not the measure or
the rhyme that makes literature of a hymn. A bald formulation
in metrical form of doctrines dissected by metaphysical
processes may be called a hymn by courtesy, but it is not
literature any more than would be a textbook on mathematics.</p>
<p>But a hymn in which the hurried pulse and the throbbing
heartbeat of deep human feeling can be felt is genuine literature,
a revelation of human personality and of the collective
life of which it is representative. It is the story of the experience
of an exploring soul seeking knowledge of the deeper
spiritual relations with God and his Kingdom.<a class="fn" id="fr4_1" href="#fn4_1">[1]</a></p>
<h4 id="c59"><i>Its Wide Distribution.</i></h4>
<p>The importance of the hymn as literature
is further attested by the response to it of the many generations
which have made it the vehicle of their religious life.
Dr. Reeves calls attention to the wide distribution of hymnbooks;
they have come from the printing press by the multiplied
millions during the last four hundred years. Three
millions of the <i>Methodist Hymnal</i> have been broadcast over
<span class="pb" id="Page_54">54</span>
the United States, sixty million <i>Hymns Ancient and Modern</i>
over the British Empire. Hundreds of other contemporary
hymnals, both official and unofficial, aggregate even more
millions. If we add collections of Gospel Songs, we get many
millions more. No other form of literature has had so wide
a distribution. A single hymnal has had more active readers
than all the poetry in the world, ancient and modern.<a class="fn" id="fr4_2" href="#fn4_2">[2]</a> To
dispose of an edition of one hundred thousand volumes of
Palgrave’s <i>Golden Treasury</i>, the standard collection of the
poems of the ages approved by critics, would take a score of
years. Moreover, they would go largely into libraries, private
and public, for occasional reference.</p>
<h4 id="c60"><i>Its Acceptance Through Many Generations.</i></h4>
<p>But wideness of
distribution is no final criterion of literary quality, else our
newspapers might lay an earnest claim to literary standing.
But these hymnals do not severally represent individual
writers, as do most of the books of poetry; they contain a
common body of hymns representing the major portion of
all of them. That selection of hymns, fundamental to all of
them, has been culled out from the great mass of sacred lyrics
written through many centuries, by the consensus of different
generations, of different backgrounds, of different grades of
social and literary culture, of different peoples and even races,
and accepted as the most complete expression of the fundamental
Christian life of them all. If that unanimity of responsiveness
and practical endorsement by continued use does
not confer the accolade of literature upon that body of hymns,
the accepted definition of literature is faulty and inadequate.</p>
<h4 id="c61"><i>Its Profound Influence.</i></h4>
<p>No other verses have been read so
often. They have not only shaped the religious thought and
experience of vast peoples and developed their character, but
have affected their general modes of thought and forms of
expression and influenced their secular literature. Without
their rugged, ax-hewn version of the Psalms, would the
Scotch have become the stern, dour, conscience-driven people
<span class="pb" id="Page_55">55</span>
the world has learned to know and value? Without the
vigorous “spirituals” and the lively rhythms of its gospel
songs, would the American church life have developed the
freedom from ecclesiastical tradition and formalism, and the
fearless aggressiveness that has lighted the beacons of salvation
in every land? The hymn has been the expression of life, and
in turn has become the wellspring of life.</p>
<p>Whatever of culture and refinement other forms of literature
have brought has directly touched only a small minority,
and but indirectly the great mass of civilized peoples; but the
hymn has had a direct influence on the life and character of
the mass of the people, and has appealed to their instincts and
imaginations and shaped their ideals in the most immediate
and striking way. Where one person has been refined and
enriched in mind by the poetry of Milton, or Wordsworth, or
Tennyson, a thousand have been comforted, inspired, and
transformed by Sternhold and Hopkins, Watts, or Wesley.</p>
<p>Archbishop Trench, the fault of whose hymns was chiefly
that they were too few, was admonished by his friend, John
Sterling, to give more attention to hymn-writing: “You would
influence millions whom poetry in any other form would
never reach.”</p>
<h2 title=""><span class="h2line1">II. OBJECTIONS TO RECOGNIZING ITS LITERARY CHARACTER</span></h2>
<h4 id="c62"><i>Due to Narrow Definition of Literature.</i></h4>
<p>In spite of these
facts that surely entitle the hymn to be considered literature in
the most vital sense of the word, there are critics who look
upon it with undisguised indifference, if not with scorn. Partly
due to an utter lack of sympathy with the use of it, partly to an
academic idea of what literature really is, emphasizing form
and rhetorical interest, partly because its appeal is emotional
and not mainly intellectual, these objectors are blind to the
larger interests involved. If there is any truth in the insistence
of some literary critics that there are few hymns that are
<span class="pb" id="Page_56">56</span>
good from a literary point of view, Montgomery’s statement
may give a sufficient reason: “Our good poets have seldom
been Christians and our good Christians have seldom been
good poets.”<a class="fn" id="fr4_3" href="#fn4_3">[3]</a></p>
<h4 id="c63"><i>Due to Failure to Realize Limitations of Hymns.</i></h4>
<p>A better
reason is that such critics have seldom realized the limitations
the singing hymn presents to the poet. Milton was a great
poet, but he could not condense his ideas sufficiently or
give them the needed terse expression. He needed a large
canvas, while the successful hymn-writer is confined to a
miniature. Even Tennyson, who succeeded in small lyrics,
wrote only one hymn and that ill-adapted to actual congregational
use.</p>
<p>Palgrave, in the preface to his <i>Treasury of Sacred Songs</i>,
compares secular and sacred verse as follows: “Secular verse
covers many provinces: manners, incident, love, landscape, the
vast sphere of drama—in a word, all the many-colored romance
of life. Sacred verse can hardly go beyond one province:
to expect masterpieces in one field approximately
numerous as those in the secular lyric is unreasonable. Even
more unreasonable is it, when of this single province a district
only is chosen for censure, and treated as the whole domain.
Hymns, well-nigh limited to the functions of prayer and
praise, are precisely that region in which a practical aim is
naturally, almost inevitably, predominant!”</p>
<h4 id="c64"><i>Some Critics and Their Criticism.</i></h4>
<p>Dr. Samuel Johnson’s
criticism of hymns may be brushed aside as based on a wrong
conception of poetry, which to his mind called not for simplicity,
but for something near to that artificiality which he
conceived of as art: “Contemplative piety, or the intercourse
between God and the human soul, cannot be poetical.”...
“The paucity of its topics enforces perpetual repetition, and
the sanctity of its matter rejects the ornament of figurative
diction.”</p>
<p>In mitigation of the false judgment of the old literary
<span class="pb" id="Page_57">57</span>
dictator, it may be said that the golden age of English
hymnody had not yet arrived.</p>
<p>The later criticism of the hymn by Matthew Arnold represents
more fully the attitude of the literary critic in our own
day. The practical aspects of life were not ignored by him,
but they did not bulk large in his mind. Hence it is not surprising
that, while he fully comprehended the wide influence
of the hymn, he had little or no sympathy with its spirit and
even less with its purpose, so that he could write about it
after this fashion: “Hymns, such as I know them, are a sort
of composition which I do not at all admire.... I regret their
prevalence and popularity among us.” Could anti-religious
rationalism go further?</p>
<p>Among more recent critics, Edmund Clarence Stedman
speaks of the hymn as “the kind of verse which is, of all,
the most common and indispensable.” But Professor Boynton
in the <i>Cambridge History of American Literature</i>, gives
as much space to “Yankee Doodle” as he does to American
Hymnody and refers to its “sentimental ornateness,” “tawdry
sentimentalism,” and “banalities of evangelistic song,” unconsciously
drawing an unhappy portrait of his own spiritual
condition.<a class="fn" id="fr4_4" href="#fn4_4">[4]</a></p>
<p>The older criticism of the hymn had at least the merit of
thoughtfulness and serious consideration of its value and of
its shortcomings.</p>
<p>The hymns that would have satisfied literary critics would
have required a spiritual delicacy and refinement, an elegance
and artistry of phrase, a vagueness of religious idea devoid of
genuine feeling, that would shut them out from use in the
workaday world in which we live. To set aside the “good
and useful purpose” acknowledged by Matthew Arnold in
the consideration of the hymn is to ignore its whole reason for
being, and, what is vastly more important, to ignore the deepest
needs of the human soul.</p>
<div class="pb" id="Page_58">58</div>
<h3>III. THE WRITING OF HYMNS</h3>
<h4 id="c65"><i>The Handicap of Thought and Diction.</i></h4>
<p>Alfred Tennyson
clearly recognized the limitations that handicap the writer of
hymns. “A good hymn is the most difficult thing in the
world to write!” The hymn he did write, “Sunset and
Evening Star,” beautiful as it is, failed in practicability for
congregational use. Its unfitness for mass singing in its various
phases is the chief stumblingblock.</p>
<p>The hymn writer finds in the limitations, which he must
bear in mind as he writes, no small hindrance to spontaneity
and poetic vision. He must limit the thought not only to
the comprehension, but to the natural feelings of the people
who are to sing what he writes. He must not use unusual
or polysyllabic words. Striking figures, startling tropes, involved
similes, obscure metaphors, allusions to things known
by but few, descriptive or dramatic lines, are all forbidden.
Every verse, whether in single or double meter, must be complete
in itself, whatever its relation in thought to what precedes
or follows. There must be unity, simplicity, condensation
of thought, and yet a clearness that shuts out involved
thought or mysticism that cannot be instantly grasped. The
hymn writer is like a violinist called upon to play on a single
string.<a class="fn" id="fr4_5" href="#fn4_5">[5]</a></p>
<p>Thomas Hornblower Gill, an English hymn writer who is
slowly gaining recognition in current hymnals—<i>The Revised
Presbyterian Hymnal</i> has five of his hymns—gives his conception
of what hymns should be, in his preface to his first
volume, issued in 1868. He insists that the true hymn is a
true poem in every case, while it is debarred from liberties
of luxuriance which may be claimed by other poetry. “It
may easily be too figurative; it cannot be too glowing or
imaginative... They should exhibit all the qualities of a
good song—liveliness and intensity of feeling, directness, clearness
and vividness of utterance, strength, sweetness, and simplicity
<span class="pb" id="Page_59">59</span>
and melody of rhythm: excessive subtlety and excessive
ornament should be alike avoided.”</p>
<h4 id="c66"><i>The Handicap of Meter.</i></h4>
<p>Not the slightest handicap is the
necessity of choosing a form of stanza that will at the same
time fit the writer’s sentiment and be adapted to singable
tunes known to the congregations which are to be lyrically
served. This range of form is quite limited. Most of these
tunes call for iambic or trochaic measure, because anapaestic
or dactylic numbers lack the dignity and the impressiveness
necessary for general hymns.</p>
<p>The form of the stanza may take the elevated, heavy “Long”
Meter, the more widely expressive “Common” Meter, the
sententious “Short” Meter, “Sevens and Sixes,” “Eights and
Sevens,” plain “Sevens” or “Sixes,” or the more lively “Sixes
and Fours” or “Sixes and Fives.”<a class="fn" id="fr4_6" href="#fn4_6">[6]</a></p>
<p>These different meters have very marked characteristics. It
is really marvelous how the instinct of true hymn writers in
all generations has unconsciously, or at most subconsciously,
taken account of them and with practical unanimity observed
them.</p>
<p>The Long Meter is stately and dignified. It is the fit
expression of noble praise like the Long Meter Doxology,
“Lord of all being, throned afar,” “From all that dwell below
the skies,” “Before Jehovah’s awful throne,” or elevated sentiment
like “God is the refuge of His saints,” “When I survey
the wondrous cross,” and “’Tis midnight, and on Olive’s
brow.” Its long, even lines, broken by no strong stops, afford
a smooth, graceful expression for general truths and Christian
doctrine in poetic form, such as “O Jesus, our chief cornerstone,”
“Jesus shall reign where’er the sun,” and “O Love!
how deep, how broad, how high!”</p>
<p>The Common Meter is much more varied in its possibilities
of expression, as its unequal lines and alternate rhymes
give greater freedom. It is the prevailing meter of the old
English ballad. It is really the most adaptable and pliable
<span class="pb" id="Page_60">60</span>
form of stanza open to the hymn writer, giving equal opportunity
of expression to all emotions and classes of truth. It is a
fit vehicle alike for the elevated praise of “All hail the power of
Jesus’ name,” the majesty of “I sing th’ almighty pow’r of
God,” the doctrinal statement of “There is a fountain filled
with blood,” the tenderness of “Jesus, the very thought of
Thee,” the vigor of “Awake, my soul, stretch every nerve,”
and the quiet resignation of “Father, whate’er of earthly bliss.”
On account of this adaptability it has become the Common
Meter in fact as well as in name. Its exclusive use in some
of the collections of metrical psalms shut out the use of tunes
in other meters and so led to the singing of only a few of
the more popular Common Meter tunes; the result was that
the congregational singing in the churches in England, Scotland,
and America was nearly wrecked.</p>
<p>S. M. might stand for sententious meter as well as for
Short Meter, as the two short lines and the long pauses at the
end of each of them give it an emphatic, terse, even epigrammatic
style. This may be seen in “My soul, be on thy guard,”
“Welcome, sweet day of rest,” “Stand up and bless the Lord,”
“Crown Him with many crowns,” and “Come, Holy Spirit,
come.” John Fawcett was not happy in the selection of this
meter for his otherwise very useful and precious hymn, “Blest
be the tie that binds,” as the strong pause at the end of the
first line in all but one of his stanzas cuts his sentences in
two and makes the hymn alike difficult to read and sing.
The same difficulty will be found in the reading of other
hymns in this meter, the limitations of which have not always
been recognized by writers using it. It would be a
very slow, heavy meter did not the longer third line give it
needed movement.</p>
<p>The meter known as 6s lacks the longer third line and is
therefore peculiarly grave and disjointed. It is well adapted
for hymns of passive faith or resignation, such as “My Jesus,
as Thou wilt,” “Thy way, not mine, O Lord,” or for dolorous
<span class="pb" id="Page_61">61</span>
prayers like “My spirit longs for Thee,” and “I hunger and
I thirst.”</p>
<p>The meter 6s and 4s in its various forms might be supposed
to be even slower than the 6s because of the additional short
lines of four syllables each. The opposite is true. In some
cases the first four lines are rhythmically equivalent to two
lines of ten syllables each, so slight is the pause of actual
thought at the end of the six-syllable line, with the result
that the slowness is quickened into simple dignity and elevation.
But even where the pauses at the end of the first and
third lines are long, the shorter second and fourth lines, as in
common meter, give added movement. In the other form of
6s and 4s, the first two six-syllable lines are so knit together
by their common rhyme and, if properly written, have so
markedly a common goal of completeness of thought in the
third line toward which they hurry that again the movement
is hastened and the severity of the 6s is mitigated. The same
principle applies to the following three or four lines, depending
on the form examined. Hence we have in the various
forms of this meter some of our noblest hymns of prayer,
praise, and victory, such as “Nearer, my God, to Thee,” “More
love to Thee, O Christ,” “We are but strangers here,” “Fade,
fade, each earthly joy,” “My faith looks up to Thee,” “Rise,
glorious Conqueror, rise,” “Come, Thou Almighty King,” and
“My country, ’tis of thee.”</p>
<h3>IV. THE LITERARY QUALITY NOT TO BE OVERESTIMATED</h3>
<h4 id="c67"><i>Literary Quality Not the Supreme Consideration.</i></h4>
<p>Although
poetical feeling and imagination and nice literary craftsmanship
are not to be undervalued, but rather to be earnestly
sought for in our hymns, after all, they are not the supreme
considerations. Practical use has proved many hymns that
conspicuously lacked them to have been supremely useful because
of their spiritual content, sincerely and lucidly expressed.
<span class="pb" id="Page_62">62</span>
When hymn writers like Watts and Newton have deliberately
ignored and even avoided literary values, and yet have written
among the most useful hymns in our collections, the critic
who insists on poetical quality has by no means a <i>prima facie</i>
case. Charles Wesley was a poet, but in his valuable hymn
“A charge to keep I have” he is a pedagogue without poetic
afflatus. Standards of literary value, when not artificial, as in
Samuel Johnson’s case, have their place, but a place that is
modest and not supreme.</p>
<h4 id="c68"><i>Literary Quality Should Be Subconscious.</i></h4>
<p>The danger in unduly
emphasizing the literary aspect of hymns is well expressed
by Dr. Louis F. Benson: “The hazard is implicit in
the very motive of hymn singing; the heightening of religious
emotion. The danger is of mistaking sugary sentiment for
true feeling and its rhetorical expression in ‘soft, luxurious
flow’ for true poetry.” In other words, the conscious seeking
of the hymn writer after literary atmosphere and skill of
treatment is fatal to genuineness of feeling, and to his success
in producing a true hymn.</p>
<p>It will do no harm to iterate here that the two essentials
to a successful hymn are spirituality and the power to express
it so as to reach the understanding as well as the hearts of
the people who are to sing. According to Paul, the first commandment
in hymn writing and singing is: “I will sing with
the spirit”; the second is like unto it: “I will sing with the
understanding also.”</p>
<div class="pb" id="Page_63">63</div>
<h2 id="ch69"><span class="h2line1"><i>Chapter IV</i></span>
<br />THE EMENDATION OF HYMNS</h2>
<h3>I. THE CHANGES IN OUR HYMNS</h3>
<h4 id="c70"><i>Early Changes.</i></h4>
<p>The question of changes made in hymns by
others than their writers deserves consideration. The point is
not that the individual preacher is supposed to air his critical
skill, but that he should understand why changes have been
made by hymnal editors and better appreciate the principles
involved and the literary niceties that are to be observed.</p>
<p>In the first compilations of hymnbooks, the rights of the
authors of the individual hymns were entirely below the
horizon. Many hymns were published without the names of
their writers. To this day Charles Wesley’s claim to “Jesus,
Lover of My Soul,” as against that of his brother John, depends
wholly on considerations of style and form of stanza.
There is not even a well-founded tradition.</p>
<p>It was the adaptation of the hymn to immediate actual
needs that counted, not the writer. There was no moral
copyright, much less legal, to stay the hand of the mutilator.</p>
<p>Watts did not hesitate to incorporate in his hymns lines and
even whole stanzas from the hymns of others. John Wesley
had no scruples in rewriting lines and stanzas and even
whole hymns already in print. Toplady’s alterations were
often quite radical, as, for example, his drastic revision of
Charles Wesley’s “Blow ye the trumpet, blow”<a class="fn" id="fr5_1" href="#fn5_1">[1]</a> to suit his
intensely Calvinistic views.</p>
<div class="pb" id="Page_64">64</div>
<h4 id="c71"><i>The Abuse of the Editorial Revision.</i></h4>
<p>Dr. Worcester, in this
country, who issued several collections of psalms and hymns,
chiefly by Watts, was lavish in his alterations, mostly for the
worse—so much so that the New England churches revolted.
Lord Selborne said of these mutilations by many hands,
“There is just enough of Watts left here to remind one of
Horace’s saying that ‘you may know the remains of a poet
even when he is torn to pieces.’”</p>
<p>The needless alteration of hymns that occurred in these
early days is to be greatly deplored, especially of those most
widely known. “Rock of Ages” and “Jesus, Lover of My
Soul” were fair targets for the editorial spear—out of the
twenty-four lines of the former only eleven have escaped
change. The line “When mine eyestrings break in death” was
the only one peremptorily demanding a change, although a
few other alterations may be accepted as slight improvements,
as, for instance, “wounded” instead of “riven” side. So many
people have committed this hymn with its differing lines to
memory that when it is sung there is frequently the clash of
these variations instead of the desirable uniformity of utterance.</p>
<p>The same is true of Wesley’s hymn. In spite of John Wesley’s
warning against changes in the Methodist hymns—“Hymn-cobblers
should not try to mend them. I really do
not think they are able”—more than thirty variations occur in
the first stanza of “Jesus, Lover of My Soul.”</p>
<p>The pity is that while uniformity is extremely desirable in
these and many other hymns, it is now out of the question.
The several variations have their partisan upholders.</p>
<p>James Montgomery spent years of his life amending and
modifying the hymns of others, but asked that others should
not change his verses. He insisted that if good people could
not conscientiously adopt his doctrines and diction, it was a
little questionable in them to impose theirs on him.</p>
<p>It is interesting to note that Montgomery could not “conscientiously
<span class="pb" id="Page_65">65</span>
adopt the doctrine and diction” of the first verse
of Cowper’s “There is a fountain filled with blood” and substituted
a verse of his own of which he said, “I think my
version is unexceptionable.” But hymnal editors did not find
it so and unanimously repudiated it. It was regarded as
“faultily faultless, icily regular, splendidly null.”</p>
<h4 id="c72"><i>The Return to Originals.</i></h4>
<p>This abuse of the editorial revision
produced a reaction, and in the last half century, under the
leadership of Dr. Louis F. Benson, a strong movement appeared
among hymnal editors whose slogan was “Back to the
originals!” In many cases that was not practicable, as the
changes made were evident improvements, but the new tendency
often proved to be a very useful one in restoring many
a good original phrase in place of a much inferior alteration.</p>
<h3>II. PRINCIPLES OF EQUITY INVOLVED IN THESE CHANGES</h3>
<h4 id="c73"><i>The Rights of the Original Writer.</i></h4>
<p>There are some principles
of equity that lie upon the surface. The writer of hymns
has rights that must be recognized. His name should be
given as its author. No name other than his own should be
connected with the product of his pen. Unless there are
sufficient reasons, the hymn should be given as he wrote it.
If his name is given, no doctrine or experience should be
interpolated. In business affairs that would be adjudged
forgery in the second degree. If interpolations or changes of
ideas become necessary for practical reasons, due notice should
be given that the original writer is not responsible for the
new ideas or the changes of phraseology. Unitarian hymnal
editors have not always recognized this obligation. Our recent
well-edited hymnals have been scrupulous in this particular.</p>
<h4 id="c74"><i>The Limits of the Author’s Rights.</i></h4>
<p>But there are distinct
limits to the author’s rights. If the hymnal were a merely
literary compilation, the liberty to make changes would not
<span class="pb" id="Page_66">66</span>
be admissible. But the hymnal is not an anthology; it is a
collection of hymns for a definite and practical purpose of an
exalted character—to aid congregations in the worship of God
and in the realization of the spiritual aims he has set before
them. That purpose has the right of eminent domain. If the
original hymn has faulty lines or weak verses that jeopardize
its otherwise practical effectiveness, competent editors of collections
of hymns for congregational use have the right to
amend, or condense, and so add to its usefulness in the work
of the church, in so far as it does not affect the general spirit
and tenor of the original. Isaac Watts recognized this principle,
saying, “Where an unpleasing word is found, he that
leads the worship may substitute a better one.” Indeed, in
1737, he acknowledged that “Many a line needs the file to
polish the roughness of it and many a thought wants richer
language to adorn and make it shine—but I have at present
neither inclination nor leisure to correct and I hope I never
shall.”</p>
<h3>III. EFFECT OF CHANGES ON QUALITY</h3>
<h4 id="c75"><i>Loss of Original Writer’s Vision.</i></h4>
<p>It has been strongly urged
that the emendation of hymns is dangerous to their quality;
that the original writer was a better judge of both thought
and phrasing than the cold critic whose very attitude prevents
the high feeling that must inspire the most appealing forms
of expression.</p>
<p>But the protest overlooks the fact that the very fervor and
urge of fresh vision and its consequent emotion may prevent
attention to nice details of phraseology or even to the proper
balance of parts of a hymn. Furthermore, the writer with
the creative urge may lack the critical faculty and fine discrimination
necessary to polish up his verses after the impulse
of writing has spent its force.</p>
<p>This being true, the editor who supplies the wanting critical
attitude shows no presumption, provided his vision is clear
<span class="pb" id="Page_67">67</span>
and his skill in supplying more accurate, more melodious, or
more practical phraseology adds value to the hymn. Martin
Madan was no hymn writer, but when he rewrote Watts’
hymn,</p>
<div class="verse">
<p class="t0">“He dies, the Heavenly Lover dies!</p>
<p class="t">The tidings strike the doleful sound</p>
<p class="t0">On my poor heartstrings; deep he lies</p>
<p class="t">In the cold caverns of the ground,”</p>
</div>
<p>and gave us the noble stanza,</p>
<div class="verse">
<p class="t0">“He dies, the Friend of sinners, dies;</p>
<p class="t">Lo! Salem’s daughters weep around;</p>
<p class="t0">A solemn darkness veils the skies,</p>
<p class="t">A sudden trembling shakes the ground,”</p>
</div>
<p>he not only gave it a dignified and Biblical content and form,
but he rescued the hymn for the spiritual edification of coming
generations.</p>
<h4 id="c76"><i>Biblical Precedent.</i></h4>
<p>There is plenty of Biblical precedent. The
original compiler and editor of the Psalms, be he Asaph or
Ezra, inserted a version of the eighteenth psalm differing from
the original as found in the twenty-second chapter of Second
Samuel. It cannot escape the most casual reader of the New
Testament that its quotations from the Old Testament,
whether poetical or prose, are by no means accurately reproduced.
Moreover, the writers of psalm versions from Marot
and Luther down to Watts did not hesitate to condense, alter,
or interpolate new ideas in their transcriptions of the sacred
originals. They had no sense of presumption; their minds
were preoccupied with the practical ends they were trying to
serve.</p>
<h3>IV. ANALYSIS OF CHANGES MADE</h3>
<p>It may be instructive to study more in detail the occasions for
changes made in our hymns and learn the justification for
<span class="pb" id="Page_68">68</span>
many of them. If some of them seem somewhat microscopic
and even captious, none the less they make for exactness, for
nice discrimination, and for more intelligent appreciation of
the literary and spiritual values of our magnificent body of
hymns.<a class="fn" id="fr5_2" href="#fn5_2">[2]</a></p>
<h4 id="c77"><i>The Omission of Verses.</i></h4>
<p>A very important change from the
original of many hymns is the omission of some of the less
valuable stanzas, or even a condensation of some of them by
omitting unattractive lines.</p>
<p>“Oh for a thousand tongues to sing,” the fine hymn that
opens all but recent Methodist hymnals, originally began,
“Glory to God and praise and love,” and had eighteen
stanzas. The hymn as now used consists of stanzas 7 to 12 of
the original. Some hymnals omit stanza 10.</p>
<p>In the Trinity hymn sometimes ascribed to Charles Wesley,
“Come, Thou Almighty King,” the second of the original five
stanzas is always omitted:</p>
<div class="verse">
<p class="t0">“Jesus, our Lord, arise,</p>
<p class="t0">Scatter our enemies,</p>
<p class="t">And make them fall;</p>
<p class="t0">Let thine almighty aid</p>
<p class="t0">Our sure defense be made,</p>
<p class="t0">Our souls on thee be stayed;</p>
<p class="t">Lord, hear our call.”</p>
</div>
<p>The evident imitation of the second stanza of the British
National anthem is too obvious:</p>
<div class="verse">
<p class="t0">“O Lord, our God, arise,</p>
<p class="t0">Scatter his enemies,</p>
<p class="t">And make them fall.</p>
<p class="t0">Frustrate their knavish tricks,</p>
<p class="t0">Confound their politics,</p>
<p class="t0">On Him our hearts we fix;</p>
<p class="t">God save the King.”</p>
</div>
<p>In Bishop Brooks’ original of “O little town of Bethlehem,”
<span class="pb" id="Page_69">69</span>
so widely known and used, the fourth stanza is omitted:</p>
<div class="verse">
<p class="t0">“Where children, pure and happy,</p>
<p class="t">Pray to the Blessed Child;</p>
<p class="t0">Where misery cries out to thee,</p>
<p class="t">Son of the Mother mild;</p>
<p class="t0">Where charity stands watching,</p>
<p class="t">And faith holds wide the door,</p>
<p class="t0">The dark night wakes, the glory breaks,</p>
<p class="t">And Christmas comes once more.”</p>
</div>
<p>The reasons are not far to seek: the double rhyme in the
third line is so forced as to be awkward; the first two lines
refer to Jesus in the third person, but the next two in the second;
more important still, the stanza does not make a sufficient
addition to the value of the hymn to warrant the added length.</p>
<p>The stanza,</p>
<div class="verse">
<p class="t0">“Thy body slain, sweet Jesus, thine,</p>
<p class="t">And bathed in its own blood,</p>
<p class="t0">While all exposed to wrath divine,</p>
<p class="t">The glorious suff’rer stood,”</p>
</div>
<p>if retained, despite its medieval picture of our suffering Lord,
would have added nothing to Watts’ noble hymn, “Alas! and
did my Saviour bleed,” but rather would have hemmed the
progress of its thought and feeling.</p>
<p>Few of the lovers of Robinson’s classic hymn, “Come, Thou
Fount of every blessing,” would have enjoyed singing and
visualizing the omitted fourth stanza,</p>
<div class="verse">
<p class="t0">“O that day when freed from sinning,</p>
<p class="t">I shall see thy lovely face!</p>
<p class="t0"><i>Richly clothed in blood-washed linen</i>,</p>
<p class="t">How I’ll sing thy sovereign grace!”</p>
</div>
<p>A stanza was omitted from a hymn by Isaac Watts by Dr.
Worcester, and he was compelled by public sentiment to replace
it in his next collection. Who was right—Dr. Worcester,
or Watts and the church public?</p>
<div class="pb" id="Page_70">70</div>
<div class="verse">
<p class="t0">“But while I bled and groaned and died,</p>
<p class="t">I ruined Satan’s Throne;</p>
<p class="t0">High on my cross I hung and spy’d</p>
<p class="t">The monster tumbling down.”</p>
</div>
<p>What a travesty in this stanza of Christ’s words, “I beheld
Satan as lightning fall from heaven”!</p>
<p>The omission of all the older hymns regarding “the state of
the unpenitent dead” in our more recent hymnals is due to
their usually rather lurid expressions, going beyond those of
the Scriptures, to the reaction in the church at large against
the rather mechanical and heartless emphasis of the painful
doctrine—not only in hymns, but in sermons as well—and
also to the realization that it is not a theme fitted for singing.</p>
<p>What modern congregation could sing Watts’ stanza formulating
the doctrine,</p>
<div class="verse">
<p class="t0">“Up to the courts where angels dwell,</p>
<p class="t">It [the soul] mounts triumphant there;</p>
<p class="t0">Or devils plunge it down to hell</p>
<p class="t">In infinite despair”?</p>
</div>
<p>When we come to the hymns constructed by selecting stanzas
from long poems—e.g., by John Keble or by John Greenleaf
Whittier—we reach marvels of skill in selection and
co-ordination that have greatly enriched English hymnody.</p>
<h4 id="c78"><i>Reconstructing and Rewriting Faulty Hymns.</i></h4>
<p>John Wesley
inveighed against “hymn-cobblers,” but he was a most efficient
and skillful “hymn-cobbler” himself. He deserves high commendation
for his literary skill and taste in cutting the rough
diamonds that passed through his editorial hands. A few
instances will illustrate his success.</p>
<p>“Before Jehovah’s awful throne” is recognized as one of
Watts’ noblest hymns of worship. But it is Wesley’s reconstruction
that brought out its essential nobility.</p>
<p>Watts began it in rather mechanical fashion,</p>
<div class="verse">
<p class="t0">“Sing to the Lord with joyful voice,</p>
<p class="t">Let every land his name adore;</p>
<div class="pb" id="Page_71">71</div>
<p class="t0">The British Isles shall send the noise</p>
<p class="t">Across the ocean to the shore.”</p>
</div>
<p>Wesley omitted this stanza entirely. Beginning with the
second stanza,</p>
<div class="verse">
<p class="t0">“With gladness bow before his throne,</p>
<p class="t">And let his presence raise your joys;</p>
<p class="t0">Know that the Lord is God alone</p>
<p class="t">And formed our soul and framed our voice”</p>
</div>
<p>(which shows that Watts’ inspiration had begun to rise),
Wesley transformed it into a majestic expression of pure worship:</p>
<div class="verse">
<p class="t0">“Before Jehovah’s awful throne,</p>
<p class="t">Ye nations, bow with sacred joy;</p>
<p class="t0">Know that the Lord is God alone,</p>
<p class="t">He can create and he destroy.”</p>
</div>
<p>He was equally successful with Watts’ third stanza:</p>
<div class="verse">
<p class="t0">“Infinite power, without our aid,</p>
<p class="t">Figured our clay to human mould;</p>
<p class="t0">And when our wandering feet had strayed,</p>
<p class="t">He brought us to his sacred fold.”</p>
</div>
<p>The first line is faulty: the accent of “infinite” is on the first
syllable: Watts placed it on the second. The second line
conveys no clear idea: how is clay “figured”? The third and
fourth lines are bald and ordinary, lacking in poetic grace.
See how deftly Wesley took Watts’ material and gave it grace
and dignity:</p>
<div class="verse">
<p class="t0">“His sovereign power, without our aid,</p>
<p class="t">Made us of clay and formed us men;</p>
<p class="t0">And when like wand’ring sheep we strayed,</p>
<p class="t">He brought us to his fold again.”</p>
</div>
<p>Transforming Watts’ fourth stanza in like manner, he added
a majestic fifth stanza of his own:</p>
<div class="pb" id="Page_72">72</div>
<div class="verse">
<p class="t0">“Wide as the world is thy command,</p>
<p class="t">Vast as eternity thy love;</p>
<p class="t0">Firm as a rock thy truth shall stand</p>
<p class="t">When rolling years shall cease to move,”</p>
</div>
<p>completing one of the noblest hymns in the language.</p>
<p>Another hymn of Isaac Watts was enriched by passing
through the hands of John Wesley. Besides correcting minor
infelicities and curtailing its impracticable length, he rewrote
the third stanza of the very popular hymn, “Come, ye that
love the Lord,” transforming Watts’</p>
<div class="verse">
<p class="t0">“The God that rules on high</p>
<p class="t">And thunders when he please,</p>
<p class="t0">That rides upon the stormy sky</p>
<p class="t">And manages the seas,”</p>
</div>
<p>into</p>
<div class="verse">
<p class="t0">“The God that rules on high,</p>
<p class="t">That all the earth surveys,</p>
<p class="t0">That rides upon the stormy sky</p>
<p class="t">And calms the roaring seas.”</p>
</div>
<p>He might have gone further and obviated the break of the
sentence occurring between the third and fourth stanzas.
Some hymnal editors meet the difficulty by omitting both.</p>
<p>Rev. Martin Madan wrote no hymns; his only claim to
immortality rests on his emendations of the hymns of greater
men. But he well deserves to be remembered for some of
his happy improvements of important hymns. His revision of
Watts’ hymn “He dies! the Heavenly Lover dies!” has already
been referred to.</p>
<p>Madan very fortunately changed Charles Wesley’s</p>
<div class="verse">
<p class="t0">“Hark how all the welkin rings,</p>
<p class="t0">Glory to the King of Kings,”</p>
</div>
<p>into the much more poetical lines:</p>
<div class="pb" id="Page_73">73</div>
<div class="verse">
<p class="t0">“Hark! the herald angels sing,</p>
<p class="t0">‘Glory to the newborn King.’”</p>
</div>
<h4 id="c79"><i>Minor Felicitous Changes.</i></h4>
<p>No small improvement in our
hymns consists of the change of individual phrases because of
misplaced accents, unfortunate consonantal combinations,
inept metaphors, and phrases that are secular in spirit and
associations.</p>
<p>In Cowper’s “Jesus, where’er thy people meet,” the second
line had the word “inhabitest,” difficult to sing; it was
changed to “Dost dwell with those.”</p>
<p>In Bishop Ken’s “Evening Hymn” some bad cases of wrong
accents have been corrected. “Under thy own almighty
wings” now is “Beneath the shadow of thy wings,” and
“Triumphing rise at the last day” is become “Rise glorious
at the judgment day.”</p>
<p>Isaac Watts’ theory that hymns should eschew poetic grace
was carried too far—into euphonic slovenliness. In “Welcome,
sweet day of rest” he wrote “One day amidst the
place,” ignoring the fact that “amidst” is not singable. “One
day in such a place” is much more suave. In “Joy to the
world! The Lord is come!” he wrote in the first line of
stanza three “let sins and sorrows grow”; the excessive
sibilation has been removed by using singular nouns.</p>
<p>In Charles Wesley’s very useful hymn, “Ye servants of God,
your Master proclaim,” “The praises of Jesus” is substituted
for “Our Jesus’ praises,” distributing the hissing s’s more
musically. The second and third stanzas are wisely omitted;
few congregations could sing, with the solemnity the rest of the
hymn calls for, such lines as</p>
<div class="verse">
<p class="t0">“When devils engage, the billows arise,</p>
<p class="t0">And horribly rage and threaten the skies.”</p>
</div>
<p>Charles Wesley in his hymn, “Jesus, let thy pitying eye,”
had a very realistic vision of the crucifixion and wrote “My
<span class="pb" id="Page_74">74</span>
Saviour <i>gasped</i>, ‘Forgive!’” which for singing purposes was
well emended to “prayed.” How did it escape the eagle eye
of his brother John? Or did the influence of the Moravians,
who were fond of these physical touches in writing of the
crucifixion, affect both the Wesleys?</p>
<p>The “Protestant Te Deum,” “All hail the power of Jesus’
name,” has fared well—or ill, according to the point of view—at
the hands of “hymn-tinkers.” Revisers have omitted</p>
<div class="verse">
<p class="t0">“Let highborn seraphs tune the lyre</p>
<p class="t">And, as they tune it, fall</p>
<p class="t0">Before His face who tunes their choir,</p>
<p class="t">And crown him Lord of all.”</p>
</div>
<p>They have transformed the stanza,</p>
<div class="verse">
<p class="t0">“Let every tribe and every tongue</p>
<p class="t">That bound creation’s call</p>
<p class="t0">Now shout in universal song</p>
<p class="t">The crowned Lord of all,”</p>
</div>
<p>into the nobler stanza,</p>
<div class="verse">
<p class="t0">“Let every kindred, every tribe</p>
<p class="t">On this terrestrial ball,</p>
<p class="t0">To him all majesty ascribe,</p>
<p class="t">And crown him Lord of all.”</p>
</div>
<p>Omitting one or two more stanzas, Dr. John Rippon has
added a last stanza that puts a fitting climax to the whole
hymn:</p>
<div class="verse">
<p class="t0">“Oh, that, with yonder sacred throng,</p>
<p class="t">We at his feet may fall!</p>
<p class="t0">We’ll join the everlasting song,</p>
<p class="t">And crown him Lord of all.”</p>
</div>
<p>Edward Mote began his widely-used hymn, “My hope is
built on nothing less,” with a “stumble on the threshold,”
writing “Nor earth nor hell my soul shall move,” a very
<span class="pb" id="Page_75">75</span>
unintelligent plunging <i>in medias res</i>. Was it Bradbury, who
wrote the popular and effective tune that gave the hymn
wings, that had the happy impulse to combine parts of the
first and second stanzas, using the first two lines of the second
stanza and the last two of the first? This gave an arresting
first line and eliminated a line impossible to put on the lips
of a general congregation, “Midst all the hell I feel within.”</p>
<p>The very familiar and useful hymn of George Heath, “My
soul, be on thy guard,” is a notable example of the value of
a competent editor’s emendations. In stanza three Heath
wrote,</p>
<div class="verse">
<p class="t0">“Ne’er think the vict’ry won,</p>
<p class="t">Nor <i>once at ease sit down</i>;</p>
<p class="t0"><i>Thy arduous work</i> will not be done</p>
<p class="t">Till thou <i>hast got thy</i> crown.”</p>
</div>
<p>Again in the fourth stanza he wrote,</p>
<div class="verse">
<p class="t0">“Fight on, my soul, till death.</p>
<p class="t">God will thy work applaud,</p>
<p class="t0">Reveal his love at thy last breath,</p>
<p class="t">And take to his abode.”</p>
</div>
<p>The improvement in both stanzas, as found in our hymnals,
is obvious at a glance.</p>
<p>Even so finished a poet as the distinguished historian
Milman disfigured his noble Palm Sunday hymn, “Ride on,
ride on in majesty,” by such a line as “Thine humble beast
pursues its road,” which Murray changed to the graceful and
appealing line, “Saviour meek, pursue thy road.”</p>
<p>Space is wanting to exhaust the various changes in hymns
that are amply justified if their most effective use is to be secured.
It is sufficient to say that changes of text must increase
the perspicuity, precision, propriety, and force of the hymn.
Single phrases may wisely be modified if a change corrects
a wrong accent, makes a line more euphonious, adds to its
vividness, expressiveness, or vigor, increases its dignity, clarifies
the sense, or better adapts it to public use.</p>
<div class="pb" id="Page_76">76</div>
<h2 id="ch80"><span class="h2line1"><i>Chapter V</i></span>
<br />THE CONTENT OF THE HYMN</h2>
<p>The hymn is not an independent entity, sufficient unto itself,
whose whole purpose is to be beautiful and to give pleasure to
those responsive to its charm. The hymn has a definite message,
is big with purpose.</p>
<p>It is related to its writer in satisfying the urge for expression
of ideas that will give him power over the thoughts
and feelings of others, or of emotions that demand to be
voiced forth in the mystic expressiveness of rhythm and
rhyme.</p>
<p>It is related to God as the original source of its impulse and
as the recipient of its response in love and praise.</p>
<p>It is related to the church in the aid it affords to its collective
life and to the reader or singer whose spirituality is to
be inspired, developed, and expressed.</p>
<p>It is the content expressing these several relations and
purposes that separates the hymn from purely literary ideals
and criticisms.</p>
<h3>I. ITS RELATION TO GOD</h3>
<h4 id="c81"><i>Thanksgiving.</i></h4>
<p>The first impulse is a recognition of the
blessings and privileges that God bestows upon his creatures
in general and upon the writer and the singer in particular.
There is consciousness of self in this expression of gratitude.
The soul still has its feet upon the ground.</p>
<div class="pb" id="Page_77">77</div>
<p>There is nothing unworthy in this recognition of self as the
recipient of God’s favor, for the soul honors God in its
realization of its dependence on him and in its clear vision
of the source of its blessedness. Indeed, God asks it as his due.</p>
<h4 id="c82"><i>Prayer for Future Blessing.</i></h4>
<p>The cynic who declares that
gratitude is usually tinctured with the hope of favors to come
may not properly represent the soul as it gives thanks to God,
but there is a kinship between thanksgiving and prayer that
makes it easy and logical to pass from the one to the other.
The memory of benefits received inevitably suggests needs yet
to be supplied.</p>
<p>In its relation to God the hymn may well be a vehicle for
the prayer that envisages the spiritual lack that God alone
can supply, and vitalizes the recognition with a desirous urgency
that must characterize true prayer.</p>
<p>Here again we find not only divine authority, but encouragement
and assurance. Whether the hymn is an individual
or a collective prayer matters not. The individual
need is also a need common to all petitioners, and the prayer
by a congregation is still the individual prayer of its units, only
intensified objectively toward God and subjectively toward
the singers by its mass expression. This intensification is
multiplied not arithmetically but geometrically.</p>
<h4 id="c83"><i>Adoration.</i></h4>
<p>The hymn of adoration lifts the soul into a higher
plane, into a contemplation of the glory and majesty of the
infinite perfections of its God in which self is forgotten and
a consciousness of the infinitude of divine beauty, nobility,
and spiritual elevation remains to thrill the soul. It rises on
wings of selfless delight and rejoicing in God into a very
ecstasy that only song can express.</p>
<p>Whether the soul stands on some high peak of earth and
surveys the billowing world that stretches far and wide with
its beetling cliffs and rocky headlands, its forests and fields,
its meadows and orchards, filled with the overwhelming mystery
of life and force obeying implicitly the laws formulated
<span class="pb" id="Page_78">78</span>
only in inherent nature; or gazes into the great vault of the
sky, with the silent majesty of circling stars and developing
universes, it will find the anonymous hymn of more than a
century ago voicing its deepest awe, its noblest joy:</p>
<div class="verse">
<p class="t0">“Praise the Lord! ye heavens adore him,</p>
<p class="t">Praise him, angels in the height;</p>
<p class="t0">Sun and moon rejoice before him,</p>
<p class="t">Praise him, all ye stars of light.”</p>
</div>
<p>When the soul on some mountaintop of inner experience and
vision glimpses something of the sublimity of the divine character,
its justice, its truth, its purity, its invincible power and
will guided by infinite knowledge and wisdom, its boundless
mercy and forgiving grace flowing from the eternal Source of
its all-embracing love, again it can adopt as its very own the
solemn notes of Tersteegen, echoed in English by John Wesley:</p>
<div class="verse">
<p class="t0">“Lo! God is here; let us adore</p>
<p class="t">And own how dreadful is this place;</p>
<p class="t0">Let all within us feel his power,</p>
<p class="t">And humbly bow before his face.”</p>
</div>
<p>This is the highest office of the hymn and should be made its
largest use; in no other way can the minds and hearts of
Christian worshipers be filled and thrilled with a consciousness
of an indwelling God as by hymns of praise, fully comprehended
and sung with unflawed sincerity.</p>
<h4 id="c84"><i>The Hymn of Communion.</i></h4>
<p>Beyond the hymn of exultant
praise is the hymn of communion with God, where the soul
expresses its joy, not simply in the objective glories of the
divine nature, but in actual communion, companionship, and
conscious unity with God in desire, ideals, and purposes. The
soul thinks the thoughts of God, delights in what God approves,
walks in his ways with spontaneous gladness, and
lives in absolute harmony with his will, not mechanically
under a stress of duty, but by urge of the deepest depths of
<span class="pb" id="Page_79">79</span>
the soul. Objective praise may pull out all the stops of the
soul’s enthusiasm and the high imaginings of the spirit, but
the hymn of communion may express itself in tenderness and
sweetness, in upwelling love and quiet affection. It often is
a personal rather than a collective hymn.</p>
<h3>II. RELATION TO THE SINGER</h3>
<h4 id="c85"><i>The Hymn of Emotion.</i></h4>
<p>Given a definite emotion based on
realization of some religious truth, man will urgently call for
some expression of it, directly by speaking or writing, or by
means of some provided method.<a class="fn" id="fr6_1" href="#fn6_1">[1]</a> Christians are stimulated
by being impressed by the experiences of others. There is a
blessed contagion in these expressions of the profound experiences
of the saints of God as found in the hymnbooks of
all our churches. One feels the accelerated spiritual heartbeat
as one reads (or, better yet, sings) Watts’ emotional cry as he
stands before the cross of Christ:</p>
<div class="verse">
<p class="t0">“When I survey the wondrous cross</p>
<p class="t">On which the Prince of glory died,</p>
<p class="t0">My richest gain I count but loss</p>
<p class="t">And pour contempt on all my pride.”</p>
</div>
<p>Who can fail to follow him in his final consecration,</p>
<div class="verse">
<p class="t0">“Love so amazing, so divine,</p>
<p class="t">Demands my soul, my life, my all”?</p>
</div>
<p>Medley’s hymn, “Oh, could I speak the matchless worth,” in
not a single phrase directly addresses the Deity. It is a purely
subjective expression of delight in the Lord Jesus Christ; and
yet how impressive, how delightful, how eminently worthy of
the feelings of any great congregation, is this hymn of Christian
joy.</p>
<p>The hymn of emotion, therefore, supplies the soul’s demand,
for it satisfies the instinct for expression. It clarifies the
intellectual basis of the emotion and in so doing intensifies it.
<span class="pb" id="Page_80">80</span>
The collective singing and mass expression of a common
emotion intensify it still further and fit it more fully to affect
the will and the character, and so give permanence to the
influence of the truth underlying the feeling. Where at the
beginning the truth is but dimly perceived and passively accepted,
the resulting shallow feeling will be deepened. In this
way the hymn becomes a very generator of desirable religious
emotion.</p>
<h4 id="c86"><i>The Hymn of Inspiration.</i></h4>
<p>It follows that the hymn may be a
means of stimulating interest and enthusiasm in connection
with a topic or proposed course of action, and may become
the hymn of inspiration. Any line of thought or method of
presentation appealing to any emotion or impulse that creates
courage, hopefulness, confidence, assurance of success, will be
pertinent and desirable. The intenser element of direct exhortation
may be added, making a hortative hymn of one
of mere inspiration.</p>
<h4 id="c87"><i>The Hymn of Personal Experience.</i></h4>
<p>The hymn of personal
experience differs from that of emotional expression in being
more subjective, more analytical of the effect produced on the
mind by the apprehension of the religious truth. The latter
is based on the realization of some objective truth or doctrine,
while the hymn of personal experience emphasizes the inner
experience in prayer, in specific exercise of faith, in a reaction
of the soul to some accomplished task, or to a season of communion
with God. The hymn of the blind poet, George
Matheson, which has been so widely used,</p>
<div class="verse">
<p class="t0">“O Love that wilt not let me go,</p>
<p class="t0">I rest my weary soul on Thee,”</p>
</div>
<p>is distinctly a hymn of Christian experience; while Isaac
Watts gives poignant expression to the emotions of the Christian,
as he contemplates the sufferings and death of Jesus
Christ, borne to atone for his sins,</p>
<div class="pb" id="Page_81">81</div>
<div class="verse">
<p class="t0">“Alas! and did my Saviour bleed?</p>
<p class="t">And did my Sovereign die?</p>
<p class="t0">Would he devote that sacred head</p>
<p class="t">For sinners such as I!”</p>
</div>
<p>The hymn of personal experience has been rather heatedly
objected to by critics like Bishop Wordsworth. In some cases
these “I and My” hymns have been rewritten to meet the
objection.</p>
<p>These critics who find their own “ego” offended by the
apparent emphasis of the hymn writer’s “ego” forget some
rather important factors in the situation.</p>
<p>1. It would have been rather presumptuous on the part of
the writer to speak for the collective “We” and “Us” who
presumably were to sing his verses.</p>
<p>2. As a spontaneous expression of personal experience, the
hymn had to be individualistic. Not often, if ever, are particular
religious experiences common to a body of believers at
a given moment.</p>
<p>3. The high peaks of religious experience which are most
valuable as furnishing ideals and stimulus to the members of
a singing congregation can be reached only by individuals, not
by a mass of people. To restrict the expression of religious
experience to that common to all Christians, would be to omit
the most inspiring and helpful hymns, and keep our song
service at a dead level of inferior value.</p>
<p>4. It must not be forgotten that it is not the congregation
that sings; it is its individual units! The congregation is an
abstraction, a merely mental conception. The singing of each
member is fundamentally as purely individual as if he were
absolutely alone! Hence the “I and My” hymn is entirely
fitting. Each sings what is, or ought to be, his own individual
experience. Indeed, he makes his best contribution to the
collective effect if he is intensely individualistic in his singing.</p>
<p>5. In all ages this individualistic participation in mass singing
has been natural and spontaneous. The children of Israel
<span class="pb" id="Page_82">82</span>
sang an individualistic “I and My” hymn in rejoicing over the
army of Pharaoh. The psalms are largely “I and My” hymns
of praise, of prayer, and of confession. David sings, “The
Lord is my Shepherd; I shall not want.”</p>
<p>It is too much to expect that every singer shall apprehend
the full import of the words he sings; to accuse him of insincerity
and hypocrisy if he fails to rise to their level, or if he
takes them on his lips thoughtlessly, is uncharitable. In most
cases the fault lies with the leader of the service who does not
bring out the meaning and does not prepare the minds and
hearts of the singers for the hymn about to be sung.</p>
<p>It is, therefore, not a question of the first person singular,
but of the kind of personal experience that finds a voice. Is it
artificial or genuine? Is it morbid or wholesome? Is it depressing
or stimulating to the spiritual life? Is it an experience
to which all have attained or may attain, in terms all can
accept, or is it morbid, fanatical, extravagant?</p>
<p>No congregation should be expected to sing offhand with
Faber,</p>
<div class="verse">
<p class="t0">“I love Thee so, I know not how</p>
<p class="t0">My transports to control,”</p>
</div>
<p>or</p>
<div class="verse">
<p class="t0">“Oh, dearest Jesus, I have grown</p>
<p class="t0">Childish with love of thee.”</p>
</div>
<p>There are other limits that need to be considered. A hymn
may properly be the vehicle for a confession of sin or of
spiritual unworthiness; but it should not take exaggerated
forms of expression that only a few could honestly adopt. The
same is somewhat true of hymns of consecration. Some hymns
are title deeds to gifts to Jesus Christ so comprehensive that
few could sincerely subscribe to them. All these hymns,
though they may have been spontaneous outbursts from the
hearts of the writers, will seem unreal and forced to the singer,
<span class="pb" id="Page_83">83</span>
and will only aggravate the mechanical unreality and the unwitting
insincerity that vitiate the average service of song.</p>
<h4 id="c88"><i>The Hymn of Meditation.</i></h4>
<p>The hymn of meditation is less
emotional than that of personal experience or feeling. It is
quiet in rhetorical style and gentle in mood. Its purpose is not
didactic, although it often superficially seems to be so. It is
occupied with doctrinal truth only in an inferential way. It
contemplates all religious truth, whether doctrinal or ethical,
in an objective, impersonal way and notes its implications and
corollaries. It is, therefore, emotionally negative, blending with
the other elements of the service rather than controlling them.</p>
<p>Perhaps as typical an instance as can be cited is Bishop
Bickersteth’s</p>
<div class="verse">
<p class="t0">“Peace, perfect peace, in this dark world of sin?</p>
<p class="t">The blood of Jesus whispers peace within.”</p>
</div>
<p>Charles Wesley’s meditation on the Christian’s duties, “A
charge to keep I have,” is another hymn of this class. Faber’s
“There’s a wideness in God’s mercy” (“Was there ever kinder
shepherd”) is also in the meditative mood.</p>
<h4 id="c89"><i>The Hymn of Exhortation.</i></h4>
<p>At first blush it may seem a
little absurd that the members of a congregation should sing
at each other such a hymn as “Stand up, stand up for Jesus”
or “Work, for the night is coming.” But this is an artificial
and not a genuine objection. The instinct of the human
race is toward the singing of just such hortatory songs as
these. The Marseillaise Hymn, which was one of the strongest
influences leading to the French Revolution, is simply an
exhortation, but it swept the French people off their feet and
helped prepare the way for the great transformation of the
social structure of the nation. The Church has gone on producing
and singing these hortatory hymns throughout all
generations from the time of David until now, because the
impulse is native to the human heart.</p>
<h4 id="c90"><i>The Didactic Hymn.</i></h4>
<p>The hymn may be used to teach truth
<span class="pb" id="Page_84">84</span>
as well as to express emotion. If we are to accept Paul’s
statements regarding the use of song in the churches in his
early day, the didactic hymn is the oldest form of the Christian
hymn. “Teaching and admonishing one another” is his
phrase in Colossians 3:16. Indeed, we can go back to Moses
for authority for it, for the ninetieth Psalm is largely didactic.
In the Psalms we find more instruction than worship.
There is really no reason why an assembly should not sing
truth, as well as recite it, as it does in the Apostles’ or in the
Nicene Creed.</p>
<p>The didactic value of the hymn is too great that we should
refuse its help in laying a foundation of doctrine in the hearts
of the people of God. Never was it more necessary than
now. It is significant of John Wesley’s appreciation of its
didactic value that in his announcement of his hymnal of
1780, <i>The Large Hymn Book</i>, he refers to his grouping of the
hymns under subjects, making the hymnal “a little body of
experimental and practical divinity.”</p>
<p>Many of our most frequently used hymns are unfeignedly
didactic. Bishop Wordsworth’s “O day of rest and gladness”
is a resume of the arguments for the validity of the Christian
Sabbath. “The Church’s one foundation” is one of a series
of hymns by Samuel J. Stone expounding the Apostles’ Creed.
Heber’s hymn, “Holy, holy, holy, Lord God Almighty” is
suffused with poetical feeling, but is none the less a didactic
hymn emphasizing the doctrine of the Trinity.</p>
<p>At the same time, this religious truth must have a poetic
element. It is the great value of a hymn as a teaching method
that it puts heart and feeling into the doctrine it expresses,
and so gives it reality and appeal. Despite Dr. Austin Phelps’
rejection of Montgomery’s “Prayer is the soul’s sincere desire”
as “without the wings of song,” the Church at large has been
singing it for a century. Even if the last stanza were omitted,
it would still be a good hymn, because the doctrine of prayer
is clothed in such beautiful and inspiring language that it is
<span class="pb" id="Page_85">85</span>
eminently fitted for the expression of a congregation in song.</p>
<h4 id="c91"><i>The Doctrinal Hymn.</i></h4>
<p>The doctrinal hymn is simply a
limited form of the didactic hymn in that it is devoted to the
promulgation of the leading Christian doctrines, while the
general didactic hymn may be used to inculcate any truth or
duty, whether of a fundamental character or not.</p>
<p>The use of the hymn to teach the doctrines of the Church
has numerous advantages. It is clear and succinct, not obscuring
the truth with philosophical or metaphysical subtleties.
It is dogmatic and not argumentative. It has the
mnemonic advantage of rhythm and rhyme and is easily remembered.
It has the inspiration of collective singing. Above
all it is vivid and poetical, emotionalizing and vitalizing what
in the philosopher’s hands becomes abstract and dry.</p>
<p>America’s most distinguished hymnologist clearly differentiates
the doctrinal theologian and the doctrinal hymn writer:
“The theologian and the hymn writer traverse day by day the
same country, the Kingdom of our Lord. They walk the
same paths; they see the same objects; but in their methods of
observation and in their reports of what they see, they differ.
So far as theology is a science, the theologian deals simply
with the topography of the country: he explores, he measures,
he expounds. So far as hymn-writing is an art, the writer
deals not with topography, but with the landscape: he sees, he
feels, he sings. The difference in method is made inevitable
by the variance of temperament of the two men, the diversity
of gifts. But both methods are as valid as inevitable. Neither
man is sufficient in himself as an observer or a reporter. It is
the topography and the landscape together that make the
country what it is. It is didactics and poetry together that
can approach the reality of the spiritual Kingdom.”<a class="fn" id="fr6_2" href="#fn6_2">[2]</a></p>
<p>It follows that the doctrinal hymn is not simply reluctantly
admissible, it is actually peremptorily necessary if the doctrines
of the Christian faith are to be impressed upon each rising
generation. This function of the hymn is all the more important
<span class="pb" id="Page_86">86</span>
because of the decline of doctrinal preaching. It is the
“substance of doctrine” the hymns supply rather than the
rigid philosophical shell which the creeds and the catechism
offer. It is this shell that is “dry,” not the realities it too often
hides.</p>
<h4 id="c92"><i>The Homiletical Hymn.</i></h4>
<p>The homiletical hymn is a homily,
as its name implies—a sermonette. The term refers to its
form, not to its content, for that is usually doctrinal and always
didactic. It is sermonic because it proceeds from point
to point, leading the way to a practical application. This form
of hymn makes up the great body of the older hymnody, because
it was written by sermonizers who applied homiletical
methods to their hymns.</p>
<p>Take Doddridge’s hymn, “Ye servants of the Lord”: the
first stanza makes the general appeal for service; the second
emphasizes the need of readiness for that service; the third,
attention to the Lord’s commands; the fourth exclaims over
the joy and the reward of service; the fifth, the honors that
Christ shall heap on his servant. That makes a fine outline
for a sermon!</p>
<p>The homiletical hymn was often dry because the sermon
was dry. They were both too frequently “proses” in a sense
different from the medieval use of the word.</p>
<h4 id="c93"><i>The Hymn of Propaganda.</i></h4>
<p>The hymn of propaganda calls
for consideration. It is a didactic hymn, of course, but its
purpose is not to express the fundamental doctrines of the
faith, but to urge some subordinate article of it out of all
proportion to its intrinsic importance, or to win adherents for
some new religious ideas. There are hymns of Perfectionism,
of Holiness, of Unity, of Premillenialism, of Second Adventism,
of Christian Science, of phases of Theosophy, that fall
within this category.</p>
<p>The spiritual value of some of these is not to be underrated,
but each hymn must be judged on its own merits. The danger
of exaggeration is the chief point calling for circumspection.
<span class="pb" id="Page_87">87</span>
Hymns of propaganda criticizing or antagonizing
the Christian Church must be rejected.</p>
<h4 id="c94"><i>Hymns of the Social Gospel.</i></h4>
<p>A few years ago, when the
sociological aspect of Christianity won wide attention, it was
seriously proposed to rewrite the whole hymnbook and inject
the “Social Gospel.” A few desirable hymns on Brotherhood
were written which fill out a previously somewhat neglected
rubric. Brotherhood is not a discovery of the twentieth century,
but has been an integral part of Christianity from the
beginning and was never so fully exemplified as at that period.</p>
<p>In so far as the “Social Gospel” is simply the application of
the gospel of Christ to old wrongs that yet need to be righted,
like slavery, and war, and alcoholism, or to new social complexes
in our modern economic life where there is injustice, or
where there is need of help for body, mind, or soul, hymns
may prove desirable helps. They will, however, be written
spontaneously, not as propaganda, and will be used freely in
so far as there is practical and emotional justification for them.
The onward progress of the Kingdom in these unfinished
tasks will most likely depend on the stimulation of the great
motives that have given victory in the past. It is the appeal
to these motives that gives vitality to such a hymn as “Where
cross the crowded ways of life,” by Frank Mason North.</p>
<h4 id="c95"><i>Special Hymns.</i></h4>
<p>It is a little difficult to supply hymns for
subordinate topics which do not stir the spiritual pulses, and
hence the poorest hymns in our hymnbooks are found in
these divisions. The doctrines of Human Depravity, Regeneration,
Sanctification, the State of the Impenitent Dead, do
not lend themselves to attractive hymnic expression.</p>
<p>These hymns have no wings; they are unemotional and
without appeal to the imagination. Yet the selectors of hymns
who have a purely homiletical point of view demand that a
hymnal shall supply appropriate lyrics to fit subjects and
occasions that have no lyrical possibilities. If the demands of
symmetrical completeness in a hymnal, or of close fitness of
<span class="pb" id="Page_88">88</span>
theme in a service, must be met, then one must be content
with prosaic verses lacking in poetic charm or emotional inspiration.</p>
<h4 id="c96"><i>The Great Hymnic Themes.</i></h4>
<p>There are certain doctrines,
certain experiences, that appeal so strongly to Christian hearts
that the impulse to write and sing about them far exceeds that
growing out of less general, less striking themes. There may
be a great difference in the favorite themes of different persons,
under different circumstances, in different generations.
