,,the ,,singing ,,church ,,the ,,hymns ,,it ,,wrote ,,and ,,sang ,by ,edmund ,s4 ,lorenz1 ,,ll4,d41 ,mus4 ,doc4 ,,author ,,of ,,music ,,in ,,work ,,and ,,worship ,,practical ,,hymn ,,studies ,,practical ,,church ,,music ,,church ,,music ,,cokesbury ,,press ,,nashville ,,the ,,singing ,,church ,copyright1 ,,mcmxxxviii ,by ,,whitmore ,,smith ,all rights in this book are reserved4 ,no part of the text may be reproduced in any form without written permission of the publishers1 except brief quotations used in connection with reviews in a magazine or newspaper4 ,set up1 electrotyped1 printed1 and bound by the ,parthenon ,press at ,nashville ,tennessee1 ,united ,states of ,america 8,be filled with the ,spirit2 speaking to yourselves in psalms and hymns and spiritual songs1 singing and making melody in your heart to the ,lord40 7,eph4 #e3 #ah1 #ai47 ,,preface ,in preparing this discussion of the ,christian hymn1 it has been my ambition1 not to be pre-eminently scholarly1 but rather to be pre-eminently helpful4 ,the current treatment of this phase of church worship is quite sufficiently thorough in its literary analysis and historical research2 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 ,england4 ,the fathers of ,american hymnology1 ,professors ,austin ,phelps and ,edwards ,a4 ,parks and ,rev4 ,daniel ,l4 ,furber1 set a good example to later hymnologists in their ,hymns and ,choirs in laying stress on the thought and sentiment of the hymns and in devoting nearly one-third of their study to 8,the ,dignity and the ,methods of ,worship in ,song10 discussing choirs1 congregational singing1 organs1 and many other practical phases in the use of hymns4 ,they gave little consideration to the historicity of individual hymns2 that viewpoint had not risen above the horizon4 ,later works have given more attention to the historical background4 ,the work of ,dr4 ,louis ,f4 ,benson1 the greatest hymnologist ,america has produced1 cannot be too highly commended for its scholarly thoroughness and indefatigable research4 ,his ,the ,english ,hymn and ,the ,hymnody of the ,christian ,church should be found in the library of every minister4 ,other valuable ,american treatises on hymns are ,ninde's ,story of the ,american ,hymn1 ,gilman's ,evolution of the ,english ,hymn1 ,reeves' ,the ,hymn as ,literature1 ,marks' ,rise and ,growth of ,english ,hymnody1 and ,tillett's ,our ,hymns and ,their ,authors1 all of which are most helpful and illuminating discussions bearing on the literary and historical aspects of ,christian hymns4 ,on the other side of the sea are other most valuable studies of the hymn4 ,horder's ,the ,hymn ,lover is particularly fresh and inspiring4 ,others are instructive regarding the individual hymns1 such as ,josiah ,miller's ,singers and ,songs of the ,church1 ,john ,telford's ,the ,methodist ,hymn-,book ,illustrated and ,evenings with the ,sacred ,poets1 and ,w4 ,t4 ,stead's ,hymns ,that ,have ,helped4 ,supreme above them all is ,julian's ,dictionary of ,hymnology1 which is a stupendous work of vast comprehensiveness and indefatigable industry1 the last word in the history and critical study of ,christian hymns of all lands and all ,christian ages4 ,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 hymn1 with side glances in only a few cases at the practical values involved4 ,while the fundamental urge of expressing religious emotions back of ,christian hymns is not denied or even deprecated1 the emotional values are not developed or stressed4 ,in order to assure this lacking element of practical helpfulness1 this discussion includes four chapters on the purposeful use of hymns in the work of the ,church4 ,it is proper that ,i should recognize the sympathetic and cordial helpfulness in an advisory way of ,professor ,herman von ,berge1 my editorial associate in the musical work to which ,i have devoted the larger part of my life4 ,his scholarship and wide practical experience1 both as pastor and theological seminary professor1 have helped me solve some problems that rather daunted me4 ,acknowledgment is also due to my son1 ,rev4 ,edward ,h4 ,lorenz1 and to ,mrs4 ,f4 ,c4 ,goodlin1 my private secretary1 in typing and proofreading my longhand manuscript4 ,last but not least1 the co-operation of my brother1 ,dr4 ,d4 ,e4 ,lorenz1 organizer of the church of the ,good ,shepherd in ,new ,york ,city and its pastor for thirty-four years1 in the indexing and proofreading1 calls for grateful recognition4 ,only an experienced author can fully measure the value of such efficient helpers4 ,e4 ,s4 ,l4 ,dayton ,ohio4 ,,contents ,,introduction #ag ,,the ,,place ,,and ,,importance ,,of ,,the ,,hymn4 ,the ,impulse to ,sing ,is ,constitutional in ,man4 ,biblical ,authority for the ,singing of ,hymns4 ,the ,use of ,hymns in the ,development of the ,christian ,church4 ,cultural ,value of ,hymns4 ,spiritual ,value of ,hymns4 ,the ,value of ,singing ,hymns ,too ,often ,overlooked4 ,the ,need of ,emphasis on ,efficient ,use of ,hymns4 ,,part ,i ,,the ,,character ,,of ,,the ,,hymn ,,chapter ,i ,,what ,,is ,a ,,hymn8 #be ,i ,,definition ,,of ,,the ,,hymn4 ,importance of ,accurate ,definition4 ,inadequate ,definition4 ,definition ,must ,be ,based on ,practical ,considerations4 ,types of ,hymns4 ,definition of the ,congregational ,hymn4 ,,ii ,,the ,,hymn ,,must ,,be ,,poetry4 ,to ,be ,poetry1 ,it ,must ,be ,emotional4 ,it ,must ,have ,poetical ,form4 ,it ,must ,be ,poetic in ,spirit4 ,the ,hymn ,must ,have ,unity4 ,the ,poetical ,element ,is ,contributory ,only4 ,,iii ,,the ,,christian ,,hymn ,,must ,,be ,,distinctly ,,religious4 ,poems of ,semi-religious ,fancy ,are ,no ,hymns4 ,mere ,moralizing ,will ,not ,serve4 ,special ,propaganda ,is ,not ,admissible4 ,christian ,hymns ,should ,be ,genuinely ,christocentric4 ,,iv ,,scriptural ,,elements ,,of ,,the ,,hymn4 ,hymns ,based on the ,scriptures4 ,use of ,scriptural ,forms ,desirable4 ,v ,,the ,,hymn ,,must ,,be ,,fitted ,,for ,,mass ,,singing4 ,congregational ,singing ,is a ,pronouncedly ,christian ,exercise4 ,meter ,essential to ,mass ,singing4 ,,vi ,,practicability ,,for ,,actual ,,use4 ,ideas ,must ,be ,plainly ,evident4 ,hymns ,may ,not ,be ,extremely ,individualistic4 ,distracting ,figures and ,forms of ,expression4 ,verses ,must ,be ,complete in ,themselves4 ,musical ,limitations4 ,outworn ,hymns4 ,mistaken ,objections to ,some ,hymns4 ,,chapter ,,ii ,,the ,,purpose ,,and ,,value ,,of ,,hymns #dj ,i ,,the ,,impulse ,,to ,,write ,,hymns4 ,,ii ,,purpose ,,in ,,writing ,,hymns4 ,the ,influence of ,purpose4 ,the ,purpose ,must ,affect ,only the ,practical ,aspects4 ,,iii ,,purpose ,,of ,,the ,,user ,,of ,,hymns4 ,,iv ,,purposes ,,served ,,by ,,singing ,,hymns4 ,hymns ,unite ,christians in ,worship and ,christian ,activities4 ,hymns ,concentrate ,interest and ,attention4 ,hymns ,afford a ,means of ,expression for the ,congregation4 ,hymns ,provide ,help and ,comfort in ,dark ,hours4 ,hymns ,afford ,clear ,expression of ,christian ,truth4 ,hymns ,give ,opportunity for ,active ,participation by ,all4 ,hymns ,provide ,variety4 ,hymns ,create a ,religious ,atmosphere4 ,hymns in the ,home4 ,hymns in ,personal ,work4 ,v ,,reasons ,,for ,,the ,,minister',s ,,appreciation ,,of ,,hymns4 ,hymns ,are ,evidence of the ,effect of the ,bible4 ,hymns and ,psalms ,affected the ,life of ,church4 ,hymns in ,personal ,christian ,experience4 ,hymns as ,stimulating the ,spiritual ,life of the ,minister4 ,hymns ,approved by ,paul4 ,hymns in the ,early ,church4 ,hymns ,prepared the ,church for ,periods of ,marked ,progress4 ,,vi ,,strange ,,indifference ,,to ,,hymns4 ,the ,minister's ,indifference4 ,indifference of the ,congregation4 ,,chapter ,,iii ,,the ,,literary ,,aspect ,,of ,,hymns #ec ,i ,,what ,,makes ,,the ,,hymn ,,literature8 ,its ,character as a ,transcript of ,life4 ,its ,wide ,distribution4 ,its ,acceptance ,through ,many ,generations4 ,its ,profound ,influence4 ,,ii ,,objections ,,to ,,recognizing ,,its ,,literary ,,character4 ,due to ,narrow ,definition of ,literature4 ,due to ,failure to ,realize ,limitations of ,hymns4 ,some ,critics and ,their ,criticisms4 ,,iii ,,the ,,writing ,,of ,,hymns4 ,the ,handicap of ,thought and ,diction4 ,the ,handicap of ,meter4 ,,iv ,,literary ,,quality ,,not ,,to ,,be ,,overestimated4 ,literary ,quality ,not the ,supreme ,consideration4 ,literary ,quality ,should ,be ,subconscious4 ,,chapter ,,iv ,,the ,,emendation ,,of ,,hymns #fc ,i ,,the ,,changes ,,in ,,our ,,hymns4 ,early ,changes4 ,the ,abuse of the ,editorial ,revision4 ,the ,return to the ,originals4 ,,ii ,,principles ,,of ,,equity ,,involved ,,in ,,these ,,changes4 ,the ,rights of the ,original ,writer4 ,the ,limits of the ,author's ,rights4 ,,iii ,,effect ,,of ,,changes ,,on ,,quality4 ,loss of ,original ,writer's ,vision4 ,biblical ,precedent4 ,,iv ,,analysis ,,of ,,changes ,,made4 ,the ,omission of ,verses4 ,reconstructing and ,rewriting ,faulty ,hymns4 ,minor ,felicitous ,changes4 ,,chapter ,v ,,the ,,content ,,of ,,the ,,hymn #gf ,i ,,its ,,relation ,,to ,,god4 ,thanksgiving4 ,prayer for ,future ,blessing4 ,adoration4 ,the ,hymn of ,communion4 ,,ii ,,relation ,,to ,,the ,,singer4 ,the ,hymn of ,emotion4 ,the ,hymn of ,inspiration4 ,the ,hymn of ,personal ,experience4 ,the ,hymn of ,meditation4 ,the ,hymn of ,exhortation4 ,the ,didactic ,hymn4 ,the ,doctrinal ,hymn4 ,the ,homiletical ,hymn4 ,the ,hymn of ,propaganda4 ,hymns of the ,social ,gospel4 ,special ,hymns4 ,the ,great ,hymnic ,themes4 ,,chapter ,,vi ,,the ,,gospel ,,hymn #hi ,lack of ,discrimination4 ,wrong ,assumptions of the ,opposition4 ,unfairness in ,comparisons ,made4 ,criteria for ,evaluation4 ,gospel ,hymns and the ,unsaved4 ,gospel ,hymns and the ,demands of ,worship4 ,gospel ,hymns in the ,preparatory ,service4 ,gospel ,hymns in the ,laboratory4 ,the ,advantages of ,gospel ,hymns4 ,discrimination in the ,use of ,gospel ,songs ,needed4 ,,part ,,ii ,,history ,,of ,,the ,,development ,,of ,,the ,,christian ,,hymn ,,chapter ,,vii ,,apostolic ,,origin ,,and ,,development #ajc ,,sacred ,,song ,,in ,,the ,,new ,,christian ,,church4 ,the ,rise of ,sacred ,song in ,apostolic ,times4 ,apostolic ,emphasis of ,sacred ,song4 ,traces of ,hymns in the ,epistles4 ,the ,hymns of the ,apocalypse4 8,the ,odes of ,solomon40 ,the ,failure of ,apostolic ,spiritual ,songs to ,survive4 ,,chapter ,,viii ,,the ,,post-,,apostolic ,,hymn #aji ,the ,post-,apostolic ,church a ,singing ,church4 ,the ,earliest ,surviving ,hymns4 ,the ,relation of ,hymns to ,psalms and ,canticles4 ,the ,hymn as ,propaganda4 ,,chapter ,,ix ,,the ,,greek ,,hymnody #aad ,introduction4 ,,the ,,syriac ,,hymn-,,writers4 ,i ,,early ,,greek ,,hymns4 ,,ii ,,the ,,later ,,greek ,,hymns4 ,,chapter ,x ,,the ,,latin ,,hymnody #aai ,i ,,the ,,beginning ,,of ,,latin ,,hymnody4 ,,ii ,,early ,,latin ,,hymn-,,writers4 ,,iii ,,great ,,latin ,,hymns4 ,,iv ,,medieval ,,devotional ,,poems4 ,v ,,medieval ,,popular ,,hymnody4 ,,chapter ,,xi ,,luther ,,and ,,the ,,german ,,hymn #acj ,i ,,pre-,,reformation ,,vernacular ,,hymns4 ,,ii ,,luther',s ,,relation ,,to ,,german ,,hymnody4 ,,chapter ,,xii ,,the ,,later ,,german ,,hymnody #acg ,i ,,the ,,rising ,,standard ,,of ,,literary ,,values4 ,,ii ,,the ,,golden ,,age ,,of ,,german ,,hymnody4 ,,iii ,,the ,,pietistic ,,hymn-,,writers4 ,,iv ,,german ,,reformed ,,hymnody4 ,v ,,transition ,,to ,,rationalistic ,,hymns4 ,,vi ,,rationalism ,,in ,,hymnody4 ,,vii ,,hymns ,,of ,,renewed ,,religious ,,life4 ,,viii ,,hymns ,,of ,,pietistic ,,type4 ,,chapter ,,xiii ,,metrical ,,psalmody #adh ,i ,,calvin',s ,,conception ,,of ,,congregational ,,singing4 ,,ii ,,calvin',s ,,followers ,,more ,,extreme4 ,,iii ,,marot',s ,,successful ,,versions4 ,,iv ,,development ,,of ,,the ,,genevan ,,psalter4 ,v ,,english ,,psalm ,,versions ,,before ,,sternhold4 ,,vi ,,version ,,of ,,sternhold ,,and ,,hopkins4 ,,vii ,,the ,,scotch ,,version4 ,,viii ,,rous' ,,version4 ,,ix ,,tate ,,and ,,brady',s 8,,new ,,version40 ,x ,,american ,,psalmody4 ,,xi ,,the ,,value ,,of ,,the ,,psalm ,,versions4 ,,chapter ,,xiv ,,the ,,english ,,hymn ,,before ,,watts #aeh ,i ,,the ,,earliest ,,english ,,hymn4 ,,ii ,,english ,,hymnody ,,submerged ,,by ,,reformed ,,psalmody4 ,,iii ,,english ,,literary ,,ideals ,,unfavorable ,,to ,,hymn-,,writing4 ,,iv ,,the ,,development ,,of ,,the ,,technic ,,of ,,writing ,,singing ,,hymns4 ,v ,,the ,,ideal ,,of ,,the ,,singing ,,hymn ,,realized4 ,,chapter ,,xv ,,isaac ,,watts ,,and ,,his ,,period #afh ,i ,,the ,,hymnic ,,need ,,of ,,the ,,time4 ,,ii ,,the ,,life ,,of ,,watts4 ,,iii ,,watts ,,as ,a ,,hymn-,,writer4 ,,iv ,,watts' ,,argument ,,for ,,the ,,hymn4 ,v ,,watts' ,,insistence ,,on ,,practicability4 ,,vi ,,the ,,inestimable ,,value ,,of ,,watts' ,,hymns4 ,,vii ,,contemporaries ,,of ,,watts4 ,,chapter ,,xvi ,,the ,,wesleys ,,and ,,their ,,era #ahj ,i ,,the ,,influence ,,of ,,watts ,,on ,,the ,,wesleys4 ,,ii ,,the ,,home ,,of ,,the ,,wesleys4 ,,iii ,,the ,,moravian ,,influence4 ,,iv ,,john ,,wesley4 ,v ,,charles ,,wesley4 ,,vi ,,charles ,,wesley',s ,,hymns ,,quite ,,subjective4 ,,vii ,,watts ,,and ,,charles ,,wesley4 ,,viii ,,issues ,,of ,,the ,,wesleyan ,,hymns4 ,,ix ,,the ,,methodist ,,tunes4 ,x ,,influences ,,opposing ,,the ,,wesleyan ,,hymns4 ,,xi ,,other ,,methodist ,,hymn-,,writers4 ,,xii ,,calvinistic-,,methodist ,,hymn-,,writers4 ,,xiii ,,baptist ,,hymn-,,writers4 ,,chapter ,,xvii ,,hymns ,,in ,,the ,,church ,,of ,,england #aic ,i ,,rise ,,of ,,spiritual ,,life ,,in ,,the ,,english ,,church4 ,,ii ,,early ,,collections ,,of ,,evangelical ,,hymns4 ,,iii ,,evangelical ,,hymn-,,writers4 ,,iv ,,hymn-,,writers ,,of ,,the ,,romantic ,,school4 ,v ,,contemporary ,,hymn-,,writers4 ,,vi ,,minor ,,hymn-,,writers4 ,,vii ,,the ,,hymns ,,of ,,the ,,oxford ,,movement4 ,,chapter ,,xviii ,,american ,,hymnody #bji ,i ,,the ,,transition ,,from ,,psalmody ,,to ,,hymnody4 ,,ii ,,the ,,introduction ,,of ,,watts' ,,hymns4 ,,iii ,,the ,,beginnings ,,of ,,american ,,hymnody4 ,,iv ,,collections ,,of ,,american ,,hymns4 ,v ,,episcopal ,,hymn-,,writers4 ,,vi ,,unitarian ,,hymnody4 ,,vii ,,later ,,orthodox ,,hymn-,,writers4 ,,part ,,iii ,,practical ,,hymnology ,,chapter ,,xix ,,the ,,study ,,of ,,hymns #bbi ,i ,,importance ,,of ,,the ,,study ,,of ,,hymns4 ,,ii ,,personal ,,advantages ,,of ,,such ,,study ,,of ,,hymns4 ,literary ,pleasure4 ,literary ,culture4 ,development of ,emotional ,nature4 ,,iii ,,the ,,practical ,,values ,,of ,,individual ,,hymns4 ,classifying ,hymns by ,their ,nature4 ,classifying ,hymns by ,their ,fitness for ,definite ,purposes4 ,,iv ,,the ,,minute ,,study ,,of ,,hymns4 ,analysis of the ,hymn4 ,the ,background of the ,hymn4 ,making a ,hymnal of ,his ,own4 ,memorizing ,hymns4 ,v ,a ,,study ,,of ,,methods ,,of ,,use4 ,using ,hymns in ,sermons4 ,studying ,responsiveness of the ,congregation4 ,studying ,methods of ,announcement and ,securing ,participation4 ,studying ,use of ,hymnal for ,specific ,purposes4 ,,vi ,a ,,study ,,of ,,the ,,tunes4 ,,chapter ,,xx ,,the ,,practical ,,use ,,of ,,hymns #bdh ,i ,,the ,,hymn ,,as ,a ,,means ,,to ,,an ,,end4 ,,ii ,,analysis ,,of ,,practical ,,application ,,of ,,hymns4 ,,iii ,,the ,,use ,,of ,,hymns ,,for ,,creating ,,religious ,,interest4 ,,iv ,,the ,,hymn ,,as ,,an ,,opportunity ,,for ,,teaching ,,truth4 ,v ,,hymn ,,sermons ,,and ,,hymn ,,services4 ,,vi ,,the ,,use ,,of ,,hymns ,,in ,,emergencies4 ,,chapter ,,xxi ,,the ,,selection ,,of ,,hymns #bef ,i ,,selection ,,should ,,secure ,,unity ,,of ,,service4 ,narrow ,conception of ,unity4 ,broader ,conception of ,unity4 ,unity ,based on ,purpose4 ,,ii ,,suggestive ,,selections ,,of ,,hymns4 ,hymns for ,service on ,god's ,omnipotence4 ,hymns for ,service on ,god's ,love4 ,hymns for a ,missionary ,service4 ,,iii ,,importance ,,of ,,the ,,tunes4 ,,chapter ,,xxii ,,the ,,announcement ,,and ,,treatment ,,of ,,hymns #bff ,i ,,the ,,announcement ,,of ,,hymns4 ,,ii ,,the ,,treatment ,,of ,,hymns4 ,,epilogue #bgd ,,references ,,and ,,notes #bgg ,,general ,,index #bhe ,,index ,,of ,,hymns #bia ,,introduction ,,the ,,place ,,and ,,importance ,,of ,,the ,,hymn ,the ,church of ,god has been and is a singing church4 ,this was true in the antediluvian centuries1 which was its seminal period1 for some of its canticles have survived4 ,in its pupal stage1 the ,old ,testament church life developed both the form and the content of the future hymnody4 ,to the solo forms of the preceding period1 the ,mosaic social and religious organization now adds both the choral and the congregational forms of vocal worship4 ,to the fear and awe of previous generations1 the ,christian development of the ,church of ,god has added the intimate phases of adoration1 of gratitude1 of love1 based on consciousness of communion with the ,triune ,deity4 ,outside of the ,israelitish ,church and its ,christian consummation1 there has been little or no song in religious worship4 ,the heathen deities were honored only with rude vocal and instrumental noises made by temple singers and players4 ,it is the ,church of ,god under all dispensations which was a singing church4 ,to this day the voice of sacred song is practically absent from heathen temple4 ,the ,impulse to ,sing ,is ,constitutional in ,man4 ,in the beginning1 song was a spontaneous expression of feeling1 being based on man's original constitution as fully as breathing or speaking4 ,its exercise did not rise high enough in the consciousness of men1 nor so conspicuously affect the current of events1 that account should be made of it in the sketchy outlines of the early history of the race4 ,none the less do we hear unrelated echoes from ,lamech and ,jubal1#a and from ,laban's complaint that ,jacob gave him no opportunity to bid farewell 8with songs1 with tabret1 and with harp40 #b ,during the great ,exodus1 these echoes multiply and become more articulate at the ,red ,sea1#c at the digging of the well at ,beer1#d about the walls of ,jericho1#e ,deborah1#f ,barak1#g and ,hannah1#h and the school of the prophets1#i developing a grand crescendo which culminates in the full-voiced chorus and orchestra of the times of ,david and ,solomon4#aj ,undoubtedly all these were surviving manifestations of the unbroken tide of social and religious song that flowed on through the ages4 ,the ,hebrew church carried on the model constructed by the organizing instinct of ,samuel and the musical and literary genius of ,david1 through the succeeding ages1 and passed on the devotional impulse to the ,christian ,church4 ,biblical ,authority for the ,singing of ,hymns4 ,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 privilege1 there would be ample provision in the development of religious song in the ,jewish church1 in the participation of ,jesus in such a song at so high a peak of religious solemnity as the institution of 8,the ,lord's ,supper10#aa in the use of song by the ,apostles in their private meetings and in unusual personal experiences from the very beginning1#ab in the exhortations of ,paul#ac and ,james1#ad and in the choral scenes of the great ,apocalypse4#ae ,the ,use of ,hymns in the ,development of the ,christian ,church4 ,but the use ,god has made of song through the succeeding centuries of the development of the ,christian ,church1 is an even more striking indication of the high importance placed upon sacred song by the divine mind4 ,the results of the thoughtful use of song1 both in ancient times and the recent past1 abundantly illustrate its value and are genuine laboratory proof of its power in deepening the spirituality of individuals1 of communities1 and even of nations4 ,the hymns of ,huss and of ,luther1 the psalmody of ,calvin and of ,knox1 the preparatory effect of the hymns of ,watts for the great ,second ,reformation in ,england and its intensification by the hymns of the ,wesleys1 the joyous singing of rudely fashioned psalms and the newly introduced hymns in the ,great ,awakening in ,new ,england1 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 song4 ,cultural ,value of ,hymns4 ,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 read1 even when they do not sing1 from three to eight hymns every ,lord's ,day4 ,in literary influence1 unconsciously absorbed1 this wide use of hymns is vastly more effective upon the public at large than the more intensive and conscious influence of distinctly literary verse4 ,millions of homes in ,great ,britain and ,america have copies of the ,bible and of some hymnbook1 while few of them have books of poetry4 ,phrases from hymns and psalms are a large part of the religious vocabulary of millions4 ,they are quoted not only in sermons1 but in essays and general writings and in the public press1 perhaps more generally than are poems4 ,they have been appreciated by the greatest minds1 who found them to be of great comfort and even delight1 including such men as ,benjamin ,franklin 7who first issued ,watts' hymns in ,america71 ,george ,washington1 ,john ,adams1 ,thomas ,jefferson1 and ,william ,ewart ,gladstone4 ,they deeply interested the man1 ,matthew ,arnold1 although the literary critic1 ,matthew ,arnold1 had no use for them4 ,spiritual ,value of ,hymns4 ,hymns touch and influence the most intimate life of men1 the moral and spiritual1 and are always influential for good4 ,they concentrate the comforting truths of the ,gospel1 make them rememberable2 what is even more important1 they add the emotional vitality to those truths that make them real and actual4 ,to leave out the hymns from a single service might be an interesting experiment2 but omit them permanently1 as was the former custom among the ,friends1 and note how arid and flat the service becomes4 ,to some1 the hymnbook is simply the ,bible in another form1 bringing its doctrines1 its ideals1 its hopes1 its promises1 its comforts1 and its spiritual inspirations in a more apprehensible form4 ,having passed through the crucible of the actual personal experience of the writers of the hymns1 they are more concrete1 more appealing1 more actual4 ,the ,value of ,singing ,hymns ,too ,often ,overlooked4 ,since the hymn has so high a spiritual value1 it is all the more distressing that its possibilities of spiritual helpfulness are so generally overlooked and ignored by our ministers and their people4 ,even where it seems to be distinctly cultivated and emphasized1 it is often the merely physiological effects that are sought4 ,in other apparently earnest endeavors to develop its value1 there is the aridity of merely artistic and literary emphasis1 or the formal liturgical aspect that is stressed6 ,there is an absence of clear comprehension of what the hymns are intended to accomplish1 of their meaning1 of the emotions they are supposed to express1 and of the methods to be used to vitalize them and to make them effective4 ,they are used mechanically1 in deference to tradition and good ecclesiastical form4 ,most ministers select hymns to fit the themes of their discourses1 fitness depending solely on logical relations4 ,the spiritual life of the churches is not only the poorer and the shallower because of this loss of the quickening influence of the hymn1 but this mechanical attitude is carried over to the other exercises of the divine service4 ,the preacher who sings mechanically will pray mechanically1 preach mechanically4 ,the ,need of ,emphasis on ,efficient ,use of ,hymns4 ,the actual fact is that in the hymn the preacher has a most valuable factor in making his service spiritually effective4 ,even as a perfunctory exercise it has at least a social value2 but if its emotional and spiritual possibilities are fully developed and exploited1 it becomes one of the most impressive and thrilling means of securing genuinely religious results among his people4 ,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 interesting4 ,professor ,h4 ,m4 ,poteat1 of ,wake ,forest ,college1 does not use too severe language in his ,practical ,hymnology when he says1 8,as a result of inexcusable ignorance1 carelessness1 and laziness1 the singing of hymns1 in all too many churches1 