The Latin medieval hymnists greatly stressed the suffering
Christ; Watts sang of the majesty and glory of God and of
his reign in the moral and spiritual world, and his hymns
are found largely in the purely worshipful rubrics of our
hymnals; Charles Wesley wrote in the midst of a great revival,
and his hymns emphasize the plan of salvation and voice the
personal experiences of the saved. In our own day the ideas
of service, of public welfare, of works of philanthropy and
mercy, and of social justice find expression.</p>
<p>The supreme theme, of course, is Christ. Whatever phases
of Christian doctrine or experience may seem to absorb the
mind of any generation, still the songs cluster about the person
of Jesus Christ. As Dr. Austin Phelps eloquently insists, “here
the rapture of holy song culminates on earth, as it does in
heaven. Here every grace of religious character, and every
experience of a devout life, has found freedom to express itself
in hymns of worship. Where can another such body of sacred
poetry be found in any language, as that which comprises the
Christology of the songs of the Church?”</p>
<p>This hymnody is all the more appealing in that it sings a
living and not a dead Christ, a present personality, near and
dear, and not merely a historical character. The singer does
not strain his power of thought and elevation of expression to
hymn adequately the perfections of an infinite God, but
spontaneously rejoices in a Friend who “sticketh closer than
a brother”!</p>
<div class="pb" id="Page_89">89</div>
<h2 id="ch97"><span class="h2line1"><i>Chapter VI</i></span>
<br />THE GOSPEL HYMN</h2>
<p>If this were a purely scholastic and literary treatise on the
hymnody of the Church, the subject of this chapter might be
ignored; but this discussion purports to be practical, and the
Gospel hymn is too large a factor in the life and work of our
churches to be thus brushed aside. It is a conservative estimate
to say that four out of five churches in our land make
use of these hymns to a greater or less extent. They even
elbow their way into the most exclusive hymnals issued by
ecclesiastical authorities. Collections of them are found not
only in rural or village communities, but in urban churches as
well. Great denominational publishing houses issue them by
the hundred thousand. They are heard in the great ecclesiastical
gatherings and conventions of the land. Great evangelistic
movements depend on them for inspiration and for
aggressive energy.</p>
<p>Yet the Gospel hymn has been treated as a convenient
“punching bag” for the literary and musical idealist. One
respects the antagonistic attitude of the high liturgist to whom
the form is so significant, or of the literary or scholarly man
whose susceptibilities are outraged by the acknowledged shortcomings
and banalities of many of these popular religious
lyrics. Nonetheless, one is astonished that persons of high
intelligence, in their devotion to exclusively literary and
<span class="pb" id="Page_90">90</span>
musical standards, should be blind to the great spiritual value
of the better specimens of this indiscriminately condemned
class of hymns, and to the extraordinary effectiveness and the
immense results in aggressive religious work which this
people’s hymnody has demonstrated.</p>
<p>This is really only the recrudescence of an ancient feud between
the conception of the hymn as exclusively worshipful
and belonging to the liturgical service, and as the free lyrical
expression of the religious life of the people adapted to all
phases of Christian life—individual, domestic, and social, as
well as ecclesiastical. As the church life of the early Christians
began to crystallize, the former improvisations were discouraged.
In time, the service of song was taken from the
laity in the interest of greater dignity and churchliness. The
Arian controversy with its hymnic outburst freed the wings of
popular religious song, only for them to be restrained again
by the rigid formalism organized and enforced by Gregory
the Great.</p>
<p>The Waldenses, the Hussites, the Lollards, each group had
its own popular hymnody. In the general breaking of bonds
in the Reformation, the popular hymns of Huss and Luther
and their associates, and the metrical psalms of Marot and
Sternhold set to popular secular melodies, were the first manifestations
of the new freedom.</p>
<p>The same outcry was heard against the hymns of Watts,
and a little later against those of the Wesleys, not only in
Great Britain, but in New England as well. In the latter the
outcry was heard against the “camp-meeting ditties” of the
aggressive Methodists as they spread into the West.</p>
<p>Even now, in Germany there is frequent protest against the
use in church service of the simpler “folk” hymns, like “Harre
des Herrn” (Wait on the Lord), “Ich will streben” (I will
strive), and “Sei getreu bis in den Tod” (Be faithful unto
death), because they are more recent in origin and have not
the severe dignity of the older hymns and chorals.</p>
<div class="pb" id="Page_91">91</div>
<p>And so the feud between the devout formalism of the
liturgical spirit and the free attitude of aggressive spirituality
has gone on from century to century and from land to land,
and will continue to do so “until He come.”</p>
<h4 id="c98"><i>Lack of Discrimination.</i></h4>
<p>There is an utter lack of discrimination
shown in the opposition to Gospel hymns.</p>
<p>It is no more true that all Gospel and Sunday-school hymns
are crude, illiterate, and undignified than is the anti-foreign
Chinese’s charge that all Americans are liars and thieves.
Many of the Gospel hymns were written by devout, cultured
people of high intelligence. Fanny Crosby has had wide
recognition, and there have been many others of equal ability,
but lacking her adventitious appeal for sympathy. There are
many Gospel hymns which deserve the harshest denunciations
that have been expressed. In a people’s hymnody that was
inevitable; but there are others so fine that the line of essential
values between the Gospel and the standard hymn is difficult
to trace. Lowell Mason and Thomas Hastings’ <i>Spiritual Songs</i>
was practically a people’s Gospel songbook, used for the same
purposes and in the same relative spirit, and largely made up
of new materials in text and music just like a modern Gospel
songbook, being even issued in parts. Among its new hymns
were Palmer’s “My faith looks up to Thee” and Smith’s “The
morning light is breaking,” now recognized as leading standard
hymns. The same is true of Gilmore’s “He leadeth me,
O blessed thought!” and Kate Hankey’s “I love to tell the
story” and Mrs. Hawks’ “I need Thee every hour.” Mrs.
Gates’ “I will sing you a song of that beautiful land,” E. E.
Hewitt’s “More about Jesus would I know,” Hopper’s “Jesus,
Saviour, pilot me,” Stite’s “Simply trusting every day,” Walford’s
“Sweet hour of prayer,” Hunter’s “In the Christian’s
home in glory,” Bliss’ “Almost persuaded,” Spafford’s “It is
well with my soul,” and Pres. Dr. J. E. Rankin’s “God be with
you till we meet again” are none of them illiterate or undignified.
Indeed, many of the writers of these despised hymns
<span class="pb" id="Page_92">92</span>
were college professors, clergymen of high standing, editors,
women of education and culture and of profound spiritual
life. Many Gospel song writers are far and away superior to
the average of the hymnists of the eighteenth century—indeed,
have written nothing so unpoetical and so distinctly offensive
to good taste as some of the hymns published by Watts and
Wesley, the hymnic giants of that age.</p>
<p>There is an impulse to distinguish between Gospel hymns
and Gospel songs, accepting the former and rejecting the
latter; but that is playing with words. Good Gospel songs are
to be baptized Gospel hymns and allowed to enter the golden
gates of approved hymnody. Others draw the line at the
end of the Moody and Sankey campaigns, closing the canon
at that time and regarding all later Gospel songs as apocryphal!
But the worst specimens that have appeared were issued
before that date and many excellent ones have been written
since. No such mechanical criteria can be applied. The acid
test of actual usefulness must be employed with Gospel songs
as it was to formal hymns. That many of the former have
won a permanent place without the emendation needed by
the latter shows how unjustified is the indiscriminate condemnation
of this whole class of sacred lyrics.</p>
<h4 id="c99"><i>Wrong Assumptions of the Opposition.</i></h4>
<p>In much of the discussion
there seems to be an underlying assumption that there
is an inherent antagonism between the standard and the
Gospel hymn, that the latter is intended to displace the
former. Nothing can be farther from the truth. It is true
there is an occasional church where the standard hymns are
neglected, but they are a negligible minority. The current
Gospel song collections practically all supply a large department
of standard hymns and their tunes, in many cases all
that are in actual general use. The value of the standard
hymn is recognized everywhere as having a most important
place in the work of the church.</p>
<p>But its very dignity and strength occasion the limitations
<span class="pb" id="Page_93">93</span>
to its use, and beyond those limitations the Gospel hymn
comes as a complementary help. The wise preacher does not
use Gospel hymns in his formal, worshipful services, but finds
them indispensable in popular evening services, where not
awe and solemnity but spirit and aggressiveness, and appeal
to the person of average or less culture, are needed. His
prayer meeting and other subordinate meetings of groups need
the individual feeling and intimacy with religious things supplied
by the Gospel hymns.</p>
<p>In evangelistic meetings a few of the standards can express
the high peaks of interest, but the Gospel songs lead up to
those heights. The great revivals of the nineteenth and of the
early decades of this century were distinctly characterized by
the use of Gospel songs, many of them not even of the higher
type.</p>
<h4 id="c100"><i>Unfairness in Comparisons Made.</i></h4>
<p>While the worst specimens
of Gospel hymns have usually been selected as the basis of
attack, the very best of the standard hymns have been held up
as the criterion of value; the utter unfairness of such comparison
is evident enough. Gospel hymns should be judged
by their best specimens when compared with standard hymns.</p>
<p>The inequity of such a comparison is made more flagrant
by the fact that these standard hymns, only hundreds in
number, which are justly appreciated and lauded, are the
survivors of multiplied tens of thousands that were written
through the generations. Of the more than seven hundred
written by Isaac Watts, twenty-three appear in the recent
<i>Presbyterian Hymnal</i>. Of the nearly seven thousand hymns
of Charles Wesley, the new <i>Methodist Hymnal</i>, naturally
biased in judgment by tradition, uses only fifty-five, while the
<i>New Presbyterian Hymnal</i> finds space for only eighteen.
This tremendous mortality is not necessarily due to offensive
weakness and faults, for hundreds served their day and generation
most acceptably and well. In like manner the older
Gospel hymns, which have had their day of usefulness are
<span class="pb" id="Page_94">94</span>
fading out of these collections, making way for new ones that
express the feelings of the present generation more intimately.
This is as it should be.</p>
<p>But when the detractor of current Gospel hymns finds some
delectable bit of vulgarity or of literary clumsiness or of grammatical
solecism, let him remember that Watts published lines
like these:</p>
<div class="verse">
<p class="t0">“Tame heifers here their thirst allay</p>
<p class="t0">And for the stream wild asses bray.”</p>
</div>
<div class="verse">
<p class="t0">“I’ll purge my family around</p>
<p class="t0">And make the wicked flee”;</p>
</div>
<p>and that John Wesley allowed his brother to publish</p>
<div class="verse">
<p class="t0">“Idle men and boys are found</p>
<p class="t0">Standing on the devil’s ground;</p>
<p class="t0">He will give them work to do,</p>
<p class="t0">He will pay their wages too.”</p>
</div>
<p>Remember also that William Cowper, the poet acclaimed by
literary critics as the father of a new movement in poetical
writing, issued such a stanza as this:</p>
<div class="verse">
<p class="t0">“Not such as hypocrites suppose</p>
<p class="t">Who with a graceless heart</p>
<p class="t0">Taste not of Thee, but drink a dose</p>
<p class="t">Prepared by Satan’s art.”</p>
</div>
<p>If the great poets and hymn writers of that age wrote such
lines, what must have been the character of the verses of the
obscure scribblers and poetasters of their day!</p>
<p>Not only do the best of the standard hymns alone survive,
but those survivors have been rewritten and amended by a
half-century of editors and hymn revisers, their revisions being
re-revised by succeeding critics, as we have seen in a previous
chapter. Every line and phrase has been submitted again and
again to the microscope of the literary critic, until we have
<span class="pb" id="Page_95">95</span>
a body of hymns established in every detail by the consensus
of the best literary minds of the last century. This is no
derogation of our accepted hymns, but a great advantage to
them; but it must not be overlooked in making a fair comparison.</p>
<h4 id="c101"><i>Criteria for Evaluation.</i></h4>
<p>Much of the criticism of the Gospel
hymn is due to excessive emphasis on the literary and poetical
aspects of the verses to which objection is made. But we have
already insisted on the fact that these are not the final criteria
of the value of hymns, although they are important factors
not to be overlooked.</p>
<p>Speaking of a hymnal containing material of inferior literary
quality, Dr. Austin Phelps, of Andover Seminary, who shared
with his colleague in the faculty of that institution the honor
of being the fathers of American hymnology, wisely remarks:
“It is a shallow judgment either to approve or to condemn such
a work in the spirit of a connoisseur in aesthetics. The very
conditions of excellence in a body of popular psalmody must
extend its limits out of the range of a purely Attic taste.”</p>
<p>The approval or rejection of a hymn, or of a body of hymns,
is not a question of personal taste or liking, nor even of personal
religious reactions, but a question of the needs of the
people to be stimulated and helped, and the results of interest
and spiritual impression secured among them by the hymns
under consideration.</p>
<h4 id="c102"><i>Gospel Hymns and the Unsaved.</i></h4>
<p>There is a distressing lack
of understanding both of the real function of the hymn and of
the needs of the body of Christians as a whole, and even a
greater ignorance of the psychology of reaching the unsaved.
If the body of our standard hymns fails to develop needed interest
among a large element in our churches, how much
less will it appeal to these outside the fold! If these intellectually
and culturally less privileged masses in and out of the
Church are to follow the Apostolic example and “sing with
the understanding,” the songs must lie within the range of
<span class="pb" id="Page_96">96</span>
their understanding. Professor A. S. Hoyt, D.D., of Auburn
Theological Seminary, sums up the situation very wisely: “A
few of the modern revival hymns make quick appeal to the
modern heart, are easily sung, and may be teachers of religious
life. The majority of them are shallow in thought and without
musical worth. But in all matters of education we must
help men as we find them and patiently lift them to better
things.”</p>
<h4 id="c103"><i>Gospel Hymns and the Demands of Worship.</i></h4>
<p>Perhaps the
most misleading assumption among those who reject the Gospel
hymn is that the chief use of hymns is in worship. They
will sing didactic hymns, hortative hymns, inspirational
hymns, addressed solely to human ears and hearts in the stated
church service and then cast out the Gospel hymn because it is
not fitted for solemn worship. That attitude conceives the
Divine Being as a literary connoisseur, or as a music critic who
applies conventional academic criteria in accepting what his
people bring him. Their slogan is that we must bring to
God only our best, insisting that anything but our best is an
insult to him, forgetting that we do not bring the hymn, but
the spiritual results of the hymn in devotion and love and
consecration, and that hymn which produces these in the given
congregation is the best.</p>
<p>Moreover, the approach to God is not the sole function of
effective hymns; it may instead be the approach to men. The
best hymn in that department is the one that succeeds most
fully in affecting the souls to be influenced. There, not the
abstract values of the hymn count, but its psychological adaptation
to the actual mental, moral, and spiritual condition of
the minds and hearts to be helped, not overlooking even the
physical factors essential to religious results.</p>
<p>Furthermore, there are lines of church activity which need
the religious atmosphere and suggestiveness but are concerned
with social and administrative work, with the temporalities
of church life, for which many of these Gospel hymns are
<span class="pb" id="Page_97">97</span>
eminently fitted. There are campaigns, drives, and movements
that need musical help such as many of the less subjectively
pious Gospel hymns can give.</p>
<h4 id="c104"><i>Gospel Hymns in the Preparatory Service.</i></h4>
<p>There are large
and miscellaneous church gatherings where there is no preparation
of mind to sing worthily and deeply religious hymns,
and where it would be a sacrilege to ask the miscellaneous
crowd to take upon their lips such a hymn as “O Love that
wilt not let me go” or “Oh, worship the King, all-glorious
above.” Better to sing the semi-religious and shallow “Brighten
the corner where you are” until the crowd has been psychically
organized.</p>
<h4 id="c105"><i>Gospel Hymns in the Laboratory.</i></h4>
<p>When we come to organized
campaigns to persuade unconverted persons, old and
young, to accept Jesus Christ as Saviour and Lord, the need
of these informal, stimulating, emotional folk songs becomes
immediately apparent. Awe, impressiveness, spiritual elevation
of mind, such as are supposed to be produced by the
standard hymns, are not the stimuli that create aggressiveness
of mind among Christian workers, nor are they calculated to
awaken a response among the unspiritual. It is proved as
surely by actual laboratory experiment that Gospel songs produce
the conditions needed for securing a religious revival as
that hydrochloric acid and water poured over zinc clippings
will produce hydrogen.</p>
<p>Lord Shaftesbury, the great English philanthropist and
Christian worker, speaking in Ireland in the interest of evangelistic
work there, said: “Therefore go on circulating the
Scriptures. I should have been glad to have had also the
circulation of some well-known hymns, because I have seen
the effect produced by those of Moody and Sankey. If they
would only return to this country, they would be astonished
at seeing the influence exerted by those hymns which they
sing.”</p>
<p>It is worthy of incidental note that the most of those to
<span class="pb" id="Page_98">98</span>
whom the Gospel hymn is anathema are not much in sympathy
with any evangelistic methods; nay more, they seem to
shrink from popular manifestations of religious life. They
have sharpened the edge of their religious refinement until
it will no longer cut.</p>
<h4 id="c106"><i>The Advantages of Gospel Hymns.</i></h4>
<p>These Gospel hymns
have several distinct advantages that should not be overlooked.
They are simple, easily understood by everybody, quickly appropriated
as his own expression by the most limited in
education or culture. They are quite emotional, expressing
feeling and creating it. They are spontaneous and free, with
no labored subtlety or recondite allusion. They are usually
more or less rhythmical and stimulating, physically as well
as mentally. They are adaptable to various situations and
states of feeling. Even more than standard hymns they express
personal religious experiences, and are more direct in
their hortative method. The chorus, if intelligently written,
emphasizes the fundamental idea of the hymn in an unescapable
way. As a tool for aggressive effort it has no substitute,
and but one rival—earnest and spirit-filled preaching.</p>
<h4 id="c107"><i>Discrimination in the Use of Gospel Songs.</i></h4>
<p>It should be
said, however, that the inventory of its values mentioned above
applies to only a comparatively small part of the Gospel songs
offered to the public, just as the accepted standard hymns are
a very small part of the formal hymns from which they have
been gleaned. Usually its faults are aridity, vapidity, and
shallowness. Yet in all these shortcomings, specimens of equal
weakness and futility can be found in verses by accepted hymn
writers.</p>
<p>The better Gospel songs are after all the sincere expression
of a certain stage of culture of mind and soul. That stage may
not be high nor admirable, but it must be allowed its spontaneous
expression.</p>
<p>Every generation has had its own ephemeral hymnody
and will continue to have it in spite of all the scolding critics.
<span class="pb" id="Page_99">99</span>
When our religious people stop writing and singing new songs
and are satisfied to sing over and over again the songs of
preceding ages, it will prove that the process of ossification
has set in and that vital force is passing away. Better that
literary unskillfulness and mediocre musical talent shall continue
to write, better to have ephemeral, shallow, and unsatisfying
songs written by the thousands, than that the impulse
to express spontaneously the vital godliness within should be
entirely lost.</p>
<div class="pb" id="Page_101">101</div>
<h1 title="">THE SINGING CHURCH</h1>
<h2 title=""><span class="h2line1">PART II</span>
<br />HISTORY OF THE DEVELOPMENT OF HYMNS</h2>
<div class="pb" id="Page_103">103</div>
<h2 id="ch108"><span class="h2line1"><i>Chapter VII</i></span>
<br />APOSTOLIC ORIGIN AND DEVELOPMENT</h2>
<p>In considering the origin of the Christian hymn, one must remember
that it is an outgrowth of man’s innate impulse to
express his feelings in hymns and songs. That impulse is
constitutional; man sings because he was so made that he
cannot help singing.</p>
<p>Furthermore, the Christian hymn is the natural development
of the Hebrew psalm, just as Christianity is the consummation
of the Jewish religion. The two systems of religion are related
as closely as the foundation and the superstructure of a
great temple. We shall find the Hebrew voice of worship not
only leading the songs of the Apostolic Church, but through
all the succeeding ages sounding the controlling note of all
Christian praise. David and the sons of Asaph led the choirs
and congregations in chapel and church and cathedral as
truly as they did those in the temple and synagogues. Christianity
gave the Psalms a larger, more inspiring message and
a more literary and more musical setting; but the thrumming
of David’s harp has been heard through all the long centuries
and is still heard around the world.</p>
<p>The Greek atmosphere in which the Early Church developed
might be supposed to have influenced the character of
the Apostolic hymnody; but the Greek Christians were not
literary in culture, and the Greek religion had no congregational
<span class="pb" id="Page_104">104</span>
singing. It took several generations before it began to
affect the form and music of the Christian hymnody, but
eventually it was to become a formative force.</p>
<h3>I. SACRED SONG IN THE NEW CHRISTIAN CHURCH</h3>
<h4 id="c109"><i>The Rise of Sacred Song in Apostolic Times.</i></h4>
<p>But when the
baptism of the Holy Spirit vitalized and organized the Christian
Church, the tide of sacred song began to swell. It had a
great heritage from the dying Jewish church: its fundamental
ideas, its laws, its prophets, its hope of the Messiah now transformed
into a reality; but not the least of its inheritances were
the habit of praise and worship, and the lyrics that gave
them form.</p>
<p>We read that the Church was filled with joy and praised
God. Incidentally, we learn that, despite sufferings from
cruel scourging, Paul and Silas sang hymns in the Philippian
prison, showing that with the new wine of Christian joy there
were created new bottles to contain it. We may be sure this
was not an isolated instance, but the occurrence of an established
practice.</p>
<h4 id="c110"><i>Apostolic Emphasis of Sacred Song.</i></h4>
<p>James says, “Is any
merry, let him sing psalms.” Whether he meant David’s or
“private” psalms is left open to conjecture. The American
Revised Version translates it “praise.” Paul is most definite
in recognizing “hymns and spiritual songs” as distinguished
from “psalms.” Some commentators have interpreted the
latter as David’s psalms, the “hymns” as the already accepted
canticles, and the “spiritual songs” as the new songs, more or
less improvised, that were sung by individuals, “teaching and
admonishing one another,” “singing with grace in the heart.”</p>
<p>Paul’s conception of the hymn, therefore, was not a collective
hymn, sung by all, but a hymn of edification sung by
individual singers. The practice of solo singing assumed in
Paul’s exhortations in Ephesians and Colossians, due to the
perennial danger of governmental raids and persecutions, still
<span class="pb" id="Page_105">105</span>
continued in the time of Tertullian (circa 198). He writes
that after their common meal “each man, according as he is
able, is called on, out of the Holy Scriptures, or of his own
mind, to sing publicly to God. Hence it is proved in what
degree he hath drunken”—a refutation of the common charge
of gluttony and drunkenness.</p>
<h4 id="c111"><i>Traces of Hymns in the Epistles.</i></h4>
<p>In the eagerness to unearth
traces of the supposed hymnody of the Apostolic church, the
wish has been father to the thought, and passages have been
pointed out as probable quotations from hymns current in the
churches. Some of them are quite plausible, but others are
examples of the periodic structure so manifest in the style of
both Christ and Paul and in the Oriental proverbial form,
but lacking the parallelism of the Psalms.</p>
<p>In Ephesians 5:14, Paul has the formula of quotation
from the Old Testament, but no such passage, or anything
approaching it, can be found in either the canonical or uncanonical
books of the Old Testament. If we should substitute
“it” for “he,” the second word of the passage “it” might
refer to a hymn in common use. Westcott and Hort put it in
metrical form, but the Revised Versions do not. It is very
plausible, however; even in the English translation the structure
is distinctly metrical:</p>
<div class="verse">
<p class="t0">“Awake, thou that sleepest,</p>
<p class="t0">And arise from the dead,</p>
<p class="t0">And Christ shall give thee light.”</p>
</div>
<p>Equally plausible is the passage in 1 Timothy 3:16, although
not formally quoted:</p>
<div class="verse">
<p class="t0">“God was manifested in the flesh,</p>
<p class="t">Justified in the spirit,</p>
<p class="t2">Seen of angels,</p>
<p class="t0">Preached unto the Gentiles,</p>
<p class="t0">Believed on in the world,</p>
<p class="t0">Received up into glory.”</p>
</div>
<div class="pb" id="Page_106">106</div>
<p>This is particularly true of such passages as have rhetorical
warmth rather than inherent lyric quality. The extraordinary
flight of the Spirit that has been called the “Hymn of Love”
(1 Cor. 13) can be called a hymn only by stretching the limits
of the definition beyond all reasonable bounds. Noble as it is,
no composer has ever succeeded in setting it to worthy music.
As well call Lincoln’s Gettysburg address a Memorial Day
Hymn. The same may be said of the ecstatic passage which
opens Paul’s letter to the Ephesians (1:2-12).</p>
<h4 id="c112"><i>The Hymns of the Apocalypse.</i></h4>
<p>It has been suggested that
the choral passages of the Book of Revelation are quotations
from current hymns. If that were true, how could the little
gatherings of Christians have risen to the majesty of these
marvelous hymns of adoration, either vocally or spiritually?
They are so intimately a part of the stupendous scenes in
which they appear as to make their being merely quotations
seem impossible. Only the itch of a German-type scholarship
to press out the last drop of possibility from any given historical
material, and the calm assurance that the results must
be true, since it has recognized them, can explain this
hypothesis.</p>
<p>These hymns are too integral a part of the scenes, too consonant
with their elevated spirit, and logically too inevitable, that
they should have been mechanically introduced or even
adapted from current hymns—they are too choral in the grand
manner.</p>
<p>In general, we may accept the same judgment of Dr. Lyman
Coleman, in his work <i>The Primitive Church</i>. “The argument
is not conclusive, and all the learned criticism, the talent and
the taste, that have been employed on this point, leave us little
else than uncertain conjecture on which to build a hypothesis.”</p>
<h4 id="c113">“<i>The Odes of Solomon.</i>”</h4>
<p>“The Odes of Solomon” is a Syriac
collection of hymns which good authorities claim to be of the
Apostolic Age; one authority, Mrs. Gibson, insists that it precedes
Paul’s letter to the Ephesians, while the most conservative
<span class="pb" id="Page_107">107</span>
concede that it belongs to the first century, or the first half
of the second.</p>
<p>Its discoverer, Dr. Rendell Harris, Director of studies at
Woodbrooke, the Quaker center at Selly Oak, England, says
of the “Odes”: “They are utterly radiant with faith and love,
shot through and through with what the New Testament
calls ‘the joy of the Lord.’” He quotes one of them: “A great
day has shined upon us; marvelous is He who has given us of
His glory. Let us, therefore, all of us unite together in the
name of the Lord, and let us honor Him in His goodness, and
let us meditate in His love by night and by day.”<a class="fn" id="fr8_1" href="#fn8_1">[1]</a></p>
<p>The first stanza of Ode XXVI is translated as follows:</p>
<div class="verse">
<p class="t0">I poured out praise to the Lord,</p>
<p class="t">For I am his:</p>
<p class="t0">And I will speak his holy song,</p>
<p class="t">For my heart is with him,</p>
<p class="t0">For his harp is in my hands,</p>
<p class="t0">And the odes of his rest shall not be silent.</p>
<p class="t0">I will cry unto him from my whole heart;</p>
<p class="t0">I will praise and exalt him with all my members.</p>
<p class="t">For from the East and even to the West</p>
<p class="t2">Is his praise;</p>
<p class="t">And from the South and even to the North</p>
<p class="t2">Is his confession:</p>
<p class="t">And from the top of the hills to their utmost bound</p>
<p class="t2">Is his perfection.</p>
</div>
<h4 id="c114"><i>The Failure of Apostolic Spiritual Songs to Survive.</i></h4>
<p>It is
likely that the reason why no definitely recognized collection
of hymns has survived from Apostolic times, and immediately
thereafter, is that the singing, outside of the Psalms and Gospel
canticles, was largely extemporaneous. The later hymnic
form and structure had not yet developed. Dr. Neale, who
deserves to be recognized as a high authority, referring to the
apostolic “hymns” and “spiritual songs,” says: “From the
brief allusions we find to the subject in the New Testament
<span class="pb" id="Page_108">108</span>
we should gather that the hymns and spiritual songs of the
Apostles were written in metrical prose.” Rhyming did not
come into use until very much later. The singing was in
recitative with rather formless melodies. Such extemporizations
as appealed to the body of believers were passed on
from place to place, the very best from generation to generation,
from memory and by word of mouth, for illiteracy was
the common lot of the mass of early believers. These people’s
spiritual songs were presently lost, much as were most of our
early American “spirituals” that served so excellent a purpose.</p>
<p>Indeed, it would be entirely correct to conceive of the
stream of devout song flowing steadily on from the “hymns
and spiritual songs” of the Apostolic times down through the
centuries until our own time, sometimes finding temporary
subterranean channels, as with the Albigenses, the Hussites,
and the Lollards, but always inspiring, refreshing, and comforting
the generations as it passes. It was the <i>Laus Perennis</i>,
the unfailing sacrifice of praise, that day and night rose without
break or intermission to the ears of the Almighty. In
every generation, hymns that had nobly served preceding generations
were replaced by new ones fresh from throbbing
hearts that had re-experienced the vital truths of Christianity.</p>
<p>It is no condemnation of a hymn that the Church lays
it aside. That it served only for a season may have been due
to its peculiar adaptation to the individuality of the age, to the
temporary conditions and needs among God’s saints of that
particular time.</p>
<div class="pb" id="Page_109">109</div>
<h2 id="ch115"><span class="h2line1"><i>Chapter VIII</i></span>
<br />THE POST-APOSTOLIC HYMN</h2>
<h4 id="c116"><i>The Post-Apostolic Church a Singing Church.</i></h4>
<p>Whatever conclusion we reach regarding the song service during the
Apostolic age, because of the meager facts we have regarding
it, we have sufficient information regarding the second, third,
and fourth centuries to be sure that the hymn had become a
more and more important feature of the religious life. The
tide of song swells louder and higher as the generations pass.
Clement of Alexandria, the reputed writer of the earliest
surviving Christian hymn, “Shepherd of tender youth,” writes,
“We cultivate our fields, praising; we sail the sea, hymning.”
Jerome writes to Marcellus, “You could not go into the field,
but you might hear the plowman at his hallelujahs, the mower
at his hymns, and the vinedresser singing David’s psalms.”
Tertullian, a little earlier, when the antiphonal singing was
still in vogue, objects to the marriage of a Christian with an
unbeliever, because they cannot sing together, whereas the
Christian mates each would challenge the other “which shall
better chant to the Lord.” The early church was, therefore,
a singing church.</p>
<p>Tertullian was not a writer of hymns, for he declared “We
have a plenty of verses, sentences, songs, proverbs.” We do
not have their hymns, but we have the names of prominent
hymn writers who sealed their faith with their blood: Ignatius,
<span class="pb" id="Page_110">110</span>
Athenogenes, Hippolytus, and many others who did not win
a martyr’s crown.</p>
<p>All these hymns blossomed out of the consuming love for
the Lord Jesus Christ, for which the Jewish psalms could give
no expression. That they were used for public worship we
have the testimony of Pliny (<span class="small">A.D.</span> 110). His report from
Bithynia to the Emperor Trajan was that “the new sect have
a custom of meeting before dawn on a stated day and singing
by turn a hymn to Christ as God.”</p>
<h4 id="c117"><i>The Earliest Surviving Hymns.</i></h4>
<p>Unless we accept the Syriac
“Odes of Solomon” as an apostolic hymnbook, none of the
“spiritual songs” of that age survive. The hymn written (or
quoted?) by Clement in 170 is accepted as the earliest hymn
handed down to us, with the “Candlelight Hymn” as possibly
contemporaneous.</p>
<p>Clement’s hymn “Shepherd of tender youth” is found in
most of our hymnals and is in actual use.<a class="fn" id="fr9_1" href="#fn9_1">[1]</a> Dr. Henry M.
Dexter’s version, as generally used, is an attenuation suited to
the taste of our day rather than a faithful reproduction of the
original, which begins with a rather violent figure, “Curb for
stubborn steed” (E. H. Plumptre).</p>
<p>The date of the “Candlelight Hymn” is very uncertain.
It was so old in 370 that another St. Basil could throw no
light on its origin: “It seemed fitting to our fathers not to
receive the gift of light at eventide in silence, but on its
appearing immediately to give thanks.” The version by John
Keble is still in use:</p>
<div class="verse">
<p class="t0">“Hail, glad’ning Light, of His pure glory poured</p>
<p class="t0">Who is the immortal Father heavenly, blest,</p>
<p class="t0">Holiest of holies, Jesus Christ, our Lord!</p>
<p class="t0">Now we are come to the sun’s hour of rest;</p>
<p class="t0">The lights of evening round us shine;</p>
<p class="t0">We hymn the Father, Son, and Holy Spirit divine.”</p>
</div>
<h4 id="c118"><i>The Relation of Hymns to Psalms and Canticles.</i></h4>
<p>In the very
nature of the case, these individual songs and hymns and
<span class="pb" id="Page_111">111</span>
psalms had no authority back of them. They were the
“spirituals,” the Gospel songs of their day and generation.
Most of them were improvisations for a single service—flying
sparks from the anvil of the Spirit. Undoubtedly others had
a longer life, were written out and passed from hand to hand
and even from generation to generation.</p>
<p>These hymns were mostly in Greek, though some were in
Syriac, and as far as they were given a standard form they
used Greek classical meters. Some were modeled on the
Septuagint psalms and were known as “private psalms.”
Many were odes, like the “Odes of Solomon.”</p>
<p>But it is quite evident that this body of song was never
regarded as on an equality with the Psalms of the Jewish
church, or with the Canticles of the New Testament. These
had the sanctions of the rapidly crystallizing canon of the
New Testament, and the established canon of the Old, which
gave an authority that was lacking in the current hymnody.
The relation was even more pronounced than that in our own
day between the body of hymns surviving through the generations
recognized as “standard” and the current religious songs
of the hour.</p>
<p>In addition to the Psalms taken over from the Jewish
psalter (not over one-half of which were ever sung) and the
Canticles of Luke’s Gospel, there gradually rose a subsidiary
body of canticles which by the fourth century had been for
the most part fully formulated. They were developments of
passages from both the Old and New Testament. In addition
to the ejaculatory responses, “Alleluia” and “Hosanna,” the
following were hymns authorized to be used in Christian
services:</p>
<p>1. The <i>Gloria in Excelsis</i>, developed from the song of the
angels as found in Luke, known as the Greater Doxology.</p>
<p>2. The <i>Ter Sanctus</i>, based on Isaiah 6:3, possibly later associated
with Revelation 4:8, and called the Cherubical Hymn.</p>
<p>3. The <i>Benedicite</i>, the song of the three Hebrew children
<span class="pb" id="Page_112">112</span>
in the furnace, a paraphrase of the forty-eighth Psalm, likely
taken from the Apocrypha.</p>
<p>4. The <i>Gloria Patri</i> or Lesser Doxology, apparently handed
down from the Apostolic time, developed from the baptismal
formula. It was expanded during the Arian controversy,
adding “As it was in the beginning, is now, and ever shall be,
world without end.”<a class="fn" id="fr9_2" href="#fn9_2">[2]</a></p>
<h4 id="c119"><i>The Hymn as Propaganda.</i></h4>
<p>The inferiority of the popular
hymnody became ever more pronounced as the hymn was
employed by heretical sects as a means of propagating their
pernicious doctrines. Bardesanes and his son Harmonius in
Edessa, Asia, a little later composed an entire psalter of one
hundred and fifty psalms, “deserting David’s truth and preserving
David’s numbers,” as Ephrem Syrus expressed it.</p>
<p>The Gnostic hymns during the third century were slowly
undermining the faith of the people, but it was not until Arius
appeared with his denial of the deity of Jesus Christ and spread
broadcast his “Thalia,” a collection of practical hymns emphasizing
practical duties and the value of the daily life of the
people, as well as magnifying the humanity of Jesus, that the
full extent of the revolution in the religious sentiment of the
people became evident. He fitted his measures to well-known
popular tunes, sung only by those “who sing songs over their
wine with noise and revel.”</p>
<p>Arius, an ungainly giant of tremendous force of personality
and unbounded energy, thus began a movement that was to
convulse with its controversy the whole Roman Empire
through many generations, even down to our own times, and
was to prepare Asia and Northern Africa for the superimposition
of the Mohammedan personality and cult upon an
emasculated Christianity.</p>
<p>In 269, Paul of Samosata, an Arian Bishop, banished from
his churches the hymns that had come down from the second
century because they were addressed to Christ as God and
“as being innovations, the work of men of later times.” He
<span class="pb" id="Page_113">113</span>
began the Arian fashion of propaganda by means of hymns.
As an answer to this came the great hymnic outburst of the
fourth century, headed by Gregory of Nazianzus and participated
in by St. Chrysostom.<a class="fn" id="fr9_3" href="#fn9_3">[3]</a></p>
<p>It is not surprising, therefore, that the Synod that met in
Laodicea in 363 ordered that “psalms composed by private
men must not be read in the church, nor uncanonical books,
but only the canonical of the New and Old Testament.”</p>
<p>Nor need we wonder that with the Arian fanatics interrupting
orthodox services by starting their heterodox hymns,
the same Synod decided that “beside the psalm singers appointed
thereto who mount the ambo and sing out of the
book, no others shall sing in church.”</p>
<p>This robbing the lips and the hearts of the congregation
of its share of the public praise, in order to prevent Gnostic
and Arian heretics from profaning public services with their
strife and contention, hardened into a perpetual prohibition,
and in the Greek church the people are mute to this day.<a class="fn" id="fr9_4" href="#fn9_4">[4]</a></p>
<p>It should be remembered that these prohibitions applied
only to public services and their liturgies. Outside the walls
of the larger churches the people were still singing. Indeed,
the popular song was used by the orthodox to displace the
heretical songs of the Arians, as was done by Chrysostom in
Constantinople, in order to stem the tide of attack on the doctrine
of the deity of Christ.</p>
<div class="pb" id="Page_114">114</div>
<h2 id="ch120"><span class="h2line1"><i>Chapter IX</i></span>
<br />THE GREEK HYMNODY</h2>
<h3 id="c121">I. EARLY GREEK HYMNS</h3>
<p>The reaction of the Greek Church to the hymnic attack of
Arians interests us because of its influence on the general
development of the Christian hymn.</p>
<p>Of the earliest hymn writers we know little, and their work
has not come down to us. We have a hymn of Methodius
(311) based on the parable of the ten virgins, of considerable
vigor and merit.</p>
<p>The most prominent figure that greets us is that of Gregory
of Nazianzus (327-389). He was called to Constantinople by
the Emperor Theodosius to lead the orthodox forces against
the Arian enemy. He was appointed court preacher, Patriarch
of the Eastern Church, and president of the Ecumenical
Council of Constantinople; but the pious, gentle monk, while
a great preacher and a fertile hymn writer (it is said that he
wrote thirty thousand hymns), was not fitted for the strife
and intrigue rampant in the Capital; within a few years he
returned to his cell at Nazianzus in Cappadocia. His hymns
are ranked very high. Dr. Brownlee has given an excellent
version of his “Evening Hymn”:</p>
<div class="verse">
<p class="t0">“O word of truth! In devious paths</p>
<p class="t">My wayward feet have trod;</p>
<p class="t0">I have not kept the day serene</p>
<p class="t">I gave at morn to God.</p>
</div>
<div class="pb" id="Page_115">115</div>
<div class="verse">
<p class="t0">And now ’tis night, and night within,</p>
<p class="t">O God, the light hath fled!</p>
<p class="t0">I have not kept the vow I made</p>
<p class="t">When morn its glories shed.</p>
</div>
<div class="verse">
<p class="t0">For clouds of gloom from nether world</p>
<p class="t">Obscured my upward way;</p>
<p class="t0">O Christ, the Light, thy light bestow,</p>
<p class="t">And turn my night to day!”</p>
</div>
<p>Synesius (375-430), Bishop of Cyrene, was a brilliant man,
a friend of Hypatia, whom most general readers know as the
heroine of Charles Kingsley’s great historical romance. He
wrote some very tender hymns and poems that have been
widely appreciated. He is best known by his hymn, “Lord
Jesus, think on me,” a free paraphrase of which (by Allen W.
Chatfield) is found in some of our hymnals.</p>
<p>Anatolius (d. 458) is known to us, not as the able and noble
Byzantine pontiff, but as the original writer of two quite
different hymns, translated by Dr. Mason Neale: the evening
hymn, “The day is past and over,” and the descriptive hymn,
“Fierce was the wild billow.” He was one of the first to forsake
the classical forms and to put his thoughts into harmonious
prose. He wrote few hymns, but all of great
excellence.</p>
<h3 id="c122">II. THE LATER GREEK HYMNS</h3>
<p>The earlier Greek hymn writers wrote in the classical measures
and evinced an admirable sense of form; but the later
hymnists, following the example of Anatolius, wrote in
rhythmical prose and not by any means as felicitously. Moreover,
the later Greek language greatly degenerated, losing its
lucidity and subtlety of expression.<a class="fn" id="fr10_1" href="#fn10_1">[1]</a></p>
<p>The later Greek hymns had many ecclesiastical and theological
phrases difficult to render. They were filled with
grotesque figures; the worship of Mary, and even of the saints,
<span class="pb" id="Page_116">116</span>
is offensive. Being mostly in rhythmical prose, they were not
intended to be sung—at most only to be chanted. Really
they were not hymns in the ordinary sense of the word; rather
they were the raw materials of hymns. As Dr. Brownlie says,
“The writers are not poets, in the true sense, and their language
is not Greek as we have known it.”</p>
<p>The more conspicuous of these later Greek devotional
writers do not appear until the eighth century.</p>
<p>Andrew of Crete (660-732), an archbishop, was a very
voluminous devotional writer. Among his more important
works are the “Great Canon,”<a class="fn" id="fr10_2" href="#fn10_2">[2]</a> the “Triodion,” and the
“Pentecostarion.” The “Great Canon” has more than three
hundred stanzas, illustrating by Scripture examples the feelings
of a penitent confessing his sins. He is represented in some
of our hymnals by the hymn, “Christian, dost thou see them?”
translated by Dr. John Mason Neale and said to be taken from
the “Great Canon.”</p>
<p>The other hymnists of this century are John of Damascus
(d.780), his foster-brother Cosmas, the Melodist (d.760), and
Stephen the Sabaite, his nephew (725-794).</p>
<p>John of Damascus wrote the best Greek of his generation
and was most poetical in spirit and style. Gibbon calls him
the “last of the Greek Fathers.” His verse is characterized
by being written in iambics (the most common measure in
modern hymns). His best-known hymn is “’Tis the day of
resurrection,” taken from his great Easter canon, styled the
“Queen of Canons” and the “Golden Canon” by the Greek
Church.</p>
<p>John’s foster-brother, Cosmas, survives in the Christmas
hymn, “Christ is born! exalt his name.” Although his canons
are very thoughtful, his style is often turgid and difficult to
follow.</p>
<p>Stephen the Sabaite, the nephew of John of Damascus, the
third of this “nest of singing birds” (to use Dr. Gillman’s
phrase), came to Mar Saba as a boy and remained there all his
<span class="pb" id="Page_117">117</span>
life. Dr. Neale found the inspiration of his hymn “Art
thou weary, art thou languid?” in some lines of Stephen.</p>
<p>These three Greek hymn writers were monks in the monastery
of San Saba, to be seen to the north from the highway
between Jerusalem and Jericho, on the rugged heights overlooking
the Jordan valley.</p>
<p>Another group of Greek hymn writers appears a little later,
headed by Theodore (759-826), abbot of the Studium, a great
monastery at Constantinople. The group was quite controversial,
the occasion being not the Deity of Christ, but the
enforced destruction of ikons, or images. The hymns of this
group were not all controversial. Theoctistus (c.890), an obscure
and later member of it, when the heat of strife had presumably
subsided, could write this devout hymn of praise to
Christ:</p>
<div class="verse">
<p class="t0">“Jesu, name all names above,</p>
<p class="t">Jesu, best and dearest.</p>
<p class="t0">Jesu, fount of perfect love,</p>
<p class="t">Holiest, tend’rest, nearest.</p>
</div>
<div class="verse">
<p class="t0">Jesu, source of grace completest,</p>
<p class="t0">Jesu purest, Jesu sweetest.</p>
<p class="t0">Jesu, well of power divine,</p>
<p class="t0">Make me, keep me, seal me thine.”</p>
</div>
<p>Joseph of the Studium (c.840), because of his many hymns,
was called the Hymnographer. He wrote too much to write
well. His work is characterized as tautological, tawdry, tedious.
Three of his hymns, however, had enough suggestiveness
to inspire Dr. Neale to write “Let our choir new anthems
raise,” “O happy band of pilgrims,” and “Safe home, safe
home in port.” Dr. Neale’s pump seems to have needed but
slight priming to bring up stirring lyrics from the deepest
spiritual experiences and emotions!</p>
<p>The most striking characteristic of the Greek hymnody is its
sheer objectivity. It is self-forgetful in its rapt, ecstatic contemplation
<span class="pb" id="Page_118">118</span>
of the doctrines and facts of the Christian faith.
It is never experiential or self-analytical except when it
confesses sin and unworthiness. The sustained dignity and
elevation of its praise and adoration are other admirable traits.
Its consciousness of God, its unflawed acceptance of Jesus
Christ as Lord and Saviour, its assurance of the indwelling
Spirit, give it a liturgical value beyond that of any other
ancient hymnody.</p>
<div class="pb" id="Page_119">119</div>
<h2 id="ch123"><span class="h2line1"><i>Chapter X</i></span>
<br />THE LATIN HYMNODY</h2>
<h3 id="c124">I. THE BEGINNINGS OF LATIN HYMNODY</h3>
<p>The early disciples in the West were accustomed to use the
Greek language, as may be gathered from Paul’s writing his
Epistle to the Romans in Greek. It is probable that their
religious services were largely in that language until there
were Romans enough added to the churches to make the use
of Latin necessary.</p>
<p>That great ode, the “Te Deum,” comes to us only in a Latin
form. The tradition is that it was an antiphon improvised
by Ambrose and Augustine on the occasion of the latter’s
baptism, but that is doubtless a hero-worshiping fancy of the
ninth century. That a good deal of it came from the Greek
was to be expected and is quite certain, whether the Dacian
Bishop, Nicetius of Remisiana, gathered up the Greek material
or not (circa 400).</p>
<p>On the other hand, there is no Greek version extant, except
a much later one which is evidently a translation from the
Latin.</p>
<p>It may have been written (or compiled) during the Arian
controversy as a creedal song to be sung by clerical or monastic
choirs. It may have grown by gradual accretion, from generation
to generation, like the Easter hymn “Jesus Christ is risen
today,” which, begun in the fourteenth century, was not given
final form until 1816.</p>
<div class="pb" id="Page_120">120</div>
<p>This magnificent ode, for it is a hymn only by a considerable
extension of the definition, appears in our modern hymnals
only as a chant, and is practically never sung in our non-liturgical
congregations. It has been used as a choral text
throughout all its history, never as a congregational hymn. It
has had unnumbered settings by the greatest composers of
Christendom.</p>
<p>It is the high festival ode of the ages, used in celebrating
victories or other stately occasions of great public interest. Its
comprehensiveness, nobility of thought, and elevated style befit
the coronation of kings or the investiture of popes. For the
mass of our churches, great as it is, it has only a historical
interest. It might find impressive use as a responsive reading.</p>
<h3 id="c125">II. EARLY LATIN HYMN WRITERS</h3>
<p>Bishop Hilary of Poitiers (circa 300-367), “the hammer of the
Arians,” was exiled into Phrygia by Constantius because he
called the Arian emperor “The Antichrist.” In his exile he
came in touch with the fierce propaganda waged on both
sides by means of hymns. His controversial zeal recognized
the opportunity, and he wrote a great many anti-Arian hymns,
which he gathered on his return to France into his <i>Liber
Mysteriorum</i>. That his book was lost was no great calamity,
for his fiery, combative spirit, valuable enough at the time, had
no message for future generations. He woke a new interest
in singing and furnished a more practicable model. He undoubtedly
suggested the antiphonal singing he found in the
“Hinterland” of Asia Minor and thus prepared the way for
his fellow-countryman, Ambrose, Bishop of Milan. If the
latter is recognized as the father of Latin hymnody, and even
of all the Western hymnody, Catholic and Protestant, Hilary
is its grandfather.</p>
<p>Ambrose (340-397) had been a lawyer, not a product of the
ecclesiastical system, and he brought to his office a freshness
of insight and of resources that might have been atrophied
<span class="pb" id="Page_121">121</span>
in the mechanical clerical education of his day. The value of
song in supporting the spirits of his followers when besieged
for days in his cathedral suggested to his practical mind,
stimulated by his musical nature, its wider use when the battle
was won.</p>
<p>Ambrose broke new ground for Latin hymnody in several
essential particulars. He transformed the merely reading
hymn, confined to the clergy, to a singing hymn for the congregation,
writing hymns for the express purpose of promoting
congregational song. He passed by the artificial
classical meters for the simplest of lyrical meters, four lines of
four iambic measures each, which has come down to us
through the centuries as Long Meter. He also introduced the
free use of rhymes.</p>
<p>Ambrose was not only a learned man of great ability, but—what
is more to our present purpose—a man of great piety
and devotion. He sought to vitalize and actualize the devotions,
personal and collective, of the Christian Church, to
make them genuine and heartfelt as against the formalists to
whom the mere letter is all-important. His hymns are evidences
of his spirituality. There is room for stanzas from
only a few of them:</p>
<div class="verse">
<p class="t0">“O splendor of the Father’s face,</p>
<p class="t">Affording light from light,</p>
<p class="t0">Thou Light of light, thou fount of grace,</p>
<p class="t">Thou day of day most bright.</p>
</div>
<div class="verse">
<p class="t0">Thee, in the morn with songs of praise,</p>
<p class="t">Thee, in the evening time, we seek;</p>
<p class="t0">Thee, through all ages, we adore,</p>
<p class="t">And suppliant of thy love we speak.”</p>
</div>
<p>In spite of the opposition of the Roman See, and the later
effort of Charlemagne, in his zeal for the Gregorian system,
to destroy all copies of the Ambrosian hymns and tunes, the
“Ambrosiani” still keep a small place in the Roman Breviary.</p>
<div class="pb" id="Page_122">122</div>
<p>Among the contemporaries of Ambrose, no hymnist stands
out more conspicuously than the Spaniard, Prudentius (348-424).
He also had been a lawyer and a man of affairs. He
had more literary gifts than Ambrose, and his poems show
more personality, more charm, more unaffected sincerity.
Bentley calls him “the Horace and Virgil of the Christians.”
A single stanza may illustrate his spirit and style:</p>
<div class="verse">
<p class="t0">“The bird, the messenger of day,</p>
<p class="t">Cries the approaching light;</p>
<p class="t0">And thus doth Christ, who calleth us,</p>
<p class="t">Our minds to life excite.”</p>
</div>
<p>Mention should be made of Fortunatus (530-609). He was,
like the later Marot of psalm-version fame, “the fashionable
poet of the day,” a precursor of the troubadours. Later in life
he became religious, a priest, an almoner of a monastery, and
finally Bishop of Poitiers. He wrote a processional to be used
at the reception of a piece of the true cross presented by Queen
Rhadegunda. The hymn “Vexilla regis prodeunt” has come
down the ages. Dr. Neale calls it “one of the grandest in the
treasury of the Latin church.” We make room for the first
and last stanzas of Dr. Neale’s translation:</p>
<div class="verse">
<p class="t0">“The royal banners forward go;</p>
<p class="t0">The cross shines forth in mystic glow;</p>
<p class="t0">Where he in flesh, our flesh who made,</p>
<p class="t0">Our sentence bore, our ransom paid.</p>
</div>
<div class="verse">
<p class="tc"><span class="gs">* * * * * * *</span></p>
</div>
<div class="verse">
<p class="t0">Hail, altar! Hail, O Victim! Thee</p>
<p class="t0">Decks now thy passion’s victory</p>
<p class="t0">Where life for sinners death endured,</p>
<p class="t0">And life, by death, for man procured.”</p>
</div>
<p>The influence and power of the Roman hierarchy were
steadily exercised against the use of hymns and in behalf of
the sole use of Scripture psalms and canticles. It is a far cry
from Gregory the Great to John Calvin and John Knox, demanding
the sole use of canonical material in the services of
<span class="pb" id="Page_123">123</span>
the church; and a like far cry from the Council of Toledo in
Spain in 633, which made a strong plea for the use of hymns
in the church’s devotions, to Isaac Watts and his prefaces to
his several collections of modified psalms and of hymns. It
was only toward the end of the twelfth century that hymns
of “human composure” were used in Roman churches, and
then were sung by clerical choirs in the larger basilicas of
the capital city. The people were still shut out from their use.</p>
<p>But the impulse to write devotional material for the church
service persisted. The Venerable Bede (672-735), scholar,
theologian, philosopher, historian, general encyclopedist, wrote
both Latin and Anglo-Saxon hymns in his faraway monastery
at Yarrow, England. Theodulph (d.821), Paulus Diaconus,
Odo of Cluny, Cardinal Damiana, and other minor hymnists
wrote hymns, some of which, transformed by skillful translators,
have found use in our day.</p>
<p>Notker, called Balbulus (850-912), of St. Gall in Eastern
Switzerland, became weary of the long-drawn-out notes of
the cadences of the final syllable of the “Alleluia,” which was
prolonged to enable the deacon to ascend to the rood-loft to
chant the Gospel. It was suggested that a text be supplied, a
syllable for every note. At first these texts had no metrical
form and were called Proses. Later they were given a definite
form and were called sequences, because they followed the
“Alleluia.” These sequences continued to be written for over
three centuries and were brought to technical perfection by
Adam of St. Victor.</p>
<p>These sequences, however, were an evidence of the abiding
urge for lyrical expression rather than a step in the progressive
development of the Christian hymn.</p>
<h3 id="c126">III. GREAT LATIN HYMNS</h3>
<p>A more important figure in our study of Latin hymns is
Rabanus Maurus (776-856), archbishop of Mainz, Germany, a
great scholar, an influential teacher, a profound theologian, a
<span class="pb" id="Page_124">124</span>
voluminous writer, as well as a great hymn writer. He had
been a notable figure in German church history before hymnological
investigators proved that he was the writer of the
great hymn, “Veni, Creator Spiritus,” the worthy successor
of Fortunatus’ “Vexilla regis prodeunt.” Its authorship had
been credited at different times to Ambrose, Gregory the
Great, Charlemagne, and Notker Balbulus. It is the only
metrical hymn officially recognized by the early English
Church. It is sung at high ceremonies like the coronation of
kings or the consecration of bishops. The accepted version is
by Bishop Cosin. It appears in our leading hymnals.</p>
<p>The next bead in our rosary of great hymns is “Veni, Sancte
Spiritus,” by the helpless little paralytic and humpback, Hermannus
Contractus (1013-1054). An excellent historian, a
renowned philosopher and theologian, a mathematician of unusual
attainments, in short a universal and encyclopedic
scholar, his chief glory now is that he wrote this hymn which
Archbishop Trench rated “as the loveliest of all the hymns in
the whole cycle of Latin sacred poetry.” There is space for
one stanza only, the third of this great hymn:</p>
<div class="verse">
<p class="t0">“O most blessed Light divine,</p>
<p class="t0">Shine within these hearts of thine,</p>
<p class="t">And our inmost being fill;</p>
<p class="t0">Where thou art not, man hath naught,</p>
<p class="t0">Nothing good in deed or thought,</p>
<p class="t">Nothing free from taint of ill.”</p>
</div>
<p>The tide of the years had been flowing quietly with only
here and there rapids or an eddy, but now the current was
hastening toward the great whirlpool of the Crusades. Hildebert,
Peter the Hermit, Bernard of Clairvaux, Abelard, Peter
the Venerable, Adam of St. Victor, stand out as lighthouses
on an uncharted sea.</p>
<p>Not the least of these was Bernard, the abbot of Clairvaux
(1091-1153), scholar, orator, statesman, and man of affairs, of
whom Archbishop Trent declares: “Probably no man during
<span class="pb" id="Page_125">125</span>
his lifetime ever exercised a personal influence in Christendom
equal to his; the stayer of popular commotions, the queller of
heresies, the umpire between princes and kings, the counsellor
of popes.” This does not suggest the writer of such a hymn
as “Jesu dulcis memoria,”<a class="fn" id="fr11_1" href="#fn11_1">[1]</a> the tenderest, sweetest sacred lyric
of the Middle Ages. But he was credited with it for centuries
until it was found in a manuscript of the eleventh century and
there credited to a Spanish Benedictine abbess, an origin more
consonant with its spirit and with its finished Latinity. Would
we knew more about her, this medieval precursor of Anne
Steele, Sarah F. Adams, Harriet Beecher Stowe, Elizabeth
P. Prentiss, and Fanny Crosby! Dr. S. W. Duffield holds
“Bernard to be the real author of the modern hymn—the
hymn of faith and worship”; but now the iconoclastic modern
hymnologist denies him even the authorship of the “Salve
Caput Cruentatum.”<a class="fn" id="fr11_2" href="#fn11_2">[2]</a></p>
<p>We know very little about the other Bernard, who was a
monk in the greater abbacy of Cluny; but his authorship of
the great indictment of the Roman church of his time, “De
Contemptu Mundi,” is undoubted. His great poem of three
thousand lines<a class="fn" id="fr11_3" href="#fn11_3">[3]</a> occupied itself with the vice and moral filth
which his pure soul detested. In his disgust with the moral
ordure in which his feet were immersed, he suddenly takes
wing and rises to the heights to contemplate “the Heavenly
Land.” Dr. Neale, out of scattered lines and phrases of the
original, with additions of his own, constructed the wondrous
mosaics which we delight to sing: “Brief life is here our portion,”
“Jerusalem, the Golden,” “For thee, O dear, dear country.”</p>
<p>One thinks of Thomas Aquinas (1227-1274) as the Aristotelian
logician, the profound Augustinian theologian, the
philosopher, the invincible protagonist of medieval orthodoxy,
rather than as a hymn writer; yet some of our present day
hymnals contain two communion hymns of profound thought
and deep feeling written by him. “Pange, lingua, gloriosi” is
<span class="pb" id="Page_126">126</span>
perhaps the finer; here is one stanza of Edward Caswell’s
version:</p>
<div class="verse">
<p class="t0">“Now, my tongue, the mystery telling</p>
<p class="t">Of the glorious body sing,</p>
<p class="t0">And the blood, all price excelling</p>
<p class="t">Which the Gentile’s Lord and King</p>
<p class="t0">Once on earth amongst us dwelling</p>
<p class="t">Shed for this world’s ransoming.”</p>
</div>
<p>The other, “Lauda, Sion, Salvatorem,” has been rendered by
Alexander R. Thompson, as follows:</p>
<div class="verse">
<p class="t0">“Zion, to thy Saviour singing,</p>
<p class="t0">To thy Prince and Shepherd bringing</p>
<p class="t">Sweetest hymns of love and praise,</p>
<p class="t0">Thou wilt never reach the measure</p>
<p class="t">Of thy most ecstatic lays.”</p>
</div>
<h3 id="c127">IV. MEDIEVAL DEVOTIONAL POEMS</h3>
<p>We now reach the consideration of hymns and poems of
great excellence in themselves but without the appeal, or practicability
as hymns, possessed by the foregoing. Some of them
appear in liturgical hymnals, or in more formal hymnals of
non-liturgical churches, but their use is limited.</p>
<p>Among these is Francis of Assisi’s “Canticle of the Sun,”<a class="fn" id="fr11_4" href="#fn11_4">[4]</a>
not a hymn, but a psalm of praise for all created things. For
our day it has chiefly literary and antiquarian interest.</p>
<p>His follower and biographer, Thomas of Celano (?-1255),
however, wrote a sequence or hymn that has intrigued the
interest of generation after generation. Mozart’s “Requiem”
uses parts of it as its text. Goethe introduces it in his “Faust.”
Unnumbered translations of it have been made into all civilized
languages. Theodore Parker called it the “damnation
lyric.” In the original “Dies irae” there were eighteen stanzas.
The version of W. J. Irons has fourteen stanzas of three lines
each, a few of which follow:</p>
<div class="pb" id="Page_127">127</div>
<div class="verse">
<p class="t0">“Day of Wrath! O day of mourning!</p>
<p class="t0">See fulfilled the prophets’ warning,</p>
<p class="t0">Heaven and earth in ashes burning!</p>
</div>
<div class="verse">
<p class="t0">Oh, what fear man’s bosom rendeth,</p>
<p class="t0">When from heaven the Judge descendeth,</p>
<p class="t0">On whose sentence all dependeth.”</p>
</div>
<p>Sir Walter Scott’s version is in four-line stanzas, three of which
are used to make a practicable hymn. But who in our self-complacent
age cares to sing any of these versions, portraying
“The Last Judgment”?</p>
<p>Another famous hymn, written by a follower of Francis of
Assisi, perhaps Jacopone da Todi, “the fool for Christ’s sake,”
is the “Stabat Mater Dolorosa.” It celebrates the sufferings,
not of Christ on the cross, but of Mary, his mother, standing
at its foot. It is the supreme Mariolatrous hymn in sentiment
and in diction. It is Roman, of course, not Catholic, and
interests us only as marking the sincerity and the depth of the
medieval sentiment and devotion to the Madonna.</p>
<p>This great hymn is noteworthy because of the many translations
into modern languages which have been made, seventy-eight
into German alone and as many more into English, in
whole or in part. Its emotional possibilities have appealed to
many music composers, including Palestrina, Pergolesi,
Haydn, Rossini, and Dvorak—settings varied in style from
Palestrina’s high dignity to Rossini’s almost theatrical treatment.</p>
<p>It must be remembered that the Greek hymns of the Eastern
church, and the Latin hymns of the Western, were not in
dead languages, as they appear to us, but in living languages,
the vernacular of the persons producing and using them.