instead of being an act of worship1 has degenerated into a mere incident of the service1 holding its place solely because of immemorial custom40 ,it is the purpose of this treatise at least to prevent the ignorance ,professor ,poteat complains of so bitterly4 ,the other difficulties can be removed only 8by fasting and prayer40 ,,the ,,singing ,,church ,,part ,i ,,the ,,character ,,of ,,the ,,hymn ,chapter ,i ,,what ,,is ,a ,,hymn8 ,i4 ,,definition ,,of ,,the ,,hymn ,importance of ,accurate ,definition4 ,before undertaking the study of the hymn in its various aspects and relations1 theoretical and practical1 it should be very carefully defined4 ,this is all the more necessary because the word 8hymn0 is used to cover so wide a sweep of religious poetry1 and because our discussion is to be largely limited to its practical use in church work4 ,dr4 ,austin ,phelps' test of a genuine hymn1 8,genuineness of religious emotion1 refinement of poetic taste1 and fitness to musical cadence--these are essential to a faultless hymn1 as the three chief graces to a faultless character10#a is a very clear and charming statement of some essentials of a hymn1 which needed emphasis in his rather prosaic day1 but does not include all the requisites of a useful hymn4 ,inadequate ,definition4 ,the narrow etymological definition of a hymn would confine it to sacred poems that1 in at least some part of them1 are directly addressed to some person of the ,deity4 ,st4 ,augustine limits the word 8hymn0 to 8songs with praise to ,god--without praise they are not hymns4 ,if they praise aught but ,god1 they are not hymns40 ,even now there are hymnologists who insist upon this limited conception4 ,no less a writer than ,w4 ,garrett ,horder1 in his fresh and illuminating ,the ,hymn ,lover1 insists that 8the cardinal test of a hymn should be that it is in some one1 if not the whole of its parts1 addressed to ,god40 ,this shuts out the use of sacred poetry in instruction1 inspiration1 exhortation1 and special practical applications of hymns4 ,moreover1 if the hymn is to be limited to worship1 then the unconverted can never sing sincerely in the public service1 and the ancient and medieval churches were justified in withdrawing the privilege of religious song from the general laity4 ,definition ,must ,be ,based on ,practical ,considerations4 ,the hymn is simply a means to the supreme end of all religious effort4 ,that form of the hymn1 that method of its use1 and that musical assistance1 which realize most fully the immediate and ultimate ends in view under given circumstances can be approved and used4 ,this practical basis of actual spiritual results must govern in formulating the conception of the ,christian hymn1 as well as in forms of worship and prayer1 in preaching1 or in church organization4 ,since our discussion of the hymn has in view its contributing efficiently to concrete spiritual results1 its definition must have a practical basis4 ,etymological1 scholastic1 traditional1 abstractly idealistic considerations can have only minor weight4 ,types of ,hymns4 ,the hymn may be viewed from too many angles to confine it to any one definition4 ,hence we must recognize different types of the hymn3 7a7 ,there is the poem regarding religious life and feeling that cannot be brought within the limitations of a musical setting1 constituting the ,reading ,hymn2 7b7 we have the formless1 but elevated1 expression of worship or religious truth that at best can only be chanted1 which we may call the ,canticle1 in which may be included such hymns as the ,te ,deum1 the ,sanctus1 and unmetrical psalms2 these1 together with poems that are expressions of emotion1 yet are not fitted for mass singing but may be effectively set to music of a different order1 may be recognized as ,solo1 or ,choral1 ,hymns1 such of ,the ,stabat ,mater1 ,the ,dies ,irae1 and ,sunset and ,evening ,star4 ,there is left us the sacred poem of such a form and type that it may be called the ,congregational or ,singing ,hymn1 which is really the subject of the present practical discussion1 and may be strictly defined as follows3 ,definition of the ,congregational ,hymn4 ,the ,congregational ,hymn is a poem expressing worship1 praise1 thanksgiving1 and prayer on the ,godward side2 personal spiritual experience1 emotion1 and inspiration on the human side2 and instruction on the religious side4 ,it must be adapted to mass thinking and expression1 in a form fitted to be sung by a ,christian congregation1 and calculated to express and stimulate or create religious feeling and purpose4 ,,ii4 ,,the ,,hymn ,,must ,,be ,,poetry ,to ,be ,poetry1 ,it ,must ,be ,emotional4 ,the initiating force of all poetry must be emotion of some kind4 ,that emotion may be mere earnestness1 it may be satire1 it may be satisfaction in contemplation of beautiful scenes1 or satisfaction in ideas and memories1 or displeasure at impressions painful or abhorrent4 ,few of us realize how unfailing is the flow of emotion in our minds responding to the world about us and in us4 ,to view life and the world through the eye of reason is valuable1 of course2 but if that vision lacks the support of the eye of emotion1 it brings only a silhouette1 without perspective1 wanting a sense of reality4 ,that is the weakness of abstract thinking1 whether in theology or political economy4 ,if the hymn1 therefore1 is to perform its functions1 it must be definitely emotional to a greater or less extent4 ,this is particularly true of hymns of ,christian experience or in the hymn's functioning in inspiration and exhortation4 ,to confuse animal excitement with emotion is bad psychology4 ,the genuine emotionality of a hymn is the best criterion of its practical value1 for only through emotion can the will be reached4 ,it ,must ,have ,poetical ,form4 ,the first requirement in this definition is that the hymn must be poetry4 ,it should have meter and rhyme1 else there can be no musical setting practicable for congregational use4 ,the first task ,calvin and his associates faced1 after reaching the conclusion that only the inspired ,psalms could be sung in the public religious assembly1 was the preparation of a metrical version4 ,true1 the ,psalms had been sung by the ,greek and ,roman ,catholic churches1 but only as chants by priestly choirs4 ,in the ,english church service1 these chants were frequently only led by the choir1 the congregation joining in their singing4 ,but this was practicable only in larger and long-established congregations1 and even then there was more or less confusion4 ,in general1 this chanting was a failure1 and the ,english church adopted the metrical versions4 ,the use of the ,psalms for responsive readings in our modern church services is a definitely practicable way of utilizing their liturgical and spiritual values4 ,the ostensible hymns of the ,greek ,church1 of which ,dr4 ,neale and ,dr4 ,brownlie have furnished translations1 or rather transformations1 are not verse but prose4 ,they were not sung by the congregations1 or put into their hands1 but were reserved for the reading of the clergy4 ,in like manner1 the ,latin hymns1 although poetical in form--often complicated to an absurd degree--were not sung by the people1 but were versified devotions inserted in the prose ,psalms usually read by the priests4 ,in the ,reformed churches for many centuries the word 8hymn0 referred to verses of 8human composure10 as opposed to metrified inspired ,psalms4 ,the famous ,american hymnologist1 ,dr4 ,louis ,j4 ,benson1 lays less stress on this metrical form3 8,a ,christian hymn1 therefore1 is a form of words appropriate to be sung or chanted in public devotions40 ,this opens the way for the inclusion of the 8,te ,deum ,laudamus10 the 8,sanctus10 and other canticles among our hymns4 ,but as these historic texts are rarely or never sung by the people outside of the ,church of ,england service1 and used chiefly as texts for more or less elaborate musical compositions sung by choirs1 we may accept the common conception of the hymn as a metrical composition4 ,it ,must ,be ,poetic in ,spirit4 ,while having the superficial music of the regularly recurring accents1 and the liquid harmony of the vowels and consonants of the words as they flow through the lines1 there must be also the deeper1 more entrancing music of the literary grace of spiritual thought singing its beautiful expression4 ,if poetry is 8the expression of thought steeped in imagination and feeling10 all the more must the hymn be expressive of religious thought transfigured by deep and sincere emotion4 ,while a hymn may be didactic1 formulating doctrine1 or enforcing obligation1 it is not a really good and effective hymn unless the thought or exhortation is vitalized by imagination and emotion4 ,arid versification of ,christian doctrines metaphysically conceived1 or of ethical discussions with no heat of conviction1 will stir no pulses of body1 mind1 or soul1 but will conduce to the all too prevalent sense of the unreality of religious ideas and life4 ,the ,hymn ,must ,have ,unity4 ,it must have unity of thought1 emotion1 and expression1 all growing out of a definite vision of emotion1 having a beginning1 middle1 and end1 which mark the progress of the idea or feeling seeking formulation4#b ,the ,poetical ,element ,is ,contributory ,only4 ,yet this element must be felt in the spirit of the hymn rather than in intention4 ,preciosity of phrase1 elaborate metaphors and similes1 obscure allusions1 flights of fancy1 are rarely in place4 ,john ,newton1 the great hymn writer1 speaks to this point in his usual forceful way3 8,perspicuity1 simplicity1 and ease should be chiefly attended to2 and the imagery and coloring of poetry1 if admitted at all1 should be indulged in very sparingly and with great judgment40 ,sir ,roundell ,palmer is more detailed in his criticism3 8,affectation or visible artifice is worse than excess of homeliness2 a hymn is easily spoiled by a single falsetto note40#c ,the emphasis of the literary and poetical elements in hymns has produced some most valuable sacred lyrics1 notably the hymns of ,keble and ,heber2 but occasionally it has also led to such refinement1 to such sought-out subtlety1 and to such conscious preciosity that the virility and emotional contagion of what might have been an otherwise really effective hymn have been lost4 ,,iii4 ,,the ,,christian ,,hymn ,,must ,,be ,,distinctly ,,religious ,poems of ,semi-religious ,fancy ,are ,not ,hymns4 ,poems of fancy with a few religious allusions cannot be classed as ,christian hymns4 ,the objection to the 8,beautiful ,isle of ,somewhere0#d has been rather heatedly urged1 and there is no small justification for the criticism4 ,the aboriginal idea of 8the happy hunting grounds0 might be referred to by its rather invertebrate fancy1 instead of the heaven of the ,christian faith4 ,eugene ,field's 8,the ,divine ,lullaby0 so vaguely suggests the divine care that it can hardly pass muster as a hymn4 ,for use as a hymn1 a poem must be explicitly ,christian in thought and expression4 ,mere ,moralizing ,will ,not ,serve4 ,that a poem has a good moral does not authorize it to pose as a ,christian hymn4 8,brighten the ,corner ,where ,you ,are0 cannot be recognized as a ,christian hymn1 since it has no direct religious significance4 ,there are recent ostensible sociological and humanitarian hymns that are open to the same criticism4 ,it is not enough that the underlying assumptions are of ,christian origin2 they must be fundamentally religious1 no matter what the application to practical living may be4 ,special ,propaganda ,is ,not ,admissible4 ,the value of hymns as a method of introducing and enforcing doctrines was recognized by the enemies of ,christianity early in its history4 ,the ,arians in ,asia ,minor and in ,northern ,africa1 and later throughout the ,roman ,empire1 flooded the world with songs sung to the popular melodies attacking the deity of ,christ2 and by their influence nearly wrecked ,christianity4 ,in our own day various 8sports0 from ,christianity1 and hybrids with other religions1 are issuing collections of songs and garbled ,christian hymns to serve their purposes4 ,the ,buddhists of ,japan also are taking ,christian songs bodily1 with such changes as seem to them necessary4 ,unitarian hymnal editors have not hesitated to alter orthodox hymns to suit their own views4 ,that these emasculated hymns are no longer ,christian hymns need not be argued at length4 ,the difficulty is that they have lost the kernel of genuine ,christian thought4 ,the same is true of humanistic lyrics of propaganda in behalf of brotherhood or social welfare or economic justice1 in which the religious motive is not urged4 ,in general1 a controversial poem cannot be recognized as a hymn2 there is no religious help in controversy4 ,its emotions are combative1 not devout4 ,christian ,hymns ,should ,be ,genuinely ,christocentric4 ,a ,christian hymn should express some definite recognition of ,god as manifested in ,jesus ,christ4 ,even if1 as in metrical psalms1 the name of ,christ is not used1 it should be implied1 and unanimously accepted as implied4 ,it may be worship1 praise1 prayer1 confession1 acceptance of salvation through ,jesus ,christ1 spiritual experience1 consecration1 ,christian doctrine1 ,christian hopes--or any other aspect or activity of the ,christian faith4 ,this is the very heart of the ,christian hymn4 ,,iv4 ,,scriptural ,,elements ,,of ,,the ,,hymn ,hymns ,based on the ,scriptures4 ,if the hymn is to be religious and ,christian1 it must be based on scriptural ideas1 of course2 we have no other authoritative source for our doctrines or experiences4 ,all our other religious ideas and methods--our doctrines1 our ethics1 our religious ideals and impulses--find their roots there4 ,we cannot afford to sing far-fetched inferences from unrelated scriptural passages when we have such bodies of stupendous truth awaiting our contemplation1 and when the hymnic expression of the emotions which those high and conspicuous doctrines call forth is so freely available4 ,scriptural truth1 so plain that he who runs may sing1 is the only raw material from which ,christian hymns can be produced4 ,it will provide for every religious need of the individual and of the ,church4 ,use of ,scriptural ,forms ,desirable4 ,there can be no question but that when scriptural phraseology is used spontaneously1 it adds very much to the impressiveness of the hymn because of the devout associations it brings up in the minds of the singers4 ,the hymn by so much acquires an authoritativeness and elevation beyond ordinary verbiage4 ,but while the body of thought in a hymn must be distinctly religious1 and therefore scriptural1 it does not follow that the forms of expression must be scriptural as well4 ,a distinguished writer on the subject here seems to be at fault3 8,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 passages1 whether they are immediately connected in the ,holy ,word or not40 ,apply that rule to our hymnbooks and what would we have left8 ,although biblical phrases do occur in many hymns1 a very close adherence to this rule would stifle the poet's spontaneity and make his hymn stiff and mechanical1 like most of the metrical psalms4 ,such a rule may seem very devout to the cursory reader1 but really it is mischievous2 it is sheer bibliolatry1 an emphasis of the letter that killeth at the expense of the spirit that maketh alive4 ,v4 ,,the ,,hymn ,,must ,,be ,,fitted ,,for ,,mass ,,singing ,that the hymn is a distinctly social expression1 participated in by the varied personalities massed in a congregation1 introduces marked limitations that cannot be evaded4 ,congregational ,singing ,is a ,pronounced ,christian ,exercise4 ,it is a remarkable fact that only in ,hebrew and ,christian worship is a congregational use of hymns conspicuous4 ,with all their literary and poetic urge for expression1 the ,greeks had no singing connected with their temple rites4#e ,in so far as the ,egyptians had musical elements in their temple ritual1 it was choral and not congregational4 ,in visiting pagan temples1 one is struck by the utter absence of organized assembled worship2 what worship occurs is individual only4 ,the ,vedic hymns were not singing hymns1 but reading hymns1 for recital and meditation4 ,according to ,max ,mueller1 the only share the women had in the sacrifices was that the wife of the officiating priest1 or head of the house1 should recite the necessary hymns4 ,although in ,india there is singing connected with great festivals and processions1 the songs used are so obscene that respectable ,hindus are making an effort to have the public singing of them forbidden4 ,they are usually sung by the female attendants of the idol1 temple prostitutes1 who are the professional singers of these ostensibly religious songs4#f ,the reason for this absence of true hymns is correctly indicated by ,w4 ,garrett ,horder in his ,the ,hymn ,lover3 8,but so far as the material before us enables us to form an opinion1 it is that hymns1 as an essential of worship1 have been mostly characteristic of the ,christian and1 in a less degree1 of its progenitor1 the ,hebrew religion4 ,nor is this much to be wondered at1 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 worship1 and love which kindles it into adoring song40 ,meter ,essential to ,mass ,singing4 ,the form of the verse is practically of commanding importance4 ,the musical form of the hymn tune definitely fixes the form of the stanza4 ,it must not be complicated or free in form1 else the tune loses its needed simplicity and symmetry4 ,more elaborate forms of stanza may do for solo or choral numbers1 where skilled composers write music that follows the vagaries of the form of the text2 but the general congregation cannot be expected to sing tunes of elaborate and confusing structure4 ,although an occasional hymn of unusual form of stanza is fortunate in finding a happy musical mate1 like 8,lead1 kindly ,light0 or 8,o ,love1 that wilt not let me go10 the usual hymn must be adapted to one of about a dozen fundamental meters4 ,although the ,gospel song is not so circumscribed in its form1 because its setting goes with it1 its forms are only rhythmical variations of the standard meters4 ,,vi4 ,,practicability ,,for ,,actual ,,use ,ideas ,must ,be ,plainly ,evident4 ,the thought of a good hymn must lie on the surface4 ,it must appeal not only to the scholarly and subtle minds in a singing congregation1 but also to all who are expected to join the religious exercise4 ,paul's word regarding unknown tongues applies here3 8,except ye utter by the tongue words easy to be understood1 how shall it be understood1 how shall it be known what is spoken80 ,the practical ,paul enforces the parallel by saying a few verses further on1 8,i will sing with the spirit1 and ,i will sing with the understanding also40 ,no matter how high the thought or how deep the sentiment of a poem may be1 or how felicitously they may be expressed1 it is not an effective hymn if study 7for which there is no time at the moment of singing7 is required to bring out its meaning and feeling4 ,hymns ,may ,not ,be ,extremely ,individualistic4 ,while a hymn may be the expression of the individual poet1 it must be an appropriate expression of the mind and heart of the whole congregation as it sings4 ,yet in addition to the evident1 clearly expressed thought1 there may be singing1 sotto voce between the lines1 of deeper experiences and higher soarings of the spirit that only prolonged meditation can reveal4 ,some sacred poems express a religious emotion in so individual and unusual a way that they are not at all fitted to express the emotion of a congregation4 ,as an illustration of a poem too personal and individualistic1 here are a few stanzas of a hymn of ,rev4 ,samuel ,j4 ,stone1 which is found in an increasing number of current hymnals3 8,my feet are worn and weary with the march ,on the rough road and up the steep hillside2 ,o city of our ,god1 ,i fain would see ,thy pastures green where peaceful waters glide4 99 99 99 99 99 99 99 ,patience1 poor soul6 ,the ,saviour's feet were worn1 ,the ,saviour's heart and hands were weary too2 ,his garments stained and travel-worn1 and old1 ,his vision blinded with pitying dew40 ,this is a beautiful poem that would make an admirable text for a solo1 but it is out of place on the lips of a congregation4 ,compare with this the very useful hymn by ,bonar3 8,i was a wand'ring sheep1 ,i did not love the fold2 ,i did not love my ,shepherd's voice1 ,i would not be controlled40 ,every one of the first eight lines of this once widely used hymn begins with the pronoun of the first person singular1 yet there is no particular individuality in this confession2 it is the expression of the common experience in a straightforward manner1 void of all idiosyncrasy4 ,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 experience1 but which a gathering of miscellaneous people cannot sing without the great mass of them being insincere4 ,for a careless person idly to sing with ,faber1 8,i love ,thee so1 ,i know not how ,my transports to control10 or 8,ah1 dearest ,jesus1 ,i have grown ,childish with love of ,thee10 is sheer blasphemy4 ,it is the sin of ,uzziah6 ,the following verses from one of ,charles ,wesley's hymns combine the two faults of extravagance and too-intense individualism3 8,on the wings of ,his love ,i was carried above ,all sin and temptation and pain2 ,i could not believe that ,i ever should grieve1 ,that ,i ever should suffer again4 ,i rode in the sky 7freely justified ,i71 ,nor envied ,elijah his seat2 ,my soul mounted higher in a chariot of fire1 ,and the moon it was under my feet40 ,distracting ,figures and ,forms of ,expression4 ,other poems are so full of imagination1 so crowded with unusual and almost bizarre figures of speech1 that they fail to be the natural expression of the religious emotion of an assembly of religious people4 ,george ,herbert wrote a great many religious poems whose beauty and charm are only enhanced by their quaint and unusual imagery4 ,occasionally a hymnal editor ventures on a selection1 but it is so foreign to the methods of thought and expression of the churches as not to appeal to their taste and feeling4 ,take the beautiful poem on the ,sabbath day1 8,o day most calm1 most bright40 ,the first line is spontaneous1 expressive1 and musical1 and appropriate for a hymn4 ,the second line1 8,the fruit of this1 the next world's bud10 with its antithetical structure1 is already somewhat formal and forced4 ,but when the third and fourth lines1 8,the indorsement of supreme delight1 ,writ by a ,friend and with ,his blood10 offer a purely legal and unpoetical figure1 one's sense of song is entirely obscured4 ,yet1 when ,herbert's imagery is most matter-of-fact and ungenial1 there is a body of thought and there are a certain fitness and a clearness of relation that command admiration4 ,verses ,must ,be ,complete in ,themselves4 ,hymns that have long1 intricate sentences extending through two or more verses are impracticable for use in a song service1 as the break between the stanzas dislocates the development of the idea4 ,every verse must be practically complete in itself1 no matter what its relation to the development of the general idea of the hymn may be4 ,musical ,limitations4 ,it must also be recognized that there are limits to the expression congregational music can give4 ,a poem that is vividly descriptive1 or is in part intensely dramatic1 cannot be recognized as a practicable hymn1 since all stanzas have the same tune1 a tune which cannot vary its musical effect to suit the differing stanzas4 ,then there are hymns that are too majestic1 too glowing1 for a hymn-tune composer to write a fitting tune out of the limited resources of musical effects available to him4 ,such a hymn is that one of ,henry ,kirke ,white1 of lamented memory3 8,the ,lord our ,god is clothed with might1 ,the winds obey ,his will2 ,he speaks1 and in ,his heavenly height ,the rolling sun stands still4 99 99 99 99 99 99 99 ,his voice sublime is heard afar1 ,in distant peals it dies2 ,he yokes the whirlwind to ,his car ,and sweeps the howling skies40 ,with a chorus of a thousand trained singers1 an organ of extraordinary power1 and an orchestra of five hundred instruments1 all concentrated on 8,st4 ,anne10 one might make the music adequate to the words1 but in an ordinary congregation the incongruity is painful4 ,this must remain a reading hymn4 ,outworn ,hymns4 ,the efficient hymn must not distinctly belong to previous generations in its style and vocabulary or in its peculiar formulation of doctrine4 ,only as many of the older hymns have been purged of their obsolete and archaic words and turns of thought have they survived4 ,for instance1 we no longer sing1 8,eye-strings break in death10 as ,toplady originally wrote it4 ,mistaken ,objections to ,some ,hymns4 ,some minds1 although strong and keen1 seem to have a very small visual angle4 ,some such persons condemn all hymns that are not direct praise4 ,the line in ,lyte's 8,abide with ,me0--8,hold ,thou ,thy cross before my closing eyes0--has been objected to as ,romish by some1 blind to the fact that it is a prayer to ,christ4 ,others exclude hymns in which the pronoun of the first person singular occurs4 ,bishop ,wordsworth1 himself a hymn-writer of no mean merit 7vide 8,o ,day of rest and gladness0 and 8,see1 the ,conqueror rides in triumph071 says1 in his introduction to his ,holy ,year1 that while the ancient hymns are distinguished by self-forgetfulness1 the modern hymns are characterized by self-consciousness4 ,as illustrative examples1 he cites the following3 8,when ,i can read my title clear10 8,when ,i survey the wondrous cross10 8,my ,god1 the spring of all my joys10 and 8,jesus1 ,lover of my soul40 ,it is strange that so keen a mind should not have seen that his objection would apply to all liturgies6 ,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 hyperesthesia1 a veritable disease4 ,the use of hymns of a somewhat indifferent literary value is often thoughtlessly condemned because the importance of the recognition of its topic is overlooked4 ,such a topic as 8,church ,erection10 or 8,education10 may not occasion the deep feeling necessary to the writing of a great hymn1 and yet it must find a place in the practical work of the church4 ,here again ,dr4 ,phelps gives a useful warning3 8,the severity of aesthetic taste must not be permitted to contract the range of devotional expression in song4444 ,our desire to restrict the number of hymns upon occasions1 and other hymns of infrequent use1 ought not to banish such hymns entirely4444 ,a hymn intrinsically inferior1 therefore1 may be so valuable relatively1 as justly to displace a hymn which is intrinsically its superior40 ,aside from the topical symmetry referred to1 this principle will find other applications in the practical use of hymns4 ,some inferior hymns have for some occasions a greater immediate effect than much better ones1 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 way4 ,chapter ,,ii ,,the ,,purpose ,,and ,,value ,,of ,,hymns ,i4 ,,the ,,impulse ,,to ,,write ,,hymns ,the writing of the best hymns of the ,christian ,church was not a matter of ulterior purpose1 any more than is the singing of the hermit thrush in the wilderness4 ,they are the result of the urge for expression that lies back of all the best architecture1 literature1 and art of the human race4 ,there is the vision1 the sense of reality1 the subjective response to truth1 to beauty1 and to exalted experiences that must find an objective bodying-forth in some appropriate form4 ,the great doctrines of ,christianity loom up in their dignity and majestic sweep1 in their adequacy to the highest and deepest needs of the human soul4 ,the spontaneous hymn is but a cry of astonished delight1 of exalted inspiration1 of self-forgetful contemplation of the revealed glory1 an instinctive appeal to other souls to share the rapture of the vision4 ,such a hymn is not calmly planned2 it forces itself upon the mind of the rapt poet4 ,,ii4 ,,purpose ,,in ,,writing ,,hymns ,the ,influence of ,purpose4 ,this instinct for sharing with others1 for winning their attention and participation in a blessed experience1 may produce a measure of premeditation and become a more or less clearly defined purpose4 ,the idea of the needs of other souls1 or of the ,church at large1 may become an additional factor1 bringing in the recognition of the importance of adaptation to the mental processes of those to be helped1 or of practical methods of reaching them4 ,also the originating impulse may grow1 as in the case of ,isaac ,watts1 out of the call of some perceived need among the writer's fellows1 or of some lack in the work of the ,church4 ,the emotional and poetic elements may be marshaled by bringing up the memory of some past exalted vision of the truth1 or of some former quickening spiritual experience1 or 7better yet67 by an abiding realization of the truth of some doctrine1 or by a perennial flow of devout feeling4 ,dr4 ,martineau insisted that 8every spontaneous utterance of a deep devotion is poetry in its essence1 and has only to fall into lyrical form to be a hymn40 ,but he went further and declared that 8no expression of thought or feeling that has an ulterior purpose 7i4e41 instruction1 exposition1 persuasion1 or impression7 can have the spirit of poetry40 ,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 form4 ,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 hymns4 ,the ,purpose ,must ,affect ,only the ,practical ,aspects4 ,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 hymn4 ,if the purpose can be confined to the practical aspects of the hymn1 while the spiritual and poetic impulses control the thought and spirit1 then the most valuable and effective hymn may be produced4 ,but if the ulterior purpose fully occupies the mind of the writer1 the hymn will be mechanical and uninspiring4 ,in the more prolific hymn writers1 like ,watts and ,charles ,wesley1 the relative influence of vision and purpose is easily detected4 ,in their best hymns1 the purpose is still present1 but latent1 and its guidance unconscious4 ,,iii4 ,,purpose ,,of ,,the ,,user ,,of ,,hymns ,when we speak of the purpose of the hymn1 therefore1 it is not so much the mental attitude of the writer that is to be considered as that of the user of the hymn4 ,he finds a body of religious verse ready to his hand1 some of which is adapted to secure spiritual ends1 or fitted to the social conditions which he seeks to improve4 ,his purpose controls not the production of available verse1 but the selection from existing stores of religious lyrics4 ,the choice of hymns by the user will be determined by the characteristics and limitations which his practical purposes demand4 ,there are three inevitable factors3 the end to be realized1 the people to be influenced1 and the hymns adapted to affect both4 ,,iv4 ,,purposes ,,served ,,by ,,singing ,,hymns ,hymns ,unite ,christians in ,worship and ,christian ,activities4 ,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 activities4 ,this is really the leading purpose of such a gathering4#a ,worship in prayer1 when it is spontaneous1 must be largely individual2 when it is expressed in responsive ritual1 there is great danger of mechanical stiffness in the outward form of the prayers and in their reading1 and also in the limited area of the thought to be expressed4 ,but song is the natural and spontaneous vehicle for exalted feeling and gives the greatest opportunity for varied sentiment4 ,no one individual could hope to strike all the strings of noble praise as have a thousand saints who have written our hymns4 ,hymns ,concentrate ,interest and ,attention4 ,there is a concentration of interest and attention4 ,the common thought1 the common emotion1 the common impulse of devotion1 the common expression1 the unanimous attitude of will and purpose--all quicken the susceptibilities and enlarge the spiritual horizon4 ,god seems nearer1 more actual1 and more realizable as the source of every blessing4 ,abstract ideas of ,god as ,father1 of his ,son ,jesus ,christ as ,saviour1 of the ,holy ,spirit as ,comforter1 quicken into blessed realities4 ,it is easy to appropriate the joy1 the reverence1 the adoration1 the intimate communion with ,god1 which the hymns so clearly1 so movingly1 so contagiously1 even so rapturously express1 and to make them intimately our own4 ,this is true worship1 the high peak in man's experience of ,god4 ,the social elements in human nature come into play and intensify the religious emotions4 ,the personal distractions and inhibitions that hamper devotion are eliminated4 ,under properly effective conditions there is a mass attitude1 a mass emotion1 that needs only a mass expression to affect every individual unit4 ,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 alone4 ,add to this the stimulation of the music and the physical exhilaration of singing1 and the worship is lifted to a pitch of enthusiasm not otherwise possible4 ,this worshipful use of hymns exercises a most inspiring and vitalizing influence on the participants4 ,the reaction of the mind and soul of the singers to the exalted sentiments sung must have a profoundly spiritualizing effect upon their natures4 ,one cannot sing the old ,latin hymn1 8,jesus1 the very thought of ,thee10 in any genuine way without feeling an accession of greater love to ,christ2 or 8,my faith looks up to ,thee10 by ,ray ,palmer1 without a deeper realization of one's dependence on ,jesus ,christ for salvation and for keeping grace4 #b ,hymns ,afford a ,means of ,expression for the ,congregation4 ,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 ,god4 ,many excellent ,christians are dumb1 unable to give expression to their genuine spiritual experiences4 ,others find their means of voicing what they feel totally inadequate4 ,the hymns they sing and appropriate to themselves unstop their silent tongue4 ,high tides of spiritual blessings1 times of refreshing when ,christ is near to the soul1 hours of privilege when the whispering of the ,holy ,spirit is heard1 victories over fierce or subtle temptation when ,god's grace proves sufficient1 moments of ,god's overshadowing presence when the whole world is transfigured1 and a thousand other marvelous experiences in the ,christian life--all call for hymns to express them4 ,they must be tender hymns1 ecstatic hymns1 triumphant hymns that will satisfy the craving of the soul to voice forth its deepest love1 its spiritual ecstasies1 its strange sense of overcoming power4 ,the dumb soul1 unable to speak of its explorations of divine grace1 finds a voice in these hymns written by saints who had the divine gift of expressing like glimpses of the divine glory4#c ,hymns ,provide ,help and ,comfort in ,dark ,hours4 ,these hymns not only bring the joy of giving articulate expression to these mountain-top experiences1 thus reviving them again and again1 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 illusions4 ,others have been with us in ,bunyan's ,beulah ,land and verify our experiences of its delights4 ,hymns ,afford ,clear ,expressions of ,christian ,truth4 ,another purpose in the use of hymns is to secure the clearest1 most impressive1 most appealing1 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 church4 ,such hymns must not be dry formulations of abstract doctrines1 desiccated by logical discussions and metaphysical hair-splittings4 ,truth that is dry is no longer vital truth4 ,its vitamins of reality1 of the deep feelings called forth by a sense of its actuality1 of spiritual and poetic intuition1 of self-propagating vitality1 have been lost4 ,aridity of orthodoxy begets aridity of heterodoxy and is usually responsible for it4 ,didactic hymns that will serve the purposes of the ,church must be living hymns1 expressing truth transfigured by the feelings aroused by the contemplation of its glorious reality4 8,there is little heresy in hymns40 ,heresies for the most part arise from arid mechanical reasonings2 hymns flow from the intuitions of the heart4#d ,this explains why some of our best hymns about ,christ were written by ,unitarians4 ,hymns ,give ,opportunity for ,active ,participation by ,all4 ,another purpose of the singing of hymns is to secure the active participation of the whole congregation in the service4 ,although the responsive reading is valuable in this respect1 the union of all the voices of the people in song is more striking1 calls for more aggressive effort1 and definitely wins the attention of all to the sentiments expressed in the hymn4 ,it creates more interest and stimulates both body and mind4 ,hymns ,provide ,variety4 ,the singing of hymns also adds marked variety to the order of service and so renders it more attractive4 ,it supplies climaxes in different parts of the program and relaxations of attention to the spoken word4 ,it represents a greater contrast with the other exercises because it calls for active participation and produces entirely different effects4 ,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 earnestness1 conscientiousness1 and spirituality4 ,this variety and the opportunity to take a modest part in the service have proved among the greatest attractions4 ,the more singing1 the more people1 is the universal experience4 ,hymns ,create a ,religious ,atmosphere4 ,the use of hymns creates an atmosphere of religious interest and feeling that is realized not only by the believers in the congregation1 but by the unregenerate as well4 ,they may not enter fully into the spirit of the exercises1 but an intellectual interest is awakened by the singing that may rise into spiritual interest and into an approach to the spiritual life4 ,rev4 ,george ,f4 ,pentecost1 famous in his day as a preacher and as a very successful evangelist1 recognized the aggressive and practical value of hymn-singing3 8,i am profoundly sure that among the divinely ordained instrumentalities for the conversion and sanctification of the soul1 ,god has not given a greater1 besides the preaching of the ,gospel1 than the singing of psalms and hymns and spiritual songs4 ,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 pulpit40 ,hymns in the ,home4 ,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 atmosphere4 ,the storing of the memories of the children with the leading hymns of the church is no small factor in their ,christian nurture4 ,the older members of the family also will be stimulated spiritually1 finding in the memorized hymns strength and solace while they bear the heat and burden of the day4 ,we have lost the spiritual atmosphere in many of our ,christian homes1 not only by the neglect of the family altar1 but also by the neglect of the singing and memorizing of the hymns and tunes of the church4 ,one of the chief influences in the preparation of ,ira ,d4 ,sankey for his great life-work was the singing of hymns as the family gathered around the great log-fire in the homestead4 ,he not only familiarized himself with the old hymns and tunes and popular sacred songs1 but he was impressed by their spirit and by their adaptation to the needs of the human soul4 ,hymns in ,personal ,work4 ,the use of hymns in personal work1 in the visitation of the sick1 in improvised religious gatherings in private homes1 has been largely abandoned1 much to the loss of the churches4 ,when ,d4 ,l4 ,moody was trying out ,ira ,d4 ,sankey during the latter's pregnant first visit to ,chicago1 his singing to the sick and to the spiritually needy ones they called upon was a notable item in the practical test4 ,prof4 ,waldo ,s4 ,pratt1 of the ,hartford ,theological ,seminary1 whose most valuable book has been quoted in these pages again and again1 sums up the results of an intelligent and devout use of hymns most admirably3 8,hymn-singing may surely be called successful when it affords an avenue for true approach to ,god in earnest and noble worship2 when it exerts a wholesome and uplifting reflex influence on those who engage in it1 establishing them in the truth and quickening their spirituality2 and when it creates a diffused atmosphere of high religious sympathy and vigorous consecration1 so that even unbelievers are affected and constrained by it40#e ,but if these purposes of the singing of hymns are to be realized and their values exploited1 they must be properly employed4 ,they must be made vital and their messages brought home to the hearts of the people4 ,there should be no listless1 merely formal singing of noble ,christian hymns4 ,there is unwitting sacrilege in doing that4 ,the truth of ,god1 the high experiences of his saints1 are rendered unreal and lose their appeal--they become stale4 ,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 ,christianity1 but that they had become unreal to him4 ,they were only abstractions1 playthings of his logical faculties1 husks from which the living kernel had fallen1 which left his soul hungry4 ,how could a minister by the discussion of what seemed to him unrealities inspire and spiritualize his hearers8 ,how can any minister to whom the hymns in his hymnal are dry and abstract rhymes about vague and uninteresting platitudes at best1 be able to make his song service a vital contribution to the spiritual progress of his people8 ,if the hymns stir him1 he can easily make them stir the people4 ,v4 ,,reasons ,,for ,,the ,,minister',s ,,appreciation ,,of ,,hymns ,hymns ,are ,evidences of the ,effect of the ,bible4 ,the hymnbook is an evidence of what the ,bible can do with unregenerate human nature4 ,that the truth of the ,bible should be able to take ,newton1 the slave driver1 and make of him a minister of ,god1 not only himself writing such hymns as 8,amazing grace1 how sweet the sound10 8,glorious things of ,thee are spoken10 or 8,how sweet the name of ,jesus sounds10 but inspiring and encouraging the poor hypochondriac1 ,william ,cowper1 so that from his heart should well forth the hymns1 8,there is a fountain filled with blood10 8,god moves in a mysterious way10 and 8,sometimes a light surprises10 is in itself one of the great evidences of ,christianity4 ,hymns and ,psalms ,affected the ,life of the ,church4 ,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 highly4 ,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 not1 becoming a very liturgy to the condemners and flouters of liturgies4 ,thomas ,jackson in his life of ,charles ,wesley remarks that 8it is doubtful whether any human agency has contributed more directly to form the character of the ,methodist societies than the hymns4 ,the sermons of the preachers1 the prayers of the people1 both in their families and social meetings1 are all tinged with the sentiments and phraseology of the hymns40 ,hymns in ,personal ,christian ,experience4 ,listen to the personal experiences of ,christians in our own day and you will hear more reference to hymns than to the ,scriptures4 ,there is now no such committing to memory of passages of the ,bible and of hymns as there was in preceding generations1 but almost without set purpose1 by simple absorption1 the average ,christian can quote more lines of hymns than he can of ,scripture verses4 ,this extraordinary place in the affections and life of ,christian people is no derogation to the ,bible1 for the hymns are simply the ,bible in another form4 ,hymns as ,stimulating the ,spiritual ,life of the ,minister4 ,to some men who lack emotional and poetic insight1 the hymnbook may appear dry and uninteresting4 ,it certainly is uninteresting to the unspiritual man1 no matter how poetical he may be1 and this will account for the occasional attack upon the hymns of the ,christian ,church as being without poetical power or merit4 ,but the ,christian minister1 who deals with spiritual things1 for whom the emotions of the human heart give a great opportunity for sowing the seed of life1 ought to find the study of his hymnbook a great delight4 ,hymns ,approved by ,paul4 ,if there were no other reason why a minister should be profoundly interested in hymns and their use in religious work1 the example and exhortations of ,paul should be sufficient4 ,he does not lay as much stress upon preaching1 nor upon praying1 as he does on singing4 ,he admonishes the ,ephesians that they 8be filled with the ,spirit02 and that divine possession should manifest itself in 8speaking to yourselves in psalms and hymns and spiritual songs1 singing and making melody in your heart to the ,lord40 ,a part of this exercise of singing was to consist of 8giving thanks unto ,god and the ,father in the name of our ,lord ,jesus ,christ40#f ,he exhorts the ,colossians1 8,let the word of ,christ dwell in you richly in all wisdom10 and one of the results of such indwelling was to be 8teaching and admonishing one another in psalms and hymns and spiritual songs02 he even urges earnestness and sincerity in such singing1 8,singing with grace in your hearts to the ,lord40#g ,such singing should not be with mere enthusiasm1 for he assures the ,corinthians that his singing was not only devout but intelligent as well3 8,i will sing with the spirit1 and ,i will sing with the understanding also40#h ,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 hymn4 ,hymns in the ,early ,church4 ,the emphasis placed on the value of song by the early church is made clear by ,tertullian1 who states that at the current 8love feasts0 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 ,god4 ,in the middle of the third century ,st4 ,basil testifies to the value of congregational singing as practiced in his day3 8,if the ocean is beautiful and worthy of praise to ,god1 how much more beautiful is the conduct of the ,christian assembly where the voices of men and women and children1 blended and sonorous like the waves that break upon the beach1 rise amidst our prayers to the very presence of ,god40 ,the remark is made by one of the ancient fathers that the singing of the churches often attracted 8,gentiles0--i4e41 unconverted persons--to their services1 who were baptized before their departure4 ,hymns ,prepared the ,church for ,periods of ,marked ,progress4 ,while by no means the only cause for such progress1 a great increase in the writing and singing of hymns has been a conspicuous feature in every great religious movement4 ,the converse is also true that when the privilege of congregational singing was curtailed or withdrawn1 spiritual declension followed4 ,the victory of the ,church over ,arianism was a singing victory both in the ,eastern and ,western churches4 ,the ,crusades were marked by processional singing of religious songs4 ,the singing ,lollards and ,hussites heralded the ,great ,reformation1 and the most effective preaching of ,huss and ,luther and ,calvin was the hymns and metrical psalms they introduced4 ,watts prepared the way for the ,wesleyan revival1 and the ,wesley brothers entered the path he had blazed and made a great highway of ,christian song4 ,dour ,new ,england found its voice during the ,great ,revival under ,jonathan ,edwards and later under ,nettleton4 ,the preachers who saved the pioneers of the ,appalachian range of mountains and the budding ,middle ,west from relapsing into paganism and savagery were 8singing parsons0 with their repertoire of 8spiritual0 revival choruses and religious ballads4 ,even ,charles ,g4 ,finney1 the great praying evangelist and later founder of ,oberlin ,college1 whose revivals swept through ,new ,york and northern ,ohio like a prairie fire1 had the popular ,christian ,lyre1 edited by ,joshua ,leavitt1 as a breeze to fan the flame1 although he often forbade the singing of hymns in certain conditions in his meetings4 ,william ,b4 ,bradbury1 ,s4 ,j4 ,vail1 ,robert ,lowry1 ,william ,h4 ,doane1 ,fanny ,crosby1 ,george ,f4 ,root1 ,philip ,phillips1 ,p4 ,p4 ,bliss1 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 and1 through the missionaries1 intensified the faith of the ,christian ,church throughout the world4 ,through all the centuries it has been the singing armies that have won the religious wars4 ,the successful denominations and individual churches have been pre-eminently singing churches led by singing preachers who swayed their communities4 ,cardinal ,newman is now chiefly remembered for his hymn1 8,lead1 ,kindly ,light40 ,washington ,gladden1 a great religious leader1 will have his memory kept green by his hymn1 8,o ,master1 let me walk with ,thee10 and ,bishop ,phillips ,brooks fifty years hence will be chiefly remembered for his ,christmas carol1 8,o little town of ,bethlehem40 ,,vi4 ,,strange ,,indifference ,,to ,,hymns ,the ,minister's indifference4 ,in view of the considerations and facts here marshaled1 how strange is the general lack of interest among ministers toward their hymn service1 toward the hymns themselves1 their history1 their meaning1 the methods to be used in exploiting their great value4 ,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 value8 ,indifference of the ,congregation4 ,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 program2 but that it is true is so evident to any reasonable observer that it needs little or no proof4 ,the janitor religiously postpones opening or shutting windows1 or shaking down the furnace1 during the prayer1 or sermon even1 until the hymn is being sung4 ,members of the congregation seize the opportunity to leave the room1 or to consult with others about church affairs in all too audible voices4 ,the hymn ought to be the consummate note of prayer and praise and devout meditation on sacred themes1 the great co-operative climax in the worship of ,god4 ,it is too often looked upon as a merely physical stimulus to liven up the tedious service4#i ,this ought not so to be6 ,for the primary object of assembling the saints is united worship--united praise4 ,there can be no true public prayer without an element of worship2 but it has a recognition of personal needs and even wants4 ,this human factor makes it a composite of the human and the divine and lowers its dignity4 ,in genuine praise there is a forgetfulness of the human element and a rising into the pure realm of the divine4 ,in true praise the human soul is unconscious of self and utterly absorbed in ,god4 ,hence it is not too much to say that congregational song is the supreme element in all worship4 ,chapter ,,iii ,,the ,,literary ,,aspect ,,of ,,hymns ,i4 ,,what ,,makes ,,the ,,hymn ,,literature8 ,its ,character as a ,transcript of ,life4 ,in so far as a hymn is a transcript of a genuine conviction1 intensified by emotion1 or of a profound experience1 it is literature4 ,there have gone into it vision1 feeling1 imagination1 sincerity1 intimate experience--an appropriation of the influences life offers a soul that gazes upon it with wide-open eyes4 ,it is not the measure or the rhyme that makes literature of a hymn4 ,a bald formulation in metrical form of doctrines dissected by metaphysical processes may be called a hymn by courtesy1 but it is not literature any more than would be a textbook on mathematics4 ,but a hymn in which the hurried pulse and the throbbing heartbeat of deep human feeling can be felt is genuine literature1 a revelation of human personality and of the collective life of which it is representative4 ,it is the story of the experience of an exploring soul seeking knowledge of the deeper spiritual relations with ,god and his ,kingdom4#a ,its ,wide ,distribution4 ,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 life4 ,dr4 ,reeves calls attention to the wide distribution of hymnbooks2 they have come from the printing press by the multiplied millions during the last four hundred years4 ,three millions of the ,methodist ,hymnal have been broadcast over the ,united ,states1 sixty million ,hymns ,ancient and ,modern over the ,british ,empire4 ,hundreds of other contemporary hymnals1 both official and unofficial1 aggregate even more millions4 ,if we add collections of ,gospel ,songs1 we get many millions more4 ,no other form of literature has had so wide a distribution4 ,a single hymnal has had more active readers than all the poetry in the world1 ancient and modern4#b ,to dispose of an edition of one hundred thousand volumes of ,palgrave's ,golden ,treasury1 the standard collection of the poems of the ages approved by critics1 would take a score of years4 ,moreover1 they would go largely into libraries1 private and public1 for occasional reference4 ,its ,acceptance ,through ,many ,generations4 ,but wideness of distribution is no final criterion of literary quality1 else our newspapers might lay an earnest claim to literary standing4 ,but these hymnals do not severally represent individual writers1 as do most of the books of poetry2 they contain a common body of hymns representing the major portion of all of them4 ,that selection of hymns1 fundamental to all of them1 has been culled out from the great mass of sacred lyrics written through many centuries1 by the consensus of different generations1 of different backgrounds1 of different grades of social and literary culture1 of different peoples and even races1 and accepted as the most complete expression of the fundamental ,christian life of them all4 ,if that unanimity of responsiveness and practical endorsement by continued use does not confer the accolade of literature upon that body of hymns1 the accepted definition of literature is faulty and inadequate4 ,its ,profound ,influence4 ,no other verses have been read so often4 ,they have not only shaped the religious thought and experience of vast peoples and developed their character1 but have affected their general modes of thought and forms of expression and influenced their secular literature4 ,without their rugged1 ax-hewn version of the ,psalms1 would the ,scotch have become the stern1 dour1 conscience-driven people the world has learned to know and value8 ,without the vigorous 8spirituals0 and the lively rhythms of its gospel songs1 would the ,american church life have developed the freedom from ecclesiastical tradition and formalism1 and the fearless aggressiveness that has lighted the beacons of salvation in every land8 ,the hymn has been the expression of life1 and in turn has become the wellspring of life4 ,whatever of culture and refinement other forms of literature have brought has directly touched only a small minority1 and but indirectly the great mass of civilized peoples2 but the hymn has had a direct influence on the life and character of the mass of the people1 and has appealed to their instincts and imaginations and shaped their ideals in the most immediate and striking way4 ,where one person has been refined and enriched in mind by the poetry of ,milton1 or ,wordsworth1 or ,tennyson1 a thousand have been comforted1 inspired1 and transformed by ,sternhold and ,hopkins1 ,watts1 or ,wesley4 ,archbishop ,trench1 the fault of whose hymns was chiefly that they were too few1 was admonished by his friend1 ,john ,sterling1 to give more attention to hymn-writing3 8,you would influence millions whom poetry in any other form would never reach40 ,,ii4 ,,objections ,,to ,,recognizing ,,its ,,literary ,,character ,due to ,narrow ,definition of ,literature4 ,in spite of these facts that surely entitle the hymn to be considered literature in the most vital sense of the word1 there are critics who look upon it with undisguised indifference1 if not with scorn4 ,partly due to an utter lack of sympathy with the use of it1 partly to an academic idea of what literature really is1 emphasizing form and rhetorical interest1 partly because its appeal is emotional and not mainly intellectual1 these objectors are blind to the larger interests involved4 ,if there is any truth in the insistence of some literary critics that there are few hymns that are good from a literary point of view1 ,montgomery's statement may give a sufficient reason3 8,our good poets have seldom been ,christians and our good ,christians have seldom been good poets40#c ,due to ,failure to ,realize ,limitations of ,hymns4 ,a better reason is that such critics have seldom realized the limitations the singing hymn presents to the poet4 ,milton was a great poet1 but he could not condense his ideas sufficiently or give them the needed terse expression4 ,he needed a large canvas1 while the successful hymn-writer is confined to a miniature4 ,even ,tennyson1 who succeeded in small lyrics1 wrote only one hymn and that ill-adapted to actual congregational use4 ,palgrave1 in the preface to his ,treasury of ,sacred ,songs1 compares secular and sacred verse as follows3 8,secular verse covers many provinces3 manners1 incident1 love1 landscape1 the vast sphere of drama--in a word1 all the many-colored romance of life4 ,sacred verse can hardly go beyond one province3 to expect masterpieces in one field approximately numerous as those in the secular lyric is unreasonable4 ,even more unreasonable is it1 when of this single province a district only is chosen for censure1 and treated as the whole domain4 ,hymns1 well-nigh limited to the functions of prayer and praise1 are precisely that region in which a practical aim is naturally1 almost inevitably1 predominant60 ,some ,critics and ,their ,criticism4 ,dr4 ,samuel ,johnson's criticism of hymns may be brushed aside as based on a wrong conception of poetry1 which to his mind called not for simplicity1 but for something near to that artificiality which he conceived of as art3 8,contemplative piety1 or the intercourse between ,god and the human soul1 cannot be poetical40444 8,the paucity of its topics enforces perpetual repetition1 and the sanctity of its matter rejects the ornament of figurative diction40 ,in mitigation of the false judgment of the old literary dictator1 it may be said that the golden age of ,english hymnody had not yet arrived4 ,the later criticism of the hymn by ,matthew ,arnold represents more fully the attitude of the literary critic in our own day4 ,the practical aspects of life were not ignored by him1 but they did not bulk large in his mind4 ,hence it is not surprising that1 while he fully comprehended the wide influence of the hymn1 he had little or no sympathy with its spirit and even less with its purpose1 so that he could write about it after this fashion3 8,hymns1 such as ,i know them1 are a sort of composition which ,i do not at all admire4444 ,i regret their prevalence and popularity among us40 ,could anti-religious rationalism go further8 ,among more recent critics1 ,edmund ,clarence ,stedman speaks of the hymn as 8the kind of verse which is1 of all1 the most common and indispensable40 ,but ,professor ,boynton in the ,cambridge ,history of ,american ,literature1 gives as much space to 8,yankee ,doodle0 as he does to ,american ,hymnody and refers to its 8sentimental ornateness10 8tawdry sentimentalism10 and 8banalities of evangelistic song10 unconsciously drawing an unhappy portrait of his own spiritual condition4#d ,the older criticism of the hymn had at least the merit of thoughtfulness and serious consideration of its value and of its shortcomings4 ,the hymns that would have satisfied literary critics would have required a spiritual delicacy and refinement1 an elegance and artistry of phrase1 a vagueness of religious idea devoid of genuine feeling1 that would shut them out from use in the workaday world in which we live4 ,to set aside the 8good and useful purpose0 acknowledged by ,matthew ,arnold in the consideration of the hymn is to ignore its whole reason for being1 and1 what is vastly more important1 to ignore the deepest needs of the human soul4 ,,iii4 ,,the ,,writing ,,of ,,hymns ,the ,handicap of ,thought and ,diction4 ,alfred ,tennyson clearly recognized the limitations that handicap the writer of hymns4 8,a good hymn is the most difficult thing in the world to