While the common people may have spoken a different dialect,
the monks and clergy used the classic speech as a very
mother tongue. The hymns were for the most part a perfectly
spontaneous expression of religious conviction and feeling, a
<span class="pb" id="Page_128">128</span>
living product of vital experience, an instinctive expression of
profound faith.</p>
<p>In closing this rapid survey of a thousand years of Greek
and Latin hymns, one is impressed that they are all clerical—even
monastic—in type and character. There are in many of
them spontaneity, genuine feeling, and personal experience,
a profound sense of spiritual realities; yet over all of them falls
the shadow of the tonsured ecclesiastic, with his heart set on
the impressiveness of the forms of worship rather than on
the ultimate result in creating spiritual reactions in the individuals
of the congregation.</p>
<h3 id="c128">V. MEDIEVAL POPULAR HYMNODY</h3>
<p>Although the hymns whose origin we have been tracing were
used in enriching the services of the Roman Church, and
for guiding the meditations and devotions of the clerical
spiritually-minded readers, we get hints of a people’s hymnody
used privately and in public processions, usually in the common
speech of the region. It was the age of the Troubadours,
a time of universal song. It is unthinkable that a people in
whose lives religion was a commanding influence should have
no songs of their own about it.</p>
<p>But among the Albigenses and Waldenses and other pietistic
sects in remoter regions there must have been a hymnody all
their own. They had no clergy, no connection with the
Romish Church—were in utter opposition to its forms and
organization. Hence their natural impulse for worship and
praise compelled the creation of hymns of their own. They
were spontaneous utterances expressing their spiritual life in a
native vocabulary all could understand and appropriate.</p>
<p>Although this people’s hymnody has perished, because it
was produced and used by the populace and contemptuously
ignored or denounced by the clerical custodians of the literature
of their day, or by those of succeeding generations, the
hymns were widely sung in the homes, on the streets, at popular
<span class="pb" id="Page_129">129</span>
religious festivals, and even in the remoter village churches
where the clerical choirs were wanting.</p>
<p>It was these popular religious songs, rather than the more
stately hymns read and chanted by clerical and monastic
choirs, that kept alive the vital spark of religious feeling and
devotion to Christ. If most of the doves of song hovered over
the head of the Madonna during this long period, it was because
she was the mother of Jesus. It was as the representative
of all motherhood that she brought home the true manhood
of our Lord.</p>
<p>That this popular hymnody of the medieval period has
failed to survive is no proof of its worthlessness. It is no
condemnation of the sermons of Chrysostom, of Peter the
Hermit, of Martin Luther, or of a thousand sermons preached
every Sunday that they perish with the breath that gave them
utterance. They served a good purpose in their brief hour.
That hundreds of Watts’ hymns, and thousands by Charles
Wesley, are no longer sung, does not establish their uselessness,
but only that their spiritual as well as verbal idiom is not
adapted to the needs of our day.</p>
<div class="pb" id="Page_130">130</div>
<h2 id="ch129"><span class="h2line1"><i>Chapter XI</i></span>
<br />LUTHER AND THE GERMAN HYMN</h2>
<h3 id="c130">I. PRE-REFORMATION VERNACULAR HYMNS</h3>
<p>While there has been a traceable logical progress in the development
of the Christian hymn, as in that of material
creation, the generative relations are not always clear. The
link between Greek and Latin hymnody may be found in
Hilary of Poitiers in the fourth century, but thereafter for
five centuries they developed side by side along independent
lines.</p>
<p>The same may be said regarding the Latin and German
hymns, Luther furnishing the connection. But his connection
is not so apparent with the clerical Latin hymn as with the
general impulse toward the vernacular hymn.</p>
<p>Luther did not directly build upon the Latin hymns, although
he did translate a few of them, but on the popular
songs and hymns that were current in his day. Since the
eleventh century vernacular hymns and religious songs had
been in private use. The Gregorian rule that Scripture psalms
and canticles only should be sung in public services had been
strictly enforced in the monasteries and larger centers; but
even there the proses and sequences had been allowed—in
Latin, of course. The first hymns sung in the common speech
were enlargements of the short responses allowed the people,
“Kyrie eleison” and “Christe eleison” being surviving Greek
phrases which were used as refrains to the stanzas of the
<span class="pb" id="Page_131">131</span>
hymns. They were called “Leisen,” or “Leichen.” Our English
word “lay” is a derivative from the same source. Many
of these “Leisen” mingled German and Latin words.</p>
<p>Back of the wrong conception of the way of salvation and
the fanaticism expressed in self-torture, the Flagellant Monks
of the later medieval period had an intensity of conviction
and a selfless devotion that inevitably found expression in
song. Bands of them made pilgrimages through Christian
lands in processions, singing hymns to Mary and her Son in
the common speech, little recking that they were helping
to fertilize the soil from which should spring the Great Reformation.</p>
<p>When King Conrad was anointed in 1024, our information
is that “joyfully they marched, the clergy singing in Latin, the
people in German, each after his own fashion”, but this was
not a church service, it was a festival procession.</p>
<p>Vernacular hymns became more and more numerous during
the twelfth and thirteenth centuries. The troubadours and
minnesingers could not but stimulate their production, furnishing
the metrical and rhythmical models and no small part
of the hymns themselves, especially those glorifying the divine
motherhood of Mary. The monks, the custodians of the
literary and scholarly product of this age, had no motive for
making a record of these hymns, much less of their tunes, for
which, indeed, no adequate system of notation existed; hence
but little of this popular hymnody survives. It was not until
Gutenberg brought in the age of printing that some of it was
handed down to us.<a class="fn" id="fr12_1" href="#fn12_1">[1]</a></p>
<p>The great mystic, John Tauler (1290-1361), a Dominican
monk of Strassburg, and others, wrote hymns of profound
personal religious experience that were widely sung. John
Huss of Prague (1369-1415), the renowned Bohemian martyr,
wrote hymns in both Czech and Latin. In 1501 and 1505
Czech hymnbooks were issued, the first congregational hymnbooks
in the vernacular, the latter containing no less than
<span class="pb" id="Page_132">132</span>
four hundred hymns, while Luther’s first collection, in 1524,
nineteen years later, contained only eight.</p>
<p>It will be seen that the foundations of vernacular singing
by the people, with popular tunes, had been laid, deep and
wide, foundations on which Luther could later build his German
hymnody. In almost every particular he had been anticipated
by the Bohemian reformers, in vernacular hymns and
psalms, in the use of the people’s tunes, in the revision of
hymns current among the Catholics—by discarding their worship
of Mary and the saints—in the emphasis placed on music
as a vehicle for conveying Gospel truths and for the intensifying
of the needed propaganda.</p>
<p>In France, in England and Scotland, in the Netherlands,
the same impulses were felt. The fullness of the times had
been prepared, and the great protagonist and organizer of
the spiritual revolt against the hierarchy of Rome made of the
hymn, which the ecclesiastical builders had rejected, one of the
cornerstones of the new Church.</p>
<h3 id="c131">II. LUTHER’S RELATION TO GERMAN HYMNODY</h3>
<p>Luther’s objective in regard to the hymn was entirely different
from that of these representatives of traditional worship. He
did not have in mind the perfecting of a liturgical service on
the lines of ecclesiastical tradition, but the spiritual edification
of the mass of the people whom the liturgic monks had been
ignoring. While too appreciative of the Latin liturgy to cast
aside psalms and canticles, as well as sequences, he rejected
them as models for his hymns, and his creative impulse made
the more appealing and practical folk songs his basis of form
and spirit.</p>
<p>Luther was a great lover of poetry and music. In his
youth he went about singing in the streets and in private
homes. He knew both the popular and the churchly music
and was well prepared for his future post of liaison officer between
the Latin and the coming German hymnody.</p>
<div class="pb" id="Page_133">133</div>
<p>His great work in hymnody is that he took both the psalm
and the hymn from the clergy, put them into the vernacular
in metrical form, with popular tunes, and restored them to the
people. He added to the function of the hymn as worship
those of instruction, meditation, and exhortation. He added
an entirely new dimension to the value of the hymn, making
it a means of creating a religious atmosphere for the whole
life of the Christian—personal, family, community. He made
the German people a singing people and laid the foundations
for their later musical pre-eminence. As Dr. Benson says,
“He took it [the hymn] out of the liturgies and put it into
the people’s hearts and homes. He revived, that is to say,
Paul’s conception of hymnody as a spiritual function.”<a class="fn" id="fr12_2" href="#fn12_2">[2]</a></p>
<p>Luther’s hymns are the root out of which grew all our
Protestant hymnody. They are like Ambrose’s in their plainness
but, owing to their popular models, are superior in their
metrical variety and in their cheerfulness. They are purposely
cheerful: “When we sing, both heart and mind should be
cheerful and merry.” They had also a more definite evangelical
content, both objective and subjective, more personal
experience, more exhortation, thus immensely widening the
horizon of the hymn. Much of this was doubtless due to the
Hussite influence.</p>
<p>Luther anticipated Isaac Watts in demanding that the
psalm should be transformed into a hymn, retaining its important
subject matter, but excluding “certain forms of expression
and employing other suitable ones.”</p>
<p>The most important characteristic of the hymns of Luther
and his associates was the burden of biblical truth. “What
I wish is to make German hymns for this people, that the
Word of God may dwell in their hearts by means of song
also,” gives us his ideal and his practical purpose.</p>
<p>Luther’s hymns bear the characteristics of their writer. They
were straightforward, clear, and unpretentious, full of force
and strong of conviction. He was no poet. He was not conscious
<span class="pb" id="Page_134">134</span>
of literary impulses. His diction often is more forcible
than elegant. Indeed, he was a peasant within whose horizon
the elegant did not appear. Dr. Philip Schaff says of him:
“He had an extraordinary faculty of expressing profound
thought in the clearest language. In this gift he is not surpassed
by any uninspired writer; and herein lies the secret of
his power.... His style is racy, forcible, and idiomatic.”</p>
<p>Lord Selborne, an English hymnologist, remarks on Luther’s
hymns, “Homely and sometimes rugged in form, and for the
most part objective in tone, they are full of fire, manly simplicity,
and strong faith.”</p>
<p>Luther wrote thirty-eight hymns. Twelve of them were
based on Latin hymns, among others, “Veni, Redemptor
gentium,” “Veni, Creator Spiritus,” “O Lux beata Trinitas,”
and “Te Deum Laudamus”; four were rewritten pre-Reformation
hymns; seven were versions of Latin psalms; six
were paraphrases of other portions of Scripture, such as the
Ten Commandments and the Lord’s Prayer; nine were original
hymns.</p>
<p>Nine collections were issued by Luther, beginning with the
“Achtlieder Buch,” the first evangelical hymnbook in the
German language, issued in 1524. It contained but eight
hymns, four by Luther, three by Paul Speratus, court chaplain
at Koenigsberg, and one of unknown authorship. Later in
the year it was increased to twenty-five hymns, bringing fourteen
new hymns by Luther; it was called the “Erfurt Enchiridion.”
During this year, 1524, he wrote twenty-one of his
thirty-eight hymns. Five years later, 1529, he issued another
hymnbook containing fifty-four hymns. The issue of 1553,
seven years after his death, contained one hundred and thirty-one
hymns. Three of these nine issues had prefaces, as noteworthy
as those of Watts to his several books of psalms and
hymns in formulating the principles of the new Christian
hymnody.</p>
<p>Luther’s masterpiece, “Ein’ feste Burg ist unser Gott” (“A
<span class="pb" id="Page_135">135</span>
mighty fortress is our God”), is based on the forty-sixth Psalm.
It is one of the greatest hymns in the whole Christian
hymnody, great in itself, great in its influence on the Protestantism
of northern Europe. Ranke, the noted church historian,
says: “It is the production of the moment in which
Luther, engaged in a conflict with a world of foes, sought
strength in a consciousness that he was defending a divine
cause, which could never perish.” Carlyle recognized its
majesty, “a sound of Alpine avalanches, or the first murmurs
of earthquakes.” Calling up the inspiration it brought to the
Protestant armies, German and Swedish, in the religious wars
after the Reformation, Heine characterized it as “the Marseillaise
of the Reformation.” It has been recognized as the
national hymn of Protestant Germany.</p>
<p>A number of translations into English have been made.
Carlyle successfully reproduces its rugged strength in his version,
but for congregational use the translation of Rev.
Frederick H. Hedge, made in 1853, is more practicable.</p>
<p>Luther’s tune is worthy of the text in its ponderous majesty.
A small congregation, or a larger one that does not know it
very well, can do little with it; only a large congregation singing
lustily and in the characteristically German slow <i>tempo</i>
can do it justice.</p>
<p>His Christmas hymn, “Vom Himmel hoch da komm’ ich
her” (“From heaven above to earth I come”), his praise of
Jesus Christ, “Gelobet seist du, Jesu Christ” (“All praise to
Thee, eternal Lord”), a revision of a pre-Reformation popular
hymn, and his doctrinal hymn, rejoicing over the salvation
wrought out by Jesus Christ, “Nun freuet euch, lieb’ Christen
G’mein” (“Dear Christian people, now rejoice”), have been
very much beloved and were very effective in building up the
Protestant cause.</p>
<p>Luther deserves well of the Christian Church, not only because
of his own hymns, but because of the inspiration he
afforded others among his contemporaries, and to the generations
<span class="pb" id="Page_136">136</span>
since his day, to take up the writing of hymns.
Among the co-laborers in this field in his own generation
were Justus Jonas, Paul Eber, Erasmus Alber, Lazarus
Spengler, Paul Speratus, and Nicolaus Decius. Luther furnished
the idea, the inspiration, and the model for all these
hymnists. According to Koch, fifty-one writers contributed
hymns to swell the Lutheran hymnody between 1517 and
1560.</p>
<p>As was to be expected, the early German hymnody was also
enriched by a number of excellent hymns from the Bohemian
Brethren. They were translated by Michael Weiss and Johann
Roh, German ministers who had been associated with them.</p>
<p>No small part of the immediate success of Luther’s hymns
was the tunes which he provided. He used the melodies already
current among the people. He had providentially associated
with him musical helpers like Johann Walther and
Ludwig Senfl, who did the musical editorial work on his
issues. His settings of his “Ein’ feste Burg ist unser Gott” and
“Gelobet seist du, Jesu Christ” are still a valuable part of the
melodic treasury of the Christian Church.</p>
<div class="pb" id="Page_137">137</div>
<h2 id="ch132"><span class="h2line1"><i>Chapter XII</i></span>
<br />THE LATER GERMAN HYMNODY</h2>
<h3 id="c133">I. THE RISING STANDARD OF LITERARY VALUES</h3>
<p>After Luther’s death, the impetus of his hymnic influence
gradually lost its evangelical force, and a more self-consciously
literary coterie raised both the literary and musical standards.
Prominent among them was Bartolomaeus Ringwaldt (1530-1598),
who wrote “Es ist gewisslich an der Zeit”—the German
“Dies Irae”—which probably suggested the English hymn,
“Great God! what do I see and hear?” He was a very fertile
writer. Equally fertile was Nicolaus Selnecker (1530-1592),
who wrote nearly one hundred and fifty hymns.</p>
<p>More important than either was Philipp Nicolai (1556-1608),
a Westphalian pastor, whose “Wie schoen leuchtet der
Morgenstern” (“O Morning Star, how fair and bright”) and
“Wachet auf, ruft uns die Stimme” (“Sleepers, wake, a voice
is calling”) have been and are the most widely used of all
German hymns outside of Luther’s two masterpieces. Nicolai
wrote them while a great pestilence was raging in Unna, during
which fourteen hundred persons perished. He wrote the
hymns for his own comfort and that of his people. He also
wrote the chorales to which they are sung and which have
been called respectively the “Queen” and “King” of German
chorales. On the basis of their intrinsic value rather than on
that of adaptation to American spirit and type of church life,
they occasionally appear in our hymnals, but they are rarely
<span class="pb" id="Page_138">138</span>
or never sung. Miss Winkworth’s translation of the “King”
may be judged by the first stanza:</p>
<div class="verse">
<p class="t0">“Wake, awake, the night is flying;</p>
<p class="t0">The watchmen on the heights are crying,</p>
<p class="t">Awake, Jerusalem, at last!</p>
<p class="t0">Midnight hears the welcome voices,</p>
<p class="t0">And at the thrilling cry rejoices;</p>
<p class="t">Come forth, ye virgins, night is past!</p>
<p class="t2">The Bridegroom comes, awake,</p>
<p class="t2">Your lamps with gladness take;</p>
<p class="t3">Alleluia!</p>
<p class="t2">And for his marriage-feast prepare,</p>
<p class="t2">For ye must go to meet him there.”</p>
</div>
<p>This chorale was used by Felix Mendelssohn-Bartholdy as
one of the climaxes of his great oratorio, “St. Paul.”</p>
<p>The popular “Te Deum” of Germany, “Nun danket alle
Gott” (“Now thank we all our God”), was written by Martin
Rinkart (1586-1649). Miss Winkworth’s version is found in
most modern hymnals and deserves wide use, for it is entirely
practicable in a congregation of average size. Mendelssohn
used this chorale in his cantata “Lobgesang” with much effectiveness.
This great hymn was written at the conclusion
of the horrible and disastrous Thirty Years’ War. Michael
Altenburg (1584-1640) wrote the famous battle hymn of
Gustavus Adolphus with which the great Warrior King has
been credited; “Verzage nicht, du Haeuflein klein” (“Fear not,
O little flock, the foe”) is still used in Germany. However,
Luther’s “Ein’ feste Burg ist unser Gott” was the more usual
battle hymn, as Altenburg’s hymn was not introduced until
late in Gustavus Adolphus’ campaigns—indeed, has been
called his “Swan song.” Martin Opitz (1597-1639) deserves
mention as a valuable influence in regulating the meters and
in stressing poetical values. One of the immortal hymns
written during this period was that of Georg Neumark
(1621-1681), librarian of the Duke of Weimar, “Wer nur den
<span class="pb" id="Page_139">139</span>
lieben Gott laesst walten” (“If thou but suffer God to guide
thee”). Other hymn writers during this distressful period
were Johann Heermann (1585-1647), who wrote distinctive
hymns of prayer in a correct style and good versification;
Johann Rest (1607-1667), who wrote six hundred and eighty
hymns intended to cover the whole domain of theology (two
hundred of which were in common use in the German
churches); and Matthaeus Apelles von Loewenstein (1594-1648),
Johannes Matthaeus Meyfart (1590-1642), and Paul
Fleming (1609-1640).</p>
<p>This was a period of tribulation, calamity, and desperation,
which, as Miss Winkworth remarks, “caused religious men to
look away from this world” and led to a more subjective type
of hymn, expressing personal feeling. In general, the literary
value of the hymns of this period, in form and diction and
imagination, exceeded that of those of the previous generation.</p>
<h3 id="c134">II. THE GOLDEN AGE OF GERMAN HYMNODY</h3>
<p>The spiritual deepening of this age of sorrow, the widening
of the scope of the hymn by the inclusion of more subjective
elements, and the literary advance in the structure and diction
were preparing the way for the Golden Age of German
hymnody which followed the conclusion of the great religious
war. It extended from Paul Gerhardt (1604-1676) to Christian
Fuerchtegott Gellert (1715-1769).</p>
<p>Gerhardt had spent his young manhood amid the desolation
and difficulties of the Thirty Years’ War. He did not enter
the ministry until he was nearly fifty years old, having written
no hymns up to that time. A great preacher and a devoted
pastor, he was a man of deep piety and of unflinching loyalty
to the truth, as it was given to him to see it. As calamity
followed calamity, under strict divine discipline in preparation
for his great work in the writing of hymns, not only for the
German church, but also for the whole Christian world, he
united in himself the two tendencies, the one of viewing God
<span class="pb" id="Page_140">140</span>
and divine things in an objective way, characteristic of the
early Lutheran hymns, and the other, the expression of the
emotion produced by such contemplation in the heart of the
Christian, characteristic of the subsequent period. He had
the body of the older hymnody and the spirit of the new.</p>
<p>Moreover, Gerhardt was a poet. Indeed, his writings were
extensive lyrics rather than hymns. Some of them have furnished
several hymns. He was the Keble of German
hymnody, and his influence upon subsequent hymn writing
has been most helpful. There is a poetic fertility in the man
lacking in his predecessors.</p>
<p>He wrote one hundred and twenty-three hymns, of which
Dr. Philip Schaff declares that they “are among the noblest
pearls in the treasury of sacred poetry.” They are of such
uniform excellence that it is difficult to select those of outstanding
merit. “Befiehl du deine Wege” (“Give to the winds
thy fears”) was translated by John Wesley. “O Jesu Christ,
mein schoenstes Licht” (“Jesus, thy boundless love to me”) is
another most successful translation by the same hand. “O
Haupt voll Blut und Wunden” (“O sacred head, now
wounded”) leans hard on “Salve, caput cruentatum,” but has
a spirituality the older hymn does not so fully display. Thirty
of his hymns are in general use in the German churches, and
Germany recognizes him as her prince of hymnists, superior
even to Luther.</p>
<p>Gerhardt’s contemporaries, John Franck (1618-1677) and
John Scheffler (1624-1677), while fairly prominent do not compare
with him in thoughtfulness and literary felicity. Both
are more pietistic. The latter has a somewhat exuberant
style, intense and enthusiastic. John Wesley translated and
adopted one hymn known to our hymnals as “Thee will I
love, my strength, my tower.”</p>
<h3 id="c135">III. THE PIETISTIC HYMN WRITERS</h3>
<p>In the latter decades of the seventeenth century, Philipp
<span class="pb" id="Page_141">141</span>
Jacob Spener, August Hermann Francke, and Johann Anastasius
Freylinghausen led a strong movement of protest,
called Pietism, against the arid scholasticism and cold formalism
of the Lutheran church. It was a second Reformation,
emphasizing piety and sincere emotionalism. It postponed
the blight of Rationalism for a few decades and led a generation
into a devouter, more genuine, religious life.</p>
<p>Spener was a great leader and a good man, but no hymn
writer; Francke wrote but few hymns, and so this phase of
their work devolved on Freylinghausen. He was full of spirit,
with attractive rhythms and florid music. His songs were very
popular, but lacked permanent merit. Other writers of this
school were Schade, Schutz, and Rodigast.</p>
<p>Less immediately connected with the Pietistic movement,
but under its influence, are Hiller of South Germany, Arnold,
a professor at the University of Giessen, and Tersteegen of
Westphalia, a mystic, all of whom wrote very acceptable
hymns. Tersteegen was highly appreciated by John Wesley,
who translated his “Gott rufet noch; sollt’ ich nicht endlich
hoeren?” (“God calling yet! shall I not hear?”). “Gott ist
gegenwaertig! lasset uns anbeten” (“Lo! God is here; let us
adore”) and “Jedes Herz will etwas lieben” (“Something every
heart is loving”) are others found translated in current hymnals.
Lord Selborne speaks of him as “of all the more copious
German hymn writers after Luther, perhaps the most remarkable
man, pietist, mystic, and missionary, he was also a great
religious poet.” That he was a layman makes his religious
life all the more remarkable.</p>
<p>A more widely known and striking personality was Count
von Zinzendorf (1700-1760), a very devout but somewhat
erratic man. He became the patron saint of the Moravian
Church and shared—perhaps created—its zeal for foreign missions.
He spent some time in the United States, in eastern
Pennsylvania, and in the West Indies, doing evangelistic
work. He wrote two thousand religious lyrics, disfigured to a
<span class="pb" id="Page_142">142</span>
large extent by extravagances and by repulsive materialistic
similes and phrases. His associate and successor, Bishop
August Gottlieb Spangenberg, long resident in America, and
Bishop Christian Gregor also wrote very useful hymns. The
Moravian hymnody is all the more noteworthy in that it had
a great influence over the hymnic work of the Wesleys.</p>
<h3 id="c136">IV. GERMAN REFORMED HYMNODY</h3>
<p>The Reformed Church in Germany long followed Calvin
in exclusively using the Psalms of David, but finally felt the
impulse of the Lutheran hymnody. Tersteegen, mentioned
above, leaned to this branch of the German church, although
not officially connected with it. Joachim Neander (1650-1680),
a Reformed minister at Bremen, wrote some extremely
valuable and popular hymns of praise and was called the
Psalmist of the New Covenant. Among his best are “Sieh,
hier bin ich, Ehren-Koenig” (“Behold me here in grief draw
near”), “Lobe den Herren, den maechtigen Koenig der Ehren”
(“Praise to the Lord! He is King over all the creation”),
“Unser Herrscher, unser Koenig” (“Sovereign Ruler, King
victorious”), still sung in every pious home in Germany.</p>
<h3 id="c137">V. TRANSITION TO RATIONALISTIC HYMNS</h3>
<p>The transitional personality between this Pietistic and the
succeeding Rationalistic era, was Christian F. Gellert (1715-1769),
a professor in Leipzig University. He was a man of
sincere piety; he was a teacher, not only in the classroom, but
in all his literary efforts. He wrote moral <i>Tales and Fables</i>,
<i>Moral Poems</i>, <i>Didactic Poems</i>, as well as <i>Sacred Odes and
Hymns</i>. There were fifty-four of these, all in the same didactic
style. They lacked the rugged strength of Luther, the
poetical element of Gerhardt, and the mystic insight of Tersteegen;
but this very matter-of-factness made his writings immensely
popular. Of all his hymns, but one survives in our
modern hymnals, his Easter hymn, “Jesus lebt, mit ihm auch
ich” (“Jesus lives, no longer now”).</p>
<div class="pb" id="Page_143">143</div>
<h3 id="c138">VI. RATIONALISM IN HYMNODY</h3>
<p>German hymnody suddenly fell from its exalted Pietistic
rhapsodies into a crass materialism. Dr. Philip Schaff gives a
vivid glimpse into the situation: “He (Klopstock) was followed
by a swarm of hymnological tinkers and poetasters who
had no sympathy with the theology and poetry of the grand
old hymns of faith; weakened, diluted, mutilated, and watered
them, and introduced these misimprovements into the churches....
Conversion and sanctification were changed into self-improvement,
piety into virtue, heaven into the better world,
Christ into Christianity, God into Providence, Providence into
fate. The people were compelled to sing rhymed sermons on
the existence of God, the immortality of the soul, the delights
of reunion, the dignity of man, the duty of self-improvement,
the nurture of the body, and the care of animals and flowers.”</p>
<p>There is no poetical, much less religious, lyrical impulse in
rationalism, and the church lyrics of this period have left little
impress on the hymnody of the Christian Church. It was the
classic period of German literature, but it had few Christian
elements in it. Athens and Rome, not Jerusalem, were the
centers of intellectual interest; and it might almost be said
that it is a pagan literature.</p>
<h3 id="c139">VII. HYMNS OF RENEWED RELIGIOUS LIFE</h3>
<p>As in the immediate pre-Reformation age, in spite of the
decadence of religious life among the Roman Catholic leaders,
there was a semi-submerged piety that forced the Reformation
inside the church; so in this recrudescence of paganism in the
German church, there was a great body of earnest, pious
Christians who kept the spirit of true German devoutness
alive.</p>
<p>These were represented by Friedrich Gottlieb Klopstock
(1724-1803), who, although he set the disastrous fashion of
re-writing the older hymns in order to improve their literary
<span class="pb" id="Page_144">144</span>
value by removing archaisms and harsh lines, was yet a devout
man, writing the great German epic “Messias” and also some
deeply religious hymns that were too poetic for the common
people. Another devout writer was Johann Kasper Lavater
(1741-1801), better known by his treatise on physiognomy, who
wrote some hymns after the style of Klopstock, but with
greater popular success, for his “O suessester der Namen all”
(“O name than every name more dear”) has been translated
and used in English hymnals.</p>
<p>When the first intoxication of the new freedom from
churchly, and even moral, restraint passed away, the German
church again found able representatives to give expression to
its religious life. Friedrich von Hardenberg (1772-1801), also
called “Novalis,” a mining engineer of fine literary ability,
wrote some hymns of deep feeling and beautiful style. Friedrich
de la Motte Fouque (1777-1843), chiefly known as the
author of <i>Undine</i>, and as an outstanding representative of the
Romantic school in literature, wrote some very beautiful
hymns, including two missionary hymns of great excellence.
There is a literary and imaginative charm in these hymns, as
in his general German style, that betrays his Huguenot heredity.
Both these writers had the literary emphasis that somewhat
discounted the value of their hymns for the common people.
They stand, however, as landmarks of the subsidence of the
rationalistic period in German hymnody.</p>
<h3 id="c140">VIII. HYMNS OF PIETISTIC TYPE</h3>
<p>In the reaction from Rationalism, Pietism again came into its
own and a noble roster of sacred lyrists have given it expression.
This includes Ernst Moritz Arndt, professor of history
at the University of Bonn, whose “Wahres Christentum” was
as necessary to every Christian home as the Bible itself, a
patriot who won the hatred and persecution of Napoleon
Bonaparte by his patriotic songs, and whose hymns are no
small part of the treasury of later German hymnody. Among
<span class="pb" id="Page_145">145</span>
them are “Ich weiss, an wen ich glaube” (“I know in whom
I put my trust”), which is one of the German classics.</p>
<p>Friedrich Adolf Krummacher (1767-1845) is best remembered
by his hymn “Mag auch die Liebe weinen” (“Though
love may weep with breaking heart”) and his missionary
hymn, “Eine Herde und ein Hirt” (“One shepherd and one
fold to be”). Still others are Friedrich Ruckert (1789-1866)
whom Dr. Schaff calls “one of the greatest masters of lyric
poetry,” Albert Knapp (1798-1864), editor of the outstanding
critical collection of German hymns, “Der Liederschatz,” and
writer of many widely used hymns, and Meta Heusser-Schweizer
(1797-1876), of Switzerland, “the most eminent and
noble among all the female poets of our whole evangelical
Church.”<a class="fn" id="fr13_1" href="#fn13_1">[1]</a></p>
<p>The primate of them all is Karl Johann Philipp Spitta (1801-1859),
“the most popular hymnist of the nineteenth century.”
The fifty-fifth edition of his <i>Psalter und Harfe</i> appeared in
1889. He was an Hanoverian pastor. He had been under
rationalistic teachers at the University of Goettingen, but toward
the end of his university course had a profound religious
experience that affected all his future life; he wrote no secular
verse after that time. He was recognized as a mystic and
pietist and his promotion was antagonized on that ground.</p>
<p>Many of his hymns have been translated into English.
Among the most successful are “O Jesu, meine Sonne” (“I
know no life divided”), “Es kennt der Herr die Seinen” (“He
knoweth all His people”), “O selig Haus, wo man dich
aufgenommen” (“O happy home, where thou art loved the
dearest”), “O treuer Heiland, Jesu Christ” (“We praise and
bless thee, gracious Lord”).</p>
<p>Spitta may be called “the Gerhardt of the nineteenth century,”
for he has many of that great hymn writer’s qualities as
well as his popularity. He was sincerely devout, a man of an
abiding sense of God’s care and nearness; his style is smooth
and melodious as well as poetical.</p>
<div class="pb" id="Page_146">146</div>
<p>Spitta’s hymns are very practical in length and form of
stanza, and his themes grow out of the common needs and
experiences of general humanity. For this reason they have
been very largely translated into English—no less than thirty-three
of them—and, what is more significant, selected by
editors of hymnals, especially in England.</p>
<p>Karl von Gerok (1815-?) is another exceedingly popular
religious lyrist of the nineteenth century, hardly second to
Spitta. His “Palm-blaetter,” issued in 1857, reached its fifty-sixth
edition in 1886. By this time it has likely reached the
century mark. But his verses are religious poetry, not hymns,
and but a few centos have been admitted to German hymnbooks.</p>
<p>Recently the new rationalism and sensual materialism have
again submerged the religious life of Germany and the impulse
to write hymns has lost its urgency. Whether the
shattering of the illusion of world-wide power, and the sobering
effect of its terrible losses of men and of wealth, will
bring Germany back to her religious senses must be patiently
awaited by those eager for her highest welfare. The recrudescence
of paganism and its threat of renewed striving after
world dominance need not blast this pious hope. God’s hand
is still on the tiller of the German national bark, and the
heart of the German people is not represented by the bulletins
on the surface of its current events, caused by the pride of
nationalism in the shallow vocal stratum that stridently claims
the world’s attention.</p>
<p>In this hurried review of the development of the German
hymn from Luther to Spitta much that is interesting and
profitable has been omitted. But it is manifest that this German
hymnody holds the supreme place in the hymnody of
the Christian Church in all ages and nations. The reasons
for this lie on the surface: the German people are a singing
people, and the instinct to sing their thoughts and feelings is
stronger than in any other race. Again, they did not lose two
<span class="pb" id="Page_147">147</span>
centuries under the spell of Calvin’s devotion to the Hebrew
Psalms, as did Great Britain and America. In contrast with
the Latin and Greek hymnodies, it is the voice of the people,
not the restrained liturgical voice of the clergy.</p>
<p>The German hymnody is often ponderous and heavy, often
tediously prolix and dull, but at the heart of it is a profound
realization of the actualities of the Christian faith, and a responsiveness
to its appeals to the hearts of men, that one cannot
find elsewhere to the same extent.</p>
<div class="pb" id="Page_148">148</div>
<h2 id="ch141"><span class="h2line1"><i>Chapter XIII</i></span>
<br />METRICAL PSALMODY</h2>
<h3 id="c142">I. CALVIN’S CONCEPTION OF CONGREGATIONAL SINGING</h3>
<p>While Luther recognized the value of hymns as pre-eminent
in his work, he still left a large place for the Psalms, himself
making some admirable versions and inciting others to do the
same. But there were limits to his sympathy with an undue
and merely formal emphasis of them. He canceled the obligation
of repeating the whole Psalter once a week, instituted
by Cardinal Quimonez, as “a donkey’s burden.” Luther was
a reformer, changing only what needed changing in order to
secure a deeper spirituality. Calvin and Zwingli were not
reformers, but re-creators, setting wholly aside all the liturgy,
the ecclesiastical organization, the clerical rules, and the distinctive
doctrines of the Roman church, and building up an
entirely new church with no other sanction than their interpretation
of the Word of God.</p>
<p>Perhaps unconsciously, Calvin harked back to the Roman
attitude of Gregory the Great, in insisting on purely Scriptural
sources for the service of song. He was too good a Biblical
scholar not to know that the Apostolic Church used “hymns
and spiritual songs” as well as Psalms; indeed he never
categorically forbade hymns of “human composure.” But the
people had been forbidden the Bible. The Psalms had been
<span class="pb" id="Page_149">149</span>
sung by the clergy alone in an already dead language. Calvin
declared that “if a man sang in an unknown tongue, he might
as well be a linnet or a popinjay.” So he reacted somewhat
violently. He had a profound sense of the authority of the
Word of God, and his mind was possessed by the idea of the
divine sovereignty; hence religious rites of human origin
seemed trifling and negligible.</p>
<p>This attitude was emphasized all the more by the Latin
hymns sung and read in the churches, and on religious occasions,
whose chief burden was worship of the Madonna, and
even of the saints, against which his mind rose in outraged
horror.</p>
<h3 id="c143">II. CALVIN’S FOLLOWERS MORE EXTREME</h3>
<p>Human nature being what it is, it was inevitable that Calvin’s
followers should carry his ideas to an extreme, and mechanically
add the conclusion that hymns independent of the lyrics of
the Scriptures should be forbidden.</p>
<p>While Luther stressed the Biblical content of the hymns and
exalted the Psalms as the source of religious lyrical impulses,
Calvin and his disciples added a rigid and almost superstitious
regard for the mere form of the Scripture lyrics. They accepted
their distortion and mutilation in giving them a metrical
form as justified by the congregational necessity, and by
the evident devotional results among the people.</p>
<h3 id="c144">III. MAROT’S SUCCESSFUL VERSIONS</h3>
<p>Beneath his austerity Calvin evidently had an appreciation of
literary beauty and grace, for he developed an ambition to
clothe the Hebrew Psalms in a literary French metrical dress.
It was while this problem was exercising his mind that there
fell into his hands the French version of some of the Psalms
by Clement Marot (1497-1544), who had come under the influence
of Marguerite de Valois, the Huguenot princess, whose
<i>valet de chambre</i> he was during his early twenties. It is possible
<span class="pb" id="Page_150">150</span>
that he and Calvin met at Ferrara in 1535. Though the
work of a Huguenot poet, these lyrics were admired in high
political and social circles in France. Written in measures
fitting them to popular tunes, they were very popular among
the royal courtiers, Catholics as well as Protestants, and were
soon introduced into other countries.</p>
<p>That he was later persecuted by the Roman ecclesiastics only
recommended him the more to Calvin. Here was a poet of
high reputation, a skillful versifier of the Psalms, a fellow-sufferer
at the hands of the Roman hierarchy—why not commit
to his hands the task of supplying Calvin’s new church
with its needed book of Psalms? So Marot was called to
Geneva.</p>
<h3 id="c145">IV. DEVELOPMENT OF THE GENEVAN PSALTER</h3>
<p>In 1543, nineteen years after Luther’s first venture, the <i>Acht
Liederbuch</i>, appeared, <i>The Genevan Psalter</i> was issued in the
French language. It contained fifty psalms by Marot. Marot
died in 1544. The completion of the Psalter was committed
to Theodore Beza of Burgundy, who revised Marot’s verses,
eliminating the classical allusions and offensive gaiety. With
the help of Bourgeois, and later of Goudimel, in completing
and harmonizing the tunes, he finished the Psalter in 1562.<a class="fn" id="fr14_1" href="#fn14_1">[1]</a></p>
<h3 id="c146">V. ENGLISH PSALM VERSIONS BEFORE STERNHOLD</h3>
<p>There had been English versions of some of the Psalms before
Sternhold undertook the task. Bishop Aldhelm of Sherborne,
who died in 709 A.D., composed a complete psalter. Two
versions were due to Lutheran influence. That of Miles Coverdale,
<i>Ghoostly Psalms and Spiritual Songs</i>, appearing sometime
between 1530 and 1540, used some of the German
chorales, including the great “Ein’ feste Burg.”</p>
<p>The Wedderburn brothers of Dundee, Scotland, issued the
<i>Compendious Booke of Gude and Godlie Ballates</i>, also
known as <i>Dundee Psalms</i>, on the return of John Wedderburn,
<span class="pb" id="Page_151">151</span>
soon after 1539, from Wittenberg, where he had been under
the influence of both Luther and Melanchthon. Latin psalms
and hymns had no value with young people, he insisted in his
preface; “but when they hear it sung into their vulgar tongue,
or sing it themselves, with sweet melody, then shall they love
their God with heart and mind, and cause them to put away
bawdry and unclean songs.” While considerably better than
the songs the collection displaced, the new book was too
cheaply popular, and undignified in many of its religious parodies
of popular songs, to satisfy the elders of the Scottish
Kirk (!) and they tried to suppress it.</p>
<p>But the lines of religious, social, doctrinal, and political influence
connected England and Scotland with France and
Geneva so closely that it happened that the new English and
Scotch psalmody was based on the work of Marot and Calvin
and not on that of Luther. To human minds with some
sense of literary dignity and style and of a more spontaneous
expression of religious life and experience, it seems a great
pity!</p>
<p>The first response in England to the new version of Marot
was the Latin version of George Buchanan in 1548. Latin was
an entirely dead language to the commonalty, but was quite
generally familiar to people of scholarship and culture. This
version, in the scholarly language of all Europe (like the
Mandarin in China), found wide appreciation in intellectual
circles and many editions of it were issued. Of course, the
mass of the English people was not affected by it, and it
had little or no influence on the development of English
psalmody.</p>
<p>That there were vernacular versions already in use, is quite
certain. Robert Cowley anticipated Sternhold and Hopkins in
the versifying of the whole Psalter, issuing his work in 1549.
In the preface to this collection he refers to previous versions
which had passages “obscure and hard.” Probably they were
Lollard or Wycliffite in origin, for these “sweet singers,” precursors
<span class="pb" id="Page_152">152</span>
of the Reformation to come, worked among the lower
classes in the Low Countries as well as in England, singing
the Gospel in the vernacular.</p>
<h3 id="c147">VI. VERSION OF STERNHOLD AND HOPKINS</h3>
<p>Undoubtedly it was the French Psalms of Marot, and their
great popularity in the highest circles in France, that incited
Thomas Sternhold to undertake a like version in the English
language. His first issue, probably in 1547 and 1548, contained
nineteen Psalms. In 1549 he published another edition containing
thirty-seven Psalms. Sternhold died in 1549, leaving
but nineteen additional Psalms unpublished. Another poet,
John Hopkins, a near neighbor in Gloucestershire, contributed
to the edition of 1551. In 1562 the psalter was completed. Of
the one hundred and fifty Psalms, Sternhold had supplied
fifty-one, Hopkins sixty, all in common meter, and the rest
were contributed by various writers. It also contained metrical
versions of the Canticles, the Ten Commandments, the Athanasian
Creed, the Te Deum, the Lord’s Prayer, an English
version of the festival hymn, “Veni, Creator Spiritus,” and
several original English hymns.</p>
<p>This psalter had a popularity equaled only by <i>Hymns Ancient
and Modern</i> and the <i>Gospel Hymns</i> series in the recent
past. Within half a century more than fifty editions were
issued. By 1841 no less than six hundred and fifty different
editions had been absorbed by the religious public—more than
all other metrical versions combined.</p>
<p>This version was adopted by the Church of England in 1562
and continued to be used for nearly two hundred and fifty
years, despite its notorious crudities and imperfections, and
despite the many efforts made to supersede it by other versions
and by hymns. The singing of Psalms became universal. At
St. Paul’s Cross, after the service, there were sometimes six
thousand persons engaged in singing Psalms. It was a time
of genuine community singing.</p>
<div class="pb" id="Page_153">153</div>
<h3 id="c148">VII. THE SCOTCH VERSION</h3>
<p>In 1556, John Knox issued his <i>Anglo-Genevan Psalter</i>, based
on the 1551 edition of Sternhold and Hopkins, with some
alterations and additions. It naturally was greatly influenced
by Calvin’s <i>Genevan Psalter</i>. The <i>Anglo-Genevan Psalter</i> is
significant chiefly because of its influence on the Scotch
Psalter. Through that, it is the source of some psalms and
tunes still in use—notably, “All people that on earth do
dwell” and “Old Hundredth” to which the Long Meter
Doxology is sung.</p>
<p>The Scotch Psalter developed on a different line. The
Psalm editors of the Scottish Church accepted eighty-seven of
the Anglo-Genevan Psalms, added and somewhat altered
forty-two from the final Sternhold and Hopkins editions, and
supplied twenty-one from their own versifiers. It appeared in
1564 and was adopted by the General Assembly as its authorized
Psalm book.</p>
<p>In 1600 James I began a revision and himself wrote thirty-five
of the Psalms before his death. This psalter was completed
by William Alexander and was issued in 1630, being
known as the <i>Royal Psalter</i>. Charles I bound up a revised
edition of it with a new liturgy prepared by the Scotch bishops
in 1536, and ordered its exclusive use. But the Scotch clergy
declined with thanks, having no use for “the mass in English.”</p>
<p>But the question of a revision of this Psalter having been
raised, its deficiencies, which had been passively accepted, rose
up into consciousness. Rous’ version, adopted by the Westminster
Assembly in 1643, and hence widely used in England,
was made the basis of the new Scotch Psalter and, after seven
years of amending and revision, was adopted in 1650. It is
still used in Scotland and in American Presbyterian churches
whose eyes look back reverently to Scotland.</p>
<h3 id="c149">VIII. ROUS’ VERSION</h3>
<p>Rous’ version was made by Francis Rous, Provost of Eton
<span class="pb" id="Page_154">154</span>
College, Oxford, a Presbyterian lawyer and a man of public
affairs. It was an improvement on Sternhold and Hopkins,
but still left much to be desired in smoothness of versification
and grace of diction, owing to the continued loyalty to the
original phraseology of the Psalms. Hence it had some “awful
examples,” to use Matthew Arnold’s phrase, whose repetition
here might amuse but not edify. But it also had some happy
stanzas that we still are glad to sing, e.g.:</p>
<div class="verse">
<p class="t0">“The Lord’s my Shepherd, I’ll not want;</p>
<p class="t">He makes me down to lie</p>
<p class="t0">In pastures green; he leadeth me</p>
<p class="t">The quiet waters by.”</p>
</div>
<p>Compare this with Archbishop Parker’s version of the Shepherd
Psalm written in 1557:</p>
<div class="verse">
<p class="t0">“To feed my neede: he will me leade</p>
<p class="t">To pastures green and fat:</p>
<p class="t0">He forth brought me: in libertie</p>
<p class="t">To waters delicate.”</p>
</div>
<p>But with the blindness of the versifiers to the need of diversifying
their meters in the interest of varied and attractive tunes,
all the psalms were written in Common Meter.<a class="fn" id="fr14_2" href="#fn14_2">[2]</a></p>
<h3 id="c150">IX. TATE AND BRADY’S “NEW VERSION”</h3>
<p>A new version by two Irishmen, Nahum Tate and Nicholas
Brady, appeared in 1696. Tate was a literary man, a playwright,
a poet, and finally poet laureate. Brady had a rather
varied clerical career in Ireland and in England, becoming
chaplain to King William. This will partly explain why this
version received royal endorsement and gradually replaced
Sternhold and Hopkins in the English Church. It was
adopted by the Protestant Episcopal Church of America in
1789. The fact that the Nonconformist churches remained
faithful to the “Old Version” and to Rous’ version, no doubt
<span class="pb" id="Page_155">155</span>
had its bearing on the final acceptance of the “New Version”
by the Established Church.</p>
<p>This “New Version” was a little smoother than the “Old
Version,” and had a little more literary grace, but still was
shackled by devotion to “purity”—to the exact thought and
phraseology of the Hebrew Psalms. Nevertheless, as Gillman
says, “this book contained a plentiful supply of chaff, but perhaps
a few more grains of golden corn than Sternhold’s.”
“As pants the hart for cooling streams” and “Through all the
changing scenes of life” are still highly prized, and Tate’s
Christmas Carol, “While shepherds watched their flocks by
night” (which appeared in a supplement to the “New Version”)
is a masterly adaptation of the Nativity story. On the
other hand, Montgomery, in comparing the “New Version”
with the “Old Version,” remarks: “It is nearly as inanimate as
the former, though a little more refined.” Of the “Old Version”
he says: “The merit of faithful adherence to the original
has been claimed for this version and need not be denied, but
it is the resemblance which the dead bear to the living.” Old
Thomas Fuller wittily says of Sternhold and Hopkins that
“They are men whose piety was better than their poetry, and
they had drunk more of Jordan than of Helicon.” Thomas
Campbell even more harshly exclaims: “With the best intensions
and the worst taste, they degraded the spirit of Hebrew
poetry by flat and homely phraseology, and, mistaking vulgarity
for simplicity, turned into bathos what they found sublime.”
From the literary point of view these dicta are correct
enough, but they overlook what is vastly more important—the
high moral and spiritual uses which these homely versions so
amply served.</p>
<h3 id="c151">X. AMERICAN PSALMODY</h3>
<p>The Pilgrims brought with them from Leyden Ainsworth’s
version of the Psalms, published in Amsterdam—Genevan
rather than English in character. Its use was largely confined
<span class="pb" id="Page_156">156</span>
to the Pilgrims and their descendants. Presently the copies
of both versions became rare and the service of song depended
on the “lining out” of the verses.</p>
<p>The first book printed in America was the <i>Bay Psalm Book</i>,
an independent version of the Psalms made by Thomas
Welde, Richard Mather, and John Eliot, the apostle to the Indians,
a committee appointed in 1636. It was proposed to make
it more scriptural than either of the previous versions used.
It appeared in 1640. Its preface consisted of a discourse urging
that psalm-singing was both lawful and necessary. During
the next century and a half no less than seventy editions were
printed. It was improved by Dunster and Lyon and reprinted
in Great Britain, eighteen editions being called for in England
and twenty-two in Scotland. This was America’s first contribution
to the song service of the Mother Country, but by
no means the last.</p>
<p>It may be interesting to see just what literary style this
<i>Bay Psalm Book</i> could display, and a few specimens are herewith
given. The one hundred and thirty-seventh Psalm, for
instance, was given the following form:</p>
<div class="verse">
<p class="t0"><span class="vn">1. </span>“The rivers on of Babilon</p>
<p class="t2">There when wee did sit downe:</p>
<p class="t">Yea, even then wee mourned when</p>
<p class="t2">wee remembred Sion.</p>
</div>
<div class="verse">
<p class="t0"><span class="vn">2. </span>Our Harp wee did hang it amid</p>
<p class="t2">Upon the willow tree,</p>
<p class="t">Because there they that us away</p>
<p class="t2">led in captivitee,</p>
</div>
<div class="verse">
<p class="t0"><span class="vn">3. </span>Required of us a song and thus</p>
<p class="t2">ask mirth: us waste who laid,</p>
<p class="t">sing us among a Sion’s song</p>
<p class="t2">unto us then they said.</p>
</div>
<div class="verse">
<p class="t0"><span class="vn">4. </span>The Lord’s song sing can wee? being</p>
<p class="t2">in stranger’s land. Then let</p>
<div class="pb" id="Page_157">157</div>
<p class="t">loose her skill my right hand, if I</p>
<p class="t2">Jerusalem forget.</p>
</div>
<div class="verse">
<p class="t0"><span class="vn">5. </span>Let cleave my tongue my pallate on</p>
<p class="t2">if minde thee doe not I</p>
<p class="t">if chief joys or’e I prize not more</p>
<p class="t2">Jerusalem my joy.”</p>
</div>
<p>Cotton Mather’s rhymeless version was much more sensible
in its form, for it eliminated the chief handicap in producing
a literal version in metrical form.</p>
<p>As in the Psalm versions of England and Scotland, there
was a vivid consciousness of literary and poetic shortcomings;
but the sense of obligation to supply a literal translation of the
Hebrew overrode all impulses toward a smoother rendering.
The preface frankly states the position of the committee: “If
therefore the verses are not always so smooth and elegant as
some may desire or expect; let them consider that God’s altar
needs not our polishing (Ex. 20), for we have respected
rather a plaine translation, than to smooth our verses with
the sweetness of any paraphrase, and soe have attended Conscience
rather than Elegance, fidelity rather than poetry, in
translating the Hebrew words into English language and
David’s poetry into English meetre.”</p>
<p>There were other American Psalm versions, but the only
versions worth considering are the revisions of Isaac Watts’
Psalms, which will come up in introducing American
hymnody later.</p>
<h3 id="c152">XI. THE VALUE OF THE PSALM VERSIONS</h3>
<p>In smiling over this rude psalmody of England, Scotland, and
America, it is always to be remembered that these versions
were not a literary endeavor. Their ambition was to secure
‘purity,’ loyalty to the rather prosaically conceived doctrines
of the originals. There was no thought of poetry or of literary
finish. The meter and rhyme were practical devices to make
congregational singing possible.</p>
<div class="pb" id="Page_158">158</div>
<h2 id="ch153"><span class="h2line1"><i>Chapter XIV</i></span>
<br />THE ENGLISH HYMN BEFORE WATTS</h2>
<h3 id="c154">I. THE EARLIEST ENGLISH HYMN</h3>
<p>Just as Gregory the Great did not create the music that bears
his name, nor Luther the congregational hymnody, so Isaac
Watts did not originate the English hymnody of which he is
often termed the father. The Lollards, or Wickliffites, sang
metrical psalms, and also hymns, in the Low Countries, as
well as in England, long before Luther, or Marot, or Sternhold.</p>
<p>Moreover, the emphasis of the Psalms was an ecclesiastical,
clerical attitude, while the people at large to whom the Scriptures
had been a closed book, and the Psalms an unknown
language, sang such vernacular hymns as sprang up among
them; so, while we cannot doubt but that they sang some
metrical psalms, based on the Wickliffe English Bible, the
body of their singing was presumably hymnic.</p>
<p>Indeed, we must go back much farther to find the spring
of religious song that was to become a great river of praise.
Caedmon, a monk, originally a swineherd, of the early seventh
century, supplied the earliest recorded English hymns:</p>
<div class="verse">
<p class="t0">“Now must we hymn the Master of heaven,</p>
<p class="t0">The might of the Maker, the deeds of the Father,</p>
<p class="t">The thought of his heart.”</p>
</div>
<p>Undoubtedly the times before Caedmon were resonant with
<span class="pb" id="Page_159">159</span>
earlier songs, for the Venerable Bede (673-735) in the next
generation records the fact of a great deal of singing among
the people. Indeed, he himself wrote hymns in Anglo-Saxon,
as well as in Latin. Patrick and Colombo sang psalms and
hymns and made them a means of converting the pagans of
Ireland and Scotland.</p>
<h3 id="c155">II. ENGLISH HYMNODY SUBMERGED BY REFORMED PSALMODY</h3>
<p>The urge, not only for versifying all parts of the Scriptures,
including genealogies, but of actually singing them with
fervor, submerged the native impulse of song. The religious
loyalty to the letter of the Scriptures that followed closed the
door against the development of the English hymn.<a class="fn" id="fr15_1" href="#fn15_1">[1]</a></p>
<p>Professor Reeves in his <i>The Hymn as Literature</i> remarks:
“As vigorous and variegated and prevalent as this union of
popular poetry and popular music was in England, it strangely
weakened and paled at the one time in English history when
it might have been expected most to flourish. The Reformation,
born of that new freedom of thought and worship which
produces the best hymnody, did not in England, as it gloriously
did in Germany, speak out richly in the native vernacular
hymn.”<a class="fn" id="fr15_2" href="#fn15_2">[2]</a></p>
<h3 id="c156">III. ENGLISH LITERARY IDEALS UNFAVORABLE TO HYMN-WRITING</h3>
<p>But it was not only the blight of a narrow bibliolatry that prevented
the development of the English religious lyric. English
poetry had lost its spontaneity and its gracious simplicity
in a self-conscious devotion to false literary ideals.</p>
<p>The conception of a congregational hymn did not exist
among the literary men of the Reformation and later. Indeed,
that Reformation among the cultured and intellectual classes
was not so much a religious transformation as a political
and cultural repudiation of clerical bonds, and an enjoyment
<span class="pb" id="Page_160">160</span>
of new liberties. There was some religious feeling, of course,
but it was expressed in elaborate forms, not in spontaneous
simple lyrics that the people could sing.</p>
<p>The technic of the singing hymn had not been developed,
nor its limitations recognized. It took nearly a century before
even an approximation could be reached to the practicability
of the Lutheran hymns, which were written, not by literary
connoisseurs, but by men in close touch with the people, men
who had with singleness of mind striven to win and edify
them. As we study the English lyrics, written, not to be
sung, but simply to express the personal feelings of the writer
in the current style and in complicated measures, we see how
far English poets had to go before a practicable singing hymn
could be written.</p>
<p>The conceptions of poetry, the prevalent grandioseness of
style, the studied phrasemaking, the excessive Latinity of
vocabulary among distinctively literary men, made the simplicity
needed in a congregational hymn impossible. Despite
Mr. Horder’s enthusiasm over the possible use Luther would
have made of John Milton, the German hymnody creator
could have done nothing with the ponderous large-planning
author of <i>Paradise Lost</i>, with his wealth of classical allusions
and mythology, and his phrasing rich with preciosity. Milton’s
Psalm versions, fine as they are, were simply not singable by
the commonalty of his time who were to be depended on to
do the singing. He was a writer of odes, not of singing
hymns.</p>
<p>Here is a literary hymn—balancing phrases, piling up antitheses,
consciously seeking striking and euphonious combinations
of words:</p>
<div class="verse">
<p class="t0">“I praise Him most, I love Him best, all praise and love is His;</p>
<p class="t0">While Him I love, in Him I live, and cannot live amiss.</p>
<p class="t0">Love’s sweetest mark, laud’s highest theme, man’s most desired Light,</p>
<p class="t0">To love Him life, to leave Him death, to live in Him delight.”</p>
</div>
<div class="pb" id="Page_161">161</div>
<p>The writer of the foregoing, Robert Southwell, a Romanist
martyr, writing in prison, could write simple lyrics out of the
fullness and genuineness of his religious experience, but it was
not in the accepted fashion. What Protestant dare refuse to
sing this simple hymn of his?</p>
<div class="verse">
<p class="t0">“Yet God’s must I remain,</p>
<p class="t">By death, by wrong, by shame;</p>
<p class="t0">I cannot blot out of my heart</p>
<p class="t">That grace wrought in his name.”</p>
</div>
<h3 id="c157">IV. THE DEVELOPMENT OF THE TECHNIC OF WRITING SINGING HYMNS</h3>
<p>All these writers, and many others that might be mentioned,
had not acquired the technic of congregational hymn writing.
They either did not recognize the limitations of the singing
hymn, or refused to be hampered by its restraints.</p>
<p>But presently the idea of the singing hymn defined itself.
Thomas Campion in 1613 issued a number of lyrics that combined
spiritual insight, literary grace, and practical availability
to a hitherto unattained degree. Dr. Benson characterizes his</p>
<div class="verse">
<p class="t0">“Never weather-beaten sail</p>
<p class="t0">More willing beat to shore,”</p>
</div>
<p>as “among the loveliest of the lyrics expressing the heavenly
homesickness.” Campion was a musician as well as a poet,
which partly accounts for the singability of his hymns.</p>
<p>In 1623 George Withers issued a complete hymnbook for
the Established Church. It was made up of Scriptural paraphrases
and hymns for special occasions. The hymns are
superior to previous attempts in structure and method, in their
simple piety and practical purpose, and in their availability for
actual congregational singing. But in the midst of admirable
lines there were strange lapses in taste. The hymn whose
first verse began so auspiciously,</p>
<div class="verse">
<p class="t0">“Come, oh, come, in pious lays</p>
<p class="t0">Sound we God Almighty’s praise;</p>
<div class="pb" id="Page_162">162</div>
<p class="t0">Hither bring in one consent</p>
<p class="t0">Heart and voice and instrument,”</p>
</div>
<p>makes the singing congregation a conductor directing a vast
chorus:</p>
<div class="verse">
<p class="t0">“From earth’s vast and hollow womb</p>
<p class="t0">Music’s deepest bass may come;</p>
<p class="t0">Seas and floods, from shore to shore,</p>
<p class="t0">Shall their counter-tenors roar,” etc.</p>
</div>
<p>Clever in a way, but hardly devotional!</p>
<p>Withers’ “Musicians’ Hymn” has a very practical hint to the
“singers’ gallery,” as well as to the congregation:</p>
<div class="verse">
<p class="t">“He sings and plays</p>
<p class="t0">The songs which best Thou lovest,</p>
<p class="t">Who does and says</p>
<p class="t0">The things which Thou approvest.”</p>
</div>
<p>What Withers’ influence on subsequent English hymnody
might have been we can only conjecture: the Company of
Stationers boycotted his book because he had secured the
king’s order to bind it up with the Psalter and shut it out
from the regular channels of trade. His second collection,
“Hallelujah,” was even more practicable and candidly didactic
in style. But Withers had but a slight, if any, influence, for
Sternhold and Hopkins still ruled the worship of the churches.</p>
<p>His immediate successors in hymn writing, Herbert, Donne,
Crashaw, and Vaughan, were not influenced by his practical
spirit and sang to please themselves, not to lead the congregation.</p>
<p>George Herbert (1593-1633) was a devout soul, full of a
usually charming fantasy and fertile in imagery; but antithesis
was still an allurement to poets in his generation. His “Antiphon”
makes an effective hymn, but the inevitable contrast is
still there:</p>
<div class="verse">
<p class="t0">“The heavens are not too high,</p>
<p class="t0">His praise may thither fly;</p>
<div class="pb" id="Page_163">163</div>
<p class="t0">The earth is not too low,</p>
<p class="t0">His praises there may grow.”</p>
</div>
<p>Donne, Crashaw, and Vaughan all share in the quaintness
of Herbert and also in his general hymnic impracticability.</p>
<p>Robert Herrick (1591-1674), the singer of rather worldly
songs, but a literary artist withal, in his “Litany to the Holy
Spirit” reaches more nearly up to the ideal of the singing
hymn:</p>
<div class="verse">
<p class="t0">“In the hour of my distress,</p>
<p class="t0">When temptations me oppress,</p>
<p class="t0">And when I my sins confess,</p>
<p class="t">Sweet Spirit, comfort me.”</p>
</div>
<p>But when in the second stanza he descends to a description
of a feverish sleepless night,</p>
<div class="verse">
<p class="t0">“When I lie within my bed</p>
<p class="t0">Sick in heart and sick in head,</p>
<p class="t0">And with doubts discomforted,</p>
<p class="t">Sweet Spirit, comfort me,”</p>
</div>
<p>a doubt of its congruity on the lips of a crowd of worshipers
begins to rise. But when in the fourth and fifth verses one
is asked to sing,</p>
<div class="verse">
<p class="t0">“When the artless doctor sees</p>
<p class="t0">No one hope but of his fees,</p>
<p class="t0">And his skill runs on the lees,</p>
<p class="t">Sweet Spirit, comfort me.</p>
</div>
<div class="verse">
<p class="t0">When his potion and his pill,</p>
<p class="t0">His or none or little skill,</p>
<p class="t0">Meet for nothing but to kill,</p>
<p class="t">Sweet Spirit, comfort me,”</p>
</div>
<p>one understands why, despite some fine lines, hymnal editors
hesitate to use it.</p>
<p>Richard Baxter (1615-1691), chiefly remembered by his
<i>Saints’ Everlasting Rest</i> and <i>Call to the Unconverted</i> and a
<span class="pb" id="Page_164">164</span>
mass of other most useful writings, prepared a metrical psalter
which found little response; he also wrote some poetry, but,
as a child of his age, delighted in antithesis. One of his books
of poetry had as its subtitle <i>The Concordant Discord of a
Broken-healed Heart</i>. His hymns, however, are simple in
style and make a close approach to the practicable type. Two
of them are still largely in use: “Lord, it belongs not to my
care” and “Ye holy angels bright.” Had the churches in his
day given a fair opportunity, or furnished the inspiration of
demand, Baxter might have been one of our great hymnists,
superior to Watts in his deeper spirituality.</p>
<p>John Austin (?-1669) wrote some excellent hymns for a
book of “Devotions” for family use. Among them is</p>
<div class="verse">
<p class="t0">“Blest be Thy love, dear Lord,</p>
<p class="t">That taught me this sweet way,</p>
<p class="t0">Only to love Thee for Thyself</p>
<p class="t">And for that love obey,”</p>
</div>
<p>which still finds a worthy place in our hymnals.</p>
<p>About this time (1616) the long poem, “Hierusalem, my
happie home,” appears to have been written. Only the initials
F. B. P. are attached to the manuscript, now in the British
Museum. It is conjectured that they stand for Francis Baker
Priest. Out of it have been fashioned two very useful hymns:
“Jerusalem, my happy home,” by Joseph Bromehead in 1795,
and “O mother dear, Jerusalem,” by an unknown hand. The
debt of the original to the Latin is quite evident, but it has
original values as well. Aside from its length, a common
fault in its time, it approaches the final type of the congregational
hymns very nearly in its simplicity, devoutness, and in
its practicable measure.</p>
<p>Closely allied to the Herbert school of religious lyrics, Bishop
Thomas Ken (1637-1711) had the advantage of belonging to
a later generation in which the conception of the congregational
hymn had begun to crystallize into a definite form.
<span class="pb" id="Page_165">165</span>
His Morning and Evening Hymns are both simple in structure—in
Ambrose’s iambic long meter—free from affectations and
bizarre rhetoric, easily comprehensible, and devout and spiritual.
They have been accepted as among the best hymns in
the language.</p>
<p>The doxology with which the two hymns close has been
sung more frequently and with greater elevation of mind and
heart than any other four lines in all earth’s literature. There
is in this doxology a nobility, a majesty, a comprehensiveness
of praise which have not been approached elsewhere
outside of the choruses found in the Book of Revelation. English
hymnody had at last found its voice, its spirit, and its
model.</p>
<p>The conception of the congregational hymn had now been
clearly defined and, from Bishop Ken on, English hymnody
was established as a distinct department of English lyrical
poetry. Hymn writers thenceforward were content to accept
the mediocrity Montgomery later called for. The difficulty
was that the English Protestant churches, still psalm-fanatic,
were not ready to sing the hymns they needed so much for
their highest spiritual development, and which now began
to be supplied.</p>
<p>That the idea of singing hymns of “human composure” was
making progress is evidenced by the issue in 1659 of the first
collection of hymns, <i>A Century of Select Hymns</i>, by William
Barton (1603-1678). He had issued a collection of versified
Psalms in 1644 and a little book of Psalms and hymns of
thanksgiving in 1651. A little later he published a review of
the current Psalm version discussing its “errors” and “absurdities.”
He issued six collections during his lifetime, most of
whose content we would recognize as hymns. His work has
little interest to us except as it, as well as that of Wither,
Baxter, and Mason, helped to clarify the ideas of the young
man Watts.</p>
<div class="pb" id="Page_166">166</div>
<h3 id="c158">V. THE IDEAL OF THE SINGING HYMN REALIZED</h3>
<p>It was the lack of preparation on the part of the churches,
rather than any essential inferiority to Isaac Watts, that prevented
John Mason (?-1694) from being recognized as the
father of English hymnody. Watts’ superiority lay in his
having an intenser consciousness of the greater value of the
free hymn and the strength and ability to force the issue to a
final conclusion.</p>
<p>Mason’s hymns were the first to be used in regular congregational
worship. Twenty editions of his <i>Spiritual Songs</i> were
issued; considering the times and the small population, this
was a marvelous success. This collection may be considered
the thin edge of the wedge, later driven by Watts, between
the churches and psalmody. Horder in his <i>Hymn Lover</i> declares
that “rarely did Watts rise to the height of thought
and beauty of expression which are found in Mason’s hymns.”</p>
<p>One of Mason’s most widely used hymns is</p>
<div class="verse">
<p class="t0">“Now from the altar of my heart</p>
<p class="t">Let incense flames arise;</p>
<p class="t0">Assist me, Lord, to offer up</p>
<p class="t">Mine evening sacrifice.</p>
</div>
<div class="verse">
<p class="t0">Awake, my Love! awake, my Joy;</p>
<p class="t">Awake, my Heart and Tongue:</p>
<p class="t0">Sleep not: when Mercies loudly call,</p>
<p class="t">Break forth into a Song.”</p>
</div>
<p>High authority claims that Mason’s hymn, “Thou wast, O
God, and Thou wast blest,” is one of the best in the language.
Its third verse is particularly noble:</p>
<div class="verse">
<p class="t0">“To whom, Lord, should I sing but Thee,</p>
<p class="t">The Maker of my tongue?</p>
<p class="t0">Lo, other lords would seize on me,</p>
<p class="t">But I to Thee belong.</p>
<div class="pb" id="Page_167">167</div>
<p class="t0">As waters hasten to their sea,</p>
<p class="t">And earth unto its earth,</p>
<p class="t0">So let my soul return to Thee,</p>
<p class="t">From whom it had its birth.”</p>
</div>
<p>His influence on Watts was very considerable. George MacDonald
says of Mason’s hymns: “Dr. Watts was very fond
of them; would that he had written with similar modesty of
style.” Mason was made to supply many a good line to the
hymns of Watts, we are told by those who have compared
the hymns of the two writers.<a class="fn" id="fr15_3" href="#fn15_3">[3]</a></p>
<p>The hymns are good, because the writer was good! Richard
Baxter styled him “the glory of the Church of England,” saying
that “the frame of his spirit was so heavenly, his deportment
so humble and obliging, his discourse of spiritual
things so weighty, with such apt words and delightful air,
that it charmed all that had any spiritual relish.”</p>
<p>Before closing this chapter, mention must be made of Joseph
Addison (1672-1719), who is so widely known because of his
connection with the famous <i>Spectator</i>, a weekly devoted to
essays on various topics, literary and otherwise. While his
essays are his chief claim to literary honor, he wrote five
hymns, three of which are found in most of our larger hymnals:
“The spacious firmament on high,” “When all thy
mercies, O my God,” “How are thy servants blest, O Lord.”
These hymns are all most thoughtful and felicitously expressed.
They are admirably adapted for the worship of God,
but they too unanimously ignore the higher attributes of the
divine nature as manifested in Jesus Christ, and the salvation
he wrought out for fallen and needy humanity, to take a
high place in Christian Hymnody. The same is true of
Psalms, of course, but they were written before Christ appeared.</p>
<div class="pb" id="Page_168">168</div>
<h2 id="ch159"><span class="h2line1"><i>Chapter XV</i></span>
<br />ISAAC WATTS AND HIS PERIOD</h2>
<h3 id="c160">I. THE HYMNIC NEED OF THE TIME</h3>
<p>We have now reached the point in the development of the
English hymn where the shortcomings of the metrical versions
of the Psalms were keenly realized, and where the conception
of the practicable congregational hymn was clarified and the
model definitely established.</p>
<p>Someone of combative courage and of organizing ability
was needed who would break down the wall of mere usage
and custom in the churches—of the sheerly mechanical tradition
and mental inertia; all the better, if he could replace the
outworn Psalm versions with practicable congregational hymns
that would more intelligently and efficiently voice the faith
and the experience of God’s people. He needed to be a man
of clear vision of the essential lyric needs of the church, of a
clear conception of the type of hymns best fitted to supply
those needs, of literary culture and adaptativeness, and of a
high moral courage to face and overcome the extreme conservativeness
that seems to be inherent in all ecclesiastical
organizations.</p>
<h3 id="c161">II. THE LIFE OF WATTS</h3>
<p>In the distinct providence of God, the man appeared, exactly
fitted for the important task. Isaac Watts was born at
Southampton, England, July 17, 1674, the son of a very intelligent
<span class="pb" id="Page_169">169</span>
and devout schoolmaster, who during the reign of
Charles II was imprisoned and exiled from his family for his
nonconformity. Isaac was extraordinarily precocious, studying
Greek and Hebrew at the age of eight years, writing verses
when a mere child, and attempting Latin and English poetry
in his schooldays. His brilliant scholarship brought him offers
of a career at one of the universities, but he refused, being
staunch in his nonconformity.</p>
<p>He became a Nonconformist minister in 1698 and pastor of
the Independent Church, Berry Street, London, in 1702. His
health being frail, owing to his excessive study as a student,
he was given an assistant, Rev. Samuel Price, with whom he
spent “many harmonious years of fellowship in the Gospel.”</p>
<p>Visiting Sir Thomas Abney, a staunch Dissenter living at
Theobalds in Hertfordshire, for a week, Watts was persuaded
to remain with him and his wife permanently, making
his home with them the rest of his life. He never married.
His health was always precarious, and his pastorate at the
Berry Street Independent Church, which ended only with his
death, was largely nominal.</p>
<p>We rarely think of Isaac Watts as anything more than a
hymn writer, but his intellectual activities were wide and his
writing outside of hymnody extensive. He wrote a number of
treatises on Theology. His textbooks on Geography, Astronomy,
and Logic were used in the English universities, and at
Yale and Harvard.</p>
<h3 id="c162">III. WATTS AS A HYMN WRITER</h3>
<p>Watts had been recognized from childhood as having a talent
in the making of verses. Returning from a church service in
Southampton, he sharply criticized the hymns of Barton—an
inferior contemporary of John Mason. His devout father, a
deacon in the church, playfully, perhaps seriously, replied that
he should try his skill in supplying a better one. The challenge
was accepted and he brought his father the hymn:</p>
<div class="pb" id="Page_170">170</div>
<div class="verse">
<p class="t0">“Behold the glories of the Lamb</p>
<p class="t">Amidst his Father’s throne;</p>
<p class="t0">Prepare new honors for his name,</p>
<p class="t">And songs before unknown.”</p>
</div>
<p>He little realized that it was his life’s most illustrious task to
fulfill the exhortation of the last two lines.</p>
<p>The success of the new hymn when lined out to the congregation
and sung by them led to a demand for more. Thus
unconsciously and unpretentiously was ushered in a new
epoch in the devotional singing of the Christian Church.
Presumably this occurred in his twenty-first year, for this and
the succeeding year were spent at home in Southampton in
varied studies and in writing hymns.</p>
<p>These hymns seem to have remained in manuscript for some
years, despite the earnest protest of his younger brother, who
declared that “Mason now reduces this kind of writing to a
sort of yawning indifference, and honest Barton chimes us
asleep.” This literary judgment of young Enoch must not
be taken too seriously, except as expressing his eagerness to
have his brilliant brother’s hymns brought before the public.</p>
<p>It was nearly or quite ten years after the first hymn that a
collection of hymns and odes and other poems, <i>Horæ Lyricæ</i>,
was issued, in 1706. It contained twenty-five hymns, four
psalm paraphrases, and eleven religious songs in varied measures
and meters. It also contained elegies, odes, and blank
verse of a purely literary character. In his preface he suggests
the spirit and methods which should later be more fully
developed. “The hymns were never written to appear before
the judges of wit, but only to assist the meditations and worship
of vulgar Christians.”<a class="fn" id="fr16_1" href="#fn16_1">[1]</a></p>
<p>In 1709 the second edition of the <i>Horæ</i> furnished an increased
number of hymns. In the preface of this edition he
confesses that in the hymns of the <i>Horæ</i> “there are some expressions
which are not suited to the plainest capacities, and
<span class="pb" id="Page_171">171</span>
differ too much from the usual methods of speech in which
holy things are proposed to the general part of mankind.”</p>
<p>The hymns contained in the more popular <i>Hymns and
Spiritual Songs</i> in 1707, and in the augmented edition of 1709,
were of a plainer type for “the level of vulgar capacities.” The
edition of 1709 contained two hundred and fifty-five hymns,
seventy-eight paraphrases, and twenty-two communion hymns.
The hymns were in only three meters, Long, Common, and
Short. Watts had an eye single for practicability.</p>
<p>The four Psalm versions contained in his <i>Horæ Lyricæ</i>
had a prefatory note, “An essay on a few of David’s Psalms
translated into plain verse, in language more agreeable to the
clearer revelations of the Gospel,” which makes certain that
he had already clearly in mind the evangelical psalter which,
despite his absorption in other tasks and his long illness in
1712, finally appeared in 1719, “The Psalms of David imitated
in the language of the New Testament and apply’d to the
Christian state and worship.” Watts excluded twelve Psalms
entirely and omitted passages from some of the one hundred
and thirty-eight that were retained, because they were not
adapted to Christian use.</p>
<p>Although he never married, Watts was very fond of children.
In 1715, in the midst of his program for the public
service of song, his <i>opus magnum</i>, he prepared his “Divine
Songs, attempted in easy language for the use of children.”
It was to be used in connection with the “Catechism” he had
prepared for their use. It was the first collection of its kind
and was the forerunner of the immense supply of children’s
songs that was to grow out of the activities of the Sunday
school. One is amazed that the writer of “When I survey the
wondrous cross,” or “Our God, our help in ages past,” could
write so tender and graceful a lullaby as</p>
<div class="verse">
<p class="t0">“Hush, my babe, lie still and slumber,</p>
<p class="t">Holy angels guard thy bed!</p>
<div class="pb" id="Page_172">172</div>
<p class="t0">Heavenly blessings without number</p>
<p class="t">Gently falling on thy head.”</p>
</div>
<h3 id="c163">IV. WATTS’ ARGUMENTS FOR THE HYMN</h3>
<p>However kindly we may estimate the value of Watts’ hymns
and of his evangelical metrical versions of the Psalms, we must
recognize that his service as the protagonist of the free hymn
is quite as great. His hymns and evangelical psalter would
likely have suffered the fate of those of Wither and Mason,
his immediate predecessors, had he not written attractive and
practicable congregational hymns and versions, and not accomplished
two other results essential to the substitution of
the free hymn for the often grotesque Psalm versions.</p>
<p>He did not simply write a miscellaneous lot of religious
lyrics and shoot them like arrows into the air; he had a clear
and efficient theory of church song, recognizing not only the
varied needs, but the psychology underlying those needs, and
produced “a system of praise” that supplied those needs and
conciliated current prejudices.</p>
<p>Again, in his prefaces and in his <i>Essay towards the Improvement
of Psalmody</i>, he laid hymnological foundations
that not only prepared the way for the introduction of his
own hymns and versions, but also for such a fresh consideration
of the whole subject as led to the revolution in the English
song service; from these have come the freedom and spontaneity,
genuineness and sincerity, definiteness of purpose, and
deepening of personal experience which have blessed succeeding
generations.</p>
<p>His supreme merit, in this definite onslaught on the rigid
literalism of the churches, was that he not only brought destructive
criticism, but supplied an adequate substitute for that
which he condemned.</p>
<p>Watts denied the obligation to sing the Bible. The Scriptures
were the Word of God to the soul and the hymn was the
work of the soul in response to God. He further denied that
<span class="pb" id="Page_173">173</span>
the Book of Psalms was given as a hymnbook for the Christian
Church. It was not even adapted to its use, for it was
distinctly Jewish and not Christian in ideals and spirit. “Some
of ’em are almost opposite to the spirit of the Gospel; many
of them are foreign to the state of the New Testament and
widely different to the present circumstances of Christians.”
Before they can be sung in a Christian service they must be
rewritten as if David were a Christian and not a Jew.</p>
<p>Even allowing that there was an obligation to sing the
Word of God, Watts denied that the metrical Psalm was the
pure Word of God. The demands of meter and rhyme so
refashioned and even mutilated the Psalms that they no
longer were the words of the Scripture, nor even its ideas.
Its inspiration suffered a total eclipse under the hands of the
versifiers, and the metrical Psalm became a work of “human
composure” with none of the vital spirit of the free hymn.</p>
<p>Watts could not understand why “we under the Gospel
should sing nothing else but the joys, hopes, and fears of
Asaph and David.” He declared that “David would have
thought it very hard to have been confined to the words of
Moses and sung nothing else on all his rejoicing days but the
drowning of Pharaoh in the fifteenth of Exodus.” He complained
that even in those places where the Jewish psalmist
seems to mean the Gospel, excellent poet as he was, he was
not able to speak it plain, by reason of the infancy of that
dispensation, and longs for the aid of a Christian writer.</p>
<p>He set aside the prevalent “superstitious reverence for the
letter of the Jewish Scriptures,” and in an almost defiant spirit
declared, “Though there are many gone before me who have
taught the Hebrew Psalmist to speak English, yet I think I
may assume the pleasure of being the first who hath brought
down the royal author into the common affairs of the Christian
life, and led the Psalmist of Israel into the Church of
Christ, without anything of the Jew about him.”</p>
<p>Whatever devotional value we may assign to the Psalms, we
<span class="pb" id="Page_174">174</span>
must accept Watts’ fundamental idea that they are not the
exclusive formulary of the use of song in the worship of God
and in the life of the Church. His further contention that
not all the Psalms, nor all parts of them, are adapted to Christian
use, we cannot now gainsay. The Jews themselves only
used about forty of them. It was not until centuries after the
Apostolic Age had elapsed that, due to monkish superstition,
all the Psalms were recognized as of equal exclusive use.</p>
<p>So many versions of individual Psalms make such satisfactory
hymns and so many hymns are such faithful transcripts
of passages from the Psalms, or echoes of their sentiments, that
the distinction between psalm versions and hymns in individual
cases might well be set aside entirely, as having no actual
basis or value.</p>
<h3 id="c164">V. WATTS’ INSISTENCE ON PRACTICABILITY</h3>
<p>While Watts laid the strongest emphasis on the awkwardness
and absurdity of much of the Psalm paraphrasing, he was also
impressed with the unavailability of the literary hymns of his
predecessors, or even of some of his own in his first book.
The common people would not sing them, they were out of
their reach; moreover, they were not in practicable meters and
measures, and did not fit the accepted tunes the people knew.
Watts accepted the current Psalm version meters, Long Meter,
Common Meter, and Short Meter, and the Psalm tunes at
once became hymn tunes. It was quite a handicap to a literary
hymn writer, but essential to the practical use of the hymn.</p>
<p>Watts deliberately avoided distinctly literary quality in his
hymns, seeking only lucidity and plainness of expression, all
within the capacity of the common people. To quote from his
prefaces, he “endeavored to make the sense plain and obvious....
The metaphors are generally sunk to the level of vulgar
capacities.... Some of the beauties of poesy are neglected and
some wilfully defaced.”</p>
<div class="pb" id="Page_175">175</div>
<p>Dr. Benson, whom it is always profitable to quote, says:
“Watts’ work earns a place in the literature of power, the
literature that leaves esthetic critics cold while it moves men.”
Palgrave included nothing of Watts in his <i>Golden Treasury</i>,
but elsewhere speaks of him as “one of those whose sacrifice
of art to direct usefulness has probably lost them those
honors in literature to which they were entitled.”</p>
<h3 id="c165">VI. THE INESTIMABLE VALUE OF WATTS’ HYMNS</h3>
<p>The offensive lines in Watts must be judged with due regard
to their background. The Sternhold and Hopkins version was
vastly worse. It was a time of dry doctrinal preaching and of
a literal interpretation of the Bible which to the preachers was
largely a mere collection of isolated proof texts. In these
matters he was speaking in the idiom and with the accent of
his own generation. In the two centuries that have since
passed, the sand and gravel and debris have been washed
away, and our hymnals contain the pure gold of his verse
for our edification and delight. Outside of the hymnbooks
of the Wesley brothers, where can we find such a placer mine
of spiritual wealth?</p>
<p>At his best Watts wrote hymns of majesty and ecstatic
adoration that have never been excelled:</p>
<div class="verse">
<p class="t0">“Our God, our Help in ages past,</p>
<p class="t">Our Hope for years to come;</p>
<p class="t0">Our Shelter from the stormy blast,</p>
<p class="t">And our eternal Home.”</p>
</div>
<p>How he has made the Long Meter measure sound like the
great Open Diapason of the pipe organ in the following
lines!</p>
<div class="verse">
<p class="t0">“Before Jehovah’s awful throne,</p>
<p class="t">Ye nations bow with sacred joy;</p>
<p class="t0">Know that the Lord is God alone,</p>
<p class="t">He can create, and he destroy.”</p>
</div>
<div class="pb" id="Page_176">176</div>
<p>What if John Wesley does add a majestic note or two in the
foregoing hymn; the singer of the whole hymn is the noble
spirit of little Dr. Watts.</p>
<p>Had David himself returned with an English tongue, he
could not have reproduced the spirit of the seventy-second
Psalm more nobly:</p>
<div class="verse">
<p class="t0">“Jesus shall reign where’er the sun</p>
<p class="t0">Doth his successive journeys run;</p>
<p class="t0">His Kingdom spread from shore to shore,</p>
<p class="t0">Till moons shall wax and wane no more.”</p>
</div>
<p>Solomon’s coronation song (Ps. 72) was no more majestic
than this crowning hymn Watts wrote for his Lord.</p>
<p>But Watts could not only be majestic; he could be tender:</p>
<div class="verse">
<p class="t0">“When I survey the wondrous cross</p>
<p class="t">On which the Prince of Glory died,</p>
<p class="t0">My richest gain I count but loss,</p>
<p class="t">And pour contempt on all my pride.”</p>
</div>
<p>Is there a tenderer strain in all English hymnody than the
third verse?</p>
<div class="verse">
<p class="t0">“See, from his head, his hands, his feet,</p>
<p class="t">Sorrow and love flow mingled down!</p>
<p class="t0">Did e’er such love and sorrow meet,</p>
<p class="t">Or thorns compose so rich a crown?”</p>
</div>
<p>Not in the same exquisite vein of noble tenderness, but perhaps
all the more useful for its reduced voltage, is his other
hymn of the Crucifixion,</p>
<div class="verse">
<p class="t0">“Alas! and did my Saviour bleed?</p>
<p class="t">And did my Sovereign die?</p>
<p class="t0">Would he devote that sacred head</p>
<p class="t">For such a worm as I!”</p>
</div>
<p>Its last verse has deepened the consecration of unnumbered
millions as they sang the sacred vow:</p>
<div class="pb" id="Page_177">177</div>
<div class="verse">
<p class="t0">“But drops of grief can ne’er repay</p>
<p class="t">The debt of love I owe;</p>
<p class="t0">Here, Lord, I give myself away—</p>
<p class="t">’Tis all that I can do.”</p>
</div>
<p>The list of the great hymns that have come down to us from
Isaac Watts is too long to be given here, but they enrich the
pages of all our hymnals and exalt the spirit of all our church
services.</p>
<p>The criticism often urged that Watts wrote too much cannot
well be gainsaid, but the striking fact confronts us that most
of the great hymns were written by men who wrote too much!
The same is true of the composers of our greatest music, as,
for instance, Mendelssohn and Handel. Much writing develops
technic, ease, spontaneity, unselfconsciousness, that make
the heights of feeling and expression more accessible. But
what Watts needed was not so much to write less, but to
have a competent editor like John Wesley to eliminate his
vulgar and often grotesque lines.</p>
<p>That Watts should find plenty of antagonists to pick up the
gauge of challenge he threw out was inevitable. His hymns
were called “Watts’ Whims” in sardonic derision. It is noteworthy
that the opposition did not prove so heated against
his hymns as against his <i>The Psalms of David Imitated</i>
(1719). In daring to amend the Judaism of David he had
committed sacrilege! This volume practically closed his work
of reforming the service of song in the English language. He
was but forty-four years old at this time and he lived thirty
years more—spent in theological, educational, and devotional
writings.</p>
<p>The hymns of Watts slowly found their way among the
Nonconformist churches. Before his death a large part of the
Presbyterian and Congregational churches were nearly monopolized
by them. However, the Established Church still
clung to the Psalm Versions.</p>
<div class="pb" id="Page_178">178</div>
<h3 id="c166">VII. CONTEMPORARIES OF WATTS</h3>
<p>A contemporary of Watts, Simon Browne (1680-1732) issued
a collection of hymns in 1720, <i>Hymns and Spiritual Songs</i>, designed
as a supplement to Dr. Watts, containing one hundred
and sixty-six hymns which had considerable vogue during the
next generation. Now only one hymn, “Come, gracious Spirit,
heavenly Dove,” survives in some of our hymnals.</p>
<p>Another contemporary was John Byrom (1691-1763), scientist
and mystic, whose “Christians, awake, salute the happy
morn” is still a Christmas favorite and whose “My spirit
longeth for Thee” is “terse and tender in a very high degree.”<a class="fn" id="fr16_2" href="#fn16_2">[2]</a>
MacDonald speaks of his few hymns as a “well of the water
of life, for its song tells of the love and truth which are the
grand power of God.”</p>
<p>Another hymn writer of Watts’ day was Robert Seagrave
(1693-?), who added fifty of his own hymns to a collection
prepared for his own church at Lorimer’s Hall, Cripplegate,
London, all of which had a high degree of excellence, of
which “Rise, my soul, and stretch thy wings” is found in most
of our current hymnbooks.</p>
<p>A greater than any of the above was Philip Doddridge
(1702-1751), who was a close friend of Isaac Watts, although
nearly thirty years younger. He wrote three hundred and
seventy-five hymns, most of them as pendants to sermons,
recapitulating and enforcing the points of his discourse. They
were not collected and published until four years after his
death. The fine character and high ability displayed by
Doddridge endeared him to many of the most important people
of his day. The devoutness, literary grace, and adaptation
to actual use of his lyrics were immediately recognized. Their
distinctly homiletical character, combined with deep religious
feeling and tenderness, and their varied topics, greatly appealed
to ministers, and they were recognized as second only
to Watts. The Church owes some of its most useful hymns
<span class="pb" id="Page_179">179</span>
to him: “Awake, my soul, stretch every nerve,” “Grace; ’tis
a charming sound,” “How gentle God’s commands,” “O
happy day, that fixed my choice,” “My gracious Lord, I own
thy right,” are among the many found in all our hymnals.
His relative standard may be inferred from the use made
of leading hymn writers by Dr. Benson in his <i>Revised Presbyterian
Hymnal</i>: Watts 49, Charles Wesley 24, Doddridge 13.</p>
<div class="pb" id="Page_180">180</div>
<h2 id="ch167"><span class="h2line1"><i>Chapter XVI</i></span>
<br />THE WESLEYS AND THEIR ERA</h2>
<h3 id="c168">I. THE INFLUENCE OF WATTS ON THE WESLEYS</h3>
<p>The line of hymnic succession between Watts and the Wesleys
was direct and not through Doddridge, for the latter’s
hymns did not appear until 1754. One-half of John Wesley’s
<i>American Collection</i>, the first hymnbook published in America,
issued in Charleston, South Carolina, in 1737, after two
years’ work in the new Colony of Georgia, consisted of Watts’
hymns. It goes without saying that Watts’ hymnbooks, with
others like Tate and Brady’s <i>New Version</i>, George Herbert’s
poems, the hymns of John Austin, of Henry More, and of
Norris of Bemerton, were so well known, and so appreciated,
that copies of them were included among the books carried to
America. In early manhood they met the already elderly
Watts, and as they walked they sang together. Indeed, with
Dr. Benson we may “infer that Watts’ <i>Psalms and Hymns</i>,
in connection with Tate and Brady’s <i>New Version</i>, furnished
the materials for the singing of the ‘Holy Club.’”</p>
<p>It is evident from the list of hymnbooks, and from the list
of Wesley’s selections for his <i>American Collection</i>, that Watts
was not the only influence that gave the impulse and fashioned
the Wesleyan ideals of the public song service. It is
noteworthy that Barton and Mason were not included. The
High-Church Anglican Wesleys were not so prejudiced
against Watts’ Nonconformist hymns as to exclude them.</p>
<div class="pb" id="Page_181">181</div>
<h3 id="c169">II. THE HOME OF THE WESLEYS</h3>
<p>With the Wesleys perhaps the strongest influence was that of
the family and the home. Their grandfather, John Wesley,
was a Nonconformist clergyman, and, what is more to the
point, a poet. Their father, Samuel Wesley, was quite a
voluminous poet (sixteen volumes), owing his Epworth rectorship
to Queen Mary’s approval of his <i>Life of Christ, an
Heroic Poem</i>. One of his hymns, “Behold the Saviour of
mankind,” still appears in some of our current hymnals.</p>
<p>Their maternal grandfather was Rev. Samuel Annesley,
LL.D., a scholarly Nonconformist clergyman. Their mother,
Susanna Annesley, is recognized as a woman of extraordinary
force of character, organizing ability, and intense piety, the
“Mother of Methodism,” and even more gifted than her gifted
but less steady and dependable husband. It will be noted
that both grandfathers were dissenting clergymen.</p>
<p>The Epworth rectory life was intellectual, intensely devout,
and full of the singing of psalms and hymns, for it was “a nest
of singing birds.” When students at Oxford, John and
Charles used to walk out into the meadows and sing songs
and hymns together.<a class="fn" id="fr17_1" href="#fn17_1">[1]</a></p>
<h3 id="c170">III. THE MORAVIAN INFLUENCE</h3>
<p>As we shall see, another extremely important influence was
that of the Moravians on their personal religious experience,
which under the Moravian guidance, on the Atlantic
voyage and later, became intense and profound, furnishing
tremendous motive power for all their work. The Moravian
missionaries brought the realization of the power the Christian
hymn can wield, and of the deep spirituality it may be used
to express. It was not only the hymns the Moravian brethren
sang that impressed John Wesley, but the spirit and genuineness
of feeling with which they sang.</p>
<div class="pb" id="Page_182">182</div>
<h3 id="c171">IV. JOHN WESLEY</h3>
<p>John Wesley was born at Epworth in 1703. He inherited his
mother’s organizing and administrative ability, no less than
her deep religious nature. He was to Methodist hymnody
what John Calvin was to the Reformed psalmody, its initiator
and director. He added a critical power and a practical sense
of relation of means to ends his younger brother lacked—Charles
Wesley wrote the hymns and John winnowed and
edited them. At Oxford he was called the “Father of the
Holy Club.” His aggressive spirit drove him to Georgia as a
missionary, where he was a misfit, but where he was subjected
to needed spiritual discipline, and to the influence of the
Moravian pietism and absorption in spiritual things, so valuable
for his symmetrical preparation for his future work. It
led to his conversion—or, if you prefer, to his baptism of the
Holy Spirit—and that of Charles, in 1738, which opened out
to them both a new spiritual dimension. It also led to his
interest in the Moravian “Gesangbuch,” or hymnbook, from
the German of which he translated several hymns for his
<i>Charleston Collection</i>. On his return to England he took an
early opportunity to visit Herrnhut, Saxony, the parent society
of the connection. He was delighted with the atmosphere of
piety and Christian song which he found there. His pietistic
and mystical tendencies were greatly strengthened by his intercourse
with Count Zinzendorf and Rothe whom he there met.</p>
<p>On his return to London John Wesley kept up his association
with the Moravian brethren for some time; but his active
temperament could not long be content with their quiet, contemplative
attitude, nor could he overcome his dislike for the
emphasis they placed on the merely physical aspects of the life
and death of Christ which they had brought over from the
Roman Catholic mystics. So they presently parted company
to the advantage of the aggressive spirit the Wesleys were developing.</p>
<div class="pb" id="Page_183">183</div>
<p>John Wesley was a scholarly man who had acquired all the
culture of seven generations of intellectual family life and of
the literary training of a great English university. He had
the critical faculty well developed, a nice sense of the value
of words, and the ability to marshal them for the expression
of his thoughts. His sermons and his theological treatises
reveal his logical and analytical mind. His feelings were
strong, but not of the effusive character.</p>
<p>With this type of mind, it was not strange that as a hymn
writer he would succeed better as a translator than as an
original hymnist. His important contribution, therefore, consisted
of translations from the German of Tersteegen, Gerhardt,
Scheffler, Spangenberg, and Zinzendorf, and the amendment
or even recasting of hymns by Watts, or of poems by
George Herbert. Perhaps his greatest work in hymnody lay
in encouraging as well as editing the work of his younger
brother, Charles.<a class="fn" id="fr17_2" href="#fn17_2">[2]</a></p>
<p>In John Wesley’s plans to elevate the degraded population
of England both spiritually and mentally, the hymn bears an
important part. His keen and critical literary faculty was
brought to bear upon its cultural as well as spiritual aspects,
and his drastic corrections and revisions, as well as his translations,
did much to lift the hymnody of his age to a higher
literary plane.</p>
<h3 id="c172">V. CHARLES WESLEY</h3>
<p>Charles Wesley was born at Epworth in 1707, being four and
a half years younger than John. He inherited a full portion
of the family religious nature, but with his mother’s mental
energy he combined a double portion of the Wesley poetic
temperament. With less of the rigid will of his older brother,
he had a more sensitive spirit, a more emotional nature, a
greater literary impulse. Critics scold that he wrote too
much.<a class="fn" id="fr17_3" href="#fn17_3">[3]</a> As well scold the mockingbird for being so prodigal
of its notes or that it occasionally merely twitters.</p>
<div class="pb" id="Page_184">184</div>
<p>When he “got religion,” his religion made him sing. Did
he rejoice? His joy found utterance in a joyous hymn, “O
for a thousand tongues to sing.” Had he trials? What more
natural than a hymn of prayer, “My God, my God, to Thee
I cry”? Was there a riot about him? A hymn of steadfastness,
“Thou hidden Source of calm repose,” sang in his heart.
The impulse to write was not always accompanied by creative
insight, so, of course, he wrote inferior hymns. The urge to
write was too spontaneous that it should wait for the critical
attitude. Let John supply that! Charles had the joy of writing
and John winnowed the product. There was chaff, of
course, but the golden wheat cannot grow without chaff.</p>
<p>It must not be assumed that Charles was only a hymn
writer. Immediately on his conversion, he began to preach
the need of the new birth, and for fifteen years he vied with
John in field work in behalf of the new movement. With his
background, his culture and education, his poetic nature and
wealth of vocabulary and depth of experience, Charles might
be expected to preach a vivid, glowing, flaming message—and
such was his style. His meetings carried him into all
parts of England, Wales, and Ireland.</p>
<p>What a team the Wesley brothers were! John with his
masterly logical sermons and profound theological writings,
Charles with his hymns and his sermons aflame with feeling,
the Annesley organizing instinct in both of them. What a
spiritual force they set in motion that transformed the spiritual
and moral life of England and saved its soul—nay more,
it swept around the whole earth, and determined the character
of nations yet waiting to be born.</p>
<h3 id="c173">VI. CHARLES WESLEY’S HYMNS QUITE SUBJECTIVE</h3>
<p>By the necessities of the situation, by the character of the
work, and by his own temperament, Charles Wesley was led
to write subjective, emotional hymns, keeping personal experience
to the fore. But his emotionality was not shallow
<span class="pb" id="Page_185">185</span>
sentiment, but spontaneous and genuine feeling, based on
clear recognition of the actual truths of the Scriptures. In a
very intense way he had actually experienced the sorrow for
sin, the joy of salvation from its guilt and power, complete
assurance of divine acceptance, the longing for divine communion,
the sense of the love of God as it planned and fashioned
his inner as well as his outward life, the certainty of
safety from the power of sin in sanctification. He could
write affecting invitations to sinners, for he knew their condition
and danger, and also the results of peace and joy, of
power and efficiency, that the acceptance of Christ would
bring. The truths of the Gospel in passing through the crucible
of his personality acquired an actuality, a poignancy of
appeal, that made his hymns a mighty power, not only in the
immediate campaigns of the Wesley brothers, but in the life
and work of the Church in the generations to come.<a class="fn" id="fr17_4" href="#fn17_4">[4]</a></p>
<h3 id="c174">VII. WATTS AND CHARLES WESLEY</h3>
<p>That was the difference between Wesley and Watts. The latter
was objective, reasonable, formal. The majesty of a sovereign
God appealed to him. He delighted in the infinite perfections
of the divine nature. He surveyed the wondrous cross.
He trembled before it, as did the children of Israel before
the Holy Mount. His attitude was that of the Old Testament.
Watts viewed the sovereignty of God objectively; Wesley
felt the facts of salvation as actual experiences.</p>
<p>Charles Wesley was subjective; he expressed the feelings
that the truths of the Gospel produced in him.<a class="fn" id="fr17_5" href="#fn17_5">[5]</a></p>
<p>God to him also was great, but as a Saviour, companion,
friend. Why should he tremble? He was not Moses viewing
the burning bush, but John leaning on the breast of Jesus.
He shared the ecstasies of the apostles and disciples portrayed
in the New Testament.<a class="fn" id="fr17_6" href="#fn17_6">[6]</a></p>
<p>So Watts gives dignity and majesty to the early topics of our
hymnbooks on the attributes of God, his worship, the awe of
<span class="pb" id="Page_186">186</span>
the soul in the presence of its sovereign Lord in hymns like
“Before Jehovah’s awful throne,” “Great God! how infinite
thou art,” “I’ll praise my Maker while I’ve breath,” “Jesus
shall reign where’er the sun,” “Our God, our help in ages
past,” while Charles Wesley fills the sweeter, tenderer, more
intimate departments of salvation, forgiveness, communion
with God, with the odor of the spikenard of his heart in
hymns like “Depth of mercy! can there be,” “I know that my
Redeemer lives,” “Jesus, Lover of my soul,” “Love divine,
all loves excelling.” How well these singers of the Lord’s
song supplement each other, and how much more symmetrical
and complete are our hymnals because both have written
in their own lines and styles!</p>
<p>Which is the greater hymn writer? That is a mooted
question that need not be decided here. In Scriptural content
the older man is superior, as, at his best, he is in majesty
of style. For formal services of worship his hymns are more
fitting and impressive. On the other hand, Wesley was
superior in quantity and in the number of hymns of high
quality. It must be granted that he is more poetical, more
graceful, more suave and human. His range is more extensive,
his emotion deeper and more noble. In immediate results
on the lives of the people Charles Wesley is incomparably
richer than Watts, for his hymns then and since turned
multitudes unto righteousness.<a class="fn" id="fr17_7" href="#fn17_7">[7]</a></p>
<h3 id="c175">VIII. THE ISSUES OF THE WESLEYAN HYMNS</h3>
<p>Space is wanting, and the profit would be slight, to give a
catalogue of the sixty-four original issues of hymns that John
published from 1737 to 1790, the mass of them for the use of
the evangelistic campaign. They were largely occasional, issued
to meet a pressing but only temporary need. They
varied from a single sheet containing but a single hymn
(Charles Wesley’s hymn praying for his brother’s long life)
to the two volumes with two thousand and thirty short hymns
<span class="pb" id="Page_187">187</span>
on Scripture passages. It was not until 1780 that a regular
hymnbook “for the use of the people called ‘Methodists’”
was issued, containing five hundred and twenty-five hymns.</p>
<h3 id="c176">IX. THE METHODIST TUNES</h3>
<p>So practical a mind as that of John Wesley, who had from
childhood engaged in sacred song, would not be expected to
overlook the great importance of the tunes to which the new
hymns were to be sung. In 1742 he printed a <i>Collection of
Tunes</i> in which only three of the <i>Old Version</i> tunes appeared.
Tunes were freely borrowed from the musical <i>Supplement to
the New Version</i>, six were secured from German Moravian
sources, and a few were new. Tunes were later supplied by
Handel and Lampe; popular melodies which the Wesleys
picked up in their preaching tours were also adopted.</p>
<p>Some twenty years later fugal tunes became popular among
the churches, but became known as “Old Methodist Tunes,”
although they had never been officially recognized and had
first been written in Scotland.</p>
<p>When we regard the quantity and quality of the Wesleyan
hymns, or their adaptation to the spiritual and evangelistic
purposes for which they were written, or the body of teaching
they conveyed, or the spiritual fervor they created and are
still creating in millions of souls, or the influence they exerted
on all subsequent hymnody, we do not find the sweeping
statement of Dr. James Martineau, the Unitarian divine and
hymnbook editor, as exaggerated: “After the Scriptures, the
<i>Wesley Hymn Book</i> appears to me the grandest instrument of
popular religious culture that Christendom has produced.”</p>
<h3 id="c177">X. INFLUENCES OPPOSING THE WESLEYAN HYMNS</h3>
<p>The contemporary prejudice against the Wesleyan hymnody
was very strong and bitter. There were many influences
against them: the conservative devotion to the psalm versions,
“New” and “Old,” the Nonconformist loyalty to the psalms
<span class="pb" id="Page_188">188</span>
and hymns of Watts, the Established Church’s resentment
against the revolters against established rule and custom within
her bounds, the formalist objection to what seemed to them
the fanatical, extravagant, and effusive type of piety, the emotional,
subjective, experiential style of the hymns, and (worst
of all!) the low social class that constituted the bulk of the
followers of the Wesleys. The result was that both in Great
Britain and in America the Wesleyan hymns crept very slowly
into the hymnbooks of the churches outside the Methodist
movement. It was many years before any appeared in the
English church hymnals; even when they did, Charles Wesley’s
name did not appear with them; it even happened that
other writers were credited with them. In America, where
the Methodists were the Salvation Army of their day, the
Wesleyan hymns were slow of recognition. This was partly
due to the general, almost fanatical, devotion to Watts’
hymnody.</p>
<p>The Arminian attitude of the Wesleys, as against the rigid
Calvinism of both the Established and the Nonconformist
churches, led to acrid theological discussions that intensified
the opposition to the movement they headed. Even among
those favorable to the spiritual reformation was there an element
antagonistic to the Wesleys. Whitefield, Toplady, and
the Countess of Huntingdon were leaders in this revolt.</p>
<p>The fact that Charles Wesley rather monopolized the writing
of hymns undoubtedly had its adverse influence. John
Wesley did not encourage others to write.<a class="fn" id="fr17_8" href="#fn17_8">[8]</a> This accounts for
the fact that comparatively few of their immediate associates
wrote hymns, and some of these drifted into other relations.
What else could a man expect who fearlessly amended,
revised others’ hymns, and then warned the general hymnbook
maker regarding the Wesleyan hymns as follows:
“Hymn-cobblers should not try to mend them. I really do
not think they are able.”</p>
<div class="pb" id="Page_189">189</div>
<h3 id="c178">XI. OTHER METHODIST HYMN WRITERS</h3>
<p>Among these transient supporters was Edward Perronet
(1726-1792) of Huguenot stock. He wrote “All hail the power
of Jesus’ name,” which makes so noble a climax for many
of our services. For a time he was a preacher in the Wesleyan
connection. He then adopted Calvinistic views, and
joined the forces of the Countess of Huntingdon, preaching
under her direction. His caustic Gallic wit, exercised against
the Established Church, offended his patroness and he became
the pastor of a small congregation of dissenters.</p>
<p>Another associate of the Wesleys was Thomas Olivers
(1725-1799), who had small educational advantages, but was
an indefatigable worker. One of his hymns has kept its place
in our hymnals, “The God of Abraham praise.” Montgomery
says of it: “This noble ode, though the essay of an unlettered
man, claims special honor. There is not in our language
a lyric of more majestic style, more elevated thought,
or more glorious imagery.”</p>
<p>John Bakewell, the head of a prominent academy at Greenwich,
was a local preacher of whom his tombstone, near to
that of John Wesley in the cemetery of the City Road Chapel,
records that “he adorned the doctrine of God, our Saviour,
80 years and preached his Gospel 70 years.” He is remembered
by the hymn, “Hail, Thou once despised Jesus,” which
is found in most of the current hymnals.</p>
<h3 id="c179">XII. CALVINISTIC-METHODIST HYMN WRITERS</h3>
<p>There were no poetic restraints felt by the adherents of
the Calvinistic wing of the Methodist movement as met the
associates of the Wesleys, and the number of hymn writers in
its ranks is larger.</p>
<p>William Williams (1717-1791), “the Watts of Wales,” spent
his life in working in the Welsh Calvinistic-Methodist connection.
Early in his career the need of appropriate Welsh
hymns was so pressing that recourse was had to a sort of
<span class="pb" id="Page_190">190</span>
Eisteddfod of hymn-writing in which he easily won first honors.
He was an indefatigable preacher, taking all Wales for
his parish. His chief claim to immortality is his hymn, “Guide
me, O Thou great Jehovah,” originally written in Welsh, but
soon used in the Whitefield Methodist Connection in England.
His missionary hymn, “O’er the gloomy hills of darkness,”
while not so popular, has had a wide use.</p>
<p>John Cennick (1718—1755) was originally associated with the
Wesleys as a preacher, but the burning question of Calvinism
separated them and he became associated with Whitefield
and later with the Moravians. Two hymns of his were
extremely popular both in Great Britain and in the early years
of Methodism in America: “Jesus, my all, to heaven is gone,”
and “Children of the heavenly King.” The former was used
as the verse basis of a great many “spiritual” choruses in pioneer
times. His “Lo! He comes with clouds descending” was
reshaped and rewritten by Charles Wesley and Martin
Madan. The literary quality of his hymns is not high, but
their sincerity and adaptation to universal Christian experience
give them practical value.</p>
<p>Augustus Montague Toplady (1740-1778) was associated
with the Wesleys and with the Calvinistic-Methodist leaders,
but was a Church of England clergyman. He wrote four hundred
and nineteen hymns; only a few continue in use. Notable
among these is “Rock of Ages, cleft for me,” which has
been almost universally used and most mercilessly amended
and revised. It has been translated into many languages:
Gladstone having translated it into Latin, Greek, and Italian.</p>
<p>Montgomery says of Toplady’s hymns: “There is a peculiarly
etherial spirit in some of these, in which, whether mourning
or rejoicing, praying or praising, the writer seems absorbed
in the full triumph of faith.” Another hymn of Toplady’s,
“Deathless principle, arise,” has been characterized as
“almost peerless,” but it is rather a reading hymn.</p>
<div class="pb" id="Page_191">191</div>
<h3 id="c180">XIII. BAPTIST HYMN WRITERS</h3>
<p>While the Methodists were enriching the hymnody of the
Christian Church, the Baptists were not idle. The second reformation
of England did not leave them unaffected, even
though they were not officially associated with it.</p>
<p>Their chief hymn writer was Anne Steele (1716-1778), an
invalid of great spirituality and piety and of much literary
felicity as well as facility. She wrote one hundred and forty-four
hymns and thirty-four versions of psalms. Her hymns are
meditative in style, graceful and gentle in spirit. She is best
remembered by her hymn of resignation, “Father, whate’er
of earthly bliss.” Other hymns still widely used are “Now
I resolve with all my heart,” the hymn regarding the Scriptures,
“Father of mercies, in Thy word What endless glory
shines,” and the (for her) enthusiastic hymn of praise to
Christ, “To our Redeemer’s glorious name.” Her vogue in
America at one time was very great.</p>
<p>John Fawcett was another Baptist hymnist of note. He
issued one hundred and sixty-six hymns, three of which are
standards in our day: “How precious is the book divine,”
“Lord, dismiss us with Thy blessing,” and “Blest be the tie
that binds.” Besides the duties of a heavy pastorate at Wainsgate
(with a salary of less than two hundred dollars) he did
a great amount of literary work. The third hymn mentioned
above has done more for Christian unity than all arguments
and commissions.</p>
<p>Another hymn writer of note, who may be classed as a Baptist,
was Robert Robinson (1735-1790). Converted under
Whitefield’s preaching, he later took a Baptist pastorate at
Cambridge. He was very active in a literary way. He began
a <i>History of Baptists</i> in 1781 which appeared in 1790, but in
spite of laborious research it did not reach the completeness
he desired. Besides eleven hymns of but moderate value
written for Whitefield, he wrote a Christmas hymn, “Mighty
<span class="pb" id="Page_192">192</span>
God, while angels bless Thee” and the ever-useful and prayerful
“Come, Thou Fount of every blessing.” This was another
favorite basis for “Spiritual” revival choruses in America.
There was a lack of steadiness in his temperament. After
writing <i>A Plea for the Divinity of Our Lord Jesus Christ</i>,
he later came under suspicion as a Unitarian and Socinian.</p>
<p>Samuel Medley was a midshipman in the navy, but being
sorely wounded in a terrible naval battle off Cape Lagos, he
refused to continue as a naval officer. During his recovery he
was soundly converted under the influence of his grandfather
Tonge. After being at the head of a school for a time, he
accepted a Baptist pastorate. Medley wrote a number of
hymns, of which “O could I speak the matchless worth,”
“Awake, my soul, to joyful lays,” “I know that my Redeemer
lives,” and “Mortals, awake, with angels join,” are still found
in most of our hymnals. He claimed no literary merit for
himself, but his hymns have found a hearty response in England,
and even more in America.</p>
<p>Joseph Grigg (1720-1768) was not a Methodist or a Baptist,
but a Presbyterian. He is further noteworthy as an
“infant phenomenon,” having written a very familiar hymn,
“Jesus, and shall it ever be?” at the age of ten years. He was
in humble circumstances at first, “a laboring mechanic.” He
was assistant minister in a prominent London Presbyterian
church for four years, then “married well” and retired, still
writing and preaching. His “Behold, a Stranger at the door,”
with a stirring tune by T. C. O’Kane, has been widely used
in America as an evangelistic hymn with a refrain.</p>
<div class="pb" id="Page_193">193</div>
<h2 id="ch181"><span class="h2line1"><i>Chapter XVII</i></span>
<br />HYMNS IN THE CHURCH OF ENGLAND</h2>
<h3 id="c182">I. RISE OF SPIRITUAL LIFE IN THE ENGLISH CHURCH</h3>
<p>Although the Wesleys were Church of England clergymen,
the tide of religious feeling they set in motion could not sweep
over the mass of the population without its waves dashing
across all ecclesiastical and traditional barriers. But John
Wesley’s somewhat arrogant spirit, the extreme methods
which he found necessary to reach the lower classes, so desperately
in need of a new religious impulse, above all, his
sharp reaction against the high Calvinistic theology of the
Church, repelled many who had been deeply affected by the
Methodist atmosphere that enveloped them and had felt a new
sense of obligation to bring back their people to a true religious
life.</p>
<h3 id="c183">II. EARLY COLLECTIONS OF EVANGELICAL HYMNS</h3>
<p>The effectiveness of the spontaneous Methodist singing was
evident enough and the Evangelical ministers of the Established
Church felt the need of collections of hymns that should
achieve the same results without what seemed to them the
doctrinal vagaries and emotional extravagances of the Wesleyan
hymns. Nor were they at first willing to set entirely
aside the psalmody that had served the church for so many
generations.</p>
<p>As might be expected, the earliest collections of hymns for
<span class="pb" id="Page_194">194</span>
use in the Established churches were largely based on Nonconformist
and Wesleyan materials, since most of their editors,
and the churches they wished to serve, were under the influence
of the Countess of Huntingdon, who in turn was in
close touch with the Calvinistic-Methodist movement.</p>
<p>One of the first of the collections of the Evangelical wing
was that of Martin Madan, <i>Psalms and Hymns</i>, containing
170 hymns without order or arrangement, except that sacramental
hymns had a department by themselves. Madan used
a free hand in revising and remodeling the hymns he selected,
sometimes for good, frequently for ill. He was quite a musician,
supplying tunes, thirty-three of which were his own composition,
of which “Huddersfield” and “Helmsley” still occasionally
appear in our hymnals. His book was used to a considerable
extent and helped to hasten the introduction of
hymns in the Church of England. Other collections of the
same name and type were issued by Berridge and Conyers.</p>
<p>More important was Toplady’s <i>Psalms and Hymns</i>, issued
in 1776. Despite his virulent attacks on the Wesleys, he used
quite a number of their hymns, without credit and drastically
revised. His collection contained 418 hymns, some by Watts
and by other Nonconformists. His revisions were not wholly
on doctrinal grounds, but on literary as well—“God is the God
of <i>Truth</i>, of Holiness, and of Elegance. Whoever, therefore,
has the honor to compose, or to compile, anything that may
constitute a part of his worship should keep those three particulars
constantly in view.” In this remark, found in his preface,
Toplady anticipated the later period of the literary hymn
by Heber, Keble, and Milman. This collection continued in
use for nearly fifty years.</p>
<h3 id="c184">III. EVANGELICAL HYMN WRITERS</h3>
<p>With the exception of this later collection of Toplady these
hymnbooks were mere compilations. The impulse of this
Evangelical wing to write hymns of their own did not long
<span class="pb" id="Page_195">195</span>
delay. The most notable of these hymn writers were John
Newton (1725-1807) and William Cowper (1731-1800). They
co-operated in the issue of <i>Olney Hymns</i>, so called after the
village of which Newton was the curate.</p>
<p>John Newton was born in London. His mother, who was
a pious Dissenter, and had dedicated her boy from his birth
to the Christian ministry and had tried to train him in preparation
for this work, died when he was but seven years old.
He grew up to be a wild, profligate, wicked young man; he
speaks of himself as “once an infidel and libertine, a servant
of slaves in Africa.” At the age of twenty-three he again
came under religious influences and became an ardent Christian.</p>
<p>It was not until he was nearly thirty-nine years old that he
entered the ministry of the Established Church, being appointed
curate of the village of Olney. He had always had
an impulse, even during his wildest years, to read and study
and to add to his general culture. Hence, in spite of his
vagrant life (having spent eighteen years on the sea) and his
secular pursuits, he came into the ministry with a rough-hewn
education, and a practical and resourceful attitude of mind,
that served him well in his aggressive ministry. His spiritual
experience was deep and intense. He had been in close
touch with Whitefield, the Wesleys, and other leaders in the
great evangelistic movement.</p>
<p>For his work as a curate in the Established Church, the
hymns of Watts lacked the deep personal spirituality for
which his own soul sought expression. The Wesleys supplied
that element abundantly, but their hymnbooks did not
express his Calvinistic attitude, nor fit his local needs. His
own urge to write hymns and his intimacy with Cowper,
which undoubtedly seemed a providence, encouraged him to
produce Olney Hymns, which contained 280 hymns by Newton
and 68 by Cowper.</p>
<p>Newton sympathized with Watts in his objection to pronouncedly
<span class="pb" id="Page_196">196</span>
poetic elements in hymns; in his preface he remarks
that “the imagery and coloring of poetry, if admitted
at all, should be admitted very sparingly.” The book was
dedicated to “the use of plain people,” to promote the faith
and comfort of sincere Christians. To secure these, “perspicuity,
simplicity, and ease” were sought. Yet some of Newton’s
best hymns closely approach the best of his friend, the
poet Cowper. Genuine feeling gave lyric wings.</p>
<p>Of his 280 hymns, the most successful in maintaining a place
in our hymnals are: “Amazing grace! how sweet the sound,”
“Approach, my soul, the mercy seat,” “Glorious things of thee
are spoken,” “Come, my soul, thy suit prepare,” “How sweet
the name of Jesus sounds,” “Safely through another week,”
“While with ceaseless course the sun,” “One there is, above
all others.” What a noble chaplet of pearls for his Lord is
this amazing contribution by the former “servant of slaves”!</p>
<p>Newton’s famous coworker on the <i>Olney Hymns</i>, William
Cowper, was the son of one of the chaplains of George II and
was born in Hertfordshire in 1731. He was frail and shy, and
had a very painful experience among the boys of the Westminster
School which he attended for ten years. Doubtless
his later mental affliction was due in large part to the bullying
of his schoolmates. He studied law, but did not find it to
his taste. At the age of thirty-six he moved to Olney, where
he met John Newton, who became his close friend and protector
as well as his leader in the writing of hymns. He co-operated
with Newton’s religious work as lay reader and
wrote his hymns for the cottage prayer meetings that were a
feature in Newton’s work.</p>
<p>While his literary work shows no trace of his melancholia,
being cheerful and even humorous, his hymns frequently
show traces of it, notably in “God moves in a mysterious way”
and “Oh, for a closer walk with God.” Newton’s habit of introspection
may have influenced him, and the obscurity of
the people and of the occasions for which he wrote may have
<span class="pb" id="Page_197">197</span>
given him a sense of freedom in expressing his deeper, subconscious
experience. He was an exceedingly spiritual-minded
man. It was said of him by one who often heard him, “Of all
the men I ever heard pray, none equaled Mr. Cowper.” He
had a vivid and intense experience when he was converted:
“For many succeeding weeks tears were ready to flow if I did
but speak of the Gospel, or mention the name of Jesus. To
rejoice day and night was all my employment. Too happy to
sleep much, I thought it was lost time that was spent in
slumber.”</p>
<p>Cowper’s literary work was done after he was fifty years
old—indeed, after his contributions to <i>Olney Hymns</i> had been
made. His hymns were really preliminary studies for his
secular work.</p>
<p>Cowper made a very important contribution to the Christian
hymnody of the ages: “God moves in a mysterious way,”
“Oh, for a closer walk with God,” “Jesus, where’er thy people
meet,” “Sometimes a light surprises,” “There is a fountain
filled with blood,” “Hark, my soul, it is the Lord,” which will
all survive as long as devout hearts meditate and sing. <i>Olney
Hymns</i> was very widely accepted and had more to do with
the introduction of hymns into Anglican services than any
other hymnbook up to that time. It was speedily reprinted in
America and was very popular there.</p>
<p>Beyond all its Church of England predecessors, it established
the ideal of the hymn as evangelical, as an expression of
personal spiritual experience, as a vehicle for the conveying of
spiritual truth. It was closely akin to the Methodist ideal, but
more sober and sedate, with less of the poetical element. The
hymnbook was the crystallizing force of the Evangelical party
and its unifying discipline. It did not win the co-operation of
the whole Church, by any means, but it prepared the way for
the final acceptance of the hymn as an inherent part of the
Church service in that communion.</p>
<p>While the <i>Olney Hymns</i> continued in use by the Evangelical
<span class="pb" id="Page_198">198</span>
wing of the Established Church, there continued to be
<i>Psalms and Hymns</i> issued by various compilers, Basil Woodd,
Simeon Bidulph, Cecil Venn, and others, all giving increasing
attention to the hymns, and extending their use, in the
church service.</p>
<h3 id="c185">IV. HYMN WRITERS OF THE ROMANTIC SCHOOL</h3>
<p>If in the actual singing hymn up to this time there had been
any definitely literary quality or poetic spirit, it had been in
spite of a theory that the hymn must be plain and simple
and adapted to plain people, as in those of Watts and Newton,
or somewhat unconsciously so by reason of an imagination
vitalized by deep feeling, as in those of Charles Wesley.
The hymn had been a practical religious vehicle for expressing
feeling and impressing truth, not an artistic and a literary
effort.</p>
<p>From this time on the Romantic movement in literature
began to affect the ideal of the hymn. Since the hymn was to
become a part of the religious service, instead of a Nonconformist
addition to the sermon, and since the metrical psalm
was to pass away because of its literary shortcomings and absurdities,
it was felt that the opportunity had come to put a
higher literary quality, a more vivid imagination, a more
definitely poetic element into the hymn—hence the literary
singing hymn came into being.</p>
<p>This was all the more opportune, since literature was turning
to religion for its themes. Coleridge issued his <i>Religious
Musings</i>, Wordsworth his <i>Ecclesiastical Sonnets</i>, Moore his
<i>Sacred Songs</i>, and the libertine Byron his <i>Hebrew Melodies</i>.
In 1807 the literary remains of the lamented Henry Kirke
White, including his ten hymns, among which was the sublime
“The Lord our God is clothed in might” and his spiritually
autobiographical “When marshalled on the mighty
plain,” were edited by Robert Southey. It is also worth while
noting that from 1809 to 1816 Reginald Heber printed his
<span class="pb" id="Page_199">199</span>
religious poems and his hymns. In 1827 John Keble’s <i>The
Christian Year</i> made its appearance with its materials for
singing hymns. In the same year the hymns of Bishop Heber
and of Henry Hart Milman greeted the Christian public.</p>
<p>As early as 1809 Heber was considering the use of a hymnal
in his parish church. In 1811 he published four hymns in the
<i>Christian Observer</i> as specimens of a series he was contemplating.
He proposed a hymnbook that should be “a collection
of sacred poetry.” He sought the help of Sir Walter
Scott, Robert Southey, and other literary men of prominence,
but only Henry Hart Milman, the great church historian, responded.
The ecclesiastical authorities sympathized, but
thought the church unready for an authorized hymnbook.</p>
<p>After Heber’s death in India in 1826, his widow brought
the manuscript back to England and it was published in
1827—not as a hymnbook, however, but in the form and style
of current poetic issues. In this book appeared fifty-seven
hymns by Heber and twelve by Milman. Having due regard
to its size, it was probably the richest contribution ever made
to Christian hymnody.</p>
<p>After the lapse of a century, his hymns are still in current
use, many of them inevitable in every hymnal whether churchly
or popular, such as “From Greenland’s icy mountains,”
“Holy, holy, holy, Lord God Almighty,” “The Son of God
goes forth to war,” “By cool Siloam’s shady rill,” “Bread of
the world, in mercy broken,” “Brightest and best of the sons
of the morning.”</p>
<p>The beauty of Heber’s style was recognized from the first.
His hymns were distinctly literary in flavor, poetically conceived,
with varied rhythms and forms of stanza. But he did
not transgress the limitations of the singing hymn, as had
the literary men of a century and more before, nor did he
ignore the practicability of the small number of verses. The
hymns were poems, but they were congregational hymns none
the less. But they might have been all this and yet perished
<span class="pb" id="Page_200">200</span>
by the way. It was their deep spirituality, their lucid expression
of Christian truth, transmuted by intense conviction and
personal experience into a personal appeal that was abiding,
that have made them immortal.</p>
<p>Dean Henry Hart Milman (1791-1868) was a brilliant
scholar and church historian and a poet of great reputation.
His hymns are strong, churchly, thoughtful to a high degree,
but they lack the poetic charm of those of Heber. Of the
eleven that appeared in Heber’s posthumous collection, and
of others that were printed later, only one, his Palm Sunday
hymn, “Ride on, ride on in majesty,” is certain to be included
in every hymnal. The litany, “When our hearts are bowed
with woe,” and “Oh help us, Lord, each hour of need,” are
only occasionally used.</p>
<p>Like Saul among the prophets, we find the author of <i>Lalla
Rookh</i>, Thomas Moore (1779-1852), enrolled among our English
hymn writers. The charm of his secular verse and songs
is found also in his <i>Sacred Songs</i>, from which his ever-useful
and tender “Come, ye disconsolate” has been taken; it is
found in most of our hymnals. Less often do his “Sound the
loud timbrel o’er Egypt’s dark sea” and “O Thou who driest
the mourner’s tear” find a place. Not directly associated with
ecclesiastical circles and lacking in religious fervor, he yet deserves
a place among distinctly literary hymn writers.</p>
<p>No small factor in the development of the literary hymn
was <i>The Christian Year</i> by John Keble (1792-1866). It was
not a collection of hymns, but a series of poems appropriate to
all the several sacred times and seasons; but out of it were
salvaged a number of hymns that have served the needs of
high liturgical churches on special days. <i>Hymns Ancient and
Modern</i>, the High-Church hymnal so popular in Great Britain
and its dominions, contains no less than eleven of these
adapted hymns. The Christian Church at large is a grateful
debtor to this devotional poetry for the two hymns, “Sun of
my soul, thou Saviour dear,” the evening hymn, and “The
<span class="pb" id="Page_201">201</span>
voice that breathed o’er Eden,” the wedding song. Beyond
the value of these excerpts from his poems was the poetic
stimulus that enriches all subsequent hymnody by raising the
literary quality of the ideal hymn.</p>
<p>It was this literary quality of the work of the foregoing
writers, their definite recognition of the liturgic needs of the
Church, and their high church ideals and sympathies, that
won the final victory of the hymn over the metrical psalm in
the Church of England. This party had been the last stronghold
in England of metrical psalmody.</p>
<h3 id="c186">V. CONTEMPORARY HYMN WRITERS</h3>
<p>Although contemporary with the foregoing romantic school,
Thomas Kelly (1769-1854), originally an Evangelical Church
of England clergyman, later on an Independent, was not
particularly influenced by them. He was an indefatigable
hymn writer; his collection of <i>Scripture Hymns</i> finally contained
765 hymns, all original. His ideal was still that of
Watts, Wesley, and Newton—the useful hymn. He had no
conscious striving after literary quality, but, like Newton, frequently
rose to a high standard in this particular when lifted
by his theme. He was an earnest, pious, zealous, enthusiastic
preacher, and liberal with his large wealth. His influence in
Ireland was widespread and counted largely for piety and for
evangelistic aggressiveness.</p>
<p>Some of our most widely used hymns are from his pen:
“Hark, ten thousand harps and voices,” “Look, ye saints, the
sight is glorious,” “On the mountain’s top appearing,” “The
Head that once was crowned with thorns,” “Zion stands with
hills surrounded.”</p>
<p>Another distinguished contemporary, James Montgomery
(1771-1854), was probably more directly influenced by the
literary impulses of the times. A Moravian layman, the son of
a Moravian minister, he was a professional writer and editor
of a secular newspaper of considerable influence. For years
<span class="pb" id="Page_202">202</span>
a worldling, he was forty-two years old before he publicly
professed his acceptance of Christ.</p>
<p>He had written quite a good deal of secular poetry up to
this time; now he turned to writing hymns, which he had
ceased to do since he was a boy of fourteen. His poetry was
highly appreciated at the time, but it is now forgotten, although
his hymns keep his memory green. He had served a
full literary apprenticeship and had formulated his theories of
the hymn—its character, its content, its limitations—before he
began writing, so that his hymns have an average excellence
and effectiveness that can be paralleled only by those of Bishop
Heber. His critical attitude is very evident in his introduction
to his second book, <i>Christian Psalmist</i>: “The faults in
ordinary hymns are vulgar phrases, low words, hard words,
technical terms, inverted construction, broken syntax, barbarous
abbreviations that make our beautiful English horrid
even to the eye, bad rhymes, or no rhymes where rhymes are
expected, but above all numbers without cadence.” It is not
surprising that, with this keenly critical approach, he made
many alterations in Cotterill’s <i>Selection of Psalms and Hymns</i>,
which he was asked to edit, nor that he almost rewrote the
Moravian hymnbook on which he labored for twelve years.</p>
<p>The list of Montgomery’s widely accepted hymns is very
large: <i>The New Methodist Hymnal</i> has 8, the <i>New Presbyterian
Hymnal</i> 9, <i>Hymns Ancient and Modern</i> (1904 Ed.) 13.</p>
<p>The most widely used of Montgomery’s hymns are: “Angels
from the realms of glory,” “Forever with the Lord,” “Hail
to the Lord’s Anointed,” “Hark the song of jubilee,” “In the
hour of trial,” “Prayer is the soul’s sincere desire,” “Oh, where
shall rest be found,” “The Lord is my Shepherd, No want shall
I know.”</p>
<h3 id="c187">VI. MINOR HYMN WRITERS</h3>
<p>There are some minor writers in this and the succeeding
generation that deserve passing mention. The man of a single
hymn sometimes strikes twelve.</p>
<div class="pb" id="Page_203">203</div>
<p>Among these is John Marriott (1780-1825), a Church of
England vicar whose “Thou, whose almighty word” is in the
first rank because of its dignity and sustained feeling. It is
one of our best missionary hymns.</p>
<p>James Edmeston (1791-1867), a London architect, served his
day and generation with hundreds of hymns for adults and
children; only one of them has become a permanent addition
to English hymnody, the evening hymn, “Saviour, breathe an
evening blessing.”</p>
<p>Another layman, Sir Robert Grant (1785-1838), was conspicuous
in his day as a statesman, and finally as Governor of
Bombay; he was a man of deep piety and elevation of mind.
He wrote a number of thoughtful and impressive hymns, but
he made his most permanent contribution to the Christian
Church’s sacrifice of praise in his noble “Oh, worship the King,
all-glorious above,” which is in the first rank for its noble
poetry as well as its profound devotion.</p>
<p>Another writer of high merit is the butcher’s son, Henry
Kirke White (1785-1806), whose death at the early age of
twenty-one years, after writing at the age of seventeen some
poems of such merit as to arrest the attention of the literary
world, was a distinct loss to English hymnody. How great
that loss can be judged from the high quality of his “The
Lord our God is clothed with might,” “Oft in danger, oft in
woe,” and his Christmas hymn, “When marshaled on the
nightly plain.” His struggles with poverty in seeking an education,
with skepticism in finding peace of soul, with dread
disease to which he had to succumb, invest his story with a
poignant pathos.</p>
<p>Another hymnist deserving attention was Bernard Barton
(1784-1849), a Quaker banker, twenty of whose hymns came
into general use. Two of them seem to have won a permanent
place in our hymnody, “Lamp of our feet, whereby we
trace” and “Walk in the light! so shalt thou know”—not
great hymns, but extremely useful.</p>
<div class="pb" id="Page_204">204</div>
<p>Henry Francis Lyte (1793-1847) entered the church as a
profession, but presently was led into a deep religious experience
by attending the dying bed of a neighboring clergyman
who, too, had looked upon his work as a means of livelihood.
The fruit of this experience was the hymns that have
been so loved and appreciated on both sides of the ocean. The
favorites among them are “Abide with me! Fast falls the
eventide,” “Jesus, I my cross have taken,” “As pants the hart
for cooling streams,” and “Praise, my soul, the King of
heaven.” The pathetic story of his last days has touched the
hearts of God’s people as they have sung his swan song,
“Abide with me”—the finest evening hymn of the Christian
church—if it is accepted as an evening hymn.</p>
<p>That a Unitarian, Sir John Bowring (1792-1872), should
have written so noble a hymn about the cross of Christ as “In
the cross of Christ I glory,” expressing all its spiritual implications,
can be explained only by his orthodoxy of heart. His
superficial reasonings were the outgrowth of his early educational
and social environment, and were not in co-ordination
with his deeper convictions. He was a voluminous writer.
His extraordinary genius for languages is revealed in his
series of “Specimens” from the poetry of no less than five
European languages. Politically he was even more conspicuous
than Sir Robert Grant, but, like him, his name will be
ever revered for a single great hymn, “In the cross of Christ
I glory.” Other hymns in common use are “Watchman, tell
us of the night” and “God is love; his mercy brightens.”</p>
<p>Josiah Conder (1789-1855), the compiler of the <i>Congregational
Hymn Book</i>, wrote fifty-six hymns for it, one of which
is very impressive and worshipful, “The Lord is King! lift
up thy voice,” which will undoubtedly live through coming
generations. His other hymns are uniformly good and of a
high literary standard, but with less appeal.</p>
<h3 id="c188">VII. THE HYMNS OF THE OXFORD MOVEMENT</h3>
<p>Cardinal Newman held that John Keble was the originator
<span class="pb" id="Page_205">205</span>
of the Oxford Movement<a class="fn" id="fr18_1" href="#fn18_1">[1]</a> by his great Assize sermon on
“The Great Apostasy” preached at Oxford, and by his emphasis
of the church’s calendar in his <i>The Christian Year</i>; but
he can hardly be associated with the school of hymn writers
that grew out of it, for some of them repudiated the literary
hymn entirely.</p>
<p>John Henry Newman (1801-1890) was the leader of the
movement back to the ideals of the pre-Reformation church.
He wrote some poetry, notably “The Dream of Gerontius,” and
a few hymns. Of these, “Lead, kindly Light, amid the encircling
gloom” is the most widely known, because of its attractive
music, as he himself testifies. “Praise to the Holiest in
the height” is really a more serviceable hymn for actual church
services.</p>
<p>His disciples, Edward Caswall (1814-1878) and John Mason
Neale (1818-1866), opened new veins of hymnic wealth in
their translations from the Latin and the Greek, with which
they greatly enriched the treasury of sacred song. In the enthusiasm
evoked by their success, the suggestion was seriously
made that all the post-Reformation hymnody be set aside to
give way to the medieval and even earlier hymns!</p>
<p>Caswall devoted himself to the Latin medieval hymns and
sequences and made some surpassing translations, or, if you
please, transformations—e.g., “Jesus, the very thought of
Thee,” “The sun is sinking fast,” “My God, I love Thee, not
because,” and “When morning gilds the skies” from the German.
He was a Church of England man, but in 1847 he entered
the Roman Catholic Church, following his leader, Dr.
Newman.</p>
<p>Dr. Neale did not leave the English Church, but was quite
prominent in High-Church circles. He was intensely interested
in the liturgics of his church, which led to his studies of
the early Greek church and its breviaries. He brought to his
translations of Greek hymns a literary skill, a spiritual insight,
and a fervor that made him the primate among those who
<span class="pb" id="Page_206">206</span>
found their inspiration in these ancient books of service and
breathed into these ancient lyrics the breath of modern life.
Among his most notable successes are: “Art thou weary, art
thou languid?” “Christian, dost thou see them?” “The day
is past and over,” “Fierce was the wild billow,” “’Tis the day
of resurrection,” “Brief life is here our portion,” “Jerusalem
the golden.” It must be remembered that these are not literal
translations, but English hymns made up of ideas suggested
by phrases in the originals. Only a poet imbued with devout
feelings, responding to the vague suggestions of the often
obscure originals, could have produced them.</p>
<p>Another disciple of Cardinal Newman who also followed
him into the Roman Catholic Church was Frederick W.
Faber (1814-1863), a poet by the grace of God, a devout Christian,
a man of intense convictions, but somewhat temperamental
and impulsive. Among his many good hymns are:
“My God, how wonderful thou art,” “There’s a wideness in
God’s mercy” (sometimes beginning “Was there ever kindest
Shepherd”), “O Paradise! O Paradise,” “Hark, hark, my
soul! angelic songs are swelling,” “Faith of our fathers! living
still.” Few that sing the last-mentioned hymn realize that it
refers to the faith of the Roman Catholic saints and that the
hymn had to be cleansed of its Mariolatry before being used
in our Protestant hymnals. Nevertheless, in its present form
it is a very impressive and valuable hymn that has been redeemed
from the propagandist vagary of its original writer.</p>
<p>Still under the influence of the Oxford High, or Anglo-Catholic
Church, we find Mrs. Cecil Frances Alexander,
(1823-1895), the writer of many hymns, especially for children,
among which are a number that promise permanent
usefulness: “There is a green hill far away,” “Jesus calls us,
o’er the tumult,” “The roseate hues of early dawn.”</p>
<p>Bishop W. W. How (1823-1897) wrote a number of excellent
hymns for his hymnal, <i>Psalms and Hymns</i>, some of which
have since found their way into other hymnals. Perhaps those
<span class="pb" id="Page_207">207</span>
that have appealed most are “O Jesus, Thou art standing,”
“We give Thee but Thine own,” “O Word of God incarnate,”
“Soldiers of the cross, arise,” “Summer suns are glowing.”
His hymns are thoughtful, devout, and full of tender
feeling; their literary quality is admirable.</p>
<p>A very copious writer of the same generation was Frances
Ridley Havergal (1836-1879), whose devotional poetry touched
the heart of her generation to a remarkable degree. Her pen
was quite facile, and not all she wrote had more than transient
value: but some of her hymns the Christian Church will
permanently treasure: “Take my life, and let it be,” “I could
not do without Thee,” “True-hearted, whole-hearted,” “Lord,
speak to me, that I may speak,” “I gave my life for thee.”
Miss Havergal was a woman of profound Christian experience,
which is voiced by her hymns.</p>
<p>Among the later writers is Sabine Baring-Gould (1834-1927),
voluminous writer on a variety of topics as well as a
fairly popular novelist. He wrote the stirring “Onward,
Christian soldiers” for a local processional of school children
and assured himself of an immortality by a half hour’s writing
that all his laborious literary work would not have won him.
He also wrote an appealing evening hymn, “Now the day is
over,” that Joseph Barnby has made popular by his pleasing
tune, “Merrial.”</p>
<p>In spite of Sir Walter Scott and Robert Burns and a number
of minor poets, and in spite of a wealth of charming folk
songs, to prove that the spirit of song dwells in the Scottish
breast, Scotland has made but a small contribution to English
hymnody. The metrical psalm ruled the Scotch religious
heart with a rod of iron. Only during the last generation has
Scotia almost unwittingly made an important contribution.
Horatius Bonar (1808-1889) was an industrious writer on
many topics. He allowed no hymns to be sung in his
church, but by a strange anomaly he issued three series of
<i>Hymns of Faith and Hope</i>—in 1856, 1861, and 1866. While
<span class="pb" id="Page_208">208</span>
these hymns were being increasingly sung around the world,
his church sang metrical psalms! More than one hundred
of his hymns are in common use. Among them are the following:
“I heard the voice of Jesus say,” “I lay my sins on
Jesus,” “Go, labor on; spend and be spent,” “Beyond the smiling
and the weeping,” “A few more years shall roll,” “I was
a wand’ring sheep,” “When the weary, seeking rest.”</p>
<p>Another Scotchman, George Matheson (1842-1906), the
blind preacher, has written, among many others, a hymn
whose beauty and mystical suggestiveness has rapidly given
it wide usefulness: “O Love, that wilt not let me go.” Fortunate
in having a very pleasing and effective tune, St. Margaret
by Albert L. Peace, it promises to be a permanent fountain
of blessing.</p>
<div class="pb" id="Page_209">209</div>
<h2 id="ch189"><span class="h2line1"><i>Chapter XVIII</i></span>
<br />AMERICAN HYMNODY</h2>
<h3 id="c190">I. THE TRANSITION FROM PSALMODY TO HYMNODY</h3>
<p>The metrical versions used in New England were Ainsworth’s
in Plymouth and vicinity under Pilgrim influence, and Sternhold
and Hopkins’, where Puritan influence controlled. The
New England ministers were scholarly and knew their Hebrew
Bible. The Sternhold and Hopkins version was unsatisfactory,
not so much for its literary deficiencies, but because
it was not literal enough, did not reproduce the Hebrew minutely
enough. This led, as we have seen in <a href="#ch123">Chapter X</a>, to the
Bay Psalm Book of 1640, which was widely adopted, although
Sternhold and Hopkins still had its partisans.</p>
<p>These versions could not but find sharp critics among a
more or less scholarly ministry and in time their absurdities
weakened their hold upon the New England churches.</p>
<p>The utter collapse of the congregational singing due to the
lack of tunes in the psalm books, and the absence of competent
precentors,<a class="fn" id="fr19_1" href="#fn19_1">[1]</a> hastened the revolt among some of the
Churches against the versions. Yet the tyranny of “use and
wont” kept most of the churches in line, only a few of them
adopting the later version of Tate and Brady.</p>
<p>The interest aroused by the “singing school,” and by the
organization of choirs due to the multiplication of tune books,
both English and American, delayed the abolition of the older
metrical versions and postponed the introduction of Watts’
<span class="pb" id="Page_210">210</span>
Imitations and Hymns for several decades, but the complaints
from the larger and more cultured churches and their scholarly
ministers became more vociferous.<a class="fn" id="fr19_2" href="#fn19_2">[2]</a> The combination
of the absurdities of the metrical versions, and those created
by the senseless repetition made necessary by the fugue tunes
then in use, became unendurable.</p>
<h3 id="c191">II. THE INTRODUCTION OF WATTS’ HYMNS</h3>
<p>Watts’ <i>The Psalms of David Imitated</i> was very well adapted
to serve as an entering wedge. It brought a certain sanction
by making David’s Psalms the foundation. They were still
psalms, not hymns, and so satisfied to some degree the claims
of tradition, and placated those who would have balked at
hymns of “human composure.” Benjamin Franklin in 1729
was the first to reprint the Imitation, but complained that
the copies remained on his shelves unsold. The demand evidently
grew, for in 1741 he issued a second edition. The first
reprint of Watts’ Hymns appeared in 1739 in Boston. Three
years later, in 1742, Franklin reprinted them in Philadelphia,
and years later still, they were republished in New York.</p>
<p>Whitfield’s visit to America and the outburst of singing of
the Great Awakening (1742), with its profound religious experiences
that could find no adequate expression in the Psalms
alone, gave Watts’ Hymns a larger opportunity. In 1744 the
singing of Watts’ Hymns was one of the diversions of the people
when they met together.</p>
<p>It was not until after the Revolution that the introduction
of Watts’ Psalms and Hymns became general. There were
a number of issues with such abridgments or changes as were
made necessary by Watts’ references to British conditions, by
Joel Barlow, a patriotic poet, author of the <i>Columbiad</i>, and
later U. S. Minister to France, and by Nathan Strong, Samuel
Worcester, and Timothy Dwight, the distinguished president
of Yale College. All these had considerable vogue, especially
the last which contained metrical versions of the Psalms Watts
<span class="pb" id="Page_211">211</span>
had omitted and other psalms versified anew. President
Dwight’s “I love Thy kingdom, Lord” appeared as a versification
of Psalm 137. It is a classic, one of the two leading hymns
on the Christian Church, and is rarely omitted in our hymnals.
Besides the Psalms it contained 263 hymns, 168 of which
were by Watts.</p>
<p>The contentions which had occurred over methods of singing—the
“Deaconing” or lining out of the hymns, the use of
choirs, the fugal tunes—now gave way to differences over
the use of various editions of Watts, or over the use of hymns
in church service. The tradition, happily unjustified now,
that the music of the church constituted “the war department”
seems to have been originated during that century of conflict.</p>
<h3 id="c192">III. THE BEGINNINGS OF AMERICAN HYMNODY</h3>
<p>Wherever Watts had been able to overthrow the tyranny of
the metrical versions, he seemed to have instituted a tyranny of
his own, to the detriment of the development of an American
hymnody. But here and there lonesome birds were singing
songs of their own, early harbingers of the springtime of
American sacred song.</p>
<p>Samuel Davies, the eloquent President of the College of
New Jersey, now Princeton University, began writing hymns
in the middle of the eighteenth century that were accepted in
English hymnbooks before they became generally known in
America. Their quality may be judged from his hymn of
consecration:</p>
<div class="verse">
<p class="t0">“Lord, I am thine, entirely thine,</p>
<p class="t0">Purchased and saved by blood divine;</p>
<p class="t0">With full consent thine I would be</p>
<p class="t0">And own thy sovereign right in me.”</p>
</div>
<p>The other verses are equally good, if not superior.</p>
<p>Mather Byles, the brilliant Tory preacher of Boston, was a
poet of no mean pretentions and in close touch with Swift,
<span class="pb" id="Page_212">212</span>
Pope, and Watts. He wrote hymns that served their purpose
in his day and generation, but have not been recognized
since, partly because of his political attitude and his advanced
views, being one of the first to use Watts’ Hymns in his congregation.
His somewhat oratorical style is evident in his
hymn on the greatness of God:</p>
<div class="verse">
<p class="t0">“Who can behold the blazing light?</p>
<p class="t">Who can approach consuming flame?</p>
<p class="t0">None but thy wisdom knows thy might;</p>
<p class="t">None but thy word can speak thy name.”</p>
</div>
<p>Another early songbird was Samson Occom, the Mohegan
Indian, who raised the money in England which later became
the financial nucleus of the present Dartmouth College.
His autobiographical hymn, “Waked by the Gospel’s
joyful sound,” was widely used in England and translated
into Welsh, among whom it was used in their revivals
and “led many hundred sinners to the cross of Christ.”</p>
<p>Harry Alline (1748-1783) was the most copious hymn writer
of that early day, his <i>Hymns and Spiritual Songs</i> containing
four hundred and eighty-seven Hymns, all from his own pen.
His</p>
<div class="verse">
<p class="t0">“Amazing sight, the Saviour stands,</p>
<p class="t">And knocks at every door!</p>
<p class="t0">Ten thousand blessings in his hands</p>
<p class="t">To satisfy the poor,”</p>
</div>
<p>was quite a favorite for many years, but was finally submerged
in the larger tide of sacred song that sprang up
through the years.</p>
<p>The scholarly and eloquent Nathan Strong in his <i>Hartford
Selection</i> used several hymns of his own. His patriotic
hymn, “Swell the anthem, raise the song,” has had a long life
of wide usefulness.</p>
<p>While Watts still reigned supreme during the next quarter
of a century, the impulse and the ability to write acceptable
<span class="pb" id="Page_213">213</span>
hymns was rapidly developing. Eccentric Elder John Leland
(1754-1851) among a lot of almost amusing trash wrote an
evening hymn that had very wide acceptance. Dr. Duffield
characterizes it as a “classic in its unpretending beauty,” and
Dr. Charles S. Robinson esteemed it so highly as to exclaim,
“May it live forever and ever!” Unfortunately the supply of
fine evening hymns is so great that in the competition Leland’s
hymn has fallen by the way. The last verse will enable the
reader to savor its quality:</p>
<div class="verse">
<p class="t0">“And when our days are past,</p>
<p class="t">And we from time remove,</p>
<p class="t0">Oh, may we in Thy bosom rest,</p>
<p class="t">The bosom of Thy love.”</p>
</div>
<p>How many ministers who sing “Coronation” so heartily
are aware that the composer, Oliver Holden (1765-1844), was
a hymn writer as well as a musician? Yet one of his hymns
had a wide use in both America and England:</p>
<div class="verse">
<p class="t0">“They who seek the throne of grace</p>
<p class="t0">Find that throne in every place;</p>
<p class="t0">If we live a life of prayer,</p>
<p class="t0">God is present everywhere.”</p>
</div>
<p>After a long and useful life, it, too, has practically disappeared
from our hymnals.</p>
<h3 id="c193">IV. COLLECTIONS OF AMERICAN HYMNS</h3>
<p>By 1824 the evangelistic movement, partly a heritage from
the Great Awakening, partly due to the Methodist aggressiveness,
and partly to the religious needs of a widely scattered
and pioneer population, made it evident that the hymns of
Watts and his school, with minds set on worship in more or
less formal services for the edification of the elect, and ignoring
the needs of an urgent discipling, were not fitted for revival
work. Rev. Asahel Nettleton, an evangelistic minister
greatly interested in foreign missions, issued his <i>Village
<span class="pb" id="Page_214">214</span>
Hymns</i>, containing six hundred hymns, only fifty of which
were by Watts. Some of Charles Wesley’s hymns were included,
but most of these were credited to other authors.
While other English sources were drawn upon, the book was
noteworthy for the American hymns that appeared in it.
Hymns by Davies, Occom, Alline, Strong, and Dwight were
used. An eager quest for new American hymnists was rewarded
by contributions from William B. Tappan (“’Tis midnight;
and on Olive’s brow” and “The ransomed spirit to
her home”); from Phoebe Hinsdale Brown (“I love to steal
awhile away”); and from Abby B. Hyde (“Dear Saviour, if
these lambs should stray”).</p>
<p>William B. Tappan (1794-1849) was a largely self-educated
man, having attended school but six months. His hymn
“There is an hour of peaceful rest” was widely published in
America and England, and on the Continent, and used to be
inevitable in the hymnbooks of sixty years ago. His “’Tis midnight;
and on Olive’s brow” still holds its place, though largely
descriptive, but none the less impressive and useful.</p>
<p>Mrs. Phoebe Hinsdale Brown (1783-1861) still is represented
in most of our hymnals by her “I love to steal awhile away,”
with its pathetic story of her misunderstood habit of prayer
among the scenes of nature. Greater than the hymn, valuable
as it has been, is her contribution to the progress of
Christ’s Kingdom in the work of her missionary son, Rev.
Samuel R. Brown, in China and Japan and that of her grandsons
in the latter country.</p>
<p>But the revival took on an intenser form under the preaching
and praying of Charles G. Finney and, bright as was the
spirit of the <i>Village Hymns</i>, it called for something more
vigorous and with a greater appeal to the unsaved people who
were to be won, especially in the music. Rev. Joshua Leavitt,
a Congregational minister, a militant reformer, enemy of intemperance
and slavery (a dangerous attitude in those days),
and an ardent believer in the revival work of Finney, issued
<span class="pb" id="Page_215">215</span>
his <i>The Christian Lyre</i> in 1830, which created quite a sensation.
Its hymns did not differ much from those of <i>Village
Hymns</i>, but it was more practical in that it supplied the
music on the page opposite to each hymn, no small advance
on the ponderous tune book that had to be held in one hand
and the hymnbook in the other. Lowell Mason and Thomas
Hastings had been editing these tune books filled with dull
and stupid music, in whose abundant chaff an occasional grain
of gold occurred, which the Christian Church has been glad
to cherish. The music in <i>The Christian Lyre</i> was bright and
popular, being secular melodies the people were singing.
Leavitt had taken a leaf out of the book of the old mass-writers,
who used popular melodies for their descants, and of
Luther and Bourgeois, in taking popular tunes to reach the
people. It was an anticipation of Horace Waters’ policy in
his <i>Sabbath School Bell</i> in 1859. It was also an anticipation of
Moody and Sankey’s <i>Gospel Hymns</i>, except that Leavitt had
no Fanny Crosby or Lydia Baxter to supply new texts, and
no reserve of popular music by Lowry, Doane, Bliss, and
others to draw upon.</p>
<p>As Horace Waters stimulated Bradbury into developing
the popular Sunday school music, one of whose by-products
was the Gospel song, so Leavitt stirred up Mason and Hastings
to begin the issue in 1832 of <i>Spiritual Songs for Social
Worship</i>, in twelve parts, more nearly the archetype of the
future <i>Gospel Hymns</i>. <i>The Christian Lyre</i> left no residuum
for future generations, but Spiritual Songs, edited by men of
wide experience, in touch with the most cultivated clerical circle
of the day, one of them a hymnist of both facility and
felicity, made important permanent contributions not only to
American but to universal Christian hymnody.</p>
<p>In this collection appeared Thomas Hastings’ “Hail to the
brightness of Zion’s glad morning,” “Gently, Lord, O gently
lead us,” “How calm and beautiful the morn,” “Child of sin
and sorrow.” Here also appeared his enlargement of Thomas
<span class="pb" id="Page_216">216</span>
Moore’s “Come, ye disconsolate.” Add to these his tunes “Ortonville,”
“Retreat,” “Zion,” “Toplady,” and others and his
other hymns, “Return, O wanderer, to my home,” “Delay not,
delay not, O sinner, draw near,” “The Saviour bids thee watch
and pray,” and it will be seen that Thomas Hastings, even
if he is not in the first rank as hymnist or composer, deserves
well of the Christian Church.</p>
<p>In this same volume of Spiritual Songs first appeared Rev.
Samuel F. Smith’s two great hymns, “The morning light is
breaking” and “My country, ’tis of thee.” He was still a
theological student, twenty-four years of age, when these were
written. The theme of the latter was suggested in a general
way by Lowell Mason, who needed a patriotic song for his
children’s singing schools, and who supplied him with some
music he had recently received from Germany. During a
leisure moment his eye fell on “Heil dir im Sieger-Kranz,”
the German “God Save the King,” written to the English
tune, “God Save the King.” This latter fact he did not know,
but liked the tune and was moved to write unknowingly our
National Hymn. Sung by Lowell Mason’s children’s chorus,
it was rapidly introduced and was presently <i>viva voce</i> accepted
as the long-desired National Anthem. Practically an improvisation,
not intended for wide use, it is open to criticism; but
it is greatly superior to its only competitor for national honors,
“The Star-Spangled Banner,” because of its practicability in
singing, its dignity, and its noble expression of the American
spirit. That it refers to hills and not to prairies, and speaks of
“pilgrim’s pride” (without the capital) is open only to captious
criticism.</p>
<p>His “The morning light is breaking” was due to the missionary
spirit that was prevalent in the theological seminaries
during that period. It is the peer of Heber’s “From Greenland’s
icy mountains” as a missionary hymn; many recent
critics greatly prefer it.</p>
<p>Another great hymn that made its premier appearance in
<span class="pb" id="Page_217">217</span>
<i>Spiritual Songs</i> was “My faith looks up to Thee,” by Dr. Ray
Palmer (1808-1887), set to one of Lowell Mason’s best tunes,
“Olivet.” Meeting Dr. Palmer on the street, Mason asked him
whether he had not an appropriate hymn for his forthcoming
book; young Palmer remembered he had some verses in his
pocketbook and handed them to Mason. Meeting Palmer a
few days afterwards on the street, Mason with great earnestness
exclaimed: “Mr. Palmer, you may live many years and
do many good things, but I think you will be best known to
posterity as the author of ‘My faith looks up to Thee!’” The
prophecy, so literally fulfilled, speaks well for Mason’s critical
acumen. Ray Palmer, despite Bishop Wordsworth’s objection
to the pronouns of the first person, wrote “My faith,” “I
pray,” “my guilt,” for his hymn was not intended to be
sung, but simply to express his own spiritual experience. It
was a personal prayer none the less that it took a metrical
form. It is one of the great factors in its world-wide appeal
that it becomes the personal expression of every individual
who sings it.</p>
<p>But Dr. Palmer was not the author of only a single song:
he wrote many others of almost equal value. Writing a
sermon on the words of Peter, “Jesus Christ, whom having
not seen ye love,” he was suddenly overwhelmed by his rapture
of love for the Christ, and, the sermon forgotten, he wrote
down the hymn the church will never allow to die:</p>
<div class="verse">
<p class="t0">“Jesus, these eyes have never seen</p>
<p class="t">That radiant form of thine;</p>
<p class="t0">The veil of sense hangs dark between</p>
<p class="t">Thy blessed face and mine.</p>
</div>
<div class="verse">
<p class="t0">I see thee not, I hear thee not,</p>
<p class="t">Yet art thou oft with me;</p>
<p class="t0">And earth hath ne’er so dear a spot</p>
<p class="t">As where I meet with thee.”</p>
</div>
<p>In his dying hour he was heard to repeat with broken voice
the last stanza of this hymn:</p>
<div class="pb" id="Page_218">218</div>
<div class="verse">
<p class="t0">“When death these mortal eyes shall seal,</p>
<p class="t">And still this throbbing heart,</p>
<p class="t0">The rending veil shall thee reveal,</p>
<p class="t">All glorious as thou art.”</p>
</div>
<p>Other important hymns of Dr. Palmer’s are: “Come, Jesus,
Redeemer, abide Thou with me,” “O Jesus, sweet the tears
I shed,” “Take me, O my Father, take me,” “O Christ, the
Lord of heav’n, to Thee,” “Come, Holy Ghost, in love.” His
translation of “Jesu, dulcedo cordium,” the Paris cento of
“Jesu, dulcis memoria,” by an unknown Spanish abbess, is
most highly esteemed: “Jesus, Thou joy of loving hearts.”
This cento is made up of selected verses from “Jesu, dulcis
memoria,” from which Edward Caswell took his admirable
“Jesus, the very thought of Thee.”</p>
<p>Dr. Leonard Bacon (1802-1881), the son of a missionary
among the Indians of Michigan, is noteworthy in two particulars:
he issued, at the age of twenty-one, the first collection
of missionary hymns printed in America, and he wrote
the New England patriotic hymn still used in our churches,</p>
<div class="verse">
<p class="t0">“O God, beneath thy guiding hand</p>
<p class="t">Our exiled fathers crossed the sea;</p>
<p class="t0">And when they trod the wintry strand</p>
<p class="t">With prayer and psalm they worshiped Thee.”</p>
</div>
<p>Born in Detroit, he sang the praise of the divine hand that
founded the New England churches.</p>
<h3 id="c194">V. EPISCOPAL HYMN WRITERS</h3>
<p>While the Anglican Church remained faithful to the traditional
metrical versions well into the nineteenth century, the
American Episcopal Church was hospitable to hymns much
earlier. Already in 1789 the House of Bishops ratified the
addition of hymns to the psalter. From decade to decade the
demand for additional hymns grew until in 1823 William A.
Muhlenberg, a rector of Lancaster, Pa., issued his <i>Church</i>
<span class="pb" id="Page_219">219</span>
<i>Poetry</i>, consisting of psalms and hymns, which was adopted
by the rectors of other Episcopal churches. In 1827 appeared
<i>Hymns of the Protestant Episcopal Church</i>, the majority of
whose hymns were by Watts, Doddridge, Steele, and Charles
Wesley. Its most distinctive feature was the new hymns supplied
by five Episcopal writers, Dr. H. U. Onderdonk, Dr.
William Augustus Muhlenberg (1796-1877), Bishop George
W. Doane (1799-1859), J. W. Eastburn, and Francis S. Key
(1779-1843).</p>
<p>Of Dr. Onderdonk’s nine hymns one came into general
use, “The Spirit in our hearts.”</p>
<p>Dr. Muhlenberg was more successful, for three of his five
are recognized as a part of American Hymnody: “I would not
live alway; I ask not to stay,” “Shout the glad tidings, exultingly
sing,” and the baptismal hymn, “Saviour, who thy flock
art feeding.”</p>
<p>Bishop Doane was represented by two hymns, both of
which still find a place in our hymnals: “Thou art the way;
to thee alone,” “Softly now the light of day.” The latter is
one of our most acceptable evening hymns. Fully as useful
is his vigorous missionary hymn, which, with its very appropriate
tune, “Waltham,” by J. Baptiste Calkin, is adding
inspiration everywhere to the cause,</p>
<div class="verse">
<p class="t0">“Fling out the banner! let it float</p>
<p class="t">Skyward and seaward, high and wide;</p>
<p class="t0">The sun, that lights its shining folds,</p>
<p class="t">The cross, on which the Saviour died.”</p>
</div>
<p>Francis S. Key, the well-known writer of “The Star-Spangled
Banner,” to whom Baltimore has erected an elaborate
statue, furnished a fine hymn of praise, “Lord, with glowing
heart I’d praise Thee.”</p>
<h3 id="c195">VI. UNITARIAN HYMNODY</h3>
<p>The production of original hymns in New England took a
peculiar course. After Samuel F. Smith, the spirit of praise
<span class="pb" id="Page_220">220</span>
left the Orthodox churches and took refuge with the ostensible
Unitarians. The reaction against the rigid and harsh
Calvinism was not so much against the doctrine of the deity
of Christ, as against the false corollaries drawn metaphysically
from the noble doctrine of the Sovereignty of God, as well as
the crass, materialistically conceived, conception of the state
of the impenitent dead, that was painted so luridly and offensively
in song as well as in sermon.</p>
<p>Henry Ware, Jr. (1794-1843), was the son of Professor
Henry Ware, who held the chair of Divinity in Harvard College
for thirty-five years. He himself became professor of
Pulpit Eloquence and Pastoral Care in the same institution in
1830. The pastor for thirteen years of a prominent Unitarian
church in Boston, he never wavered in his faith in the deity of
Jesus Christ. How otherwise could he have written that triumphant
Easter hymn:</p>
<div class="verse">
<p class="t0">“Lift your glad voices in triumph on high,</p>
<p class="t0">For Jesus hath risen, and man cannot die;</p>
<p class="t0">Vain were the terrors that gathered around him,</p>
<p class="t0">And short the dominion of death and the grave.”</p>
</div>
<p>William Cullen Bryant (1794-1878), America’s first great
poet, wrote five hymns for Henry D. Sewall’s Unitarian
Church hymnal in 1820. He was a member of the First
Congregational Unitarian Church in New York City. Yet in
1865 he could write a hymn containing the following stanza:</p>
<div class="verse">
<p class="t0">“Lo! in the clouds of heaven appears</p>
<p class="t">God’s well-beloved Son;</p>
<p class="t0">He brings the train of brighter years;</p>
<p class="t">His Kingdom is begun;</p>
<p class="t0">He comes, a guilty world to bless</p>
<p class="t0">With mercy, truth, and righteousness.”</p>
</div>
<p>In 1875 he could still write in a hymn on “The Star of
Bethlehem,”</p>
<div class="verse">
<p class="t0">“Yet doth the Star of Bethlehem shed</p>
<p class="t">A luster pure and sweet;</p>
<div class="pb" id="Page_221">221</div>
<p class="t0">And still it leads, as once it led,</p>
<p class="t">To the Messiah’s feet.”</p>
</div>
<p>An even more remarkable Unitarian was Oliver Wendell
Holmes (1809-1894), the great physician, but even greater
poet. He had the reputation of being rather radical in his religious
views; he was a humorist whom human life rather
amused than impressed seriously (though he was tender
enough to human suffering), but, when a hymn seemed an
appropriate close for one of his genial essays, he could write,</p>
<div class="verse">
<p class="t0">“Lord of all being, throned afar,</p>
<p class="t0">Thy glory flames from sun and star;</p>
<p class="t0">Center and soul of every sphere,</p>
<p class="t0">Yet to each loving heart how near.”</p>
</div>
<p>But unless in the deeper depths of his soul there still lingered
faith in Jesus Christ as the Son of God, how could he
write,</p>
<div class="verse">
<p class="t0">“O Love divine, that stooped to share</p>
<p class="t">Our sharpest pang, our bitterest tear,</p>
<p class="t0">On thee we cast each earthborn care;</p>
<p class="t">We smile at pain while thou art near.”</p>
</div>
<p>Especially that last verse of unshaken faith:</p>
<div class="verse">
<p class="t0">“On thee we fling our burdening woe,</p>
<p class="t">O Love divine, forever dear;</p>
<p class="t0">Content to suffer while we know,</p>
<p class="t">Living and dying, thou art near.”</p>
</div>
<p>What might not Oliver Wendell Holmes have done for
Christian hymnody, had he had Charles Wesley’s evangelical
experience and piety?</p>
<p>Another Unitarian deserving recognition was Edmund
Hamilton Sears (1810-1876), who is not remembered because
of his successful pastoral career of forty years, nor by his theological
treatises and religious writings, but by his two Christmas
<span class="pb" id="Page_222">222</span>
hymns, perhaps the best written in America (not forgetting
Bishop Brooks’ “O Little town of Bethlehem”)—“Calm
on the listening ear of night” and “It came upon the midnight
clear.” The first was written soon after his graduation
from Harvard College in 1834, and the other in 1849 after he
had been in the pastorate over a decade. Of course, he was a
firm believer in the deity of Christ, else he could not have
written these hymns.</p>
<p>After Dr. Ray Palmer, our best American hymnist is John
G. Whittier (1807-1892), who never aspired to such honors!
His hymns have been most deftly extracted from longer
poems and, despite their being mere fragments, are distinctive
hymns in progress of thought and structure. Moreover, they
are the very choicest passage in these longer poems. The
additional marvel is that this Unitarian Hicksite Quaker,
who was not taught to sing hymns in his youth, should have
given finer expression than any other writer to the sense of
present intimate communion with Christ:</p>
<div class="verse">
<p class="t0">“But warm, sweet, tender, even yet</p>
<p class="t">A present help is He;</p>
<p class="t0">And faith has still its Olivet,</p>
<p class="t">And love its Galilee.”</p>
</div>
<h3 id="c196">VII. LATER ORTHODOX HYMN WRITERS</h3>
<p>To this generation George Duffield, Jr. (1818-1888), may be
said to have belonged. His hymn, “Stand up, stand up for
Jesus,” is never omitted from any reputable collection of
hymns, liturgic or popular. He was a foremost figure in the
Philadelphia revival of 1857 and 1858, being associated with
Alfred Cookman, the Methodist, and Dudley A. Tyng, the
Episcopalian, whose dying words suggested the hymn.</p>
<p>Old Dr. Lyman Beecher was a giant in his day, but his chief
glory was in his remarkable family of children. While Henry
Ward was most conspicuous in his day, he was hardly more
so than Harriet Beecher Stowe (1812-1896), the author of
<span class="pb" id="Page_223">223</span>
<i>Uncle Tom’s Cabin</i>, which, with Hanby’s <i>Darling Nellie
Gray</i>, prepared the heart of the North to buy at a tremendous
cost of treasure and blood the Emancipation Proclamation.
But Mrs. Stowe is not simply a historic character whose
work is done; she is living still in her hymns, notably the
exquisite morning hymn, “Still, still with thee, when purple
morning breaketh,” a fitting mate for Lyte’s evening
hymn, “Abide with me; fast falls the eventide.”</p>
<p>Mention should be made of Anna Warner (1820-1915),
whose children’s hymn, “Jesus loves me, this I know,” set to
Bradbury’s simple pentatonic melody has girdled the globe.
Other hymns by Miss Warner are “One more day’s work for
Jesus” and “We would see Jesus; for the shadows lengthen.”</p>
<p>Among later American hymn writers is Mary Artemisia
Lathbury (1841-1913), who wrote “Break Thou the bread of
life” (not a communion hymn, by the way) and “Day is dying
in the West,” with William F. Sherwin’s tunes, which are
to be found in all our hymnals and which are very tender,
very useful.</p>
<p>The American Episcopal Church has supplied some admirable
hymns through Bishop Arthur Cleveland Coxe (1818-1896),
who wrote “Oh, where are kings and empires now,” the
almost apocalyptic “We are living, we are dwelling,” and the
missionary “Saviour, sprinkle many nations,” all hymns of
high worth; and Bishop Phillips Brooks (1835-1893), whose
“O little town of Bethlehem” is a favorite Christmas carol.</p>
<p>Mrs. Frances Crosby Van Alstyne (1820-1915), familiarly
known as “Fanny Crosby,” would be the premier hymn
writer of America if the criteria were quantity and wideness of
use. There can be no question as to the evangelistic and devotional
value of her hymns, whatever their literary quality
or permanent appeal may be. “Safe in the arms of Jesus,”
“Rescue the perishing,” “Blessed Assurance,” “Pass me not, O
gentle Saviour,” “Saviour, more than life to me,” “I am thine,
O Lord, I have heard thy voice,” “Jesus, keep me near the
<span class="pb" id="Page_224">224</span>
cross,” and many others will probably be permanent in hymnals
and song collections of a popular and evangelistic type.</p>
<p>Valuable hymns of the same practical gospel song type
have been written by Mrs. Lydia Baxter, Philip Paul Bliss,
Annie Sherwood Hawks, Mrs. Ellen Huntington Gates, Rev.
E. A. Hoffman, Miss E. E. Hewitt, Mrs. C. H. Morris, President
J. E. Rankin, D.D., and many others.</p>
<p>Mrs. Elizabeth Prentiss (1818-1878), daughter of the saintly
and greatly beloved Rev. Edward Payson, wrote <i>Stepping
Heavenward</i>, a book that stimulated and cheered multiplied
thousands and lifted their spiritual ideals. Of her 123 <i>Religious
Poems</i>, one has won a permanent place in our hymnals,
“More love to Thee, O Christ.” It is not a substitute for
Mrs. Adams’ “Nearer, my God, to Thee,” but a complement.</p>
<p>Other writers of single hymns that the Church has used
with great effect are Dr. Washington Gladden’s (1836-1918)
“O Master, let me walk with Thee,” a hymn of Christian
service; Dr. Sylvanus Dryden Phelps’ “Saviour, Thy dying
love;” Dr. Edward Hopper’s “Jesus, Saviour, pilot me;” Dr.
Joseph Henry Gilmore’s (1834-1918) “He leadeth me, O blessed
thought;” Ernest W. Shurtleff’s (1862-1917) “Lead on, O King
eternal;” Frank Mason North’s (1850-1935) “Where cross the
crowded ways of life”; the second, third, and fourth of the
songs just mentioned have a Gospel song origin.</p>
<p>More recent writers are Rev. Frederick L. Hosmer and Rev.
William C. Gannett in whose <i>The Thought of God</i> are
found hymns of deep piety and strong religious feeling. Room
is made for two stanzas of Dr. Hosmer’s “Found,”</p>
<div class="verse">
<p class="t0">“O Name, all other names above,</p>
<p class="t">What art thou not to me,</p>
<p class="t0">Now I have learned to trust thy love</p>
<p class="t">And cast my care on thee?</p>
</div>
<div class="verse">
<p class="t0">What is our being but a cry,</p>
<p class="t">A restless longing still,</p>
<div class="pb" id="Page_225">225</div>
<p class="t0">Which thou alone canst satisfy,</p>
<p class="t">Alone thy fullness fill?”</p>
</div>
<p>A more important recent hymn writer is Rev. Louis F.
Benson, D.D. (1855-1930), the editor of the current Presbyterian
hymnals. This history of Christian hymnody cannot
close more fittingly than to quote part of a stirring hymn by
this greatest of American hymnologists:</p>
<div class="verse">
<p class="t0">“Forward! singing ‘Glory</p>
<p class="t">To our Lord the King’;</p>
<p class="t0">Forward! Trusting only</p>
<p class="t">In the name we sing.</p>
<p class="t0">See the day is breaking</p>
<p class="t">And the road points far;</p>
<p class="t0">March, with eyes uplifted</p>
<p class="t">To the Morning Star.</p>
</div>
<div class="verse">
<p class="t0">Blessed is the Kingdom;</p>
<p class="t">Blessed be the King!</p>
<p class="t0">Crowned is every duty</p>
<p class="t">His commandments bring.</p>
<p class="t0">Now to serve like soldiers,</p>
<p class="t">Now to work like men;</p>
<p class="t0">Oh, to love as God loves</p>
<p class="t">And to conquer then.”</p>
</div>
<div class="pb" id="Page_227">227</div>
<h1 title="">THE SINGING CHURCH</h1>
<h2 title=""><span class="h2line1">PART III</span>
<br />PRACTICAL HYMNOLOGY</h2>
<div class="pb" id="Page_229">229</div>
<h2 id="ch197"><span class="h2line1"><i>Chapter XIX</i></span>
<br />THE STUDY OF HYMNS</h2>
<h3 id="c198">I. IMPORTANCE OF THE STUDY OF HYMNS</h3>
<p>It has been said that the two great books which every minister
should study are the Bible and human nature. A third
great book may be added, in which the foregoing two unite
in a new combination—the Hymnbook.</p>
<p>In that collection of hymns the truths of the Bible find their
expression in a new form. They are no longer Oriental in
spirit, based upon human experiences under different conditions
and in a different intellectual atmosphere, but modern,
and strong with a fresh vitality. They have passed through
the crucible of intense personal feeling and experience, and
have been recast in forms more comprehensible to a different
race and to a different age.</p>
<p>Next to his library of comment upon the Bible, and of
exposition of its doctrines, should be that of the minister’s
hymnological books giving the history, the illustrations, and
the methods of making effective the hymns he uses in his
congregation.</p>
<h3 id="c199">II. PERSONAL ADVANTAGES OF SUCH STUDY OF HYMNS</h3>
<p>The first line of the study of hymns should be contributory
to his own personal development.</p>
<h4 id="c200"><i>Literary Pleasure.</i></h4>
<p>A great delight awaits the minister of cultivated
<span class="pb" id="Page_230">230</span>
taste and sensibility, for there are not only ten really
good hymns, as a famous literary doctor<a class="fn" id="fr20_1" href="#fn20_1">[1]</a> once insisted, but
hundreds of them, whose distinction and beauty of phraseology,
whose fresh and orderly development of ideas, and
whose elevation and glory of thought give unfailing literary
pleasure. How can one read Harriet Beecher Stowe’s “Still,
still with Thee,” that best of American morning hymns, without
exquisite delight?</p>
<div class="verse">
<p class="t0">“Still, still with Thee, when purple morning breaketh,</p>
<p class="t">When the bird waketh, and the shadows flee:</p>
<p class="t0">Fairer than morning, lovelier than daylight,</p>
<p class="t">Dawns the sweet consciousness, I am with Thee.”</p>
</div>
<p>Prominent among these literary hymns will be that hymn
of majestic praise by Sir Robert Grant:</p>
<div class="verse">
<p class="t0">“Oh, worship the King, all-glorious above,</p>
<p class="t0">Oh, gratefully sing his power and his love;</p>
<p class="t0">Our Shield and Defender, the Ancient of days,</p>
<p class="t0">Pavilioned in splendor, and girded with praise.</p>
</div>
<div class="verse">
<p class="t0">Oh, tell of his might, oh, sing of his grace,</p>
<p class="t0">Whose robe is the light, whose canopy space:</p>
<p class="t0">His chariots of wrath the deep thunderclouds form,</p>
<p class="t0">And dark is his path on the wings of the storm.”</p>
</div>
<p>Here are majesty and beauty of thought, flawless phraseology,
and musical numbers. No editor has found excuse to
alter or amend it.</p>
<p>Even Isaac Watts, who boasted his freedom from literary
trammels and who illustrated that freedom all too often and
too perversely, proved his latent poetic powers in the noble
poetry of</p>
<div class="verse">
<p class="t0">“Our God, our Help in ages past,</p>
<p class="t">Our Hope for years to come,</p>
<p class="t0">Our shelter from the stormy blast,</p>
<p class="t">And our eternal home.”</p>
</div>
<div class="pb" id="Page_231">231</div>
<p>That the literary quality of Adelaide A. Procter’s hymn,
“My God, I thank Thee who hast made,” is high no one
would deny:</p>
<div class="verse">
<p class="t0">“My God, I thank Thee, who hast made</p>
<p class="t">The earth so bright,</p>
<p class="t0">So full of splendor and of joy,</p>
<p class="t">Beauty and light;</p>
<p class="t0">So many glorious things are here,</p>
<p class="t">Noble and right.”</p>
</div>
<p>The minor chord in the third verse but renders more poignant
the high glory of her praise:</p>
<div class="verse">
<p class="t0">“I thank Thee more that all our joy</p>
<p class="t">Is touched with pain;</p>
<p class="t0">That shadows fall on brightest hours,</p>
<p class="t">That thorns remain;</p>
<p class="t0">So that earth’s bliss may be our guide,</p>
<p class="t">And not our chain.”</p>
</div>
<p>There is a mine of inestimable literary wealth awaiting the
search of discriminating taste.<a class="fn" id="fr20_2" href="#fn20_2">[2]</a></p>
<h4 id="c201"><i>Literary Culture.</i></h4>
<p>But many ministers of limited native susceptibility
to literary and poetic beauty, and perhaps of none
too efficient literary opportunities, will not be able at once to
enter into the delight of the literary qualities of hymns. All
the more will it be important for them to study their hymnal
for the sake of its opportunity for deepening their capacity
for enjoying literary values. Their imaginations need to be
stimulated. Their response to the charm of musical phrases,
to the clearness and lucidity of the thought expressed, to the
fitness of the unexpected and pleasing metaphors used, to the
nice selection of the words employed to weave a garb of beauty
for the message the hymn is intended to convey, can be and
must be developed, if not only the proper appreciation of the
hymns but also their highest efficiency as preachers are to be
secured.</p>
<div class="pb" id="Page_232">232</div>
<p>Few preachers realize the importance of this literary culture;
yet, apart from his deity, Jesus Christ was the greatest literary
man the race has developed. His parables, his similes, his
aptness of phrase, his wit, his clearness of style, despite the
great topics on which he discoursed, cannot be paralleled in
any literature. The literary value of the Gospels is one of the
reasons of their agelong and race-wide appeal.</p>
<p>The effort of the preacher to sensitize his mind and spirit,
in order to appreciate what his hymnal offers, will give him
more of the extraordinary winsomeness of his Master’s style.</p>
<p>While not all hymns are distinctly literary in style and
vocabulary, most of them have some poetical and imaginative
qualities, and a great many of them have marked literary
value. A careful canvass of these values will develop literary
discrimination and taste. Hymns like Keble’s “Sun of my
soul, thou Saviour dear” and Heber’s “Brightest and best of
the sons of the morning” must stimulate genuine literary
appreciation. To segregate carefully in his mind the genuinely
literary hymns—those that are full of imagination, symmetrical
in structure, gracious in phraseology—will be a literary exercise
of inestimable value.</p>
<h4 id="c202"><i>Development of Emotional Nature.</i></h4>
<p>But the finest literary
discrimination and the highest literary delight cannot be secured
without an emotional responsiveness that ministers do
not always bring to their reading of hymns. But this emotion
must not simply be poetic, it must be spiritual, based on an
actualization of the profound spiritual truths expressed in the
hymns.</p>
<p>The most common fault among ministers is an aridity of
mind, a dryness of feeling, a habit of abstract, academic thinking
which have no response to the emotional values in the
doctrines they preach. It is the secret of many an empty
church, of many a barren pastorate.</p>
<p>To some men who lack emotional and poetic insight, the
hymnbook may appear dry and uninteresting. It certainly is
<span class="pb" id="Page_233">233</span>
unappealing to the unspiritual man, no matter how poetical
he may be, and this will account for the occasional attack
upon the hymns of the Christian Church as being without
poetical power or merit. But the Christian minister, who
deals with spiritual things, for whom the emotions of the
human heart are a great opportunity, ought to find in the
study of his hymnbook a great deepening of emotional intuition.</p>
<p>Here he comes in touch with the saints of the Church who
have risen to the greatest heights of spiritual insight, and who
have sung because the feelings within them were so impelling
that they could not do otherwise than sing. His own deficient
emotion and his own dull insight into spiritual truth are here
inspired and stimulated until he too stands upon the mountaintop.
For his own spiritual edification, therefore, there is
nothing, outside the Bible, so likely to be of spiritual help as
the hymnbook. When he is discouraged, its hymns of inspiration
and encouragement cannot but lift the cloud. When his
heart is dull, and his vision of his Lord obscured, such hymns
as “Jesus, I love Thy charming name,” by Philip Doddridge,</p>
<div class="verse">
<p class="t0">“Jesus, these eyes have never seen</p>
<p class="t0">That radiant form of Thine,”</p>
</div>
<p>by our own Ray Palmer, or</p>
<div class="verse">
<p class="t0">“Jesus, the very thought of Thee</p>
<p class="t0">With sweetness fills my breast,”</p>
</div>
<p>by that unknown saintly abbess of the Middle Ages, surely
will once more set his spiritual pulses in motion and thrill him
with the vitalizing vision of his Lord.</p>
<p>It is with this emotional attitude alone that a minister should
study his hymns; otherwise, he will fail in realizing any of
their values. To come to them coldly dissecting them with
knife and scalpel is to miss their beauty, their spiritual appeal.
The minister who prays over his sermon would do well to
pray with equal fervency over the hymns he studies and selects.
If he vitalizes them for himself, that fresh vision of
<span class="pb" id="Page_234">234</span>
their meaning will reach the congregation directly and indirectly.</p>
<h3 id="c203">III. THE PRACTICAL VALUES OF INDIVIDUAL HYMNS</h3>
<p>Not the least important consideration in the study of hymns
is clearly to envisage their several effective values. To know
the literary worth and the spiritual stimulus of a given hymn
is most desirable; but to realize what spiritual results it is
fitted to secure, and how, is even more important. Each hymn
has its individual force, its individual adaptation to definite
mental and spiritual results; for the minister not to recognize
these varying effects is like the failure of a physician to know
the differing reactions of baking soda and strychnine. To announce
“All hail the power of Jesus’ name,” when the situation
calls for the tenderness of “How sweet the name of Jesus
sounds,” is malpractice none the less that it is so frequently
done.</p>
<h4 id="c204"><i>Classifying Hymns by Their Nature.</i></h4>
<p>It will be helpful to
classify hymns, deciding to which group each one belongs.
Some are purely didactic, bearing instruction rather than emotion.
Others are meditative, combining elements of instruction
and personal experience. Another class expresses personal
experience and the resultant emotion; such hymns may be
tender or joyous or even exultant. Taking another step upward,
we find hymns of inspiration and exhortation, fundamental
expressions of faith and enthusiasm. Rising high
above all the foregoing are the hymns of worship and adoration,
thanksgiving and praise.</p>
<p>This is the primary process in evaluating the practical
possibilities of hymns. It is in these pigeonholes of his memory
that the minister finds the hymn called for by a given
situation.</p>
<h4 id="c205"><i>Classifying Hymns by Their Fitness for Definite Purposes.</i></h4>
<p>Then there is the classification of fitness for different purposes,
organizing them according to the particular work each
<span class="pb" id="Page_235">235</span>
is fitted to do. Some hymns are distinctly liturgical, fitting
only into a solemn and stately service by the great congregation—e.g.,
Faber’s “My God, how wonderful Thou art,”
Watts’ “Before Jehovah’s awful throne,” or Tersteegen’s “Lo,
God is here: let us adore.”</p>
<p>In a less formal class are Van Dyke’s “Joyful, joyful, we
adore Thee,” Grant’s “Oh, worship the King, all-glorious
above,” “Praise the Lord! ye heavens, adore Him,” and many
others in which rejoicing in the Lord takes a less majestic but
none the less genuine form, fitting smaller assemblies and what
without derogation may be called ordinary church services.</p>
<p>Hymns of still another class, represented by Robinson’s
“Come, Thou Fount of every blessing,” Wesley’s “O Love
divine, how sweet Thou art,” Keble’s “Sun of my soul, Thou
Saviour dear,” are still distinctly worshipful, but have an
intimacy of communion in which tenderness and joy veil the
sense of infinite majesty.</p>
<p>The foregoing classes of worshipful hymns are available for
the regular services of the church, although some of them
call for a preparation of the worshipers for their intelligent
and sincere singing. They are helpful to devout people in
their approach to the Triune God.</p>
<p>Jesus Christ is not only God in the fullest, truest sense; he
is our Redeemer, our Mediator, our Sharer of the deeper experiences
of the soul, our Comrade in the march of life, our
intimate Friend in time and eternity. Hence, there are many
hymns of praise and adoration of Jesus Christ that are elevated
in mood, even majestic, like Wesley’s “Oh, for a thousand
tongues to sing,” Robinson’s “Mighty God, while angels bless
thee,” Hammond’s “Awake and sing the song,” which will fit
into the most exalted service of worship. There are many
others like “Fairest Lord Jesus, Ruler of all nature,” Medley’s
“Oh, could I speak the matchless worth,” Havergal’s “O Saviour,
precious Saviour,” which are keyed a little lower, but are
still most appropriate for an average church service.</p>
<div class="pb" id="Page_236">236</div>
<p>In addition to these there are hymns of communion with
Christ, of love for and delight in him, yea, even of intimate
affection, like Caswall’s “My God, I love Thee, not because,”
Newton’s “How sweet the name of Jesus sounds,” Palmer’s
“My faith looks up to Thee,” which are so fine in feeling,
so heartfelt, so intimate, that they require preparation of the
congregation before they can be sung sincerely. Some of them
are so intense, like “I need Thee every hour,” “My Jesus,
I love Thee, I know Thou art mine,” and Palmer’s “Jesus,
these eyes have never seen,” that their use seems limited to
assemblies, small or large, entirely made up of earnest believers.
Indeed, there are many of our intensest hymns of devotion to
our Lord Jesus Christ that can be worthily sung only in
prayer meetings where there is profound emotion to be expressed.
Some of them cannot be sung by the general congregation
except when the tide of religious fervor runs high.</p>
<p>Without further analysis, enough has been said to show that
in the practical classification of hymns two major factors must
be considered: the character, depth, and quality of the emotional
burden of the hymn, and the character and the emotional
responsiveness of the people who are expected to sing it.
Ignorance of the former and lack of proper diagnosis of the
latter will bring defeat to the minister who is depending on
his hymns for help in securing spiritual results.</p>
<h3 id="c206">IV. THE MINUTE STUDY OF HYMNS</h3>
<p>There can be no adequate knowledge of a hymn without a
survey of the whole field of hymnology. It is necessary to
understand the character and limitations of the hymn, to
visualize its history and development, in order to secure its
proper interpretation and use. It is unfortunate that too many
ministers are satisfied with this general knowledge which is,
after all, only a preparation for the study of the individual
hymn. It is only in the individual hymn that the point of
contact with practical results is reached. One may know all
<span class="pb" id="Page_237">237</span>
about Isaac Watts and yet know so little of his great hymn
“When I survey the wondrous cross” as to announce it at a
church banquet before all the people are done eating!
Imagine John, Peter, and the rest munching dried figs or
dates as they stand before the cross on which their Master is
dying!</p>
<p>Only as the individual hymns are fully understood as to
their meaning, and as to the methods required to get that
meaning transformed into experience and character, can
hymnology become a practical force.</p>
<h4 id="c207"><i>Analysis of the Hymn.</i></h4>
<p>1. The first step is the investigation
of its structure. The form of the stanza, the kind of measure
used, the proper occurrence of accents, the schedule of rhymes
all are important, controlling the music and the reading of
the hymn.</p>
<p>The logical structure is even more important as governing
the development of thought. Recognition of the relation of
the several verses to the general plan of the hymn will reveal
their individual value and prevent mutilation when circumstances
demand omission of verses. This structure is more
evident in didactic and homiletical hymns, of course, but the
progress of thought usually lies near the surface. The doctrinal
teachings should be clearly and explicitly thought out.</p>
<p>2. There is a logic of emotion more or less paralleling that
of thought. There are ebb and flow of feeling, radical change
of feeling, one feeling merging into another, that must be
recognized. The climaxes of interest in the succeeding verses,
rising higher and higher and culminating in the supreme
climax of the last verse, should be noted that they may be
expressed in the reading and the singing. This recognition
of the emotional character of the hymn is absolutely essential
to its real effectiveness. The hymn is fundamentally an expression
of emotion, and only as such has it practical value.</p>
<p>3. After this general analysis of the structure and thought
and of the general emotion of the hymn, there will need to
<span class="pb" id="Page_238">238</span>
be a study of its detailed phrases. The minister ought to
study it line by line and phrase by phrase. The Scriptural
allusions need to be located and their connections noted.
What did Charles Wesley mean in his great hymn, “Love
divine, all loves excelling,” by the phrase in the second verse,
“the second rest”? Why did he pray “Finish, then, thy new
creation”?<a class="fn" id="fr20_3" href="#fn20_3">[3]</a> What is the Scriptural justification for the phrases
of Newton’s “How sweet the name of Jesus sounds”?<a class="fn" id="fr20_4" href="#fn20_4">[4]</a> In
Doddridge’s “Awake, my soul, stretch every nerve,” what
Biblical authority has he for “cloud of witnesses,” or the ideas
of “prize” and “race”?<a class="fn" id="fr20_5" href="#fn20_5">[5]</a> What did Watts mean in the third
verse of his “Not all the blood of beasts,”</p>
<div class="verse">
<p class="t0">“My faith would lay her hand</p>
<p class="t">On that dear head of Thine,</p>
<p class="t0">While like a penitent I stand</p>
<p class="t">And there confess my sin”?</p>
</div>
<p>Without the picture of the high priest laying his hands on the
head of the scapegoat and confessing the sins of the people
before sending it out into the wilderness (Lev. 16:21), what
meaning can these lines convey?</p>
<h4 id="c208"><i>The Background of the Hymn.</i></h4>
<p>1. The interpretation of the
hymn cannot be complete without a recognition of the person
who wrote it. His type of mind, his responsiveness to divine
truth, his conception of the work of the Church, stamp themselves
on the product of his pen. The personality of Watts,
of Wesley, of Whittier, and of Faber interpret their several
hymns.</p>
<p>Knowledge of the circumstances under which a given hymn
was written will add to the value and correctness of the interpretation,
by giving a sense of actuality to the thought and
feeling expressed.</p>
<p>2. The age in which a hymn was written will be a large
factor in its interpretation. The sheer objectiveness of the
ancient hymns, the meditativeness of the medieval hymns
<span class="pb" id="Page_239">239</span>
stressing the sufferings of Christ on the cross, the worship
character of the pre-Wesley hymns, including those of Watts,
the warm, tender, experiential hymns of the Wesleyan Revival,
all stamp their several hymns ineffaceably with their characteristics.
“A mighty fortress is our God” bears the <i>stigmata</i>
of the opening battles of the German Reformation. “Jesus,
the very thought of Thee” is permeated by the peace and ardent
piety of the Spanish nunnery whose devout abbess wrote the
Latin original. “Stand up, stand up for Jesus” sounds the
militant note of the great Philadelphia revival of 1857 and the
Antislavery campaign that was so soon to drench the South
with the noblest blood of both sections.</p>
<p>Watts’ hymns must be analyzed in the light of the prevailing
psalmody, of the religious aridity of his time, and of the
formalism, not of the Established Church only, but of that of
the Nonconformist societies as well. Wesley’s hymns cannot
be understood except as expressing the struggle between extreme
worldly-mindedness, sensuality, and social decay outside
of the Church, allied with the mere formalism and the cold
and sheerly pharisaic morality within, on the one side, and
the emphasis of conversion, profound religious experience, and
aggressive evangelistic propaganda on the other. The objectivity
and essentially liturgic spirit of Watts’ hymns and the
subjective warmth and the poetic glow of those of Charles
Wesley immediately become full of meaning and historic
vitality.</p>
<p>3. The greater hymns gather about themselves the noble
associations of the many generations which have lived and died
with their lines upon their lips. Would “Rock of Ages, cleft
for me” or “Jesus, Lover of my soul,” if written now, speedily
win the place they now hold in our Christian hymnody?
Would “Come, Thou Fount of every blessing” be widely
sung, if it were not that in England and America it had been
an impressive voice of worship in chapel and home, in stately
church, and in mountain schoolhouse on the American frontier?
<span class="pb" id="Page_240">240</span>
Lips now trembling with age lisped them in childhood;
memories of father and mother, of thrilling religious experiences,
when the very heavens seemed to open to the soul,
cluster about them.</p>
<p>4. Only in this way can he secure a clear idea of what parts
of a hymn will serve his immediate purpose, which lines and
phrases will enrich his discourses or bring his points to an
incandescent glow, or which verses when sung will assure the
definite effect he has in mind. There may well be occasions
when he will want his people to sing, not the first verse of
Whittier’s tender hymn, “We may not climb the heavenly
steeps,” but the second,</p>
<div class="verse">
<p class="t0">“But warm, sweet, tender, even yet</p>
<p class="t">A present help is He;</p>
<p class="t0">And faith has still its Olivet,</p>
<p class="t">And love its Galilee,”</p>
</div>
<p>or the even more comforting third verse,</p>
<div class="verse">
<p class="t0">“The healing of the seamless dress</p>
<p class="t">Is by our beds of pain;</p>
<p class="t0">We touch him in life’s throng and press,</p>
<p class="t">And we are whole again.”</p>
</div>
<p>Such a study in interpretation will greatly enhance the
spiritual values of the hymns to the minister himself, enriching
mind and heart. It will make it possible for him to interpret
them to his people. To any person the hymn is what he
understands it to mean, no more; its effect on him is in due
proportion to the completeness of his interpretation of it. The
minister, therefore, is in duty bound to supply each singer in
his congregation with an accurate and complete understanding
of the hymns that are sung.</p>
<h4 id="c209"><i>Making a Hymnal of His Own.</i></h4>
<p>The minister who has given
his hymnal the study that has been suggested will wish to
garner and organize the materials he has thus won. He will
proceed to make a little hymnal of his own by selecting a
<span class="pb" id="Page_241">241</span>
given number of the hymns that appeal to him—say one hundred—in
his regular hymnal. This will constitute his inner
hymnal to which from time to time he will make additions.</p>
<p>These hymns will be marked in his own copy of the church
hymnal, a wide margined one, or an interleaved one, if it can
be secured. As he analyzes each one, finding the joints in its
structure, he will indicate the results by lines of division with
the proper captions. His dissection of the phrases will disclose
more or less obscure allusions needing explanation, like
“Siloam’s pool,” “Mt. Nebo’s lonely height,” “Gog and
Magog,” “Ebenezer” and many others that convey no meaning
to the average mind. These should be underlined for explanation.
Some phrases are so suggestive, so packed with
meaning, that their value eludes the ordinary singer—for instance,
the second verse of Monsell’s “My sins, my sins, my
Saviour.” These should be put in quotation marks to remind
the preacher to unpack by spirited comment their wealth for
the edification of his people.</p>
<p>Numbers referring to his card index or commonplace book
will bring to mind helpful facts about the hymn, or its writer,
or illustrations that will quicken both mind and heart. Enclosing
a verse or verses in brackets will mark those that can
be omitted without wrecking the symmetrical progress of the
thought. That will eliminate the usual thoughtless phrase,
“We will omit the third verse.” If there is a choice of tunes,
the most practicable one can be indicated; or a tune better
known to the congregation elsewhere in the hymnal may be
suggested with its number.</p>
<p>Verses to be read by the congregation, or to be sung by the
choir or by a soloist, before being sung by the people may be
starred. Changes of force, or speed, may be marked <i>p.</i> for
soft singing, or <i>f.</i> for loud singing. A passage marked <i>rit.</i>
will be retarded, or hurried if marked <i>accel.</i> A repeat sign,
<i>bis</i>, after a verse will suggest that a verse may be profitably
repeated. Scripture references will suggest passages that can
<span class="pb" id="Page_242">242</span>
be used to emphasize the sentiment of the hymn, such as
Genesis 28:10-13, for the hymn, “Nearer, my God, to Thee.”
<i>M</i> before a verse may mark it as a memory verse to be sung
with closed hymnal. <i>P</i> may indicate that it is a prayer, to be
sung before the long prayer. Dates connected with a hymn
will show when it has been sung, and so prevent its unduly
frequent repetition from mere force of habit. Every alert-minded
minister will have methods and devices of his own
that should be recorded in connection with the hymns so
treated.</p>
<p>Such a hymnal, individual, practical, wealthy in resources,
will be of incalculable value to the wide-awake, aggressive
minister, rendering him independent of moods, of dull spirits,
of disturbing environments. He needs but open his hymnal,
a treasure house of practical suggestions, and his resources,
immediately accessible and fully prepared, await his use.</p>
<p>A personal hymnal like this will not be made in a day or a
month. Week by week, as hymns are selected, they are fully
investigated and studied and their points recorded in the
preacher’s copy. His skimming of newspapers and magazines,
his daily experiences, his hearing of addresses and sermons;
his reading of history and literature, no less than his study of
hymnological literature, will pay heavy tribute to such a royal
treasury.</p>
<p>The books of hymnic material, pretty largely historical, are
fairly numerous, and their help should not be despised, for
they offer very useful illustrative matter. Robinson’s <i>Annotations
upon Popular Hymns</i> is not as up-to-date nor as scholarly
exact as the later Duffield’s <i>English Hymns</i>, or as Nutter and
Tillett’s <i>Hymns and Hymn Writers of the Church</i>, but is
richer anecdotally and more suggestive of expository comment.
Dr. Benson’s still later <i>Studies of Familiar Hymns</i>, Series I
and II, will be found very rich in practical material. The
present writer’s <i>Practical Hymn Studies</i><a class="fn" id="fr20_6" href="#fn20_6">[6]</a> offers help most ministers
need. The matter found in these and other like collections
<span class="pb" id="Page_243">243</span>
should be carefully sifted and recorded. A condensation
of the selected items, particularly of the longer anecdotes, may
be ample for all practical purposes.</p>
<p>Is it necessary to suggest again that all this varied material
should be well organized in a loose-leaf blank book small
enough to be carried about or, better yet, in a rebound, interleaved
hymnal?</p>
<p>In making such a thorough study of as many hymns as he
has leisure to analyze, the minister is really editing a hymnal
of his own, none the less his own that it is embedded in the
larger collection. There are very few preachers who do not
have such an inner hymnal made up of the hymns they are
in the habit of using; the pity is that it is frequently so small,
so poorly selected, so unsymmetrical, so dependent on an unresponsive
memory, and so lacking in the materials that would
help to make the hymns effective.</p>
<h4 id="c210"><i>Memorizing Hymns.</i></h4>
<p>A large number of hymns should be
committed to memory for his own mental enrichment and
comfort. It will enlarge his devotional vocabulary, his power
of expression of spiritual things—nay more, increase the spontaneity
and spirituality of his thinking and feeling, for memory
lies nearer the springs of subconscious intuition and impulses
than the printed word. A wealth of spiritual thought, of
sanctified imagination, of vibrant religious feeling, of apt and
expressive phrase and vocabulary, is provided by such a well-stocked
memory.</p>
<p>The subconscious mind will furnish the fitting quotation,
whether he writes his sermon or speaks <i>ex tempore</i>. In unexpected
emergencies, when there is no time to leaf over the
hymnal for a verse to be sung, the mind automatically supplies
it. In personal work, in cheering the sick, in comforting those
who mourn, in inspiring the lagging and discouraged ones,
the apt quotation will be exceedingly effective. There are
moments in a service, unexpected episodes of an emotional
character, climaxes of feeling in a discourse, when a verse of a
<span class="pb" id="Page_244">244</span>
hymn sung by the congregation will exceed in impressiveness
any oratorical outburst; if the minister can trust his memory,
he can carry the faltering memories of his people and realize
an effect otherwise impossible, not only not losing any momentum,
as he would if it were necessary to refer to the
hymnal, but indefinitely increasing it. The great hymns of
the Church should be made a part of his mental furniture,
become a large share of his clerical working capital. He
should not be satisfied to have less than a hundred hymns at
his mental fingers’ ends for efficient use at a moment’s notice.</p>
<h3 id="c211">V. A STUDY OF METHODS OF USE</h3>
<p>But it is not enough to gather the materials and study the
individual hymns. A magazine of blasting powder has immense
possibilities of power; but unless methods are invented
for applying that power to desired ends, it is a liability and
not an asset. Having learned all about hymns, the next study
is how efficiently to use them, to organize the best methods
of exploiting the social, mental, and spiritual values their
singing offers.</p>
<h4 id="c212"><i>Using Hymns in Sermons.</i></h4>
<p>Few ministers utilize the possibilities
of apt Scripture quotations in their sermons; fewer
still know how to draw on the treasures found in their
hymnals to increase interest and intensify emotion. In many
cases the very finest climax to a section of a sermon, or to the
sermon itself, will be found in one or more verses of a hymn
which brings the emotion of the theme to its high culmination.
There is no lack of material; for the expression of every
Christian doctrine that lends itself to lyric feeling there are
intense and poignant phrases and lines steeped in transcendent
emotion. Abstract truth has intellectual value of course, but
has spiritual value only when transmuted into the gold of
intense conviction in the heart of true believers. It is the
genuine hymn that raises the temperature to the transmuting
point, if properly introduced and emotionally used.</p>
<div class="pb" id="Page_245">245</div>
<h4 id="c213"><i>Studying Responsiveness of the Congregation.</i></h4>
<p>The intelligent
preacher will study his congregation and its capacities of song
to determine what he can do. He will canvass their responsiveness
to certain classes of hymns, solemn, cheerful, aggressive,
meditative, emotional, didactic—literary, popular. Their taste
in the tunes to be used will need to be carefully considered. It
would be folly to announce “When the Roll is Called up Yonder”
in a congregation used to singing and enjoying Luther’s
“Ein’ feste Burg ist unser Gott”; equally so to ask a congregation
that enjoys singing “There’s sunshine in my soul” to sing
Iron’s version of the “Dies Irae.”</p>
<p>A survey must needs be made of the musical resources and
of the adaptability of musical helpers. In some cases such
adaptability needs to be trained and developed. Their pliancy
in rapidly taking up new methods, and executing unexpected
plans of the preacher quickly, will require training.</p>
<h4 id="c214"><i>Studying Methods of Announcement and Securing Participation.</i></h4>
<p>An important study will be how to announce and
introduce the hymns in such a way as to awaken the interest
and to win the sympathetic attention of the members of the
congregation, and also how to help the people to sing with
their minds and hearts, as well as with their vocal cords.</p>
<p>The methods to be used in securing full participation in the
singing, without losing sight of the deeper meaning of the
hymn, will need to be formulated or borrowed from successful
leaders of song. The problem is not met by merely urgent
demands that everybody sing; they must all be moved upon
to want to sing. Can it be done by illustrations, by moving
anecdotes, by tender appeals bearing on the thought and feeling
of the hymn in hand? The kind of anecdotes and how
they are to be used, before or during any given hymn, will
call for careful discrimination. How shall the preacher acquire
the power of introducing a hymn in a very few well-chosen
words, vibrant with the feeling the hymn expresses,
striking the spiritual key connecting up the hymn with the
<span class="pb" id="Page_246">246</span>
religious purpose of the whole service? Year after year, by
observation of other ministers and song leaders, by his reading,
by experiments of his own, he will acquire a body of efficient
methods with which to vitalize his song service.</p>
<h4 id="c215"><i>Studying Use of Hymnal for Specific Purposes.</i></h4>
<p>This will
include methods of using hymns for specific purposes. Is his
congregation indifferent with regard to some particular line
of work that he wishes to present—missions, for instance:
what hymns, and methods of using them, will stimulate their
minds and prepossess them for this as yet unappealing topic?
Are they careless or irreverent in mood as they gather: can he
sober their minds and awe their souls with a consciousness of
God’s actual presence with a solemn hymn and its impressive
tune? How shall he use the singing of the hymns to affect
and win the unsaved whom he plans to invite to accept Jesus
Christ as Saviour and Master? In a thousand ways the
intelligent and adroit minister can make his hymns count
largely in accomplishing his beneficent purposes.</p>
<h3 id="c216">VI. A STUDY OF THE TUNES</h3>
<p>One of the most important lines of study will be that of the
tunes to which the hymns are to be sung.<a class="fn" id="fr20_7" href="#fn20_7">[7]</a> To use a botanical
figure, a hymn will not bear fruit unless it is pollenized by a
vital tune. Who would be even aware of Cardinal Newman’s
“Lead, Kindly Light,” if it were not for Dykes’ tune? Without
Lowry and Doane’s music what recognition would the
modest lyrics of Fanny Crosby have won? Wesley’s “Hark,
the herald angels sing” owes the wideness of its Christmas
use to Mendelssohn’s tune. Tennyson’s “Sunset and Evening
Star” and “Sweet and Low” were brought to wide public
attention by Barnby’s two settings. Without the wings of
melody few hymns would get very far in place or time. A
mediocre hymn with a good singable tune will do vastly more
good than a great hymn with an impracticable one.</p>
<p>Hence it is the minister’s business to study the tunes. Not
<span class="pb" id="Page_247">247</span>
the notes, not the harmony: he can leave them to his musical
experts, if he has them. He must study the singability of the
tune, its appeal to his particular people, its adaptation to the
sentiment of the hymn with which it is associated. Its age,
its traditional or conventional use, its style, its composer, its
elaboration of harmony—all these are merely incidental. That
it is singable, fitted to express and intensify the sentiment of
the hymn, to give it access to the hearts of the congregation,
to create the contagion of feeling in the assembly—these are
the essentials of a good tune.</p>
<p>Just as the sales departments of our great manufacturing
establishments make an intensive study of the psychology of
salesmanship in all its phases, so the ministry of the church,
in its schools of preparation and in its several organizations,
should increase its efficiency as salesman of vital religion by a
like study of the psychology of the hymn and of its use.</p>
<div class="pb" id="Page_248">248</div>
<h2 id="ch217"><span class="h2line1"><i>Chapter XX</i></span>
<br />THE PRACTICAL USE OF HYMNS</h2>
<h3 id="c218">I. THE HYMN AS A MEANS TO AN END</h3>
<p>While our discussion attempts to consider every phase of the
Christian hymn, its chief interest to us lies in it as a means
to an end. It may be a work of literary art, the expression of
a noble genius admirable in itself; it may be an interesting
epitome of some noble doctrine that calls for appreciation of
its lucidity and comprehensiveness; but for us its primary
quality must be its adaptation to meet spiritual needs, in other
words, its usefulness in religious work. In some way it must
help in the work of the church, if it is to come within the
sweep of our present horizon.</p>
<h3 id="c219">II. ANALYSIS OF PRACTICAL APPLICATION OF HYMNS</h3>
<p>There are two values in the singing of hymns that must needs
be taken into consideration: one is the sheerly musical or
nervous value; the other is the message or burden of the
hymn. The two must co-operate for the best results.</p>
<p>There are two lines of application in using hymns: the one
is the expression and further intensification of an existent
religious feeling; the other, the creation of religious interest
or emotion where none exists. The two types of hymns must
be clearly distinguished, if proper and efficient use is to be
made of them.</p>
<p>The first type is worshipful, religiously emotional, based on
<span class="pb" id="Page_249">249</span>
personal experience, tenderly meditative. The second is
didactic, inspirational, or hortatory.</p>
<h3 id="c220">III. THE USE OF HYMNS FOR CREATING RELIGIOUS INTEREST</h3>
<p>In selecting hymns for the opening of a religious meeting, the
existing nervous and emotional condition of the congregation
is an important factor. That condition may be due to an
unlimited number of influences. Are they gathering under
the open sky, in a tent, in a rough tabernacle, or amid churchly
surroundings? What is the character and background of the
assembled people? In a distinctly unreligious environment,
the crowd will be disorganized, in a nervous flutter, in a
secular state of mind, more consciously interested in securing
a desirable seat than in the purpose of the meeting. The
people need to be psychically organized as a unit, need to have
their attention concentrated on the occasion of the meeting,
need to be brought into a religious state of mind. There is
nothing better than the singing of a hymn to secure these very
essential results. The unifying effect of common action, the
nervous calming of the music, the religious suggestiveness of
the hymn itself, all will co-operate in creating the proper
attitude of mind.</p>
<p>What hymn shall we use to secure such a diversified result?
Shall it be “My faith looks up to Thee,” or “O Love that wilt
not let me go”? They are both superexcellent hymns, but
they would be utterly out of place. They belong to the first
type, the expression of existent religious feeling; but there is
little or no such feeling under the proposed circumstances.
The people are not in a state of mind to sing them sincerely
and earnestly. It would lead to the all too common hypocrisy
of indifference.</p>
<p>Moreover, the tunes to these hymns are not of the organizing
or stimulating type, fine as they are. They are tunes of expression
<span class="pb" id="Page_250">250</span>
of existing feeling, not of exhilaration or inspiration.</p>
<p>For such a miscellaneous crowd as has been described, a
much less emotional hymn with a somewhat livelier tune is
called for, such as “Blow ye the trumpet, blow,” “Come, we
that love the Lord,” or “Onward, Christian soldiers.” In most
cases a lively Gospel song, such as “Sunshine in my soul,”
“Rescue the perishing,” or even, in extreme cases, “Brighten
the corner where you are” is more effective. The problem is
not so much that of making a religious impression, as of preparing
the people to receive a religious impression. To use
tender, deeply emotional, profoundly spiritual hymns for such
preliminary treatment is to flout psychology.</p>
<p>If the congregation meets in a church or other distinctly
sacred edifice, the religious associations will simplify the problem.
In part, at least, the secular attitude will have given
place to a hospitality of mind for religious ideas and impressions.
Under favorable circumstances the nervous strain will
relax and religious susceptibilities will begin to function.
These nervous and mental transformations of mood will be
deepened by the organ prelude, if that has been wisely selected
and effectively played.</p>
<p>In some conservative, devout congregations where solemn
earnestness is the prevailing mood, and the bowed head on
entering the pew is not a mere convention, the usual Doxology
may be used after the call to worship; but usually an introit,
such as “The Lord is in His holy temple” or “Oh, come, let us
worship,” sung by the choir, will be the wiser preparation for
the preacher’s invocation. The “Gloria Patri” should prepare
the congregation for some solemn hymn of profound worship,
such as “My God, how wonderful Thou art,” or “Lord of all
being, throned afar.” By the time this is sung, the members
of the congregation should be united in sympathy and responsiveness
to the worshipful exercises that follow.</p>
<p>If the service is to be a joyous one, with an aggressive purpose,
<span class="pb" id="Page_251">251</span>
the hymns should still be strictly worshipful, but more
animated. “Come, sound His praise abroad,” “Oh, worship the
King, all-glorious above,” or “Kingdoms and thrones to God
belong” should be the unifying spiritualizing agency.</p>
<p>But if the social instincts are allowed to find expression as
the people gather, and more or less furtive conversation and
even gossip are heard, or worse yet, if the Sunday school has
overflowed into the auditorium or, for lack of separate room,
has occupied it, and the going out of the school and the
coming in of the congregation make a confusion that submerges
the hallowed associations of the place, a much more
difficult problem is faced, and a more conscious effort must
be made to prepare the people in mind and heart for the
experience of the hour.</p>
<p>The prelude must be calculated to cover disturbing sounds
and to call the people to order—an entirely different type of
prelude from that used in the previous hypothetical situation.
Once quiet and order are secured, the music may begin a
quieter, more religious movement. But the high ecstasy of
the Long Meter Doxology is out of the question. An earnest
Call to Worship by the preacher, and a quiet sentence or
introit by the choir, will hush the people’s minds into sympathy
with the invocation, that may possibly be somewhat
longer and more earnest, which in turn will prepare them for
a sincere and thoughtful participation in the “Gloria Patri.”
The wise and observant preacher will have been able to anticipate
their state of mind and decide whether they are ready to
Sing with sincerity “O day of rest and gladness,” “Safely
through another week,” or the more elevated “Holy, holy,
holy, Lord God Almighty,” or “Before Jehovah’s awful
throne.”</p>
<p>By the time this hymn is sung, the fate of the service has
practically been settled. The people will have been won and
are ready to go on to a deeper interest and to a fuller yielding
of themselves to the influence of the service; or they are dull
<span class="pb" id="Page_252">252</span>
and unresponsive, even somnolent, with an unconscious resentment
that they have not been stirred and quickened. The
failure of the service is assured, unless a miracle happens.</p>
<p>If the minister is a slave to the conventional order of service,
that miracle will not happen. He may be so complacent over
the smooth unfolding of the wonted numbers as not to recognize
that the interest in the minds of his people has dropped.</p>
<p>In such a situation the best means to redeem it is a hymn
with a profound appeal. But it cannot function, if it is used
in the ordinary, conventional way. If the minister is alert and
senses the stupor that is shadowing the minds of his people,
and if the success of his service is more important to him than
the mechanical regularity of the usual order of events, he can
bring the miracle to pass by the use of the next hymn in an
unexpected, thrilling way.</p>
<p>If the scheduled hymn does not lend itself to his purpose,
he can exercise the audacity without which no public man
can hope to succeed, by changing it to one that will, and by
that act will storm the first defense of Morpheus, the god of
sleep. Of course, he will always keep in mind practical considerations
of teamwork with his musical helpers, taking
enough time in introducing the substituted hymn in an interesting
way to enable them to find it and decide to what
tune it is to be sung. Usually that takes but a moment.
Announcing the hymn, he will explain the message of the
hymn in doctrine or in feeling, as a preliminary to its intelligent
and sympathetic singing; or he may make emotional
comment, or relate a fitting anecdote that will grip the feelings,
leaving historical data for some other occasion; or he
may ask the congregation to join him in silent prayer for
divine guidance into the heart of the hymn to be sung; or he
may ask his people to read the first verse in concert, in order
that they may sing it with more intelligence; or if he has a
sympathetic soloist, he can ask him or her to sing a verse,
letting the people sing the rest of the hymn.</p>
<div class="pb" id="Page_253">253</div>
<p>If the people are submerged in indifference and stupor, he
may treat the whole hymn in like fashion, verse by verse,
always careful to make his few words count, for prolixity will
defeat his purpose. He will be even more careful that there
shall be a <i>crescendo</i> movement of increasing impressiveness
and deepening feeling.</p>
<p>Such a jolt to the passive attitude of an unresponsive people,
genially administered in a confident manner, and with sincere
feeling, will waken the most indifferent congregation and
avert the impending defeat. It will make the frequent use
of such unusual methods unnecessary by creating a latent expectation
of the unexpected.</p>
<p>Fortunate is the minister who has a native sensitiveness to
the tides of feeling that ebb and flow in his congregation, to
whom the faces and attitudes of his people are an open book.
Most ministers must develop such a power by keen and persistent
observation and by intelligent experimentation. This
psychical <i>en rapport</i> is very important to the minister. As well
might an organist play without hearing his instrument as for a
minister to be ignorant of the states of feeling of his congregation.
He is a blind man trying to paint a picture.</p>
<p>Some ministers think themselves lacking in magnetism, in
sensitiveness to outside influences, and make no effort to develop
their latent powers. This inferiority complex is wrong;
the very sense of limitation is a proof that the capacity for it
exists. It is too essential to the largest success that a man
should not use every possible effort and method to develop it.</p>
<h3 id="c221">IV. THE HYMN AS AN OPPORTUNITY FOR TEACHING TRUTH</h3>
<p>Another practical use of the hymn that will prove very valuable
is to make those hymns that are didactic or meditative
the occasion of discussing for a few minutes the doctrines they
express, and so to teach, to bring back to memory, or to vitalize
the articles of their faith which average Christians are apt to
<span class="pb" id="Page_254">254</span>
forget. There are Christian beliefs that do not call for elaborate
discussion in a sermon, that are best impressed by emotional
treatment in connection with a hymn. “Depth of
mercy! can there be,” with a background of pure-minded
Charles Wesley’s consciousness of sin, will give an opportunity
of impressing the people with sin’s subtle and soul-destroying
power. “There is a fountain filled with blood” will be the
basis of a very short but a clear and tender exposition of the
atonement made for sin by Christ on the cross. That a person
may be conscious of salvation, of acceptance by God through
Jesus Christ, will find fitting explanation in an exposition of
“Rock of Ages, cleft for me.” What better opportunity for
emphasizing the Christian’s dependence on Christ could be
afforded than a study of “Jesus, Lover of my soul”? Our
inability to understand the ways of God’s providences, and our
need of a faith that does not demand explanations, may well
be stressed in an analysis of “God moves in a mysterious
way.” A score of such hymn discussions at irregular intervals
during the year would prove illuminating, and help to remove
the haze that prevents clear definition in the minds of the
people of the doctrines on which their spiritual life must rest.
Singing the hymn after such comments will make it more
effective and fasten the Christian teachings in the minds of
the hearers with links of steel.</p>
<h3 id="c222">V. HYMN SERMONS AND HYMN SERVICES</h3>
<p>The versatile and adaptable preacher, full of resources, quick
to take advantage of unusual methods, will find the Song
Sermon, or rather the Hymn Sermon, a most attractive and
impressive way of using hymns. Instead of finding an appropriate
proof text from the Scriptures for each leading point of
the discourse, search out a hymn, or a single verse, expressing
it in a lucid and emotional way and have it sung by the congregation,
by the choir, or by a soloist. Comment on the
hymn and its illustration, consonant with the development
<span class="pb" id="Page_255">255</span>
of the general theme, will supply a new line of most interesting
materials. Care must be taken not to let the hymn hem the
momentum of the sermon, but to make it add to the tide of
interest. There will be no time for playing the tune or to find
the hymn, while the preacher is silently waiting. Close connection
and sharp attack are absolutely essential. Such a sermon
will be sure to win a great hearing.<a class="fn" id="fr21_1" href="#fn21_1">[1]</a></p>
<p>A less formal use of hymns may be made in the Song (or
Hymn) Service in which eight or ten hymns with historical,
illustrative, and devotional comment are sung by soloists, choir,
and congregation. Less valuable in formal teaching than the
Hymn Sermon, it will probably win larger popular acceptance.
Such a religious service should not be allowed to degenerate
into merely a Sacred Concert.</p>
<h3 id="c223">VI. THE USE OF HYMNS IN EMERGENCIES</h3>
<p>There are occasional disturbing and disorganizing occurrences
during services—a violent storm, a noisy epileptic, a fanatical
intruder, a fire where a panic would be disastrous—when it is
important to keep the disturbance down to a minimum, or
even to control the congregation. The singing of an efficient
hymn is often the solution of the problem when there is a
leader of presence of mind (preferably the minister) who will
promptly start it. It must be a hymn that everybody knows;
it must not be a tender, experiential hymn, but one with a
stirring spirit to a stimulating tune that everybody can sing,
such as “Onward, Christian soldiers.”<a class="fn" id="fr21_2" href="#fn21_2">[2]</a></p>
<p>Such occasions sometimes suggest fitting hymns that turn
what might have been disaster into a spiritual victory. In
such a case there must be a peculiar fitness to the difficulty, an
adaptation to the form it takes. In case of a death, or paralytic
stroke, the hymn will not be loud, but tender like “Rock of
Ages,” “He Leadeth Me,” or “The Sweet By and By.” Softly
sung, the episode will be turned from a shock into a deep
spiritual impression.</p>
<div class="pb" id="Page_256">256</div>
<h2 id="ch224"><span class="h2line1"><i>Chapter XXI</i></span>
<br />THE SELECTION OF HYMNS</h2>
<h3 id="c225">I. SELECTION SHOULD SECURE UNITY OF SERVICE</h3>
<p>Next in importance to the minister’s selection of his text comes
the selection of his hymns. If he has a clear conception of the
real unity of his service, it will appear in this more than in
anything else.</p>
<h4 id="c226"><i>Narrow Conception of Unity.</i></h4>
<p>If the minister is a narrow,
mechanically-minded man, with a sense of the need of mere
logical unity, he will make the subject of his sermon the governing
consideration in all parts of his service. The hymns
will needs be all or nearly all didactic, the type with the least
emotional or inspiring value.</p>
<p>The early hymns of the service will in an ineffective way
anticipate the points of his discourse and, in so far as they have
effectiveness, weaken by their more lucid and concise statement
the discussion in the sermon. As the congregation
usually does not know what the topic of the discourse is to be,
the pertinency of the selection is not evident. The same is
true of the Scripture lesson, if it is read before the long prayer.
Logically the whole basis of selection is absurd.</p>
<h4 id="c227"><i>Broader Conception of Unity.</i></h4>
<p>The sermon is simply a co-ordinate
part of divine service, not its governing feature to
which all things else must be subordinated. The early hymns
should not be selected with reference to the theme of the sermon;
the last hymn should sum up not so much the ideas
of the sermon as its emotional values.</p>
<div class="pb" id="Page_257">257</div>
<h4 id="c228"><i>Unity Based on Purpose.</i></h4>
<p>Among heathen people instruction
must be the leading purpose of any meeting held for their
benefit; but among well-taught Christian people, the chief
purpose should be worship, to which the sermon should be
simply one of several aids. The hymns should be emotional,
worshipful, and not exclusively didactic, and should harmonize
with the sermon by being subordinated, with the sermon, to
the clearly-conceived worshipful purpose of the entire service.
Dr. Austin Phelps, more than three-fourths of a century ago,
enunciated the right policy: “It aims at unity of worship, not
by sameness of theme, but by resemblance of spirit. It would
have a sermon preceded and followed, not necessarily by a
hymn on the identical subject, but by a hymn on a kindred
subject, pertaining to the same group of thought, lying in the
same perspective, and enkindling the same class of emotions.”
To announce the theme of the coming sermon in the first
hymn, to read a Scriptural passage as a basis for it, to grope
around that theme in the prayer, to emphasize another phase
in the second hymn, is a case of professional egotism so
flagrant that its only shocking mitigation is that it is the
accepted clerical estimate of the situation.</p>
<p>Now every service, of whatever form or character, is properly
intended to bring the soul into conscious relation with
God. Every phase of the soul’s activities is to be brought
under the influence of this dominating purpose. As it cannot
comprehend God in His completeness at any one moment,
different attributes of His nature and the varied relation of
these several attributes to manifold human needs furnish an
endless abundance of worshipful themes. They will appeal
to the understanding through the truth, to the heart through
an emotional realization of that truth, and to the will by
the choices offered to the soul’s supreme tribunal. Here,
then, in this clearly-conceived phase of worshipful attitude,
you find the basis for the logical unity of the service—a living
unity that moves heart and will as well as reason.</p>
<div class="pb" id="Page_258">258</div>
<p>There is in this no fetter to the intellectual activity of the
preacher, but rather a fresh stimulus and source of suggestion.
It brings to bear vital forces within the speaker’s own soul
that too often find little exercise, and changes the emotional
elements of the service, the prayer, and the music—now too
often mere haphazard, characterless excrescences—into definite
sources of power for the realization of the desired spiritual
results.</p>
<p>A preacher whose heart is a barometer of the spiritual condition
of his people has no difficulty in finding subjects and
texts for his sermons. If the needs of his people press upon
him, those needs furnish an arc light that illuminates
the Bible, and a suggestiveness that brings him an embarrassment
of homiletical riches. Given a clear recognition
of a definite immediate need and the consequent definite
purpose, it will not only make sermonizing easy but will
control the rest of the service. Not the theme of the sermon,
but the purpose of the service as a whole, will be the
organizing vitality.</p>
<h3 id="c229">II. SUGGESTIVE SELECTIONS OF HYMNS</h3>
<p>Here is an earnest pastor who is impressed with the growing
materialism, or worldliness, of his people. How shall be
best dredge the stagnant shallows of their souls? He decides,
not upon a single sermon, but upon a series of services with
cumulative power, whose whole outlook shall be upon the
Person and Character of God as the basis of his claims upon
his creatures. There will be sermons upon these high themes
of course, but they will call for noble and elevated co-ordinate
co-operation in the rest of the service. Now these sermons
should all be peculiarly worshipful, but that worship will be
set to different keys.</p>
<h4 id="c230"><i>Hymns for Service on God’s Omnipotence.</i></h4>
<p>The sermon on
the Divine Omnipotence calls for a noble enthusiasm. The
hymns should be majestic and joyful. After profoundly
<span class="pb" id="Page_259">259</span>
worshipful preliminary exercises it will not be wise to sing
Watts’ hymn,</p>
<div class="verse">
<p class="t0">“Let all the earth their voices raise,</p>
<p class="t0">To sing the great Jehovah’s praise,</p>
<p class="t">And bless His holy name,”</p>
</div>
<p>to the tune “Ariel” for the first hymn in spite of its appropriateness
of thought: first, because it is not sufficiently elevated,
and secondly, because the tune is too light. Watts’
more majestic hymn,</p>
<div class="verse">
<p class="t0">“Before Jehovah’s awful throne,</p>
<p class="t0">Ye nations bow with sacred joy,”</p>
</div>
<p>sung to “Old Hundredth,” would be more harmonious with
the general purpose of the service. By the time the second
hymn is reached there must be some exhilaration of spirit.
It will not be desirable therefore to select</p>
<div class="verse">
<p class="t0">“All people that on earth do dwell,</p>
<p class="t0">Sing to the Lord with cheerful voice”;</p>
</div>
<p>first, because it is in exactly the same key of feeling as the
previous hymn; second, because for that reason no tune is
quite so fitting to it as “Old Hundredth,” which is already
provided for; and third, because the presumable intensifying
of feeling by this time calls for a brighter text and more
spirited music. But it must be a hymn of worship, none the
less; we choose, therefore,</p>
<div class="verse">
<p class="t0">“Oh, worship the King, all-glorious above;</p>
<p class="t0">Oh, gratefully sing His power and His love,”</p>
</div>
<p>the interrupted dactylic measure and triple time tune giving
both dignity and movement.</p>
<p>If the prelude was a joyfully majestic composition, the
anthem one of elevated praise—e.g., a “Venite” or a “Jubilate”—the
responsive reading and the choir responses reverent
and worshipful, the long prayer of the preacher exalted with
<span class="pb" id="Page_260">260</span>
genuine adoration (forgetful of the routine catalogue of
petty petitions), and the Scripture passage noble with inspiring
truth, the service might close at this point as having already
realized its prime object of worship. There must have been
something radically wrong in the spirit and management of it,
if the preacher does not find his people responsive and himself
inspiringly attuned to his noble theme. At the close of his
discourse on the Divine Omnipotence, his people will presumably
be ready to sing</p>
<div class="verse">
<p class="t0">“Let all on earth their voices raise,</p>
<p class="t0">To sing the great Jehovah’s praise,</p>
<p class="t">And bless His holy name.”</p>
</div>
<p>to the exhilarating movement of the tune “Ariel.” The organist’s
postlude will be characterized by a joyful solemnity,
some strong <i>maestoso</i> movement.</p>
<h4 id="c231"><i>Hymns for Service on God’s Love.</i></h4>
<p>A service devoted to the
worship of God, as manifested in His love, offers a wider
range of possibilities. Is it the love manifested in the atonement?
there may be the somber element of the crucifixion
combined with its nobly elevated aspects; is it the love manifested
to His children? there will be a chastened ecstasy in the
hymns and prayers; is it the love that consoles and comforts?
there will be the tender and sympathetic development of the
theme—each will call for its own selection of hymns. As the
last is perhaps the most difficult, let us see what program we
should prepare for it.</p>
<p><i>a.</i> Tender Service.</p>
<p>The organ prelude will be soft, sweet music, full of chromatic
chords that melt one into the other, or a tender, emotional
melody with soft accompaniment. The usual opening
doxology will give way to an introit, sung very gently by the
choir, set to a text expressing divine sympathy or a prayer
for help. The invocation will be a plea for God’s manifest
presence among His needy people. The first hymn sung by
the congregation will sustain the feeling already established,</p>
<div class="pb" id="Page_261">261</div>
<div class="verse">
<p class="t0">“Lord, we come before Thee now,</p>
<p class="t0">At Thy feet we humbly bow,”</p>
</div>
<p>sung to the tune “Aletta” or “Pleyel’s Hymn.” The responsive
reading may be the forty-second and forty-third Psalms. The
choir, having been advised in good time what was desired,
sings some sympathetic setting of the twenty-third Psalm, or
of the forty-second Psalm, or of the hymn “Just as I am.” If
the preacher has kept step in his heart with the emotional
progress of his service, the long prayer will be an expression
of the need of the people and of a tender appreciation of God’s
loving sympathy, closing with an ascription of praise to His
limitless love. The people ought now to be ready to sing</p>
<div class="verse">
<p class="t0">“Love divine, all loves excelling,</p>
<p class="t0">Joy of heaven, to earth come down.”</p>
</div>
<p>After the discourse, a hymn in direct didactic relation to it
may be sung in a bright and joyous spirit:</p>
<div class="verse">
<p class="t0">“God is love; His mercy brightens</p>
<p class="t0">All the path in which we rove.”</p>
</div>
<p>The postlude will be tenderly joyous and sympathetic in style.</p>
<p>There are many preachers whose nervous organizations
would not enable them to adjust themselves to so tender an
emotional key in developing the service. On the other hand,
many congregations would not follow it, but would be lulled
to sleep by it.</p>
<p><i>b.</i> Joyful Service.</p>
<p>They would be entirely right in selecting as the opening
hymn one of general praise and worship:</p>
<div class="verse">
<p class="t0">“Come, Thou Almighty King,</p>
<p class="t0">Help us Thy name to sing,</p>
<p class="t">Help us to praise”;</p>
</div>
<p>or even the quietly majestic hymn,</p>
<div class="verse">
<p class="t0">“Holy, holy, holy, Lord God Almighty!</p>
<p class="t0">Early in the morning our song shall rise to Thee.”</p>
</div>
<div class="pb" id="Page_262">262</div>
<p>The second hymn may be more prayerful and tender:</p>
<div class="verse">
<p class="t0">“Guide me, O Thou great Jehovah,</p>
<p class="t0">Pilgrim through this barren land,”</p>
</div>
<p>or</p>
<div class="verse">
<p class="t0">“When all Thy mercies, O my God,</p>
<p class="t0">My rising soul surveys.”</p>
</div>
<p>The final hymn may be more didactic:</p>
<div class="verse">
<p class="t0">“God is the refuge of His saints,</p>
<p class="t0">When storms of sharp distress invade”;</p>
</div>
<p>or the more stirring and forceful</p>
<div class="verse">
<p class="t0">“Give to the winds thy fears;</p>
<p class="t0">Hope, and be undismayed”;</p>
</div>
<p>or that wonderful paean of faith in the divine love and providence,</p>
<div class="verse">
<p class="t0">“How firm a foundation, ye saints of the Lord,</p>
<p class="t0">Is laid for your faith in His excellent word.”</p>
</div>
<p>In this case the postlude will be bright and joyous, preferably
with some soft and tender episodical passages.</p>
<h4 id="c232"><i>Hymns for a Missionary Service.</i></h4>
<p>The preacher plans a missionary
discourse: what is his order of service to be?</p>
<p>That means an aggressive, spiritual program whose purpose
is stimulation of enthusiasm, of courage, of conquering faith,
of bold decision.</p>
<p>The organist will be asked to play a bright prelude with
pronounced but dignified rhythm, and striking harmonic
progressions. The anthem by the choir may be based on some
text of praise from the Psalms with stirring, somewhat
rhythmical music that will stimulate the nerves of the people
rather than soothe them. The responsive reading should be
a Psalm of triumph, say the ninety-sixth. The long prayer for
once may drop out of the omnibus conventionality and lead
<span class="pb" id="Page_263">263</span>
the people in magnifying the irresistible power and the conquering
love of God, with enough reference to current sorrows
in the congregation to serve as a contrast, to make the realization
of the strong right arm of God more vivid.</p>
<p>The hymns should be in keeping with this joyous recognition
of God’s invincibility and assured triumph.</p>
<p>The first hymn may be Charles Wesley’s “Oh, for a thousand
tongues to sing.” This is worship—mingled with faith and
with aggressive purpose, it is true, but nevertheless distinctly
worship.</p>
<p>An equally appropriate selection from Charles Wesley
would be “Ye servants of God, your Master proclaim.” Care
should be taken that the tune used for either is vigorous and
well known. A dull tune for either would be a stumble on
the threshold of the service.</p>
<p>The point in the service has not yet been reached where a
distinctly missionary hymn is called for; aggressiveness in the
Lord’s service is still the mood to be created. There would be
a choice between Shurtleff’s vigorous “Lead on, O King
Eternal,” with its specific dedication of self to any forward
movement of the Christian Church, or Baring-Gould’s marching
hymn with its American tune written by an English
composer, “Onward, Christian soldiers,” which can hardly
fail to stimulate the pulses of a presumably already stirred
congregation, unless it is sung in a drawling, unaccented way.</p>
<p>If by this time the congregation is not prepared to be
thrilled by an unexpected missionary sermon, eloquent with
an appeal hardly to be equaled by any other topic connected
with the Church’s activities, there has been something wrong
with the preacher or his people.</p>
<p>At the close of the sermon the hearts of the people will be
glad to express themselves either in Smith’s “The morning
light is breaking,” or in Watts’ noble Christianized version
of the seventy-second Psalm, “Jesus shall reign where’er the
sun.” For once the organist can pull out all his stops and
<span class="pb" id="Page_264">264</span>
play a brilliant but not flippant postlude without disturbing
the mind and nerves of thoughtful and devout people.</p>
<p>In these suggested programs it has been evident that the
unity is one of feeling and not of logic. This gave room for
the interest which the unexpected supplies. There must be
progress of feeling as well as of thought. The long prayer or
the music after it, be it organ or choir or hymn, should be
the climax of emotion. It should be allowed to subside a
little during the announcements and offering, in order to rise
to a still higher climax in the sermon and closing hymn.</p>
<p>In a tender, sympathetic service there is more danger of
not taking the audience with you. If the music and the
feelings suggested by the hymns are too quiet and depressing,
there is danger of its acting as a lullaby, putting the people
to sleep. Many a preacher wonders why some of his hearers
are asleep before his text is fairly announced. In nine cases
out of ten, it is due to the depressing character of the music
used in the devotional part of the service.</p>
<h3 id="c233">III. IMPORTANCE OF THE TUNES</h3>
<p>As has been incidentally suggested in the course of the illustrative
progress, no small importance is to be attached to
the selection of the tunes to be used with the hymns. The
preacher cannot always afford to trust the compiler of the
hymnal which he uses. That learned gentleman does not
know what tune the preacher’s people can sing with a given
hymn to the best advantage. He has to meet the difficulty of
providing every hymn with an appropriate tune without having
well-known and effective tunes enough to go round; he
cannot repeat them over and over, but must use less popular
tunes. Who shall judge him harshly, therefore, if in this
dilemma he occasionally follows his own personal taste rather
than the vaguely conceived needs of miscellaneous congregations.</p>
<p>But the minister must study the tunes in his hymnal lest
<span class="pb" id="Page_265">265</span>
he limit his song service to the small number he happens to
know well. To use a dozen or so tunes again and again will
cut the nerve of musical interest in his musical helpers and
in his congregation as well.</p>
<p>Hence, it is the minister’s task to re-edit the hymnal in part,
remating hymns and tunes in order to secure the greatest results
with his own people. Nor need he suffer with a sense
of presumption. The important consideration is the results of
the singing of hymns in an effective way, not loyalty to his
church hymnal at the expense of those results.</p>
<div class="pb" id="Page_266">266</div>
<h2 id="ch234"><span class="h2line1"><i>Chapter XXI</i></span>
<br />THE ANNOUNCEMENT AND TREATMENT OF HYMNS</h2>
<h3 id="c235">I. THE ANNOUNCEMENT OF HYMNS</h3>
<p>It may seem quite superfluous to give any attention to the
mere announcement of hymns; but in many cases the spiritual
success or failure of the congregational song is determined
there. It is generally assumed that any one can announce a
hymn and initiate its singing, but probably the least successful
work of ninety-nine out of a hundred ministers is their
management of the service of song in their churches. The
writer remembers one minister who would baldly announce
the number and then turn round and stare at the choir and
organist until they began to sing. The awkwardness and helplessness
of the man invariably produced a most unfortunate
effect upon the congregation. Many ministers announce the
number and read the first line. It makes no difference whether
the first line is complete in meaning or not; they have identified
the hymn.</p>
<p>Like a great many others of their professional brethren,
they used the hymn perfunctorily as a traditionally necessary
part of the service, with which they really had little or nothing
to do; that it has any relation to the needs or the objects
they have in view for the service does not occur to them. The
unpardonableness of an aimless sermon need not be emphasized,
but why should it be easier to forgive a preacher for
aimlessly selecting and announcing hymns?</p>
<div class="pb" id="Page_267">267</div>
<p>Many churches have hymn boards and even bulletins, making
the mechanical interruption caused by the preacher’s announcement
of the numbers unnecessary. The people presumably
have found the hymn by the time the tune is played
through.<a class="fn" id="fr23_1" href="#fn23_1">[1]</a></p>
<p>Of course, if these devices for announcing the hymn are
absent, the preacher must announce the number. If he does
so in a listless, mechanical way, he will unconsciously give
the congregation an unfortunate emotional keynote, and, in
turn, it will sing in a listless, mechanical way. The psychical
and emotional value of the singing of the hymn is already discounted.
If it has been announced in a joyous, or, at least, in
an interested spirit, with only a happy phrase or two, giving a
cue to the spirit in which it is to be sung, the congregation
will respond in kind. Twenty seconds of effective introduction
will make the difference between success and failure.</p>
<p>It should be emphasized that a live preacher will not allow
the regular order of service to prevent needed comment on the
hymn as it is needed. The order of service has advantages,
but if it robs the preacher of freedom and spontaneity, it becomes
a curse. Too rigidly followed it makes for dullness and
boredom. The congregation should not be allowed to feel
that any departure from it is a doubtful liberty on the part of
the preacher. Opportunity should be made to dispel any such
idea.</p>
<p>If a hymn is curtly announced, or courteously suggested
with a “please” or a “kindly” (as if to sing it were a special
favor to the preacher), and if no hint is given as to the message
to be conveyed, or as to the feeling which is to be expressed,
how can the minister hope that the merely improvised
singing of an unexpected hymn, perhaps with an unknown
tune, will have any stimulating, not to say spiritual, value?
If the hymn is well known, it is probably a great hymn, and
what gathering of saints can rise at a moment’s notice to its
spiritual altitude?</p>
<div class="pb" id="Page_268">268</div>
<p>What intelligent minister would presume suddenly to ask
a trained elocutionist to read to his audience a poem he had
never before seen? Or what honest lawyer would ask a
client to sign a legal paper involving obligations without explanations
or previous reading? Yet, every Sunday, congregations
are asked to sing hymns they have never noticed, expressing
they know not what sentiments, promises, or consecrations,
in the most solemn and exalted manner. Is it
ethical? Is it efficient?</p>
<h3 id="c236">II. THE TREATMENT OF HYMNS</h3>
<p>If a congregation is to sing a hymn, not thoughtlessly and
mechanically, but intelligently and with feeling, it must be
prepared for the devout exercise. It is the minister’s task to
tune his people up for the individual hymn, and create the
habit of finding meaning and genuine feeling in all the hymns
they sing. Stupid singing is a habit: why not create a habit
of singing thoughtfully and feelingly?</p>
<p>That may be done; but it cannot be done overnight. It will
call for persistent training, for a wealth of resources, and for
an unbroken attitude of genuineness of emotion on the part of
the preacher. It is no small undertaking to transform sleepy
church members into sons of praise.</p>
<p>We may add to the obligations involved still another. If
the hymn to be sung is not merely didactic or meditative, but
distinctly emotional in character, is it not the preacher’s duty
to create in those who are to sing at least the beginnings of
the emotions he asks them to voice?</p>
<p>A rapid sketch of blind Matheson’s experience before writing
“O Love that wilt not let me go” will set the heartstrings
of the congregation quivering in the emotional key of the
hymn. A vivid picture of the death of Christ on the cross
in a dozen sentences will inspire a preacher’s people to sing
“Beneath the cross of Jesus” with genuine emotion. Drawing
a picture with rapid touches of the charge of the Light Brigade
<span class="pb" id="Page_269">269</span>
as it went to its death at Balaklava, and quoting a few
lines of Tennyson’s poem, will stir the pulses for the singing of
“Lead on, O King Eternal.” “Prayer is the soul’s sincere desire”
may be introduced by a few tender sentences on the vital
necessity of prayer to a sincere Christian. A minute’s resume
of the influence of the cross of Christ on an individual life,
or on the upward sweep of the human race under its influence,
will give the people a clue to “In the cross of Christ I glory.”
The tender aspect of the atonement made by Christ for sin
may be solemnly suggested before singing “Alas, and did my
Saviour bleed?”</p>
<p>Where a hymn has allusions not likely to be recognized by
the average singer, they ought to be made plain. How many
of the millions who have sung the well-known hymn, “Come,
thou Fount of every blessing,” knew what the word “Ebenezer”
signified? Striking phrases, packed with deep thought
and feeling, like Matheson’s</p>
<div class="verse">
<p class="t0">“I lay in dust life’s glory dead,</p>
<p class="t0">And from the ground there blossoms red</p>
<p class="t">Life that shall endless be,”</p>
</div>
<p>should have their treasures brought to light, lest the average
churchgoer should overlook them. In other words, there
should be a rapid exposition of unusual and also of over-familiar
hymns, so that the congregation may sing with its
mind and heart.</p>
<p>The range of possible comment is so wide, and the opportunity
of using it is so limited, that only the most striking
and impressive illustrations should be considered for actual
use. Rhetorical and anecdotal illustrations should be used
sparingly—only when they promote an exalted and distinctly
spiritual state of mind. They are apt to be prolix, to distract
the mind from spiritual contemplation. They are permissible
with joyous, aggressive, victorious hymns rather than with
those that are tender, emotional, subjective.</p>
<div class="pb" id="Page_270">270</div>
<p>The inexorable limitations of time must always be borne in
mind. When a hymn is announced the people expect to sing,
not to listen to a hymnological dissertation or to a long-winded
anecdote. The simile or metaphor, or other oratorical comment,
must explode with a very short fuse of preliminary remark.
The anecdote must be compact, shorn of unessential
preface or background, and reach its peak of interest, or of appeal
to feeling, with the succinctness of an epigram. Better
limit the illustrations and comments to those that can gracefully
and lucidly be uttered in one or rarely two minutes.</p>
<p>Discussions and illustrations of hymns are often confined to
the hymns as hymns, which is rarely necessary. It is not
the hymn that needs emphasis, much less its writer: it is the
message, the burden, the feeling of the hymn that is to be
enforced. An instance of the saving of a “down and outer”
from the Jerry McAuley mission in New York, or the Pacific
Garden mission in Chicago, will create more responsiveness to
“Rescue the Perishing” than biographical facts about Fanny
Crosby or about the composer, W. Howard Doane. The
anecdote of missionary success from the last missionary bulletin
or magazine will lead a Congregation to sing “Jesus shall
reign where’er the sun” more enthusiastically than an explanation
of Watts’ having metricized the seventy-second
Psalm with a free hand, making the Jew, David, sing like a
Christian. Illustrating the sense rather than the form of the
hymn will be found very much more thrilling to the people.</p>
<p>In evening services of song, or in midweek lectures, historical
backgrounds will be very helpful and interesting. A series
of lectures on the great hymns of the Church, or even a general
survey of the development of our Christian hymnody, will
lay the foundations of a more intelligent song.</p>
<p>In such services, anecdotal illustrations may have a large
place. They need not be emotional under such circumstances,
just so they add interest and understanding.</p>
<div class="pb" id="Page_271">271</div>
<p>As an occasional variation in the introduction of the hymn,
why not have the congregation read it? “It is not done?” All
the more reason for doing it! They will get more actual values
out of the reading of the hymn and its subsequent singing
than in any other way; the very unusualness of the method
will give additional effectiveness. Single stanzas can be most
impressively treated in this manner. In singing Isaac Watts’
great hymn, “When I survey the wondrous cross,” ask the people
to read the third verse softly,</p>
<div class="verse">
<p class="t0">“See, from his head, his hands, his feet,</p>
<p class="t">Sorrow and love flow mingled down!</p>
<p class="t0">Did e’er such love and sorrow meet,</p>
<p class="t">Or thorns compose so rich a crown?”</p>
</div>
<p>and then sing it very softly and note the effect.</p>
<p>The same method may be used with Mrs. Alexander’s children’s
hymn, “There is a green hill far away,” which adults
have adopted for their own; have them read the last verse,</p>
<div class="verse">
<p class="t0">“Oh, dearly, dearly has He loved,</p>
<p class="t">And we must love Him too,</p>
<p class="t0">And trust in His redeeming blood,</p>
<p class="t">And try His works to do,”</p>
</div>
<p>and then sing it quite emotionally.</p>
<p>A great many people deprecate the minister’s reading of
the hymns. But that is because so few ministers are able to
read hymns with any degree of impressiveness or reality. Perhaps
half the ministers who read them leave no desirable impression
whatever as the result, for the reading has been without
even a thoughtful sense of the meaning of the hymn,
much less of its emotional force. To allow one’s voice to fall
at the end of every line, or to make a habit of having a rising
inflection at the end of each first line and a falling at the end
of each second, without variation, is so vile, from an elocutionary
standpoint, that one cannot wonder that the general
congregation prefers its omission.</p>
<div class="pb" id="Page_272">272</div>
<p>On the other hand, if the minister’s mind and heart are
profoundly awake to the thought and feeling of the hymn
that is to be used, if the minister has a definite purpose which
he wishes to realize through the singing of that hymn, if the
whole song service is thoroughly vital and earnest, he cannot
help reading the hymn in such a way as to impress and interest
his people. One need not be a well-trained elocutionist to
do this. The genuine feeling will develop a natural elocution
and will even neutralize faulty habits and mannerisms of reading
that would otherwise make it unendurable.</p>
<p>The fact that the hymn is a familiar one may be only an
additional reason for reading it, instead of being an imperative
reason for omitting its reading. As coins long in circulation
often lose their superscription, these familiar words often
lose their meaning and reality by constant use, and these may
be restored by intelligent and emotional reading.</p>
<p>A mere habit of reading a hymn through is sheer mechanism,
the fatal enemy of interest. The situation, the purpose
in view, the character of the service and the time allotted to
it, even the preacher’s own passing mood—all are factors that
need to be considered.</p>
<p>At this point it is well to drop a word of warning against
the unintelligent omission of verses. Some ministers invariably
restrict the number to be sung to three or four. If there
are five verses, they invariably omit the fourth, or announce,
“We will sing the first three verses,” no matter what the development
of thought may be. One of the most painful manifestations
of ministerial thoughtlessness and indifference to the
congregation’s share of the service, is this brutal mutilation of
the hymns. The preacher wishes a little more time for his sermon,
so he robs God and his people of some of their worship
by singing the pitiful remains of a hymn he has deprived of
its unity, its progress of thought, and perhaps of its best stanzas.
Or he has preached too long and closes with a single
verse of some great hymn, unwittingly losing the best climax
<span class="pb" id="Page_273">273</span>
his sermon could have had. Because of the same egotism and
his obsequious regard for the tyranny of the dinner hour, he
cuts out the reading and proper introductions of his hymns
throughout the service.</p>
<p>The irony of the situation is that by this neglect of his
hymns the preacher fails to create the enthusiasm and responsiveness
of his hearers essential to the larger success of his
sermon. “There is that withholdeth more than is meet, but it
tendeth to poverty.” (Prov. 11:24.)</p>
<p>It may well be that some of the ministers who read this
practical section will throw up their hands at the idea of working
out the rather daunting array of suggestions for exploiting
the hymn in their church work. The pastor’s task is such
a varied one, with such a mass of details, all of seeming importance,
that he is in danger of wasting time on comparative
trifles, of “puttering” around, feeling very busy while accomplishing
little. A common remark at the close of the
day is, “I’ve been busy as a nailer all day and can’t see that
I have accomplished anything!”</p>
<p>It is this time that is lost by lack of concentration which
could quite comfortably be devoted to hymnological studies.
The difficulty in most cases is not lack of time, but lack of
interest, lack of realization as to how great a contribution the
hymn service can make to the success of his work.</p>
<p>God has put into the throat of every member of this preacher’s
congregation a marvelous musical instrument with a wide
range of tones and of extremely appealing cadences, of great
power to express the emotions of the heart of the singer, and
to suggest and stimulate the feelings of the minds and hearts
of the hearers: is the minister justified in neglecting the opportunity
it offers to arouse and quicken the mental and
spiritual natures of the people for whose religious life he is
responsible?</p>
<p>Is it not a crying piece of egotism, in view of the proven efficiency
of hymn singing, to depend exclusively on his own
<span class="pb" id="Page_274">274</span>
preaching for the realization of the spiritual ends to which his
life is devoted? When ministers realize the positive power
the hymn service can exert, they will not begrudge the occasional
hours for studying and planning it which are necessary
to its full success. That success will create</p>
<p class="center">A SINGING CHURCH</p>
<div class="pb" id="Page_275">275</div>
<h2 id="ch237"><span class="h2line1">EPILOGUE</span></h2>
<p><i>Let us hear the conclusion of the whole matter.</i> Eccl. 12:7.</p>
<p>In traversing the long history of the human use of song in
religious services, rites, and ceremonies, we have found that</p>
<p>1. The hymn has been recognized in every age, in every
generation, by every race, whether savage or cultured, under
every sky, as an expression of religious emotion, and as the
generator of such emotion.</p>
<p>2. Religious emotions are of various types. It may be the
earnestness of strong conviction; it may be the hot indignation
against sin and evil, against neglect of the soul’s highest
obligations. It may be the depressing sense of conscious unworthiness,
rising into repentance for sin, into the tenderness
of grateful recognition of the divine love and forgiving grace,
expressed in tears, joy over the assurance of salvation expressed
in beaming countenance or in ejaculations of delight,
or even in shouts of victory. The human heart becomes an
Æolian harp from which the winds of the Spirit of God evoke
an infinitude of melodies, grave and solemn, tender and
sweet, joyous and triumphant, or vigorous and inspiring,—a
very symphonic orchestra.</p>
<p>3. As an expression of religious emotion the hymn has been
effective in moving the human will, stubborn in its revolt
against God, by intensifying the mental and spiritual power of
religious ideas.</p>
<p>4. The religious idea is primary, of course, but its emotional
response in the heart gives it vitality. It is the team of
<span class="pb" id="Page_276">276</span>
idea and its normal emotion that exerts the power of the
hymn. An abstract idea, abstract because its emotional reflex
has been abstracted, has no motive power.</p>
<p>5. In the effective use of the hymn the clear apprehension
of its ideas must be enforced by the vital reproduction of the
original emotion of its writer which urged its composure. A
dry hymn written without vitalizing feeling has no power to
inspire; it gives no sense of reality. Dry sermons, not pollinated
by emotional vigor, can bear no fruit. The effectiveness
of sermon or hymn will be determined by the intensity of the
feeling behind it.</p>
<p>6. The emotional appeal must be genuine, both writer and
singer must be sincere. Artificial emotion, the mere pretense
of a feeling that does not exist, has no power. It is not merely
unappealing, it is offensive.</p>
<p>7. But emotion necessarily implies an intelligence and a
susceptibility to be moved—in other words, a personality. It
also implies that one person’s feelings can call forth like emotions
in other persons. The merely outward expression may
even create a like emotion among others who do not fully
apprehend the primary idea that set the original emotion to
vibrating, creating a very contagion of feeling.</p>
<p>8. It follows that in actual aggressive work, largely depending
on emotional transmission, the minister or the leader must
supply the initiating impulse. If the minister has a dry mind—there
are ministers who desiccate every topic they discuss—religious
ideas suffer a blight of aridity, killing all sense of reality,
this sense of reality being the <i>sine qua non</i> of all spiritual
effectiveness. If he is fortunate in having a vivid imagination
and a heart responsive to religious truth, he can multiply his
mental gifts twentyfold by intensifying the truths he expresses.</p>
<p>9. Treated in this way, the hymn becomes the peer of the
sermon in influencing power, and assures the minister eager
for spiritual results a large harvest of souls, saved and spiritualized.</p>
<div class="pb" id="Page_277">277</div>
<h2 id="ch238"><span class="h2line1">REFERENCES AND NOTES</span></h2>
<h3>INTRODUCTION</h3>
<div class="fndef"><a class="fn" id="fn1_1" href="#fr1_1">[1]</a>Genesis 4:21, 23.</div>
<div class="fndef"><a class="fn" id="fn1_2" href="#fr1_2">[2]</a>Genesis 31:27.</div>
<div class="fndef"><a class="fn" id="fn1_3" href="#fr1_3">[3]</a>Exodus 15:1-21.</div>
<div class="fndef"><a class="fn" id="fn1_4" href="#fr1_4">[4]</a>Numbers 21:16, 17.</div>
<div class="fndef"><a class="fn" id="fn1_5" href="#fr1_5">[5]</a>Psalm 90.</div>
<div class="fndef"><a class="fn" id="fn1_6" href="#fr1_6">[6]</a>Joshua 6:16.</div>
<div class="fndef"><a class="fn" id="fn1_7" href="#fr1_7">[7]</a>Judges 5:1-31.</div>
<div class="fndef"><a class="fn" id="fn1_8" href="#fr1_8">[8]</a>I Samuel 2:1-16.</div>
<div class="fndef"><a class="fn" id="fn1_9" href="#fr1_9">[9]</a>I Samuel 10:5.</div>
<div class="fndef"><a class="fn" id="fn1_10" href="#fr1_10">[10]</a>I Chronicles 9:22; 11:4, 11:5.</div>
<div class="fndef"><a class="fn" id="fn1_11" href="#fr1_11">[11]</a>Mark 14:26.</div>
<div class="fndef"><a class="fn" id="fn1_12" href="#fr1_12">[12]</a>Acts 16:25.</div>
<div class="fndef"><a class="fn" id="fn1_13" href="#fr1_13">[13]</a>Colossians 3:16.</div>
<div class="fndef"><a class="fn" id="fn1_14" href="#fr1_14">[14]</a>James 5:13.</div>
<div class="fndef"><a class="fn" id="fn1_15" href="#fr1_15">[15]</a>Revelation 5:9; 7:9-12; 11:15-18; 14:2,3; 15:3,4; 19:1-7.</div>
<h3>CHAPTER I</h3>
<div class="fndef"><a class="fn" id="fn2_1" href="#fr2_1">[1]</a>Dr. Phelps goes on to say, “Yet the greatest of these, that grace which
above all else vitalizes a true hymn, is that which makes it true—its fidelity
to the realities of religious experience.”</div>
<div class="fndef"><a class="fn" id="fn2_2" href="#fr2_2">[2]</a>“A hymn must have a beginning, middle, and end. There should be a
manifest graduation in the thoughts, and their mutual dependence should be
so perceptible that they could not be transposed without injuring the unity of
the piece; every line carrying forward the connection, and every verse adding
a well-proportioned limb to a symmetrical body. The reader should know
when the strain is complete, and be satisfied, as at the close of an air in
music.” (James Montgomery.)</div>
<div class="fndef"><a class="fn" id="fn2_3" href="#fr2_3">[3]</a>Dr. Parks, back in 1857, remarks: “That is not always the best church
song which sparkles most with rhetorical gems. There are spangled hymns
which will never excite devotional feeling.”</div>
<div class="fndef"><a class="fn" id="fn2_4" href="#fr2_4">[4]</a>Sung at President McKinley’s funeral.</div>
<div class="fndef"><a class="fn" id="fn2_5" href="#fr2_5">[5]</a>Greece never had a sacred book, she never had any symbols, any sacerdotal
caste organized for the preservation of dogmas. Her poets and her
artists were her true theologians. (Renan, in <i>Studies in Religious History</i>.)</div>
<div class="pb" id="Page_278">278</div>
<div class="fndef"><a class="fn" id="fn2_6" href="#fr2_6">[6]</a>“Even when deeds and events of an innocent and pure character are thus
sung, there is nothing more of spiritual worship in it than in the recitation of
an epic poem. The singer confesses no need, asks no blessing, reveals no
yearning, expects no response. There is no communion of thought and feeling,
no aspiration for purity, no laying hold of moral strength.” (Rev. G. O.
Newport, a missionary in India, quoted in <i>The Hymn Lover</i>.)</div>
<h3>CHAPTER II</h3>
<div class="fndef"><a class="fn" id="fn3_1" href="#fr3_1">[1]</a>The instinct to use song in worship was recognized so long ago as 1695
by Dr. Hickman: “There never was any land so barbarous, or any people so
polite, but have always approached their gods with the solemnity of music
and have expressed their devotions with a song.” (Quoted by Dr. A. S.
Hoyt in his <i>Public Worship for Non-Liturgical Churches</i>.)</div>
<div class="fndef"><a class="fn" id="fn3_2" href="#fr3_2">[2]</a>“Our hymns spring out of religious experience at its best, and they tend
to lift experience to its highest levels. The very cream of truth and of soul
life is gathered into them. They contain the refined riches, the precious
essences, the cut and polished jewels of Christianity in all ages. They are
truly prophetic, the records of the insight and intuition and rapture of the
seer and the saint.” (Dr. Waldo S. Pratt, in <i>Musical Ministries</i>. [New York:
Revell Co., 1915.] Used by permission.)</div>
<div class="fndef"><a class="fn" id="fn3_3" href="#fr3_3">[3]</a>Henry Ward Beecher placed a high value on the song service of the
church: “I have never loved men under any circumstances as I have loved
them while singing with them; never at any other time have I been so near
heaven with you, as in those hours when our songs were wafted thitherward.”</div>
<div class="fndef"><a class="fn" id="fn3_4" href="#fr3_4">[4]</a>“In all great religious movements the people have been inspired with a
passion for singing. They have sung their creed: it seems the freest and most
natural way of declaring their triumphant belief in great Christian truths, forgotten
or denied in previous times of spiritual depression and now restored to
their rightful place in the thought and life of the Church. Song has expressed
and intensified their enthusiasm, their new faith, their new joy, their
new determination to do the will of God.” (<span class="sc">Dr. W. R. Dale.</span>)</div>
<div class="fndef"><a class="fn" id="fn3_5" href="#fr3_5">[5]</a>Pratt, <i>Musical Ministries</i>.</div>
<div class="fndef"><a class="fn" id="fn3_6" href="#fr3_6">[6]</a>Ephesians 5: 18-20.</div>
<div class="fndef"><a class="fn" id="fn3_7" href="#fr3_7">[7]</a>Colossians 3: 16.</div>
<div class="fndef"><a class="fn" id="fn3_8" href="#fr3_8">[8]</a>I Corinthians 14: 15.</div>
<div class="fndef"><a class="fn" id="fn3_9" href="#fr3_9">[9]</a>Over three-quarters of a century ago, this lament was made by a prominent
New England minister: “Many a man, who carefully interrogates his own
experience, will confess that, while the voice of public prayer readily engages
his attention and carries with it his devout desires, it is not so with the act of
praise; that he very seldom finds his affections rising upon its notes to
heaven—very seldom can he say at its close that he has worshiped God. The
song has been wafted near him as a vehicle for conveying upward the sweet
odor of a spiritual service, but the offering has been withheld, and the song
ascends as empty of divine honors as a sounding brass or a tinkling cymbal.”
(Rev. Daniel L. Furber, in <i>Hymns and Choirs</i>.)</div>
<h3>CHAPTER III</h3>
<div class="fndef"><a class="fn" id="fn4_1" href="#fr4_1">[1]</a>“To get behind the hymnbook to the men and women who wrote its
contents, and to the events, whether personal or public, out of which it
sprang and which it so graciously mirrors, is to enter a world palpitating with
human interest. For a hymnbook is a transcript of real life, a poetical accompaniment
to real events and real experiences. Like all literature that counts,
it rises directly out of life.” (Frederick J. Gillman, in <i>The Evolution of the
English Hymn</i>. [New York: The Macmillan Co., 1927.] Used by permission.)</div>
<div class="pb" id="Page_279">279</div>
<div class="fndef"><a class="fn" id="fn4_2" href="#fr4_2">[2]</a>J. Balcom Reeves, <i>The Hymn in History and Literature</i>. (New York: D.
Appleton-Century Co., 1924). Used by permission.</div>
<div class="fndef"><a class="fn" id="fn4_3" href="#fr4_3">[3]</a>“There is an inclination to fence in what are called ‘literary lyrics,’ as if
to fence out singing lyrics! Now there is, of course, a distinction between
poems meant to be sung and poems written in the pattern of lyrical poetry,
but never meant to be sung; but the terminology which classes one kind as
literary, thereby implying that the other kind is not of the realm of literature,
is inaccurate and unhappy.” <i>Ibid.</i></div>
<div class="fndef"><a class="fn" id="fn4_4" href="#fr4_4">[4]</a>“In his volume, <i>The English Lyric</i>, Professor Felix E. Schelling virtually
disposes of the hymn with the remark that ‘we may or may not “accept”
certain hymns, but we do not have to read them.’ That is readily granted—unless,
of course, one wishes to know them or to write just criticism about
them.” <i>Ibid.</i></div>
<div class="fndef"><a class="fn" id="fn4_5" href="#fr4_5">[5]</a>“Frequently a hymn is a prayer; and it is a rule for the structure of
prayers that they exclude all those recondite figures, dazzling comparisons,
flashing metaphors, which, while grateful to certain minds of poetic excitability,
are offensive to more sober and staid natures, and are not congenial
with the lowly spirit of a suppliant at the throne of grace. A simile may be
shining, but it may not be exactly chaste; and a hymn prefers pure beauty
to bedizening ornament.” (Dr. Edwards A. Park, in <i>Hymns and Choirs</i>.)</div>
<div class="fndef"><a class="fn" id="fn4_6" href="#fr4_6">[6]</a>These numbers, of course, refer to the number of syllables in a line.</div>
<h3>CHAPTER IV</h3>
<div class="fndef"><a class="fn" id="fn5_1" href="#fr5_1">[1]</a>The vagaries of credit for writing given hymns is illustrated in the appearance
of the intensely Calvinistic Toplady’s name as the writer of Charles
Wesley’s intensely Arminian “Blow ye the trumpet, blow.”</div>
<div class="fndef"><a class="fn" id="fn5_2" href="#fr5_2">[2]</a>Those who care to make a fuller study of the revision of hymns than the
following discussion affords are referred to the full treatment of the subject,
and to the abundant cases cited, by Professor Edwards A. Park, D.D., of
Andover Theological Seminary, in <i>Hymns and Choirs</i>, issued in 1860 by
Drs. Austin Phelps, Edwards A. Park, and Daniel L. Furber. The lapse of
years has in no way diminished the value of this volume. It is unfortunately
out of print and inaccessible to the average pastor, outside of public libraries.</div>
<h3>CHAPTER V</h3>
<div class="fndef"><a class="fn" id="fn6_1" href="#fr6_1">[1]</a>“But the emotional life, strongest, no doubt, in youth, remains a lifelong
element of personality and especially of the religious personality. Feeling is
not merely an integral part of religious experience, it is central, vital, its inmost
core. William James speaks of it as the deeper source of religion, and
says that ‘philosophical and theological formulas come below it in importance.
It is the dynamic factor in the religious life. When it is absent, religion degenerates
into mere formalism or barren intellectualism.’” (Gillman, in <i>The
Evolution of the English Hymn</i>.)</div>
<div class="fndef"><a class="fn" id="fn6_2" href="#fr6_2">[2]</a>Rev. Louis F. Benson, D.D., in <i>The Hymnody of the Christian Church</i>.
(New York: Harper and Bros., 1927.) Used by permission.</div>
<div class="pb" id="Page_280">280</div>
<h3>CHAPTER VII</h3>
<div class="fndef"><a class="fn" id="fn8_1" href="#fr8_1">[1]</a>Dr. Harris says of his discovery, “The manuscript had been lying with
a heap of other stray leaves of manuscript on the shelves of my library without
awakening any suspicion that it contained a lost hymnbook of the early
Church of the apostolic times, or at the very latest of the sub-apostolic times.”</div>
<h3>CHAPTER VIII</h3>
<div class="fndef"><a class="fn" id="fn9_1" href="#fr9_1">[1]</a>There is frequent lament that in the translations of Greek, Latin, and
German hymns into English much of the original beauty is lost. But the
converse is also true: that such translators as Neale, Brownlie, and Palmer have
taken the uncut diamonds of the Greek and Latin Fathers and so transformed
them by their lapidarian skill that the world-wide Christian Church is rejoicing
in their beauty.</div>
<div class="fndef"><a class="fn" id="fn9_2" href="#fr9_2">[2]</a>The <i>Te Deum</i> has only slight claims to Greek origin and is postponed to
a later chapter.</div>
<div class="fndef"><a class="fn" id="fn9_3" href="#fr9_3">[3]</a>In like manner the rationalists of the age of Frederick the Great of
Prussia sought to prevent the use of the Lutheran hymns; the Arians in the
pre-Wesleyan times contended for the psalm versions without doxologies recognizing
the Trinity; in our own day, extreme Modernists belittle Christian
hymns as dogmatic and unpoetical and urge the use of sociological hymns.</div>
<div class="fndef"><a class="fn" id="fn9_4" href="#fr9_4">[4]</a>This transfer of the song to clerical singers soon had its inevitable result.
Jerome begins to be apprehensive that the form of singing would come to have
too exclusive consideration. He complained that those who led the song, like
comedians, “smoothed their throats with soft drinks in order to render their
melodies more impressive, and that the heart alone can properly make melody
to God.“</div>
<h3>CHAPTER IX</h3>
<div class="fndef"><a class="fn" id="fn10_1" href="#fr10_1">[1]</a>“The Greek language lived long and died slowly, and the Christian hymn
writers wrote in its decadence.” (Rev. John Brownlie, in his preface to
<i>Hymns of the Greek Church</i>.)</div>
<div class="fndef"><a class="fn" id="fn10_2" href="#fr10_2">[2]</a>The canon is an elaborate service consisting of nine odes or hymns of
different forms.</div>
<h3>CHAPTER X</h3>
<div class="fndef"><a class="fn" id="fn11_1" href="#fr11_1">[1]</a>“Jesus, the very thought of Thee” (Caswall) or “Jesus, Thou joy of loving
hearts” (Palmer).</div>
<div class="fndef"><a class="fn" id="fn11_2" href="#fr11_2">[2]</a>“O sacred Head, now wounded,” translated by James W. Alexander from
Paul Gerhardt’s “O Haupt voll Blut and Wunden,” a German version of the
Latin hymn above.</div>
<div class="fndef"><a class="fn" id="fn11_3" href="#fr11_3">[3]</a>Imagine a poem of such length in the difficult “Leonine hexameter” of
which the following translated lines will give an inkling:</div>
<div class="verse">
<p class="l">“These are the latter times, these are not better times, let us stand waiting!</p>
<p class="l">Lo, how with awfulness, He, first in lawfulness, comes arbitrating.”</p>
</div>
<div class="fncont">Dr. Neale wisely reduced his centos to a plain meter, giving them practical
usefulness.</div>
<div class="fndef"><a class="fn" id="fn11_4" href="#fr11_4">[4]</a>Matthew Arnold described it as “the utterance of all that is exquisite in
the spirit of its century.” (Quoted by Gillman, in his <i>Evolution of the
English Hymn</i>.)</div>
<div class="pb" id="Page_281">281</div>
<h3>CHAPTER XI</h3>
<div class="fndef"><a class="fn" id="fn12_1" href="#fr12_1">[1]</a>As an indication of how prevalent this singing of religious hymns was,
we note the fact that in 1512, twelve years before Luther’s first hymnbook
appeared, a collection of Roman Catholic hymns, set to profane tunes, was
issued in Venice, Italy.</div>
<div class="fndef"><a class="fn" id="fn12_2" href="#fr12_2">[2]</a>“To Luther belongs the extraordinary merit of having given to the German
people in their own tongue the Bible, the Catechism, and the Hymnbook,
so that God might speak directly to them in his Word, and that they might
directly answer him in their songs.” Dr. Philip Schaff adds elsewhere that
Luther “is the father of the modern High German language and literature,”
and that these are the common possession of the Germanic tribes with their diversified
dialects from the Adriatic to the Baltic Sea. Erasmus Alber, a contemporary
who wrote twenty excellent hymns, calls Luther “the German
Cicero, who not only reformed religion, but also the German language.” Hans
Sachs, the poet cobbler of Nuremberg, who, besides a great deal of general
poetry, also wrote a number of hymns, styled Luther “the nightingale of
Wittenberg.”</div>
<h3>CHAPTER XII</h3>
<div class="fndef"><a class="fn" id="fn13_1" href="#fr13_1">[1]</a>Dr. Schaff.</div>
<h3>CHAPTER XIII</h3>
<div class="fndef"><a class="fn" id="fn14_1" href="#fr14_1">[1]</a>Dr. Louis F. Benson has well characterized this Psalter in its influence on
French character: “The metrical Psalter made the Huguenot character. No
doubt a character nourished on Old Testament ideals will lack the full
symmetry of the Gospel. But the Huguenot was a warrior, first called to
fight and suffer for his faith. And in singing psalms he found his confidence
and strength.... In the wars of religion, the Psalms in meter were the
songs of camp and march, the war cry on the field, the swan song at the
martyr’s stake.”</div>
<div class="fndef"><a class="fn" id="fn14_2" href="#fr14_2">[2]</a>“Of course, psalms in the ballad form were easily learned and kept in
memory. And in the days when the ability to read was less general than
now, these rhymes, scattered so freely broadcast, took root in many a mind
and contributed powerfully to the righteousness and stability of the nation.”
(J. Balcom Reeves, in <i>The Hymn in History and Literature</i>.)</div>
<h3>CHAPTER XIV</h3>
<div class="fndef"><a class="fn" id="fn15_1" href="#fr15_1">[1]</a>Comparing the English church with the German, Horder exclaims: “The
Puritans, indeed, had in their midst a finer poet than Luther, but they never
introduced even Milton’s superb renderings of certain of the Psalms into their
worship. What a use Luther would have put Milton to, if he had been a
member of his church! What songs he would have written! Aye, what
music, too!”</div>
<div class="fndef"><a class="fn" id="fn15_2" href="#fr15_2">[2]</a>“Thus the psalms have been at once an inspiration and a bondage: <i>an
inspiration</i> in that they have kindled the fire which has produced the hymnody
of the entire church; <i>a bondage</i>, because, by stereotyping religious expression,
they robbed the heart of the right to express in its own words the fears, the
joys, the hopes that the Divine Spirit had kindled in their souls.” (W. Garrett
Horder, in <i>The Hymn Lover</i>.)</div>
<div class="pb" id="Page_282">282</div>
<div class="fndef"><a class="fn" id="fn15_3" href="#fr15_3">[3]</a>Thomas Wright in his recent <i>Life of Isaac Watts</i> remarks: “Earlier in this
work I referred to Watts’ enthusiasm for, and his indebtedness to, John Mason,
who deserves rather than any other writer the name of the Father of the
Modern Hymn. If there had not been a Mason there would never have
been a Watts.”</div>
<h3>CHAPTER XV</h3>
<div class="fndef"><a class="fn" id="fn16_1" href="#fr16_1">[1]</a>It is perhaps needless to say that the word “vulgar” did not have the
opprobrious connotation that it inevitably brings today. It simply meant
“ordinary.”</div>
<div class="fndef"><a class="fn" id="fn16_2" href="#fr16_2">[2]</a>George W. Garrett Horder, in <i>The Hymn Lover</i>.</div>
<h3>CHAPTER XVI</h3>
<div class="fndef"><a class="fn" id="fn17_1" href="#fr17_1">[1]</a>“It was their love of social psalmody that made Methodist hymnody what
it was, and it was the desire to better parochial psalmody that furnished John
Wesley with the original motive of his work in hymnody.” (Dr. Louis F.
Benson, in <i>The English Hymn</i>. [New York: Harper and Bros.] Used by
permission.)</div>
<div class="fndef"><a class="fn" id="fn17_2" href="#fr17_2">[2]</a>“John Wesley was a good writer and preacher, and possessed extensive
learning. He was a man of unfailing perseverance, great self-denial, large
liberality, singular devotedness to his Master’s service, and eminent piety.
But perhaps his most remarkable gift was the power he possessed of making
men willing to fall in with his purposes and of organizing systematic action
for the benefit of his followers.” (Josiah Miller, in <i>Singers and Songs of the
Church</i>.)</div>
<div class="fndef"><a class="fn" id="fn17_3" href="#fr17_3">[3]</a>“Wesley, like Watts, wrote very freely and spontaneously, as the thousands
of lyrics he wrote bear witness. Not all of them were good; much of
the verse reminds one of a painter’s tentative sketches. But had he not
freely written so many, he might not have written the smaller number so
consummately well.” (J. Balcom Reeves, in <i>The Hymn in History and Literature</i>.)</div>
<div class="fndef"><a class="fn" id="fn17_4" href="#fr17_4">[4]</a>“The Wesley hymnbooks constitute an extraordinary interesting human
document, palpitating with real life. Every event of those wonderful years,
every experience, public or private, through which the singers passed, is
mirrored in some sweet song. But there is more in them than that. They
are <i>Pilgrim’s Progress</i> in verse. They trace the religious life of every man
as he travels from the City of Destruction to the Celestial City. They unfold
the spiritual drama of man, his hopes and fears, his aspirations and affections,
his failures and victories; each chequered experience trembles into songs, and
scarcely a note is missing. Springing from the heart of the eighteenth century,
their music seems to drown its licentiousness and frivolity in paeans of
praise.” (Frederick J. Gillman, in <i>The Evolution of the English Hymn</i>.)</div>
<div class="fndef"><a class="fn" id="fn17_5" href="#fr17_5">[5]</a>Charles Wesley’s best hymns—and who would dare estimate his genius
on any other basis?—meet John Drinkwater’s two tests of vital poetry:</div>
<div class="fncont">
(1) It must spring from vital and intense personal experience.</div>
<div class="fncont">(2) It must transfer to the reader by “pregnant and living words” the
ecstasy that swelled the heart of the poet.</div>
<div class="fndef"><a class="fn" id="fn17_6" href="#fr17_6">[6]</a>“The style of Watts is austere, objective, formal; the style of Wesley is
warm, subjective, intimate.” (J. Balcom Reeves, in <i>The Hymn in History
and Literature</i>.)</div>
<div class="fndef"><a class="fn" id="fn17_7" href="#fr17_7">[7]</a>Dr. Benson in his exhaustive treatise on <i>The English Hymn</i> remarks:
“The Wesleys inaugurated a great spiritual revival; and their hymns did as
much as any human agency to kindle and replenish its fervor.... John
Wesley led an ecclesiastical revolt and, failing to conquer his own church,
established a new one of phenomenal proportions: the hymns prefigured the
constitution of the new church and formed the manual of its spiritual
discipline.”</div>
<div class="pb" id="Page_283">283</div>
<div class="fndef"><a class="fn" id="fn17_8" href="#fr17_8">[8]</a>He frankly expressed his inhospitable attitude: “Were we to encourage
little poets, we should soon be overrun.”</div>
<h3>CHAPTER XVII</h3>
<div class="fndef"><a class="fn" id="fn18_1" href="#fr18_1">[1]</a>The Oxford or Tractarian Movement on the one hand sought a deeper
spiritual life than was then prevalent, and on the other emphasized the
solidarity of the Church of Christ before and after the Reformation. It
recognized the authority of the pre-Reformation theology and of the associated
ceremonial liturgy. Many of its leaders entered the Roman Catholic
Church, accepting even its worship of Mary, the mother of Jesus, and of the
saints.</div>
<h3>CHAPTER XVIII</h3>
<div class="fndef"><a class="fn" id="fn19_1" href="#fr19_1">[1]</a>The condition of congregational singing at this time is reported by
Rev. Thomas Walter as follows: “Our tunes are left to the mercy of every
unskilful throat to chop and alter, to twist and change, according to their
infinitely diverse and no less odd humors and fancies. I have myself paused
twice in one note to take breath. No two men in the congregation quaver
alike or together; it sounds in the ears of a good judge like five hundred
tunes roared out at the same time with perpetual interferings with one
another.”</div>
<div class="fndef"><a class="fn" id="fn19_2" href="#fr19_2">[2]</a>It is related of a New England minister, Rev. T. Bellamy, that after the
choir had outdone all its past discord and blundering in rendering the Psalm,
he announced another and admonished his choir, “You must try again, for
it is impossible to preach after such singing.”</div>
<h3>CHAPTER XIX</h3>
<div class="fndef"><a class="fn" id="fn20_1" href="#fr20_1">[1]</a>Dr. S. Weir Mitchell.</div>
<div class="fndef"><a class="fn" id="fn20_2" href="#fr20_2">[2]</a>Dr. Louis F. Benson says of Charles Wesley’s “Jesus, lover of my soul”:
“The suspicion remains that the secret of its appeal lies in a poetic beauty that
the average man feels without analyzing it, and in a perfection of craftsmanship
that makes him want to sing it simply because it awakens the spirit of
song in him, rather than a mood of reflection.”</div>
<div class="fndef"><a class="fn" id="fn20_3" href="#fr20_3">[3]</a>The Wesleyan doctrine of the Second Work, or Holiness, now known as
“The Victorious Life.”</div>
<div class="fndef"><a class="fn" id="fn20_4" href="#fr20_4">[4]</a>It will be a good introduction to this minute study to work out the
Biblical authority for the dozen or more allusions.</div>
<div class="fndef"><a class="fn" id="fn20_5" href="#fr20_5">[5]</a>Hebrews 12:1.</div>
<div class="fndef"><a class="fn" id="fn20_6" href="#fr20_6">[6]</a>Fleming H. Revell Co. New York.</div>
<div class="fndef"><a class="fn" id="fn20_7" href="#fr20_7">[7]</a>A full discussion of hymn tunes will be found in Chapters X to XII of
<i>Music in Work and Worship</i> or in Chapters V to X in <i>Practical Church Music</i>,
of which books the present writer is the author. Both published by Fleming
H. Revell Co. New York.</div>
<h3>CHAPTER XX</h3>
<div class="fndef"><a class="fn" id="fn21_1" href="#fr21_1">[1]</a>A fuller discussion of this topic will be found in Chapter XXIX of
<i>Music in Work and Worship</i>, by the present writer.</div>
<div class="pb" id="Page_284">284</div>
<div class="fndef"><a class="fn" id="fn21_2" href="#fr21_2">[2]</a>When Moody was superintendent of a Sunday school in Chicago, he had
a vicious boy in one of the classes whom he had reprimanded again and
again for disturbing the meeting. Finally one Sunday the boy was unusually
fractious and Moody turned to his chorister and said, “When I get
up and walk up the aisle, you start ‘Hold the Fort’ as vigorously as you
can.” While the song was being sung with much enthusiasm, Moody
dragged the boy out of the class by the collar, took him to an adjacent
room, and punished him drastically while the school sang and submerged
the boy’s cries. The boy grew up, became a minister, and often told with
glee the story of how Moody started the work of grace in his heart.</div>
<h3>CHAPTER XXII</h3>
<div class="fndef"><a class="fn" id="fn23_1" href="#fr23_1">[1]</a>In regular services, single verse tunes may be played through, but only
the last half of double verse tunes should be allowed, lest the momentum
gained by the introductory comment be lost.</div>
<div class="pb" id="Page_285">285</div>
<h2 id="ch239"><span class="h2line1">GENERAL INDEX</span></h2>
<p class="center"><a class="ab" href="#index_A">A</a> <a class="ab" href="#index_B">B</a> <a class="ab" href="#index_C">C</a> <a class="ab" href="#index_D">D</a> <a class="ab" href="#index_E">E</a> <a class="ab" href="#index_F">F</a> <a class="ab" href="#index_G">G</a> <a class="ab" href="#index_H">H</a> <a class="ab" href="#index_I">I</a> <a class="ab" href="#index_J">J</a> <a class="ab" href="#index_K">K</a> <a class="ab" href="#index_L">L</a> <a class="ab" href="#index_M">M</a> <a class="ab" href="#index_N">N</a> <a class="ab" href="#index_O">O</a> <a class="ab" href="#index_P">P</a> <span class="ab">Q</span> <a class="ab" href="#index_R">R</a> <a class="ab" href="#index_S">S</a> <a class="ab" href="#index_T">T</a> <a class="ab" href="#index_U">U</a> <a class="ab" href="#index_V">V</a> <a class="ab" href="#index_W">W</a> <span class="ab">X</span> <span class="ab">Y</span> <a class="ab" href="#index_Z">Z</a></p>
<dl class="indexlr">
<dt class="xttl" id="index_A">A</dt>
<dt><span class="lr">Adam of St. Victor</span><a class="pgref" href="#Page_123">123</a></dt>
<dt><span class="lr">Addison, Joseph</span><a class="pgref" href="#Page_167">167</a></dt>
<dt><span class="lr">Adolphus, Gustavus</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Ainsworth’s Version</span><a class="pgref" href="#Page_155">155</a></dt>
<dt><span class="lr">Alber, Erasmus</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Albigenses</span><a class="pgref" href="#Page_128">128</a></dt>
<dt><span class="lr">Aldhelm, Bishop</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Alexander, Mrs. Cecil Frances</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Alexander, William</span><a class="pgref" href="#Page_153">153</a></dt>
<dt><span class="lr">Alline, Harry</span><a class="pgref" href="#Page_212">212</a></dt>
<dt><span class="lr">Ambrose of Milan</span><a class="pgref" href="#Page_120">120</a>, <a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">American Hymnody, Beginnings of</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">American Hymns, Early Collections of</span><a class="pgref" href="#Page_213">213</a></dt>
<dt><span class="lr">American Psalmody</span><a class="pgref" href="#Page_155">155</a>-157</dt>
<dt><span class="lr">American Recent Hymn Writers</span><a class="pgref" href="#Page_222">222</a>-225</dt>
<dt><span class="lr">Anatolius</span><a class="pgref" href="#Page_115">115</a></dt>
<dt><span class="lr">Andrew of Crete</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Annesley, Rev. Samuel</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Annesley, Susanna</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Announcement of Hymns</span><a class="pgref" href="#Page_266">266</a>-8</dt>
<dt><span class="lr">Appelles, von Loewenstein</span><a class="pgref" href="#Page_139">139</a></dt>
<dt><span class="lr">Aquinas, Thomas</span><a class="pgref" href="#Page_125">125</a></dt>
<dt><span class="lr">Arndt, Ernst Moritz</span><a class="pgref" href="#Page_144">144</a></dt>
<dt><span class="lr">Arnold, Matthew</span><a class="pgref" href="#Page_57">57</a>, <a class="pgref" href="#Page_58">58</a></dt>
<dt><span class="lr">Austin, John</span><a class="pgref" href="#Page_164">164</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_B">B</dt>
<dt><span class="lr">Bacon, Dr. Leonard</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Bakewell, John</span><a class="pgref" href="#Page_189">189</a></dt>
<dt><span class="lr">Baring-Gould, Sabine</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">Barnby, Joseph</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">Barton, Bernard</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">Barton, William</span><a class="pgref" href="#Page_165">165</a></dt>
<dt><span class="lr">Basil, Saint</span><a class="pgref" href="#Page_50">50</a></dt>
<dt><span class="lr">Baxter, Richard</span><a class="pgref" href="#Page_163">163</a>, <a class="pgref" href="#Page_167">167</a></dt>
<dt><span class="lr">Bay Psalm Book</span><a class="pgref" href="#Page_156">156</a>, <a class="pgref" href="#Page_209">209</a></dt>
<dt><span class="lr">Benedicite, The</span><a class="pgref" href="#Page_111">111</a></dt>
<dt><span class="lr">Benson, Louis F.</span><a class="pgref" href="#Page_7">7</a>, <a class="pgref" href="#Page_62">62</a>, <a class="pgref" href="#Page_65">65</a>, <a class="pgref" href="#Page_85">85</a>, <a class="pgref" href="#Page_133">133</a>, <a class="pgref" href="#Page_174">174</a>, <a class="pgref" href="#Page_225">225</a></dt>
<dt><span class="lr">Bernard of Clairvaux</span><a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Bernard of Cluny</span><a class="pgref" href="#Page_125">125</a></dt>
<dt><span class="lr">Beza, Theodore</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Bliss, P. P.</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Bonar, Horatius</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">Bourgeois</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Bowring, Sir John</span><a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">Bradbury, William B.</span><a class="pgref" href="#Page_51">51</a></dt>
<dt><span class="lr">Brady, Nicholas</span><a class="pgref" href="#Page_154">154</a></dt>
<dt><span class="lr">Bromehead, Joseph</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Brooks, Bishop Phillips</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_222">222</a>, <a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Brown, Phoebe Hinsdale</span><a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">Brownlie, Rev. Dr. John</span><a class="pgref" href="#Page_114">114</a></dt>
<dt><span class="lr">Bryant, William Cullen</span><a class="pgref" href="#Page_220">220</a></dt>
<dt><span class="lr">Buchanan, George</span><a class="pgref" href="#Page_143">143</a>, <a class="pgref" href="#Page_147">147</a></dt>
<dt><span class="lr">Byles, Mather</span><a class="pgref" href="#Page_211">211</a></dt>
<dt><span class="lr">Byrom, John</span><a class="pgref" href="#Page_178">178</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_C">C</dt>
<dt><span class="lr">Caedmon</span><a class="pgref" href="#Page_158">158</a></dt>
<dt><span class="lr">Calkin, J. Baptiste</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">Calvin, John</span><a class="pgref" href="#Page_148">148</a></dt>
<dt><span class="lr">Campbell, Thomas</span><a class="pgref" href="#Page_155">155</a></dt>
<dt><span class="lr">Campion, Thomas</span><a class="pgref" href="#Page_161">161</a></dt>
<dt><span class="lr">Candlelight Hymn</span><a class="pgref" href="#Page_110">110</a></dt>
<dt class="pb" id="Page_286">286</dt>
<dt><span class="lr">Canon, Golden</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Canon, Pentecostarion</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Canons, Queen of</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Canon, The Great</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Canon, Triodion</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Carlyle, Thomas</span><a class="pgref" href="#Page_135">135</a></dt>
<dt><span class="lr">Caswall, Edward</span><a class="pgref" href="#Page_126">126</a>, <a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">Celano, Thomas of</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">Cennick, John</span><a class="pgref" href="#Page_190">190</a></dt>
<dt><span class="lr">Character of German Hymnody</span><a class="pgref" href="#Page_146">146</a></dt>
<dt><span class="lr">Charlemagne</span><a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Christian Lyre</span><a class="pgref" href="#Page_215">215</a></dt>
<dt><span class="lr">Christian Year</span><a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">Church Poetry</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Clement of Alexandria</span><a class="pgref" href="#Page_109">109</a></dt>
<dt><span class="lr">Coleman, Dr. Lyman</span><a class="pgref" href="#Page_106">106</a></dt>
<dt><span class="lr">Compendious Booke of Gude and Godlie Ballates</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Concordant Discord of a Broken-Hearted Heart</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Conder, Josiah</span><a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">Cosin, Bishop</span><a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Cosmas</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Cotterill, Thomas</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">Coverdale, Miles</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Cowley, Robert</span><a class="pgref" href="#Page_151">151</a></dt>
<dt><span class="lr">Cowper, William, Life of</span><a class="pgref" href="#Page_196">196</a>, <a class="pgref" href="#Page_197">197</a></dt>
<dt><span class="lr">Coxe, Bishop Arthur Cleveland</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Crosby, Fanny</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_261">261</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_D">D</dt>
<dt><span class="lr">Damiana, Cardinal</span><a class="pgref" href="#Page_123">123</a></dt>
<dt><span class="lr">Da Todi, Jacopone</span><a class="pgref" href="#Page_127">127</a></dt>
<dt><span class="lr">Davies, Samuel</span><a class="pgref" href="#Page_211">211</a></dt>
<dt><span class="lr">Decius, Nicolaus</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">De la Motte Fouque</span><a class="pgref" href="#Page_144">144</a></dt>
<dt><span class="lr">Dexter, Henry M.</span><a class="pgref" href="#Page_110">110</a></dt>
<dt><span class="lr">Doane, Bishop George W.</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">Doane, William H.</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_270">270</a></dt>
<dt><span class="lr">Doddridge, Philip</span><a class="pgref" href="#Page_233">233</a>, <a class="pgref" href="#Page_238">238</a></dt>
<dt><span class="lr">Doddridge, Relative Standing</span><a class="pgref" href="#Page_178">178</a></dt>
<dt><span class="lr">Duffield, George, Jr.</span><a class="pgref" href="#Page_222">222</a></dt>
<dt><span class="lr">Dundee Psalms</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Dunster and Lyon</span><a class="pgref" href="#Page_156">156</a></dt>
<dt><span class="lr">Dwight, Timothy (Pres.)</span><a class="pgref" href="#Page_210">210</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_E">E</dt>
<dt><span class="lr">Earliest English Hymns</span><a class="pgref" href="#Page_158">158</a></dt>
<dt><span class="lr">Eber, Paul</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Edmeston, James</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">Eliot, John</span><a class="pgref" href="#Page_156">156</a></dt>
<dt><span class="lr">Emergency Hymns</span><a class="pgref" href="#Page_260">260</a></dt>
<dt><span class="lr">English Literary Ideals Discourage Hymn Writing</span><a class="pgref" href="#Page_159">159</a></dt>
<dt><span class="lr">English Psalmody Submerges English Hymnody</span><a class="pgref" href="#Page_159">159</a></dt>
<dt><span class="lr">English Psalm Versions Before Sternhold</span><a class="pgref" href="#Page_150">150</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_F">F</dt>
<dt><span class="lr">Faber, Frederick W.</span><a class="pgref" href="#Page_206">206</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Fawcett, John</span><a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">Finney, Charles G.</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">Fitting Hymn Tunes to Congregations</span><a class="pgref" href="#Page_249">249</a></dt>
<dt><span class="lr">Flagellant Monks</span><a class="pgref" href="#Page_131">131</a></dt>
<dt><span class="lr">Fleming, Paul</span><a class="pgref" href="#Page_139">139</a></dt>
<dt><span class="lr">Francis of Assisi</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">Francke, August Hermann</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Franck, John</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">Franklin, Benjamin</span><a class="pgref" href="#Page_210">210</a></dt>
<dt><span class="lr">Freylinghausen, Johann A.</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Fuller, Thomas</span><a class="pgref" href="#Page_155">155</a></dt>
<dt><span class="lr">Furber, Rev. Daniel L.</span><a class="pgref" href="#Page_7">7</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_G">G</dt>
<dt><span class="lr">Gates, Ellen H.</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Gellert, Christian Fuerchtegott</span><a class="pgref" href="#Page_139">139</a>, <a class="pgref" href="#Page_142">142</a></dt>
<dt><span class="lr">Genevan Psalter</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Gerhardt, Paul</span><a class="pgref" href="#Page_139">139</a></dt>
<dt><span class="lr">German Te Deum</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Gerok, Karl von</span><a class="pgref" href="#Page_146">146</a></dt>
<dt><span class="lr">Ghoostly Psalms and Spiritual Songs</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Gill, Thomas Hornblower</span><a class="pgref" href="#Page_58">58</a></dt>
<dt><span class="lr">Gilman, Frederick J.</span><a class="pgref" href="#Page_155">155</a></dt>
<dt><span class="lr">Gilmore, Joseph H.</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Gladden, Washington</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Gloria in Excelsis</span><a class="pgref" href="#Page_111">111</a></dt>
<dt><span class="lr">Gloria Patri</span><a class="pgref" href="#Page_112">112</a></dt>
<dt><span class="lr">Goethe</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">Gospel Hymn, The</span><a class="pgref" href="#Page_89">89</a></dt>
<dd><span class="lr">Adaptation to Practical Work</span><a class="pgref" href="#Page_96">96</a>-99</dd>
<dd><span class="lr">Advantages of</span><a class="pgref" href="#Page_98">98</a></dd>
<dd><span class="lr">Almost Universal Use</span><a class="pgref" href="#Page_89">89</a></dd>
<dd><span class="lr">Discrimination in Use of Gospel Songs Needed</span><a class="pgref" href="#Page_98">98</a></dd>
<dd><span class="lr">Judged by Results</span><a class="pgref" href="#Page_90">90</a></dd>
<dd><span class="lr">Lack of Discrimination of Critics</span><a class="pgref" href="#Page_91">91</a></dd>
<dd><span class="lr">Precursors of</span><a class="pgref" href="#Page_90">90</a></dd>
<dd><span class="lr">Standard Hymns</span><a class="pgref" href="#Page_92">92</a></dd>
<dt class="pb" id="Page_287">287</dt>
<dd><span class="lr">Unfair Comparisons</span><a class="pgref" href="#Page_93">93</a></dd>
<dd><span class="lr">Wrong Assumptions</span><a class="pgref" href="#Page_92">92</a></dd>
<dt><span class="lr">Goudimel</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Grant, Sir Robert</span><a class="pgref" href="#Page_203">203</a>, <a class="pgref" href="#Page_230">230</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Great Hymnic Themes</span><a class="pgref" href="#Page_88">88</a></dt>
<dt><span class="lr">Gregory of Nazianzus</span><a class="pgref" href="#Page_114">114</a></dt>
<dt><span class="lr">Gregory the Great</span><a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Grigg, Joseph</span><a class="pgref" href="#Page_192">192</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_H">H</dt>
<dt><span class="lr">Hammond, William</span><a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Hankey, Kate</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Hardenberg, Friedrich von</span><a class="pgref" href="#Page_144">144</a></dt>
<dt><span class="lr">Harris, Dr. Rendell</span><a class="pgref" href="#Page_107">107</a></dt>
<dt><span class="lr">Hastings, Thomas</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_215">215</a>, <a class="pgref" href="#Page_216">216</a></dt>
<dt><span class="lr">Havergal, Frances Ridley</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">Hawks, Mrs. Annie S.</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_234">234</a></dt>
<dt><span class="lr">Heath, George</span><a class="pgref" href="#Page_75">75</a></dt>
<dt><span class="lr">Heber, Bishop Reginald</span><a class="pgref" href="#Page_84">84</a>, <a class="pgref" href="#Page_199">199</a>, <a class="pgref" href="#Page_232">232</a></dt>
<dt><span class="lr">Hedge, Frederick H.</span><a class="pgref" href="#Page_135">135</a></dt>
<dt><span class="lr">Herbert, Geo.</span><a class="pgref" href="#Page_36">36</a>, <a class="pgref" href="#Page_162">162</a></dt>
<dt><span class="lr">Hermannus Contractus</span><a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Herrick, Robert</span><a class="pgref" href="#Page_163">163</a></dt>
<dt><span class="lr">Hewitt, Eliza Edmunds</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Hilary, Bishop of Poitiers</span><a class="pgref" href="#Page_120">120</a>, <a class="pgref" href="#Page_130">130</a></dt>
<dt><span class="lr">Hiller</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Holden, Oliver</span><a class="pgref" href="#Page_213">213</a></dt>
<dt><span class="lr">Holmes, Oliver Wendell</span><a class="pgref" href="#Page_220">220</a></dt>
<dt><span class="lr">Hopper, Rev. Edw.</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Horder, W. Garrett</span><a class="pgref" href="#Page_25">25</a>, <a class="pgref" href="#Page_160">160</a>, <a class="pgref" href="#Page_166">166</a></dt>
<dt><span class="lr">Hosmer, Rev. Frederick L.</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">How, Bishop W. W.</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Hoyt, Dr. A. S.</span><a class="pgref" href="#Page_96">96</a></dt>
<dt><span class="lr">Hunter, Rev. William</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Huntington, Countess of</span><a class="pgref" href="#Page_194">194</a></dt>
<dt><span class="lr">Huss, John, of Prague</span><a class="pgref" href="#Page_131">131</a></dt>
<dt><span class="lr">Hyde, Abby B.</span><a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">Hymnal as a Text Book of Theology</span><a class="pgref" href="#Page_84">84</a>-86</dt>
<dt><span class="lr">Hymnal, Making a Personal</span><a class="pgref" href="#Page_240">240</a>-242</dt>
<dt><span class="lr">Hymn Lover, The</span><a class="pgref" href="#Page_25">25</a></dt>
<dt><span class="lr">Hymnology, Works on</span><a class="pgref" href="#Page_7">7</a>-8</dt>
<dt><span class="lr">Hymns</span><a class="pgref" href="#Page_35">35</a></dt>
<dd><span class="lr">Adjusted to Mass Singing</span><a class="pgref" href="#Page_74">74</a></dd>
<dd><span class="lr">As a Pedagogic Device</span><a class="pgref" href="#Page_74">74</a></dd>
<dd><span class="lr">As Literature</span><a class="pgref" href="#Page_53">53</a></dd>
<dd><span class="lr">As Poetry</span><a class="pgref" href="#Page_27">27</a></dd>
<dd><span class="lr">Changes in</span><a class="pgref" href="#Page_63">63</a>-75</dd>
<dd class="t"><span class="lr">Character of changes</span><a class="pgref" href="#Page_67">67</a>-72</dd>
<dd class="t"><span class="lr">John Wesley as Reviser</span><a class="pgref" href="#Page_70">70</a>-72</dd>
<dd class="t"><span class="lr">Limits of author’s rights</span><a class="pgref" href="#Page_65">65</a></dd>
<dd class="t"><span class="lr">Minor changes in hymns</span><a class="pgref" href="#Page_73">73</a>-75</dd>
<dd class="t"><span class="lr">Often needless</span><a class="pgref" href="#Page_64">64</a></dd>
<dd class="t"><span class="lr">Return to originals</span><a class="pgref" href="#Page_65">65</a></dd>
<dd class="t"><span class="lr">Rights of authors</span><a class="pgref" href="#Page_65">65</a></dd>
<dd><span class="lr">Christocentric</span><a class="pgref" href="#Page_31">31</a></dd>
<dd><span class="lr">Congregational or Singing Hymn</span><a class="pgref" href="#Page_27">27</a></dd>
<dd><span class="lr">Create Religious Atmosphere</span><a class="pgref" href="#Page_72">72</a></dd>
<dd><span class="lr">Definition of Hymn</span><a class="pgref" href="#Page_25">25</a></dd>
<dd><span class="lr">Definition of Hymn by Dr. Benson</span><a class="pgref" href="#Page_28">28</a></dd>
<dd><span class="lr">Distinctly Religious</span><a class="pgref" href="#Page_30">30</a></dd>
<dd><span class="lr">Earliest Hymns</span><a class="pgref" href="#Page_110">110</a></dd>
<dd><span class="lr">Early Greek Hymns</span><a class="pgref" href="#Page_114">114</a></dd>
<dd><span class="lr">Efficiency of Hymns</span><a class="pgref" href="#Page_21">21</a></dd>
<dd><span class="lr">Excessive “Ego” in Hymns</span><a class="pgref" href="#Page_81">81</a></dd>
<dd><span class="lr">Flaws in Hymns by Standard Writers</span><a class="pgref" href="#Page_94">94</a></dd>
<dd><span class="lr">Ignorance of Hymns</span><a class="pgref" href="#Page_21">21</a></dd>
<dd><span class="lr">Importance of Hymns</span><a class="pgref" href="#Page_17">17</a></dd>
<dd><span class="lr">Impulse to Write Hymns</span><a class="pgref" href="#Page_40">40</a></dd>
<dd><span class="lr">In Apostolic Times</span><a class="pgref" href="#Page_104">104</a></dd>
<dd><span class="lr">Indifference to Hymns</span><a class="pgref" href="#Page_50">50</a>-52</dd>
<dd><span class="lr">Influence of Purpose on Writing</span><a class="pgref" href="#Page_40">40</a>-43</dd>
<dd><span class="lr">In the Epistles</span><a class="pgref" href="#Page_105">105</a></dd>
<dd><span class="lr">Limitations of</span><a class="pgref" href="#Page_58">58</a></dd>
<dd><span class="lr">Literary Criticism of</span><a class="pgref" href="#Page_41">41</a>, <a class="pgref" href="#Page_55">55</a>-57</dd>
<dd><span class="lr">Means of Emotional Expression</span><a class="pgref" href="#Page_43">43</a></dd>
<dd><span class="lr">Meters of</span><a class="pgref" href="#Page_33">33</a>, <a class="pgref" href="#Page_59">59</a>-61</dd>
<dd><span class="lr">Of the Apocalypse</span><a class="pgref" href="#Page_106">106</a></dd>
<dd><span class="lr">Of the Social Gospel</span><a class="pgref" href="#Page_87">87</a></dd>
<dd><span class="lr">Origin and Development of Apostolic Hymns</span><a class="pgref" href="#Page_104">104</a></dd>
<dd><span class="lr">Place of Hymns</span><a class="pgref" href="#Page_17">17</a></dd>
<dd><span class="lr">Practicability of</span><a class="pgref" href="#Page_34">34</a></dd>
<dd><span class="lr">Purpose of Singing Hymns</span><a class="pgref" href="#Page_42">42</a></dd>
<dd><span class="lr">Purpose of User</span><a class="pgref" href="#Page_42">42</a></dd>
<dd><span class="lr">Relation of Hymns to God</span><a class="pgref" href="#Page_76">76</a>-8</dd>
<dd><span class="lr">Relation of Hymns to Singer</span><a class="pgref" href="#Page_79">79</a>-82</dd>
<dd><span class="lr">Scriptural, Must be</span><a class="pgref" href="#Page_31">31</a></dd>
<dd><span class="lr">Source of</span><a class="pgref" href="#Page_103">103</a></dd>
<dd><span class="lr">Special Subjects</span><a class="pgref" href="#Page_87">87</a></dd>
<dd><span class="lr">Succeeded Psalms</span><a class="pgref" href="#Page_103">103</a></dd>
<dd><span class="lr">Supreme Theme of</span><a class="pgref" href="#Page_88">88</a></dd>
<dd><span class="lr">Taken from Congregation</span><a class="pgref" href="#Page_112">112</a></dd>
<dd><span class="lr">Too Intense</span><a class="pgref" href="#Page_245">245</a></dd>
<dd><span class="lr">Use in Propaganda</span><a class="pgref" href="#Page_112">112</a></dd>
<dd><span class="lr">Valuable Aids in Services</span><a class="pgref" href="#Page_242">242</a></dd>
<dd><span class="lr">Value of</span><a class="pgref" href="#Page_40">40</a>-46</dd>
<dt class="pb" id="Page_288">288</dt>
<dt><span class="lr">“Hymns Ancient and Modern”</span><a class="pgref" href="#Page_54">54</a></dt>
<dt><span class="lr">Hymn Sermons and Services</span><a class="pgref" href="#Page_254">254</a></dt>
<dt><span class="lr">Hymns of the Protestant Episcopal Church</span><a class="pgref" href="#Page_218">218</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_I">I</dt>
<dt><span class="lr">Irons, Rev. W. J.</span><a class="pgref" href="#Page_126">126</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_J">J</dt>
<dt><span class="lr">James I of England</span><a class="pgref" href="#Page_153">153</a></dt>
<dt><span class="lr">John of Damascus</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Johnson, Dr. Samuel</span><a class="pgref" href="#Page_56">56</a></dt>
<dt><span class="lr">Joseph of the Studium</span><a class="pgref" href="#Page_117">117</a></dt>
<dt><span class="lr">Jonas, Justus</span><a class="pgref" href="#Page_136">136</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_K">K</dt>
<dt><span class="lr">Keble, John</span><a class="pgref" href="#Page_199">199</a>, <a class="pgref" href="#Page_200">200</a>, <a class="pgref" href="#Page_232">232</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Kelly, Thomas</span><a class="pgref" href="#Page_201">201</a></dt>
<dt><span class="lr">Ken, Bishop Thomas</span><a class="pgref" href="#Page_72">72</a>, <a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Key, Francis S.</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">“King” and “Queen” Chorales</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">King Conrad</span><a class="pgref" href="#Page_131">131</a></dt>
<dt><span class="lr">Klopstock, Friedrich G.</span><a class="pgref" href="#Page_143">143</a></dt>
<dt><span class="lr">Knapp, Albert</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">Knox, John</span><a class="pgref" href="#Page_153">153</a></dt>
<dt><span class="lr">Knox’s Version</span><a class="pgref" href="#Page_153">153</a></dt>
<dt><span class="lr">Krummacher, Friedrich Adolph</span><a class="pgref" href="#Page_145">145</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_L">L</dt>
<dt><span class="lr">Language of Post-Apostolic Hymns</span><a class="pgref" href="#Page_111">111</a></dt>
<dt><span class="lr">Later American Orthodox Hymnists</span><a class="pgref" href="#Page_222">222</a></dt>
<dt><span class="lr">Lathbury, Mary Artemisia</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Latin Psalm Version by Geo. Buchanan</span><a class="pgref" href="#Page_151">151</a></dt>
<dt><span class="lr">Lavater, Johann Kasper</span><a class="pgref" href="#Page_144">144</a></dt>
<dt><span class="lr">Leavitt, Rev. Joshua</span><a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">Leland, John</span><a class="pgref" href="#Page_213">213</a></dt>
<dt><span class="lr">Literary Trend in English Hymns</span><a class="pgref" href="#Page_198">198</a></dt>
<dt><span class="lr">Lollards, The</span><a class="pgref" href="#Page_50">50</a></dt>
<dt><span class="lr">Lowry, Robert</span><a class="pgref" href="#Page_51">51</a></dt>
<dt><span class="lr">Luther and Calvin</span><a class="pgref" href="#Page_148">148</a></dt>
<dt><span class="lr">Luther and the Vernacular Hymn</span><a class="pgref" href="#Page_130">130</a></dt>
<dt><span class="lr">Luther, Martin</span><a class="pgref" href="#Page_130">130</a></dt>
<dt><span class="lr">Luther’s Great Chorale</span><a class="pgref" href="#Page_134">134</a></dt>
<dt><span class="lr">Luther’s Hymn Collections</span><a class="pgref" href="#Page_134">134</a></dt>
<dt><span class="lr">Luther’s Relation to German Hymnody</span><a class="pgref" href="#Page_132">132</a></dt>
<dt><span class="lr">Luther’s Tunes</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Lyte, Henry Francis</span><a class="pgref" href="#Page_204">204</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_M">M</dt>
<dt><span class="lr">MacDonald, George</span><a class="pgref" href="#Page_167">167</a>, <a class="pgref" href="#Page_178">178</a></dt>
<dt><span class="lr">Madan, Rev. Martin</span><a class="pgref" href="#Page_72">72</a>, <a class="pgref" href="#Page_194">194</a></dt>
<dt><span class="lr">Marot, Clement</span><a class="pgref" href="#Page_149">149</a></dt>
<dt><span class="lr">Marriott, John</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">Marseillaise Hymn</span><a class="pgref" href="#Page_83">83</a></dt>
<dt><span class="lr">Martineau, Dr. James</span><a class="pgref" href="#Page_41">41</a>, <a class="pgref" href="#Page_187">187</a></dt>
<dt><span class="lr">Mason, John</span><a class="pgref" href="#Page_166">166</a></dt>
<dt><span class="lr">Mason, Lowell</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_215">215</a>-217</dt>
<dt><span class="lr">Mather, Cotton</span><a class="pgref" href="#Page_157">157</a></dt>
<dt><span class="lr">Mather, Richard</span><a class="pgref" href="#Page_156">156</a></dt>
<dt><span class="lr">Matheson, Dr. George</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">Medieval Popular Hymnody</span><a class="pgref" href="#Page_146">146</a></dt>
<dt><span class="lr">Medley, Rev. Samuel</span><a class="pgref" href="#Page_192">192</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Memorizing Hymns</span><a class="pgref" href="#Page_243">243</a></dt>
<dt><span class="lr">Mendelssohn-Bartholdy, Felix</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Methodist Hymnal</span><a class="pgref" href="#Page_93">93</a></dt>
<dt><span class="lr">Methods of Hymn Study</span><a class="pgref" href="#Page_234">234</a>-240</dt>
<dt><span class="lr">Meyfart, Johannes</span><a class="pgref" href="#Page_139">139</a></dt>
<dt><span class="lr">Milman, Henry Hart</span><a class="pgref" href="#Page_75">75</a>, <a class="pgref" href="#Page_199">199</a>, <a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">Milton, John</span><a class="pgref" href="#Page_160">160</a></dt>
<dt><span class="lr">Montgomery, James</span><a class="pgref" href="#Page_56">56</a>, <a class="pgref" href="#Page_64">64</a>, <a class="pgref" href="#Page_155">155</a>, <a class="pgref" href="#Page_190">190</a>, <a class="pgref" href="#Page_201">201</a>-2</dt>
<dt><span class="lr">Montgomery, James, as Critic</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">Moore, Thomas</span><a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">Moravians</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Morris, Mrs. C. H.</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Mote, Edward</span><a class="pgref" href="#Page_73">73</a></dt>
<dt><span class="lr">Mozart, Wolfgang A.</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">Muhlenberg, Rev. William Augustus</span><a class="pgref" href="#Page_218">218</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_N">N</dt>
<dt><span class="lr">Neale, Dr. Mason</span><a class="pgref" href="#Page_115">115</a>, <a class="pgref" href="#Page_125">125</a>, <a class="pgref" href="#Page_205">205</a></dt>
<dt><span class="lr">Neumark, Georg</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Newman, Cardinal John Henry</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">New Presbyterian Hymnal</span><a class="pgref" href="#Page_93">93</a></dt>
<dt><span class="lr">Newton and Cowper</span><a class="pgref" href="#Page_195">195</a></dt>
<dt><span class="lr">Newton, John, Life of</span><a class="pgref" href="#Page_195">195</a></dt>
<dt><span class="lr">Nicolai, Philipp</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">North, Frank Mason</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Notker, called Balbulus</span><a class="pgref" href="#Page_123">123</a>, <a class="pgref" href="#Page_124">124</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_O">O</dt>
<dt><span class="lr">Occom, Samson</span><a class="pgref" href="#Page_212">212</a></dt>
<dt><span class="lr">Odes of Solomon</span><a class="pgref" href="#Page_106">106</a></dt>
<dt><span class="lr">Odo of Cluny</span><a class="pgref" href="#Page_123">123</a></dt>
<dt><span class="lr">Olivers, Thomas</span><a class="pgref" href="#Page_189">189</a></dt>
<dt class="pb" id="Page_289">289</dt>
<dt><span class="lr">Olney Hymns (Newton)</span><a class="pgref" href="#Page_195">195</a></dt>
<dt><span class="lr">Omitting Verses</span><a class="pgref" href="#Page_272">272</a></dt>
<dt><span class="lr">Onderdonk, Dr. H. U.</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">Opitz, Martin</span><a class="pgref" href="#Page_138">138</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_P">P</dt>
<dt><span class="lr">Palgrave</span><a class="pgref" href="#Page_56">56</a>, <a class="pgref" href="#Page_175">175</a></dt>
<dt><span class="lr">Palmer, Ray</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_217">217</a>-18, <a class="pgref" href="#Page_233">233</a></dt>
<dt><span class="lr">Parker, Archbishop</span><a class="pgref" href="#Page_154">154</a></dt>
<dt><span class="lr">Parker, Theodore</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">Parks, Prof. Edwards A.</span><a class="pgref" href="#Page_7">7</a></dt>
<dt><span class="lr">Patrick, Saint</span><a class="pgref" href="#Page_159">159</a></dt>
<dt><span class="lr">Paul of Samosata</span><a class="pgref" href="#Page_112">112</a></dt>
<dt><span class="lr">Paulus Diaconus</span><a class="pgref" href="#Page_123">123</a></dt>
<dt><span class="lr">Perronet, Edward</span><a class="pgref" href="#Page_189">189</a></dt>
<dt><span class="lr">Personal Hymnal</span><a class="pgref" href="#Page_240">240</a>-2</dt>
<dt><span class="lr">Peter the Hermit</span><a class="pgref" href="#Page_125">125</a></dt>
<dt><span class="lr">Phelps, Prof. Austin</span><a class="pgref" href="#Page_7">7</a>, <a class="pgref" href="#Page_88">88</a>, <a class="pgref" href="#Page_95">95</a>, <a class="pgref" href="#Page_257">257</a></dt>
<dt><span class="lr">Phelps, Dr. Sylvanus Dryden</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Phillips, Philip</span><a class="pgref" href="#Page_51">51</a></dt>
<dt><span class="lr">Pietism in German Hymnody</span><a class="pgref" href="#Page_144">144</a></dt>
<dt><span class="lr">Planning Music of Service</span><a class="pgref" href="#Page_250">250</a>-53</dt>
<dt><span class="lr">Popularity of Sternhold and Hopkins Version</span><a class="pgref" href="#Page_152">152</a></dt>
<dt><span class="lr">Poteat, Prof. H. M.</span><a class="pgref" href="#Page_21">21</a></dt>
<dt><span class="lr">Practical Hymnology</span><a class="pgref" href="#Page_21">21</a></dt>
<dt><span class="lr">Practical Hymn Studies</span><a class="pgref" href="#Page_242">242</a></dt>
<dt><span class="lr">Prentiss, Mrs. Elizabeth</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Preparing a Congregation to Sing Hymns</span><a class="pgref" href="#Page_268">268</a>-72</dt>
<dt><span class="lr">Priest, Francis Baker</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Primitive Church, The</span><a class="pgref" href="#Page_106">106</a></dt>
<dt><span class="lr">Procter, Adelaide A.</span><a class="pgref" href="#Page_231">231</a></dt>
<dt><span class="lr">Proses</span><a class="pgref" href="#Page_123">123</a></dt>
<dt><span class="lr">Protestant Te Deum</span><a class="pgref" href="#Page_74">74</a></dt>
<dt><span class="lr">Prudentius, Bishop of Poitiers</span><a class="pgref" href="#Page_112">112</a></dt>
<dt><span class="lr">Psalmody in America</span><a class="pgref" href="#Page_209">209</a></dt>
<dt><span class="lr">Psychology of Psalmody</span><a class="pgref" href="#Page_148">148</a>-9</dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_R">R</dt>
<dt><span class="lr">Rabanus, Maurus</span><a class="pgref" href="#Page_123">123</a></dt>
<dt><span class="lr">Rankin, Rev. Jeremiah E.</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Rationalism in German Hymnody</span><a class="pgref" href="#Page_143">143</a></dt>
<dt><span class="lr">Reeves, Prof. J. Balcom</span><a class="pgref" href="#Page_159">159</a></dt>
<dt><span class="lr">Revised Presbyterian Hymnal</span><a class="pgref" href="#Page_179">179</a></dt>
<dt><span class="lr">Ringwaldt, Bartolomaeus</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">Rinkart, Martin</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Robinson, Robert</span><a class="pgref" href="#Page_191">191</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Rodigast</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Roh, Johann</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Root, George F.</span><a class="pgref" href="#Page_51">51</a></dt>
<dt><span class="lr">Rous, Francis</span><a class="pgref" href="#Page_153">153</a></dt>
<dt><span class="lr">Rous’ Version</span><a class="pgref" href="#Page_153">153</a></dt>
<dt><span class="lr">Ruckert, Friedrich</span><a class="pgref" href="#Page_145">145</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_S">S</dt>
<dt><span class="lr">Saint Basil</span><a class="pgref" href="#Page_50">50</a></dt>
<dt><span class="lr">Saint Colombo</span><a class="pgref" href="#Page_159">159</a></dt>
<dt><span class="lr">Saint Patrick</span><a class="pgref" href="#Page_159">159</a></dt>
<dt><span class="lr">Sanctus</span><a class="pgref" href="#Page_28">28</a></dt>
<dt><span class="lr">Schade</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Schaff, Dr. Philip</span><a class="pgref" href="#Page_134">134</a>, <a class="pgref" href="#Page_143">143</a></dt>
<dt><span class="lr">Scheffler, John</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">Schultz</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Scott, Sir Walter</span><a class="pgref" href="#Page_127">127</a></dt>
<dt><span class="lr">Seagrave, Robert</span><a class="pgref" href="#Page_178">178</a></dt>
<dt><span class="lr">Sears, Edmund Hamilton</span><a class="pgref" href="#Page_221">221</a></dt>
<dt><span class="lr">Selborne, Lord</span><a class="pgref" href="#Page_134">134</a></dt>
<dt><span class="lr">Selnecker, Nicolaus</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">Senfl, Ludwig</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Shurtleff, Ernest W.</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Smith, Samuel F.</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_216">216</a></dt>
<dt><span class="lr">Solomon’s Coronation Song</span><a class="pgref" href="#Page_176">176</a></dt>
<dt><span class="lr">Southwell, Robert</span><a class="pgref" href="#Page_160">160</a></dt>
<dt><span class="lr">Spafford, Horatio G.</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Spener, Philipp Jacob</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">Spengler, Lazarus</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Speratus, Paul</span><a class="pgref" href="#Page_134">134</a>, <a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Spirituals</span><a class="pgref" href="#Page_55">55</a></dt>
<dt><span class="lr">Spiritual Songs for Social Worship</span><a class="pgref" href="#Page_216">216</a>-17</dt>
<dt><span class="lr">Spitta, Karl Johann Philipp</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">Steele, Anne</span><a class="pgref" href="#Page_125">125</a>, <a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">Stephen, the Sabaite</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Sternhold and Hopkins Versions</span><a class="pgref" href="#Page_152">152</a></dt>
<dt><span class="lr">Sternhold, Thomas</span><a class="pgref" href="#Page_152">152</a></dt>
<dt><span class="lr">Stite, Edgar F.</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Stone, Samuel J.</span><a class="pgref" href="#Page_84">84</a></dt>
<dt><span class="lr">Stowe, Harriet Beecher</span><a class="pgref" href="#Page_222">222</a>, <a class="pgref" href="#Page_230">230</a></dt>
<dt><span class="lr">Strong, Nathan</span><a class="pgref" href="#Page_212">212</a></dt>
<dt><span class="lr">Studying Hymn Tunes</span><a class="pgref" href="#Page_246">246</a>, <a class="pgref" href="#Page_264">264</a></dt>
<dt><span class="lr">Studying Methods of Using Hymns</span><a class="pgref" href="#Page_244">244</a>-47, <a class="pgref" href="#Page_249">249</a></dt>
<dt><span class="lr">Study of Hymns, Advantages of</span><a class="pgref" href="#Page_229">229</a>-33</dt>
<dt><span class="lr">Suggestive Selection of Hymns</span><a class="pgref" href="#Page_258">258</a>-64</dt>
<dt><span class="lr">Synesius</span><a class="pgref" href="#Page_115">115</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_T">T</dt>
<dt><span class="lr">Tappan, William B.</span><a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">Tate and Brady’s Version</span><a class="pgref" href="#Page_154">154</a></dt>
<dt class="pb" id="Page_290">290</dt>
<dt><span class="lr">Tate, Nahum</span><a class="pgref" href="#Page_154">154</a>, <a class="pgref" href="#Page_209">209</a></dt>
<dt><span class="lr">Tauler, John</span><a class="pgref" href="#Page_131">131</a></dt>
<dt><span class="lr">Teaching Truth by Use of Hymns</span><a class="pgref" href="#Page_253">253</a></dt>
<dt><span class="lr">Technic of Hymnwriting Established</span><a class="pgref" href="#Page_165">165</a></dt>
<dt><span class="lr">Te Deum Laudamus</span><a class="pgref" href="#Page_28">28</a>, <a class="pgref" href="#Page_119">119</a></dt>
<dt><span class="lr">Ter Sanctus, The</span><a class="pgref" href="#Page_111">111</a></dt>
<dt><span class="lr">Tersteegen, Gerhardt</span><a class="pgref" href="#Page_141">141</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Tertullian</span><a class="pgref" href="#Page_109">109</a></dt>
<dt><span class="lr">Theodore of the Studium</span><a class="pgref" href="#Page_117">117</a></dt>
<dt><span class="lr">Theodulph</span><a class="pgref" href="#Page_123">123</a></dt>
<dt><span class="lr">Thomas of Celano</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">Thompson, Alexander R.</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">Toplady, Augustus Montague</span><a class="pgref" href="#Page_190">190</a></dt>
<dt><span class="lr">Toplady’s Hymn Tests</span><a class="pgref" href="#Page_194">194</a></dt>
<dt><span class="lr">Treasury of Sacred Songs</span><a class="pgref" href="#Page_56">56</a></dt>
<dt><span class="lr">Trench, Archbishop</span><a class="pgref" href="#Page_55">55</a>, <a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Trent, Archbishop</span><a class="pgref" href="#Page_125">125</a></dt>
<dt><span class="lr">Troubadours</span><a class="pgref" href="#Page_128">128</a></dt>
<dt><span class="lr">Two Values in Singing Hymns</span><a class="pgref" href="#Page_248">248</a></dt>
<dt><span class="lr">Types of Hymns</span><a class="pgref" href="#Page_76">76</a>-88</dt>
<dd><span class="lr">“I” and “My” hymns</span><a class="pgref" href="#Page_81">81</a></dd>
<dd><span class="lr">In Relation to God</span><a class="pgref" href="#Page_76">76</a>-9</dd>
<dd><span class="lr">In Relation to Singer</span><a class="pgref" href="#Page_79">79</a></dd>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_U">U</dt>
<dt><span class="lr">Unitarian Hymnody in America</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">Unity in Selecting Hymns</span><a class="pgref" href="#Page_256">256</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_V">V</dt>
<dt><span class="lr">Valois, Marguerite de</span><a class="pgref" href="#Page_149">149</a></dt>
<dt><span class="lr">Value of Psalm Versions</span><a class="pgref" href="#Page_157">157</a></dt>
<dt><span class="lr">Van Alstyne, Frances Crosby</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Van Dyke, Dr. Henry</span><a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Venerable Bede, The</span><a class="pgref" href="#Page_123">123</a>, <a class="pgref" href="#Page_159">159</a></dt>
<dt><span class="lr">Verse, Secular and Sacred Compared</span><a class="pgref" href="#Page_56">56</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_W">W</dt>
<dt><span class="lr">Waldenses</span><a class="pgref" href="#Page_128">128</a></dt>
<dt><span class="lr">Walford, H. W.</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Walther, Johann</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Ware, Henry, Jr.</span><a class="pgref" href="#Page_220">220</a></dt>
<dt><span class="lr">Warner, Anna</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Waters, Horace</span><a class="pgref" href="#Page_215">215</a></dt>
<dt><span class="lr">Watts and Charles Wesley</span><a class="pgref" href="#Page_185">185</a></dt>
<dt><span class="lr">Watts, Isaac</span><a class="pgref" href="#Page_41">41</a>, <a class="pgref" href="#Page_62">62</a>, <a class="pgref" href="#Page_169">169</a>, <a class="pgref" href="#Page_235">235</a>, <a class="pgref" href="#Page_238">238</a></dt>
<dt><span class="lr">Watts’ Argument for Hymns</span><a class="pgref" href="#Page_172">172</a>-4</dt>
<dt><span class="lr">Watts’ First Hymn</span><a class="pgref" href="#Page_169">169</a></dt>
<dt><span class="lr">Watts’ Horæ Lyricæ</span><a class="pgref" href="#Page_169">169</a>, <a class="pgref" href="#Page_170">170</a></dt>
<dt><span class="lr">Watts’ Hymns in America</span><a class="pgref" href="#Page_210">210</a></dt>
<dt><span class="lr">Watts’ Hymns, Value of</span><a class="pgref" href="#Page_175">175</a></dt>
<dt><span class="lr">Watts, Life of</span><a class="pgref" href="#Page_168">168</a></dt>
<dt><span class="lr">Watts, Stress on Practicability</span><a class="pgref" href="#Page_174">174</a></dt>
<dt><span class="lr">Wedderburn Brothers</span><a class="pgref" href="#Page_150">150</a></dt>
<dt><span class="lr">Weiss, Michael</span><a class="pgref" href="#Page_136">136</a></dt>
<dt><span class="lr">Welde, Thomas</span><a class="pgref" href="#Page_156">156</a></dt>
<dt><span class="lr">Wesley Brothers, Relation of</span><a class="pgref" href="#Page_182">182</a></dt>
<dt><span class="lr">Wesley, Charles</span><a class="pgref" href="#Page_62">62</a>, <a class="pgref" href="#Page_88">88</a>, <a class="pgref" href="#Page_183">183</a>, <a class="pgref" href="#Page_235">235</a>, <a class="pgref" href="#Page_238">238</a>, <a class="pgref" href="#Page_254">254</a></dt>
<dt><span class="lr">Wesley, Charles, as a preacher</span><a class="pgref" href="#Page_184">184</a></dt>
<dt><span class="lr">Wesley, Charles, Life of</span><a class="pgref" href="#Page_183">183</a></dt>
<dt><span class="lr">Wesley Family, The</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Wesley Hymns, Issues of</span><a class="pgref" href="#Page_186">186</a></dt>
<dt><span class="lr">Wesley, John</span><a class="pgref" href="#Page_64">64</a>, <a class="pgref" href="#Page_181">181</a>, <a class="pgref" href="#Page_182">182</a></dt>
<dt><span class="lr">Wesley, John, American Collection</span><a class="pgref" href="#Page_182">182</a></dt>
<dt><span class="lr">Wesley, John, Changes in Watts’ Hymns</span><a class="pgref" href="#Page_70">70</a>-2</dt>
<dt><span class="lr">Wesley, John, Character of</span><a class="pgref" href="#Page_183">183</a></dt>
<dt><span class="lr">Wesley, John, Life of</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Wesley, Samuel</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Wesleys and the Moravians, The</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Wesleys, Opposition to</span><a class="pgref" href="#Page_187">187</a></dt>
<dt><span class="lr">Wesleys, Theology of</span><a class="pgref" href="#Page_188">188</a></dt>
<dt><span class="lr">White, Henry Kirke</span><a class="pgref" href="#Page_198">198</a>, <a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">Whitfield, George</span><a class="pgref" href="#Page_210">210</a></dt>
<dt><span class="lr">Whittier, John G.</span><a class="pgref" href="#Page_222">222</a></dt>
<dt><span class="lr">Williams, William</span><a class="pgref" href="#Page_189">189</a></dt>
<dt><span class="lr">Winkworth, Catherine</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Withers, George</span><a class="pgref" href="#Page_161">161</a></dt>
<dt><span class="lr">Wordsworth, Bishop Christopher</span><a class="pgref" href="#Page_38">38</a>, <a class="pgref" href="#Page_84">84</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index_Z">Z</dt>
<dt><span class="lr">Zinzendorf, Count Nicholaus Ludwig von</span><a class="pgref" href="#Page_182">182</a></dt>
<dt><span class="lr">Zwingli, Ulrich</span><a class="pgref" href="#Page_148">148</a></dt>
</dl>
<div class="pb" id="Page_291">291</div>
<h2 id="ch240"><span class="h2line1">INDEX OF HYMNS</span></h2>
<p>(First lines, except those in parenthesis which are first lines of other than
first verse, or of first lines of translations.)</p>
<p class="center"><a class="ab" href="#index1_A">A</a> <a class="ab" href="#index1_B">B</a> <a class="ab" href="#index1_C">C</a> <a class="ab" href="#index1_D">D</a> <a class="ab" href="#index1_E">E</a> <a class="ab" href="#index1_F">F</a> <a class="ab" href="#index1_G">G</a> <a class="ab" href="#index1_H">H</a> <a class="ab" href="#index1_I">I</a> <a class="ab" href="#index1_J">J</a> <a class="ab" href="#index1_K">K</a> <a class="ab" href="#index1_L">L</a> <a class="ab" href="#index1_M">M</a> <a class="ab" href="#index1_N">N</a> <a class="ab" href="#index1_O">O</a> <a class="ab" href="#index1_P">P</a> <span class="ab">Q</span> <a class="ab" href="#index1_R">R</a> <a class="ab" href="#index1_S">S</a> <a class="ab" href="#index1_T">T</a> <a class="ab" href="#index1_U">U</a> <a class="ab" href="#index1_V">V</a> <a class="ab" href="#index1_W">W</a> <span class="ab">X</span> <a class="ab" href="#index1_Y">Y</a> <a class="ab" href="#index1_Z">Z</a></p>
<dl class="indexlr">
<dt class="xttl" id="index1_A">A</dt>
<dt><span class="lr">A charge to keep I have</span><a class="pgref" href="#Page_62">62</a>, <a class="pgref" href="#Page_83">83</a></dt>
<dt><span class="lr">A few more years shall roll</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">(A mighty fortress is our God)</span><a class="pgref" href="#Page_134">134</a>, <a class="pgref" href="#Page_239">239</a></dt>
<dt><span class="lr">Abide with me; fast falls the eventide</span><a class="pgref" href="#Page_204">204</a>, <a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Ah, dearest Jesus, I have grown</span><a class="pgref" href="#Page_36">36</a></dt>
<dt><span class="lr">Alas, and did my Savior bleed</span><a class="pgref" href="#Page_69">69</a>, <a class="pgref" href="#Page_81">81</a>, <a class="pgref" href="#Page_116">116</a>, <a class="pgref" href="#Page_269">269</a></dt>
<dt><span class="lr">All hail the pow’r of Jesus’ name</span><a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_74">74</a>, <a class="pgref" href="#Page_189">189</a>, <a class="pgref" href="#Page_234">234</a></dt>
<dt><span class="lr">All people that on earth do dwell</span><a class="pgref" href="#Page_153">153</a>, <a class="pgref" href="#Page_259">259</a></dt>
<dt><span class="lr">(All praise to Thee, eternal Lord)</span><a class="pgref" href="#Page_135">135</a></dt>
<dt><span class="lr">Almost persuaded, now to believe</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Amazing grace, how sweet the sound</span><a class="pgref" href="#Page_48">48</a>, <a class="pgref" href="#Page_196">196</a></dt>
<dt><span class="lr">Amazing sight, the Savior stands</span><a class="pgref" href="#Page_212">212</a></dt>
<dt><span class="lr">(And when our days are past)</span><a class="pgref" href="#Page_213">213</a></dt>
<dt><span class="lr">Angels from the realms of glory</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">Approach, my soul, the mercy seat</span><a class="pgref" href="#Page_196">196</a></dt>
<dt><span class="lr">Art thou weary, art thou languid</span><a class="pgref" href="#Page_117">117</a>, <a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">As pants the hart for cooling streams</span><a class="pgref" href="#Page_155">155</a>, <a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">Awake and sing the song</span><a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Awake, my soul, in joyful lays</span><a class="pgref" href="#Page_192">192</a></dt>
<dt><span class="lr">Awake, my soul, stretch every nerve</span><a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_179">179</a>, <a class="pgref" href="#Page_238">238</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_B">B</dt>
<dt><span class="lr">Be faithful unto death</span><a class="pgref" href="#Page_90">90</a></dt>
<dt><span class="lr">Befiehl du deine Wege</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">Before Jehovah’s awful throne</span><a class="pgref" href="#Page_59">59</a>, <a class="pgref" href="#Page_70">70</a>, <a class="pgref" href="#Page_175">175</a>, <a class="pgref" href="#Page_186">186</a>, <a class="pgref" href="#Page_235">235</a>, <a class="pgref" href="#Page_251">251</a>, <a class="pgref" href="#Page_259">259</a></dt>
<dt><span class="lr">Behold, a Stranger at the door</span><a class="pgref" href="#Page_192">192</a></dt>
<dt><span class="lr">Behold the glories of the Lamb</span><a class="pgref" href="#Page_170">170</a></dt>
<dt><span class="lr">Behold the Savior of mankind</span><a class="pgref" href="#Page_181">181</a></dt>
<dt><span class="lr">Beneath the cross of Jesus</span><a class="pgref" href="#Page_268">268</a></dt>
<dt><span class="lr">Beyond the smiling and the weeping</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">Blest be the tie that binds</span><a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">Blest be Thy love, dear Lord</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Blow ye the trumpet, blow</span><a class="pgref" href="#Page_63">63</a>, <a class="pgref" href="#Page_251">251</a></dt>
<dt><span class="lr">Bread of the world, in mercy broken</span><a class="pgref" href="#Page_199">199</a></dt>
<dt><span class="lr">Break Thou the bread of life</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Brief life is here our portion</span><a class="pgref" href="#Page_125">125</a>, <a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Brighten the corner where you are</span><a class="pgref" href="#Page_30">30</a>, <a class="pgref" href="#Page_97">97</a>, <a class="pgref" href="#Page_251">251</a></dt>
<dt><span class="lr">Brightest and best of the sons of the morning</span><a class="pgref" href="#Page_199">199</a>, <a class="pgref" href="#Page_232">232</a></dt>
<dt><span class="lr">(But warm, sweet, tender, even yet)</span><a class="pgref" href="#Page_222">222</a></dt>
<dt><span class="lr">By cool Siloam’s shady rill</span><a class="pgref" href="#Page_199">199</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_C">C</dt>
<dt><span class="lr">Calm on the listening ear of night</span><a class="pgref" href="#Page_222">222</a></dt>
<dt class="pb" id="Page_292">292</dt>
<dt><span class="lr">Child of sin and sorrow</span><a class="pgref" href="#Page_215">215</a></dt>
<dt><span class="lr">Children of the heavenly King</span><a class="pgref" href="#Page_190">190</a></dt>
<dt><span class="lr">Christ is born, exalt His name</span><a class="pgref" href="#Page_116">116</a></dt>
<dt><span class="lr">Christian, dost thou see them</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Christians, awake, salute the happy morn</span><a class="pgref" href="#Page_178">178</a></dt>
<dt><span class="lr">Come, gracious Spirit, heavenly Dove</span><a class="pgref" href="#Page_178">178</a></dt>
<dt><span class="lr">Come, Holy Ghost, in love</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Come, Holy Spirit, come</span><a class="pgref" href="#Page_60">60</a></dt>
<dt><span class="lr">Come, Jesus, Redeemer, abide Thou with me</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Come, my soul, thy suit prepare</span><a class="pgref" href="#Page_196">196</a></dt>
<dt><span class="lr">Come, oh, come, in pious lays</span><a class="pgref" href="#Page_161">161</a></dt>
<dt><span class="lr">Come, sound His praise abroad</span><a class="pgref" href="#Page_251">251</a></dt>
<dt><span class="lr">Come, Thou Almighty King</span><a class="pgref" href="#Page_61">61</a>, <a class="pgref" href="#Page_68">68</a>, <a class="pgref" href="#Page_261">261</a></dt>
<dt><span class="lr">Come, Thou Fount of every blessing</span><a class="pgref" href="#Page_192">192</a>, <a class="pgref" href="#Page_235">235</a>, <a class="pgref" href="#Page_239">239</a>, <a class="pgref" href="#Page_269">269</a></dt>
<dt><span class="lr">Come, we that love the Lord</span><a class="pgref" href="#Page_251">251</a></dt>
<dt><span class="lr">Come, ye disconsolate, where’er ye languish</span><a class="pgref" href="#Page_200">200</a>, <a class="pgref" href="#Page_211">211</a></dt>
<dt><span class="lr">Crown Him with many crowns</span><a class="pgref" href="#Page_60">60</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_D">D</dt>
<dt><span class="lr">Day is dying in the West</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Day of wrath! O day of mourning</span><a class="pgref" href="#Page_127">127</a></dt>
<dt><span class="lr">(Dear Christian people, now rejoice)</span><a class="pgref" href="#Page_135">135</a></dt>
<dt><span class="lr">Dear Savior, if these lambs should stray</span><a class="pgref" href="#Page_217">217</a></dt>
<dt><span class="lr">Deathless principle, arise</span><a class="pgref" href="#Page_190">190</a></dt>
<dt><span class="lr">Delay not, delay not, O sinner, draw near</span><a class="pgref" href="#Page_216">216</a></dt>
<dt><span class="lr">Depth of mercy, can there be</span><a class="pgref" href="#Page_186">186</a>, <a class="pgref" href="#Page_254">254</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_E">E</dt>
<dt><span class="lr">Ein’ feste Burg ist unser Gott</span><a class="pgref" href="#Page_134">134</a>, <a class="pgref" href="#Page_136">136</a>, <a class="pgref" href="#Page_138">138</a>, <a class="pgref" href="#Page_150">150</a>, <a class="pgref" href="#Page_245">245</a></dt>
<dt><span class="lr">Eine Herde und ein Hirt</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">Es ist gewisslich an der Zeit</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">Es kennt der Herr die Seinen</span><a class="pgref" href="#Page_145">145</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_F">F</dt>
<dt><span class="lr">Fade, fade, each earthly joy</span><a class="pgref" href="#Page_61">61</a></dt>
<dt><span class="lr">Fairest Lord Jesus, Ruler of all nature</span><a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Faith of our fathers, living still</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Father of mercies, in Thy word</span><a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">Father, whate’er of early bliss</span><a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">(Fear not, O little flock, the foe)</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Fierce was the wild billow</span><a class="pgref" href="#Page_115">115</a>, <a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Fling out the banner; let it float</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">For thee, O dear, dear country</span><a class="pgref" href="#Page_125">125</a></dt>
<dt><span class="lr">Forever with the Lord</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">Forward! singing glory</span><a class="pgref" href="#Page_225">225</a></dt>
<dt><span class="lr">From all that dwell below the skies</span><a class="pgref" href="#Page_59">59</a></dt>
<dt><span class="lr">From Greenland’s icy mountains</span><a class="pgref" href="#Page_199">199</a>, <a class="pgref" href="#Page_216">216</a></dt>
<dt><span class="lr">(From heaven above to earth I come)</span><a class="pgref" href="#Page_135">135</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_G">G</dt>
<dt><span class="lr">Gently, Lord, oh, gently lead us</span><a class="pgref" href="#Page_215">215</a></dt>
<dt><span class="lr">Gelobet seist du, Jesu Christ</span><a class="pgref" href="#Page_135">135</a>-6</dt>
<dt><span class="lr">Give to the winds thy fears</span><a class="pgref" href="#Page_140">140</a>, <a class="pgref" href="#Page_262">262</a></dt>
<dt><span class="lr">Glorious things of thee are spoken</span><a class="pgref" href="#Page_48">48</a>, <a class="pgref" href="#Page_196">196</a></dt>
<dt><span class="lr">Go, labor on, spend and be spent</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">God be with you till we meet again</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">(God calling yet; shall I not hear?)</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">God is love; his mercy brightens</span><a class="pgref" href="#Page_204">204</a>, <a class="pgref" href="#Page_261">261</a></dt>
<dt><span class="lr">God is the refuge of His saints</span><a class="pgref" href="#Page_59">59</a>, <a class="pgref" href="#Page_262">262</a></dt>
<dt><span class="lr">God moves in a mysterious way</span><a class="pgref" href="#Page_48">48</a>, <a class="pgref" href="#Page_196">196</a>, <a class="pgref" href="#Page_254">254</a></dt>
<dt><span class="lr">Gott ist gegenwaertig! lasset uns anbeten</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Gott rufet noch, sollt’ ich nicht endlich hoeren?</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Grace, ’tis a charming sound</span><a class="pgref" href="#Page_179">179</a></dt>
<dt><span class="lr">Great God, how infinite Thou art</span><a class="pgref" href="#Page_186">186</a></dt>
<dt><span class="lr">(Great God, what do I see and hear)</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">Guide me, O Thou great Jehovah</span><a class="pgref" href="#Page_190">190</a>, <a class="pgref" href="#Page_262">262</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_H">H</dt>
<dt><span class="lr">Hail, glad’ning light, of His pure glory poured</span><a class="pgref" href="#Page_110">110</a></dt>
<dt class="pb" id="Page_293">293</dt>
<dt><span class="lr">Hail, Thou once despised Jesus</span><a class="pgref" href="#Page_189">189</a></dt>
<dt><span class="lr">Hail to the brightness of Zion’s glad morning</span><a class="pgref" href="#Page_215">215</a></dt>
<dt><span class="lr">Hail to the Lord’s Anointed</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">Hark, hark, my soul, angelic strains are swelling</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Hark, my soul, it is the Lord</span><a class="pgref" href="#Page_197">197</a></dt>
<dt><span class="lr">Hark, ten thousand harps and voices</span><a class="pgref" href="#Page_201">201</a></dt>
<dt><span class="lr">Hark, the herald angels sing</span><a class="pgref" href="#Page_72">72</a>, <a class="pgref" href="#Page_246">246</a></dt>
<dt><span class="lr">Hark, the song of jubilee</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">Harre des Herrn</span><a class="pgref" href="#Page_90">90</a></dt>
<dt><span class="lr">He dies, the Friend of sinners dies</span><a class="pgref" href="#Page_67">67</a></dt>
<dt><span class="lr">(He knoweth all His people)</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">He leadeth me, O blessed thought</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_224">224</a>, <a class="pgref" href="#Page_255">255</a></dt>
<dt><span class="lr">He sings and plays the songs which best thou lovest</span><a class="pgref" href="#Page_162">162</a></dt>
<dt><span class="lr">Holy, holy, holy, Lord God Almighty</span><a class="pgref" href="#Page_84">84</a>, <a class="pgref" href="#Page_199">199</a>, <a class="pgref" href="#Page_251">251</a>, <a class="pgref" href="#Page_261">261</a></dt>
<dt><span class="lr">How are Thy servants blest, O Lord</span><a class="pgref" href="#Page_167">167</a></dt>
<dt><span class="lr">How firm a foundation, ye saints of the Lord</span><a class="pgref" href="#Page_262">262</a></dt>
<dt><span class="lr">How gentle God’s commands</span><a class="pgref" href="#Page_179">179</a></dt>
<dt><span class="lr">How precious is the book divine</span><a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">How sweet the name of Jesus sounds</span><a class="pgref" href="#Page_48">48</a>, <a class="pgref" href="#Page_196">196</a>, <a class="pgref" href="#Page_236">236</a>, <a class="pgref" href="#Page_238">238</a></dt>
<dt><span class="lr">Hush, my babe, lie still and slumber</span><a class="pgref" href="#Page_172">172</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_I">I</dt>
<dt><span class="lr">I am Thine, O Lord, I have heard Thy voice</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">I could not do without Thee</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">I gave my life for Thee</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">I heard the voice of Jesus say</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">I hunger and I thirst</span><a class="pgref" href="#Page_61">61</a></dt>
<dt><span class="lr">(I know in whom I put my trust)</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">(I know no life divided)</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">I know that my Redeemer lives (Medley)</span><a class="pgref" href="#Page_192">192</a></dt>
<dt><span class="lr">I know that my Redeemer lives (Wesley)</span><a class="pgref" href="#Page_186">186</a></dt>
<dt><span class="lr">I lay my sins on Jesus</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">I love Thee so; I know not how</span><a class="pgref" href="#Page_35">35</a>, <a class="pgref" href="#Page_82">82</a></dt>
<dt><span class="lr">I love Thy kingdom, Lord</span><a class="pgref" href="#Page_211">211</a></dt>
<dt><span class="lr">I love to steal awhile away</span><a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">I love to tell the story</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">I need Thee every hour</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_236">236</a></dt>
<dt><span class="lr">I praise Him most, I love Him best</span><a class="pgref" href="#Page_160">160</a></dt>
<dt><span class="lr">I sing th’ almighty pow’r of God</span><a class="pgref" href="#Page_60">60</a></dt>
<dt><span class="lr">I was a wand’ring sheep</span><a class="pgref" href="#Page_35">35</a>, <a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">I will sing you a song of that beautiful land</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">I would not live alway; I ask not to stay</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">I’ll praise my Maker while I’ve breath</span><a class="pgref" href="#Page_186">186</a></dt>
<dt><span class="lr">Ich weiss, an wen ich glaube</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">If thou but suffer God to guide thee</span><a class="pgref" href="#Page_139">139</a></dt>
<dt><span class="lr">In the Christian’s home in glory</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">In the cross of Christ I glory</span><a class="pgref" href="#Page_204">204</a>, <a class="pgref" href="#Page_269">269</a></dt>
<dt><span class="lr">In the hour of my distress</span><a class="pgref" href="#Page_163">163</a></dt>
<dt><span class="lr">In the hour of trial</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">It came upon the midnight clear</span><a class="pgref" href="#Page_222">222</a></dt>
<dt><span class="lr">It is well with my soul</span><a class="pgref" href="#Page_91">91</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_J">J</dt>
<dt><span class="lr">Jedes Herz will etwas lieben</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Jerusalem, my happy home</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Jerusalem the golden, with milk and honey blest</span><a class="pgref" href="#Page_125">125</a>, <a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Jesu, dulcedo cordium</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Jesu, dulcis memoria</span><a class="pgref" href="#Page_125">125</a>, <a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Jesus, name all names above</span><a class="pgref" href="#Page_117">117</a></dt>
<dt><span class="lr">Jesus, and shall it ever be</span><a class="pgref" href="#Page_192">192</a></dt>
<dt><span class="lr">Jesus calls us, o’er the tumult</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Jesus, I love Thy charming name</span><a class="pgref" href="#Page_233">233</a></dt>
<dt><span class="lr">Jesus, I my cross have taken</span><a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">Jesus, keep me near the cross</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Jesus, lebt, mit ihm auch ich</span><a class="pgref" href="#Page_142">142</a></dt>
<dt><span class="lr">Jesus, let thy pitying eye</span><a class="pgref" href="#Page_73">73</a></dt>
<dt><span class="lr">(Jesus lives, no longer now)</span><a class="pgref" href="#Page_142">142</a></dt>
<dt><span class="lr">Jesus, Lover of my soul</span><a class="pgref" href="#Page_38">38</a>, <a class="pgref" href="#Page_63">63</a>, <a class="pgref" href="#Page_64">64</a>, <a class="pgref" href="#Page_186">186</a>, <a class="pgref" href="#Page_239">239</a>, <a class="pgref" href="#Page_254">254</a></dt>
<dt><span class="lr">Jesus loves me, this I know</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Jesus, my all, to heaven is gone</span><a class="pgref" href="#Page_190">190</a></dt>
<dt><span class="lr">Jesus, Savior, pilot me</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Jesus shall reign where’er the sun</span><a class="pgref" href="#Page_59">59</a>, <a class="pgref" href="#Page_176">176</a>, <a class="pgref" href="#Page_186">186</a>, <a class="pgref" href="#Page_263">263</a></dt>
<dt><span class="lr">Jesus, the very thought of Thee</span><a class="pgref" href="#Page_43">43</a>, <a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_205">205</a>, <a class="pgref" href="#Page_218">218</a>, <a class="pgref" href="#Page_233">233</a>, <a class="pgref" href="#Page_239">239</a></dt>
<dt class="pb" id="Page_294">294</dt>
<dt><span class="lr">Jesus, these eyes have never seen</span><a class="pgref" href="#Page_217">217</a>, <a class="pgref" href="#Page_233">233</a>, <a class="pgref" href="#Page_236">236</a></dt>
<dt><span class="lr">Jesus, Thou joy of loving hearts</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Jesus, where’er Thy people meet</span><a class="pgref" href="#Page_73">73</a>, <a class="pgref" href="#Page_197">197</a></dt>
<dt><span class="lr">(Jesus, Thy boundless love to me)</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">Joyful, joyful, we adore Thee</span><a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Joy to the world, the Lord is come</span><a class="pgref" href="#Page_73">73</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_K">K</dt>
<dt><span class="lr">Kingdoms and thrones to God belong</span><a class="pgref" href="#Page_251">251</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_L">L</dt>
<dt><span class="lr">Lamp of our feet, whereby we trace</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">Lead, kindly Light, amid the encircling gloom</span><a class="pgref" href="#Page_34">34</a>, <a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_205">205</a>, <a class="pgref" href="#Page_246">246</a></dt>
<dt><span class="lr">Lead on, O King eternal</span><a class="pgref" href="#Page_224">224</a>, <a class="pgref" href="#Page_263">263</a>, <a class="pgref" href="#Page_269">269</a></dt>
<dt><span class="lr">Let all the earth their voices raise</span><a class="pgref" href="#Page_259">259</a>, <a class="pgref" href="#Page_260">260</a></dt>
<dt><span class="lr">Let our choir new anthems raise</span><a class="pgref" href="#Page_117">117</a></dt>
<dt><span class="lr">Lift your glad voices in triumph on high</span><a class="pgref" href="#Page_220">220</a></dt>
<dt><span class="lr">Lo! God is here, let us adore</span><a class="pgref" href="#Page_78">78</a>, <a class="pgref" href="#Page_141">141</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Lo! He comes with clouds descending</span><a class="pgref" href="#Page_190">190</a></dt>
<dt><span class="lr">Lo! in the clouds of heaven appears</span><a class="pgref" href="#Page_220">220</a></dt>
<dt><span class="lr">Lobe den Herren, den Maechtigen Koenig der Ehren</span><a class="pgref" href="#Page_142">142</a></dt>
<dt><span class="lr">Look, ye saints, the sight is glorious</span><a class="pgref" href="#Page_201">201</a></dt>
<dt><span class="lr">Lord, dismiss us with Thy blessing</span><a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">Lord, I am Thine, entirely Thine</span><a class="pgref" href="#Page_211">211</a></dt>
<dt><span class="lr">Lord, it belongs not to my care</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Lord Jesus, think on me</span><a class="pgref" href="#Page_115">115</a></dt>
<dt><span class="lr">Lord of all being, throned afar</span><a class="pgref" href="#Page_59">59</a>, <a class="pgref" href="#Page_221">221</a>, <a class="pgref" href="#Page_250">250</a></dt>
<dt><span class="lr">Lord, speak to me, that I may speak</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">Lord, we come before Thee now</span><a class="pgref" href="#Page_261">261</a></dt>
<dt><span class="lr">Lord, with glowing heart I’d praise Thee</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Love divine, all loves excelling</span><a class="pgref" href="#Page_186">186</a>, <a class="pgref" href="#Page_238">238</a>, <a class="pgref" href="#Page_261">261</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_M">M</dt>
<dt><span class="lr">Mag auch die Liebe weinen</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">Mighty God, while angels bless Thee</span><a class="pgref" href="#Page_191">191</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">More about Jesus would I know</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">More love to Thee, O Christ</span><a class="pgref" href="#Page_61">61</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Mortals awake, with angels join</span><a class="pgref" href="#Page_192">192</a></dt>
<dt><span class="lr">My country, ’tis of thee</span><a class="pgref" href="#Page_61">61</a>, <a class="pgref" href="#Page_216">216</a></dt>
<dt><span class="lr">My faith looks up to Thee</span><a class="pgref" href="#Page_43">43</a>, <a class="pgref" href="#Page_61">61</a>, <a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_213">213</a>, <a class="pgref" href="#Page_236">236</a>, <a class="pgref" href="#Page_249">249</a></dt>
<dt><span class="lr">(My feet are worn and weary)</span><a class="pgref" href="#Page_35">35</a></dt>
<dt><span class="lr">My God, how wonderful Thou art</span><a class="pgref" href="#Page_206">206</a>, <a class="pgref" href="#Page_235">235</a>, <a class="pgref" href="#Page_250">250</a></dt>
<dt><span class="lr">My God, I love Thee, not because</span><a class="pgref" href="#Page_205">205</a>, <a class="pgref" href="#Page_236">236</a></dt>
<dt><span class="lr">My God, I thank Thee, who hast made</span><a class="pgref" href="#Page_231">231</a></dt>
<dt><span class="lr">My God, my God, to Thee I cry</span><a class="pgref" href="#Page_184">184</a></dt>
<dt><span class="lr">My God, the spring of all my joys</span><a class="pgref" href="#Page_38">38</a></dt>
<dt><span class="lr">My gracious Lord, I own Thy right</span><a class="pgref" href="#Page_179">179</a></dt>
<dt><span class="lr">My hope is built on nothing less</span><a class="pgref" href="#Page_74">74</a></dt>
<dt><span class="lr">My Jesus, as Thou wilt</span><a class="pgref" href="#Page_60">60</a></dt>
<dt><span class="lr">My Jesus, I love Thee, I know Thou art mine</span><a class="pgref" href="#Page_246">246</a></dt>
<dt><span class="lr">My soul, be on thy guard</span><a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_75">75</a></dt>
<dt><span class="lr">My spirit longeth for Thee</span><a class="pgref" href="#Page_61">61</a>, <a class="pgref" href="#Page_178">178</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_N">N</dt>
<dt><span class="lr">Nearer, my God, to Thee</span><a class="pgref" href="#Page_61">61</a>, <a class="pgref" href="#Page_224">224</a>, <a class="pgref" href="#Page_242">242</a></dt>
<dt><span class="lr">Never weather-beaten sail</span><a class="pgref" href="#Page_161">161</a></dt>
<dt><span class="lr">(Not all the blood of beasts)</span><a class="pgref" href="#Page_238">238</a></dt>
<dt><span class="lr">Now from the altar of my heart</span><a class="pgref" href="#Page_166">166</a></dt>
<dt><span class="lr">Now I resolve with all my heart</span><a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">Now must we hymn the Master of heaven</span><a class="pgref" href="#Page_158">158</a></dt>
<dt><span class="lr">Now, my tongue, the mystery telling</span><a class="pgref" href="#Page_126">126</a></dt>
<dt><span class="lr">(Now thank we all our God)</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Now the day is over</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">Nun danket alle Gott</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Nun freuet euch, lieb Christen G’mein</span><a class="pgref" href="#Page_135">135</a></dt>
</dl>
<div class="pb" id="Page_295">295</div>
<dl class="indexlr">
<dt class="xttl" id="index1_O">O</dt>
<dt><span class="lr">O Christ, the Lord of heaven, to Thee</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">O day of rest and gladness</span><a class="pgref" href="#Page_38">38</a>, <a class="pgref" href="#Page_84">84</a>, <a class="pgref" href="#Page_251">251</a></dt>
<dt><span class="lr">O God, beneath Thy guiding hand</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">O happy band of pilgrims</span><a class="pgref" href="#Page_117">117</a></dt>
<dt><span class="lr">O happy day that fixed my choice</span><a class="pgref" href="#Page_179">179</a></dt>
<dt><span class="lr">(O happy home, where Thou art loved the dearest)</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">O Haupt voll Blut und Wunden</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">O Jesu Christ, mein schoenstes Licht</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">O Jesu, meine Sonne</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">O Jesus, our chief cornerstone</span><a class="pgref" href="#Page_59">59</a></dt>
<dt><span class="lr">O Jesus, sweet the tears I shed</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">O Jesus, Thou art standing</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">O little town of Bethlehem</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_68">68</a>, <a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">O love divine, how sweet Thou art</span><a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">O Love divine, that stooped to share</span><a class="pgref" href="#Page_221">221</a></dt>
<dt><span class="lr">O Love! how deep, how broad, how high</span><a class="pgref" href="#Page_59">59</a></dt>
<dt><span class="lr">O Love that wilt not let me go</span><a class="pgref" href="#Page_34">34</a>, <a class="pgref" href="#Page_80">80</a>, <a class="pgref" href="#Page_97">97</a>, <a class="pgref" href="#Page_208">208</a>, <a class="pgref" href="#Page_249">249</a>, <a class="pgref" href="#Page_268">268</a></dt>
<dt><span class="lr">O lux, beata Trinitas</span><a class="pgref" href="#Page_134">134</a></dt>
<dt><span class="lr">O Master, let me walk with Thee</span><a class="pgref" href="#Page_51">51</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">(O Morning Star, how fair and bright)</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">O most blessed Light divine</span><a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">O mother dear, Jerusalem</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">O name, all other names above</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">(O name than every name more dear)</span><a class="pgref" href="#Page_144">144</a></dt>
<dt><span class="lr">O Paradise, O Paradise</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">(O sacred head now wounded)</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">O Savior, precious Savior</span><a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">O selig Haus, wo man dich aufgenommen</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">O splendor of the Father’s face</span><a class="pgref" href="#Page_121">121</a></dt>
<dt><span class="lr">O sussester der Namen all</span><a class="pgref" href="#Page_144">144</a></dt>
<dt><span class="lr">O Thou who driest the mourner’s tear</span><a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">O treuer Heiland, Jesu Christ</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">O Word of God, incarnate</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">O Word of truth! in devious paths</span><a class="pgref" href="#Page_114">114</a></dt>
<dt><span class="lr">O’er the gloomy hills of darkness</span><a class="pgref" href="#Page_190">190</a></dt>
<dt><span class="lr">Oft in danger, oft in woe</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">Oh, could I speak the matchless worth</span><a class="pgref" href="#Page_79">79</a>, <a class="pgref" href="#Page_192">192</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Oh, for a closer walk with God</span><a class="pgref" href="#Page_196">196</a></dt>
<dt><span class="lr">Oh, for a thousand tongues to sing</span><a class="pgref" href="#Page_68">68</a>, <a class="pgref" href="#Page_235">235</a>, <a class="pgref" href="#Page_263">263</a></dt>
<dt><span class="lr">Oh, help us, Lord, each hour of need</span><a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">Oh, where are kings and empires now</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Oh, where shall rest be found</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">Oh, worship the King, all-glorious above</span><a class="pgref" href="#Page_97">97</a>, <a class="pgref" href="#Page_203">203</a>, <a class="pgref" href="#Page_235">235</a>, <a class="pgref" href="#Page_251">251</a>, <a class="pgref" href="#Page_259">259</a></dt>
<dt><span class="lr">On the mountain’s top appearing</span><a class="pgref" href="#Page_201">201</a></dt>
<dt><span class="lr">On the wings of His love I was carried above</span><a class="pgref" href="#Page_36">36</a></dt>
<dt><span class="lr">One more day’s work for Jesus</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">(One Shepherd and one fold to be)</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">One there is above all others</span><a class="pgref" href="#Page_196">196</a></dt>
<dt><span class="lr">Onward, Christian Soldiers</span><a class="pgref" href="#Page_207">207</a>, <a class="pgref" href="#Page_251">251</a>, <a class="pgref" href="#Page_255">255</a>, <a class="pgref" href="#Page_263">263</a></dt>
<dt><span class="lr">Our God, our help in ages past</span><a class="pgref" href="#Page_171">171</a>, <a class="pgref" href="#Page_175">175</a>, <a class="pgref" href="#Page_186">186</a>, <a class="pgref" href="#Page_230">230</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_P">P</dt>
<dt><span class="lr">Pange, lingua, gloriosi</span><a class="pgref" href="#Page_125">125</a></dt>
<dt><span class="lr">Pass me not, O gentle Savior</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Peace, perfect peace, in this dark world of sin</span><a class="pgref" href="#Page_83">83</a></dt>
<dt><span class="lr">Praise, my soul, the King of heaven</span><a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">Praise the Lord, ye heavens adore Him</span><a class="pgref" href="#Page_78">78</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Praise to the Holiest in the height</span><a class="pgref" href="#Page_205">205</a></dt>
<dt><span class="lr">(Praise to the Lord! He is King over all the creation)</span><a class="pgref" href="#Page_142">142</a></dt>
<dt><span class="lr">Prayer is the soul’s sincere desire</span><a class="pgref" href="#Page_84">84</a>, <a class="pgref" href="#Page_202">202</a>, <a class="pgref" href="#Page_269">269</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_R">R</dt>
<dt><span class="lr">Return, O wanderer, to thy home</span><a class="pgref" href="#Page_216">216</a></dt>
<dt><span class="lr">Ride on, ride on in majesty</span><a class="pgref" href="#Page_75">75</a>, <a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">Rise, glorious Conqueror, rise</span><a class="pgref" href="#Page_61">61</a></dt>
<dt><span class="lr">Rise, my soul, and stretch thy wings</span><a class="pgref" href="#Page_178">178</a></dt>
<dt><span class="lr">Rock of Ages, cleft for me</span><a class="pgref" href="#Page_64">64</a>, <a class="pgref" href="#Page_190">190</a>, <a class="pgref" href="#Page_239">239</a>, <a class="pgref" href="#Page_254">254</a>, <a class="pgref" href="#Page_255">255</a></dt>
</dl>
<div class="pb" id="Page_296">296</div>
<dl class="indexlr">
<dt class="xttl" id="index1_S">S</dt>
<dt><span class="lr">Safe home, safe home in port</span><a class="pgref" href="#Page_117">117</a></dt>
<dt><span class="lr">Safe in the arms of Jesus</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Safely through another week</span><a class="pgref" href="#Page_196">196</a>, <a class="pgref" href="#Page_251">251</a></dt>
<dt><span class="lr">Salve, Caput cruentatum</span><a class="pgref" href="#Page_125">125</a>, <a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">Savior, breathe an evening blessing</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">Savior, more than life to me</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Savior, sprinkle many nations</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Savior, Thy dying love</span><a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">Savior, who Thy flock art feeding</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">(See from his head, his hands, his feet)</span><a class="pgref" href="#Page_271">271</a></dt>
<dt><span class="lr">See, the Conqueror rides in triumph</span><a class="pgref" href="#Page_38">38</a></dt>
<dt><span class="lr">Shepherd of tender youth</span><a class="pgref" href="#Page_109">109</a>, <a class="pgref" href="#Page_110">110</a></dt>
<dt><span class="lr">Shout the glad tidings, exultingly sing</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">Sei getreu bis in den Tod</span><a class="pgref" href="#Page_90">90</a></dt>
<dt><span class="lr">Sieh, hier bin ich, Ehrenkoenig</span><a class="pgref" href="#Page_142">142</a></dt>
<dt><span class="lr">Simply trusting every day</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">(Sleepers, awake, a voice is calling)</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">Softly now the light of day</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">Soldiers of the cross, arise</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">(Something every heart is loving)</span><a class="pgref" href="#Page_141">141</a></dt>
<dt><span class="lr">Sometimes a light surprises</span><a class="pgref" href="#Page_48">48</a>, <a class="pgref" href="#Page_197">197</a></dt>
<dt><span class="lr">Sound the loud timbrel o’er Egypt’s dark sea</span><a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">(Sovereign Ruler, King Victorious)</span><a class="pgref" href="#Page_142">142</a></dt>
<dt><span class="lr">Stand up and bless the Lord</span><a class="pgref" href="#Page_60">60</a></dt>
<dt><span class="lr">Stand up, stand up for Jesus</span><a class="pgref" href="#Page_83">83</a>, <a class="pgref" href="#Page_222">222</a>, <a class="pgref" href="#Page_239">239</a></dt>
<dt><span class="lr">Still, still with Thee, when purple morning breaketh</span><a class="pgref" href="#Page_223">223</a>, <a class="pgref" href="#Page_230">230</a></dt>
<dt><span class="lr">Summer suns are glowing</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">Sun of my soul, Thou Savior dear</span><a class="pgref" href="#Page_200">200</a>, <a class="pgref" href="#Page_232">232</a>, <a class="pgref" href="#Page_235">235</a></dt>
<dt><span class="lr">Sweet hour of prayer, sweet hour of prayer</span><a class="pgref" href="#Page_91">91</a></dt>
<dt><span class="lr">Swell the anthem, raise the song</span><a class="pgref" href="#Page_212">212</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_T">T</dt>
<dt><span class="lr">Take me, O my Father, take me</span><a class="pgref" href="#Page_218">218</a></dt>
<dt><span class="lr">Take my life, and let it be</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">The bird, the messenger of day</span><a class="pgref" href="#Page_122">122</a></dt>
<dt><span class="lr">The church’s one foundation</span><a class="pgref" href="#Page_84">84</a></dt>
<dt><span class="lr">The day is past and over</span><a class="pgref" href="#Page_115">115</a>, <a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">The God of Abraham praise</span><a class="pgref" href="#Page_189">189</a></dt>
<dt><span class="lr">The Head that once was crowned with thorns</span><a class="pgref" href="#Page_201">201</a></dt>
<dt><span class="lr">The heavens are not too high</span><a class="pgref" href="#Page_162">162</a></dt>
<dt><span class="lr">The indorsement of supreme delight</span><a class="pgref" href="#Page_36">36</a></dt>
<dt><span class="lr">The Lord is King, lift up thy voice</span><a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">The Lord is my Shepherd, no want shall I know</span><a class="pgref" href="#Page_202">202</a></dt>
<dt><span class="lr">The Lord our God is clothed with might</span><a class="pgref" href="#Page_37">37</a>, <a class="pgref" href="#Page_198">198</a>, <a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">The Lord’s my Shepherd, I’ll not want</span><a class="pgref" href="#Page_154">154</a></dt>
<dt><span class="lr">The morning light is breaking</span><a class="pgref" href="#Page_91">91</a>, <a class="pgref" href="#Page_216">216</a>, <a class="pgref" href="#Page_263">263</a></dt>
<dt><span class="lr">The ransomed spirit to her home</span><a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">The rivers on of Babilon</span><a class="pgref" href="#Page_156">156</a></dt>
<dt><span class="lr">The roseate hues of early dawn</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">The royal banners forward go</span><a class="pgref" href="#Page_122">122</a></dt>
<dt><span class="lr">The Savior bids thee watch and pray</span><a class="pgref" href="#Page_216">216</a></dt>
<dt><span class="lr">The Son of God goes forth to war</span><a class="pgref" href="#Page_199">199</a></dt>
<dt><span class="lr">The spacious firmament on high</span><a class="pgref" href="#Page_167">167</a></dt>
<dt><span class="lr">The spirit in our hearts</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">The sun is sinking fast</span><a class="pgref" href="#Page_205">205</a></dt>
<dt><span class="lr">The voice that breathed o’er Eden</span><a class="pgref" href="#Page_201">201</a></dt>
<dt><span class="lr">Thee will I love, my strength, my tower</span><a class="pgref" href="#Page_140">140</a></dt>
<dt><span class="lr">There is a fountain filled with blood</span><a class="pgref" href="#Page_48">48</a>, <a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_65">65</a>, <a class="pgref" href="#Page_197">197</a>, <a class="pgref" href="#Page_254">254</a></dt>
<dt><span class="lr">There is a green hill far away</span><a class="pgref" href="#Page_206">206</a>, <a class="pgref" href="#Page_271">271</a></dt>
<dt><span class="lr">There is an hour of peaceful rest</span><a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">There’s a wideness in God’s mercy</span><a class="pgref" href="#Page_83">83</a>, <a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">There’s sunshine in my soul</span><a class="pgref" href="#Page_245">245</a></dt>
<dt><span class="lr">They who seek the throne of grace</span><a class="pgref" href="#Page_213">213</a></dt>
<dt class="pb" id="Page_297">297</dt>
<dt><span class="lr">Thou art the way, to Thee alone</span><a class="pgref" href="#Page_219">219</a></dt>
<dt><span class="lr">Thou hidden source of calm repose</span><a class="pgref" href="#Page_184">184</a></dt>
<dt><span class="lr">Thou wast, O God, and Thou was blest</span><a class="pgref" href="#Page_166">166</a></dt>
<dt><span class="lr">Thou, whose almighty word</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">(Though love may weep with breaking heart)</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">Through all the changing scenes of life</span><a class="pgref" href="#Page_155">155</a></dt>
<dt><span class="lr">Thy way, not mine, O Lord</span><a class="pgref" href="#Page_60">60</a></dt>
<dt><span class="lr">’Tis midnight, and on Olive’s brow</span><a class="pgref" href="#Page_59">59</a>, <a class="pgref" href="#Page_214">214</a></dt>
<dt><span class="lr">’Tis the day of resurrection</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">To our Redeemer’s glorious name</span><a class="pgref" href="#Page_191">191</a></dt>
<dt><span class="lr">True-hearted, whole-hearted</span><a class="pgref" href="#Page_207">207</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_U">U</dt>
<dt><span class="lr">Unser Herrscher, unser Koenig</span><a class="pgref" href="#Page_142">142</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_V">V</dt>
<dt><span class="lr">Veni, Creator spiritus</span><a class="pgref" href="#Page_124">124</a>, <a class="pgref" href="#Page_134">134</a>, <a class="pgref" href="#Page_152">152</a></dt>
<dt><span class="lr">Veni, Redemptor gentium</span><a class="pgref" href="#Page_134">134</a></dt>
<dt><span class="lr">Veni, Sancte Spiritus</span><a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Verzage nicht, du Haeuflein klein</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Vexilla regis prodeunt</span><a class="pgref" href="#Page_122">122</a>, <a class="pgref" href="#Page_124">124</a></dt>
<dt><span class="lr">Von Himmel hoch da komm ich her</span><a class="pgref" href="#Page_135">135</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_W">W</dt>
<dt><span class="lr">Wachet auf, ruft uns die Stimme</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">(Wait on the Lord)</span><a class="pgref" href="#Page_90">90</a></dt>
<dt><span class="lr">(Wake, awake, for night is flying)</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">Waked by the Gospel’s joyful sound</span><a class="pgref" href="#Page_211">211</a></dt>
<dt><span class="lr">Walk in the light; so shalt thou know</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">(Was there ever kindest Shepherd)</span><a class="pgref" href="#Page_206">206</a></dt>
<dt><span class="lr">Watchman, tell us of the night</span><a class="pgref" href="#Page_204">204</a></dt>
<dt><span class="lr">We are but strangers here</span><a class="pgref" href="#Page_61">61</a></dt>
<dt><span class="lr">We are living, we are dwelling</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">We give Thee but Thine own</span><a class="pgref" href="#Page_207">207</a></dt>
<dt><span class="lr">We may not climb the heavenly steeps</span><a class="pgref" href="#Page_240">240</a></dt>
<dt><span class="lr">(We praise and bless Thee, gracious Lord)</span><a class="pgref" href="#Page_145">145</a></dt>
<dt><span class="lr">We would see Jesus, for the shadows lengthen</span><a class="pgref" href="#Page_223">223</a></dt>
<dt><span class="lr">Welcome, sweet day of rest</span><a class="pgref" href="#Page_60">60</a>, <a class="pgref" href="#Page_73">73</a></dt>
<dt><span class="lr">Wer nur den lieben Gott laesst walten</span><a class="pgref" href="#Page_138">138</a></dt>
<dt><span class="lr">When all Thy mercies, O my God</span><a class="pgref" href="#Page_167">167</a>, <a class="pgref" href="#Page_262">262</a></dt>
<dt><span class="lr">When I can read my title clear</span><a class="pgref" href="#Page_38">38</a></dt>
<dt><span class="lr">When I survey the wondrous cross</span><a class="pgref" href="#Page_38">38</a>, <a class="pgref" href="#Page_59">59</a>, <a class="pgref" href="#Page_79">79</a>, <a class="pgref" href="#Page_171">171</a>, <a class="pgref" href="#Page_176">176</a>, <a class="pgref" href="#Page_237">237</a></dt>
<dt><span class="lr">When marshaled on the mighty plain</span><a class="pgref" href="#Page_203">203</a></dt>
<dt><span class="lr">When morning gilds the skies</span><a class="pgref" href="#Page_205">205</a></dt>
<dt><span class="lr">When our hearts are bowed with woe</span><a class="pgref" href="#Page_200">200</a></dt>
<dt><span class="lr">When the roll is called up yonder</span><a class="pgref" href="#Page_245">245</a></dt>
<dt><span class="lr">When the weary, seeking rest</span><a class="pgref" href="#Page_208">208</a></dt>
<dt><span class="lr">Where cross the crowded ways of life</span><a class="pgref" href="#Page_87">87</a>, <a class="pgref" href="#Page_224">224</a></dt>
<dt><span class="lr">While shepherds watched their flocks by night</span><a class="pgref" href="#Page_155">155</a></dt>
<dt><span class="lr">While with ceaseless course the sun</span><a class="pgref" href="#Page_196">196</a></dt>
<dt><span class="lr">Who can behold the blazing light</span><a class="pgref" href="#Page_212">212</a></dt>
<dt><span class="lr">Wie schoen leuchtet der Morgenstern</span><a class="pgref" href="#Page_137">137</a></dt>
<dt><span class="lr">Work, for the night is coming</span><a class="pgref" href="#Page_83">83</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_Y">Y</dt>
<dt><span class="lr">Ye holy angels bright</span><a class="pgref" href="#Page_164">164</a></dt>
<dt><span class="lr">Ye servants of God, your Master proclaims</span><a class="pgref" href="#Page_73">73</a>, <a class="pgref" href="#Page_263">263</a></dt>
<dt><span class="lr">Yet God’s must I remain</span><a class="pgref" href="#Page_161">161</a></dt>
</dl>
<dl class="indexlr">
<dt class="xttl" id="index1_Z">Z</dt>
<dt><span class="lr">Zion stands with hills surrounded</span><a class="pgref" href="#Page_201">201</a></dt>
<dt><span class="lr">Zion, to thy Savior singing</span><a class="pgref" href="#Page_126">126</a></dt>
</dl>
<div class="pb" id="Page_298">298</div>
<hr class="dwide" />
<h2 id="ch241"><span class="h2line1">THE SINGING CHURCH</span>
<br /><span class="smaller"><i>The Hymns It Wrote and Sang</i>
<br />By EDMUND S. LORENZ</span></h2>
<p>To this author the hymn is not a dry abstraction but an experience of
intense reality—of those realities (as of God, Christ, sin, salvation, divine
care, eternal life) to which human hearts have responded throughout
the ages. His study makes full recognition of the personal elements in
hymn development. The singers whose vision of spiritual things is
fresh and keen stand out in every age, expanding the permanent content
of church hymnody.</p>
<p>Here is indeed a book which will set the Church to singing once more,
in an effort to proclaim a new awareness of the presence of God—that
same awareness which stirred the composers of our greatest hymns.
Dr. Lorenz makes visible to us the golden stairway of great hymn
writers, shining at every level of its ascent with the glory of the
Christian faith.</p>
<h3>THE CONTENTS</h3>
<p><span class="sc">Introduction.</span> PART I: <span class="sc">The Character of the Hymn.</span> <i>Chapters</i>:
What Is a Hymn? The Purpose and Value Of Hymns. The Literary
Aspect of Hymns. The Emendation of Hymns. The Content of the
Hymn. The Gospel Hymn.</p>
<p>PART II: <span class="sc">History of the Development of the Christian Hymn.</span>
<i>Chapters</i>: Apostolic Origin and Development. The Post-Apostolic
Hymn. The Greek Hymnody. The Latin Hymnody. Luther and
the German Hymn. The Later German Hymnody. Metrical Psalmody.
The English Hymn before Watts. Isaac Watts and His Period.
The Wesleys and Their Era. Hymns in the Church of England.
American Hymnody.</p>
<p>PART III: <span class="sc">Practical Hymnology.</span> <i>Chapters</i>: The Study of Hymns.
The Practical Use of Hymns. The Selection of: Hymns. The Announcement
and Treatment of Hymns. Epilogue.</p>
<p>The study is pre-eminently thorough both in literary analysis and in
historical research. The altogether practical treatment illuminates the
whole field of hymnology and its values.</p>
<hr class="dwide" />
<h2 id="ch242"><span class="h2line1">THE SINGING CHURCH</span>
<br /><span class="smaller"><i>The Hymns It Wrote and Sang</i>
<br />By EDMUND S. LORENZ</span></h2>
<p>This book merits the careful study of the minister,
the choir master, the organist, and others
who wish to vitalize public and private worship
by an intelligent use of our Christian
hymnody.</p>
<p>The book is at once scholarly and practical.
No other treats so informatively and yet so
interestingly:—</p>
<p>(1) The religious and musical heritage of the
hymn writers in the Greek, the Latin, the
German, the English, and the American
epochs;</p>
<p>(2) The outstanding personalities who made
valuable and permanent hymnological contributions
in those epochs;</p>
<p>(3) The occasions and emotional crises out of
which many great hymns were born;</p>
<p>(4) The critical standards by which hymns
may be adjudged great.</p>
<p>No less important is the closing section of
this impressive study, <i>Practical Hymnology</i>.
Here Dr. Lorenz discusses the ways and means
of utilizing the hymn in achieving a new awareness
of the presence of God.</p>
<hr class="dwide" />
<div class="img">
<img src="images/p2.jpg" alt="Edmund S. Lorenz" width="269" height="399" />
</div>
<p><span class="sc">Edmund S. Lorenz</span>, LL.D., Mus.Doc., became
interested in church music very early in life, and
helped himself through the years of his academic
and seminary training (at Otterbein University,
the United Brethren Seminary, and Yale
Divinity School) by writing gospel songs and
editing various songbooks. After two years in
the ministry and a year as president of Lebanon
Valley College, where at the beginning of the
second year overwork brought on a complete
collapse, he turned again to music. In 1890,
he began the business known as Lorenz Publishing
Company.</p>
<p>Dr. Lorenz has had many years of experience
as editor of Sunday-school Songbooks,
church hymnals, and choir magazines. This
experience and his years of close contact with
the work of the Church have given him a
peculiar qualification for the writing of services,
choir cantatas, sheet music solos, organ compositions,
and songbooks. He has written many
books, such as <i>Practical Church Music</i>, <i>Church
Music—What a Minister Should Know about
It</i>, <i>Music in Work and Worship</i>, <i>Practical Hymn
Studies</i>. At home and abroad, he has been in
wide demand as a lecturer on church music.</p>
<p class="tbcenter"><b>COKESBURY PRESS</b> <span class="smaller">NASHVILLE TENNESSEE</span>
<br /><i><b>Publishers of Cokesbury Good Books</b></i></p>
<h2>Transcriber’s Notes</h2>
<ul>
<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li>
<li>Silently corrected a few palpable typos.</li>
<li>In the text versions only, text in italics is delimited by _underscores_.</li>
<li>Collated Table of Contents against headings in the text; removed the reference to the (nonexistant) Chapter XV section VI and renumbered subsequent sections.</li>
</ul>
<div>*** END OF THE PROJECT GUTENBERG EBOOK 61393 ***</div>
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