write60 ,the hymn he did write1 8,sunset and ,evening ,star10 beautiful as it is1 failed in practicability for congregational use4 ,its unfitness for mass singing in its various phases is the chief stumblingblock4 ,the hymn writer finds in the limitations1 which he must bear in mind as he writes1 no small hindrance to spontaneity and poetic vision4 ,he must limit the thought not only to the comprehension1 but to the natural feelings of the people who are to sing what he writes4 ,he must not use unusual or polysyllabic words4 ,striking figures1 startling tropes1 involved similes1 obscure metaphors1 allusions to things known by but few1 descriptive or dramatic lines1 are all forbidden4 ,every verse1 whether in single or double meter1 must be complete in itself1 whatever its relation in thought to what precedes or follows4 ,there must be unity1 simplicity1 condensation of thought1 and yet a clearness that shuts out involved thought or mysticism that cannot be instantly grasped4 ,the hymn writer is like a violinist called upon to play on a single string4#e ,thomas ,hornblower ,gill1 an ,english hymn writer who is slowly gaining recognition in current hymnals--,the ,revised ,presbyterian ,hymnal has five of his hymns--gives his conception of what hymns should be1 in his preface to his first volume1 issued in #ahfh4 ,he insists that the true hymn is a true poem in every case1 while it is debarred from liberties of luxuriance which may be claimed by other poetry4 8,it may easily be too figurative2 it cannot be too glowing or imaginative444 ,they should exhibit all the qualities of a good song--liveliness and intensity of feeling1 directness1 clearness and vividness of utterance1 strength1 sweetness1 and simplicity and melody of rhythm3 excessive subtlety and excessive ornament should be alike avoided40 ,the ,handicap of ,meter4 ,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 served4 ,this range of form is quite limited4 ,most of these tunes call for iambic or trochaic measure1 because anapaestic or dactylic numbers lack the dignity and the impressiveness necessary for general hymns4 ,the form of the stanza may take the elevated1 heavy 8,long0 ,meter1 the more widely expressive 8,common0 ,meter1 the sententious 8,short0 ,meter1 8,sevens and ,sixes10 8,eights and ,sevens10 plain 8,sevens0 or 8,sixes10 or the more lively 8,sixes and ,fours0 or 8,sixes and ,fives40#f ,these different meters have very marked characteristics4 ,it is really marvelous how the instinct of true hymn writers in all generations has unconsciously1 or at most subconsciously1 taken account of them and with practical unanimity observed them4 ,the ,long ,meter is stately and dignified4 ,it is the fit expression of noble praise like the ,long ,meter ,doxology1 8,lord of all being1 throned afar10 8,from all that dwell below the skies10 8,before ,jehovah's awful throne10 or elevated sentiment like 8,god is the refuge of ,his saints10 8,when ,i survey the wondrous cross10 and 8',tis midnight1 and on ,olive's brow40 ,its long1 even lines1 broken by no strong stops1 afford a smooth1 graceful expression for general truths and ,christian doctrine in poetic form1 such as 8,o ,jesus1 our chief cornerstone10 8,jesus shall reign where'er the sun10 and 8,o ,love6 how deep1 how broad1 how high60 ,the ,common ,meter is much more varied in its possibilities of expression1 as its unequal lines and alternate rhymes give greater freedom4 ,it is the prevailing meter of the old ,english ballad4 ,it is really the most adaptable and pliable form of stanza open to the hymn writer1 giving equal opportunity of expression to all emotions and classes of truth4 ,it is a fit vehicle alike for the elevated praise of 8,all hail the power of ,jesus' name10 the majesty of 8,i sing th' almighty pow'r of ,god10 the doctrinal statement of 8,there is a fountain filled with blood10 the tenderness of 8,jesus1 the very thought of ,thee10 the vigor of 8,awake1 my soul1 stretch every nerve10 and the quiet resignation of 8,father1 whate'er of earthly bliss40 ,on account of this adaptability it has become the ,common ,meter in fact as well as in name4 ,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 tunes2 the result was that the congregational singing in the churches in ,england1 ,scotland1 and ,america was nearly wrecked4 ,s4 ,m4 might stand for sententious meter as well as for ,short ,meter1 as the two short lines and the long pauses at the end of each of them give it an emphatic1 terse1 even epigrammatic style4 ,this may be seen in 8,my soul1 be on thy guard10 8,welcome1 sweet day of rest10 8,stand up and bless the ,lord10 8,crown ,him with many crowns10 and 8,come1 ,holy ,spirit1 come40 ,john ,fawcett was not happy in the selection of this meter for his otherwise very useful and precious hymn1 8,blest be the tie that binds10 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 sing4 ,the same difficulty will be found in the reading of other hymns in this meter1 the limitations of which have not always been recognized by writers using it4 ,it would be a very slow1 heavy meter did not the longer third line give it needed movement4 ,the meter known as #fs lacks the longer third line and is therefore peculiarly grave and disjointed4 ,it is well adapted for hymns of passive faith or resignation1 such as 8,my ,jesus1 as ,thou wilt10 8,thy way1 not mine1 ,o ,lord10 or for dolorous prayers like 8,my spirit longs for ,thee10 and 8,i hunger and ,i thirst40 ,the meter #fs and #ds in its various forms might be supposed to be even slower than the #fs because of the additional short lines of four syllables each4 ,the opposite is true4 ,in some cases the first four lines are rhythmically equivalent to two lines of ten syllables each1 so slight is the pause of actual thought at the end of the six-syllable line1 with the result that the slowness is quickened into simple dignity and elevation4 ,but even where the pauses at the end of the first and third lines are long1 the shorter second and fourth lines1 as in common meter1 give added movement4 ,in the other form of #fs and #ds1 the first two six-syllable lines are so knit together by their common rhyme and1 if properly written1 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 #fs is mitigated4 ,the same principle applies to the following three or four lines1 depending on the form examined4 ,hence we have in the various forms of this meter some of our noblest hymns of prayer1 praise1 and victory1 such as 8,nearer1 my ,god1 to ,thee10 8,more love to ,thee1 ,o ,christ10 8,we are but strangers here10 8,fade1 fade1 each earthly joy10 8,my faith looks up to ,thee10 8,rise1 glorious ,conqueror1 rise10 8,come1 ,thou ,almighty ,king10 and 8,my country1 'tis of thee40 ,,iv4 ,,the ,,literary ,,quality ,,not ,,to ,,be ,,overestimated ,literary ,quality ,not the ,supreme ,consideration4 ,although poetical feeling and imagination and nice literary craftsmanship are not to be undervalued1 but rather to be earnestly sought for in our hymns1 after all1 they are not the supreme considerations4 ,practical use has proved many hymns that conspicuously lacked them to have been supremely useful because of their spiritual content1 sincerely and lucidly expressed4 ,when hymn writers like ,watts and ,newton have deliberately ignored and even avoided literary values1 and yet have written among the most useful hymns in our collections1 the critic who insists on poetical quality has by no means a prima facie case4 ,charles ,wesley was a poet1 but in his valuable hymn 8,a charge to keep ,i have0 he is a pedagogue without poetic afflatus4 ,standards of literary value1 when not artificial1 as in ,samuel ,johnson's case1 have their place1 but a place that is modest and not supreme4 ,literary ,quality ,should ,be ,subconscious4 ,the danger in unduly emphasizing the literary aspect of hymns is well expressed by ,dr4 ,louis ,f4 ,benson3 8,the hazard is implicit in the very motive of hymn singing2 the heightening of religious emotion4 ,the danger is of mistaking sugary sentiment for true feeling and its rhetorical expression in #8soft1 luxurious flow' for true poetry40 ,in other words1 the conscious seeking of the hymn writer after literary atmosphere and skill of treatment is fatal to genuineness of feeling1 and to his success in producing a true hymn4 ,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 sing4 ,according to ,paul1 the first commandment in hymn writing and singing is3 8,i will sing with the spirit02 the second is like unto it3 8,i will sing with the understanding also40 ,chapter ,,iv ,,the ,,emendation ,,of ,,hymns ,i4 ,,the ,,changes ,,in ,,our ,,hymns ,early ,changes4 ,the question of changes made in hymns by others than their writers deserves consideration4 ,the point is not that the individual preacher is supposed to air his critical skill1 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 observed4 ,in the first compilations of hymnbooks1 the rights of the authors of the individual hymns were entirely below the horizon4 ,many hymns were published without the names of their writers4 ,to this day ,charles ,wesley's claim to 8,jesus1 ,lover of ,my ,soul10 as against that of his brother ,john1 depends wholly on considerations of style and form of stanza4 ,there is not even a well-founded tradition4 ,it was the adaptation of the hymn to immediate actual needs that counted1 not the writer4 ,there was no moral copyright1 much less legal1 to stay the hand of the mutilator4 ,watts did not hesitate to incorporate in his hymns lines and even whole stanzas from the hymns of others4 ,john ,wesley had no scruples in rewriting lines and stanzas and even whole hymns already in print4 ,toplady's alterations were often quite radical1 as1 for example1 his drastic revision of ,charles ,wesley's 8,blow ye the trumpet1 blow0#a to suit his intensely ,calvinistic views4 ,the ,abuse of the ,editorial ,revision4 ,dr4 ,worcester1 in this country1 who issued several collections of psalms and hymns1 chiefly by ,watts1 was lavish in his alterations1 mostly for the worse--so much so that the ,new ,england churches revolted4 ,lord ,selborne said of these mutilations by many hands1 8,there is just enough of ,watts left here to remind one of ,horace's saying that #8you may know the remains of a poet even when he is torn to pieces4'0 ,the needless alteration of hymns that occurred in these early days is to be greatly deplored1 especially of those most widely known4 8,rock of ,ages0 and 8,jesus1 ,lover of ,my ,soul0 were fair targets for the editorial spear--out of the twenty-four lines of the former only eleven have escaped change4 ,the line 8,when mine eyestrings break in death0 was the only one peremptorily demanding a change1 although a few other alterations may be accepted as slight improvements1 as1 for instance1 8wounded0 instead of 8riven0 side4 ,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 utterance4 ,the same is true of ,wesley's hymn4 ,in spite of ,john ,wesley's warning against changes in the ,methodist hymns--8,hymn-cobblers should not try to mend them4 ,i really do not think they are able0--more than thirty variations occur in the first stanza of 8,jesus1 ,lover of ,my ,soul40 ,the pity is that while uniformity is extremely desirable in these and many other hymns1 it is now out of the question4 ,the several variations have their partisan upholders4 ,james ,montgomery spent years of his life amending and modifying the hymns of others1 but asked that others should not change his verses4 ,he insisted that if good people could not conscientiously adopt his doctrines and diction1 it was a little questionable in them to impose theirs on him4 ,it is interesting to note that ,montgomery could not 8conscientiously adopt the doctrine and diction0 of the first verse of ,cowper's 8,there is a fountain filled with blood0 and substituted a verse of his own of which he said1 8,i think my version is unexceptionable40 ,but hymnal editors did not find it so and unanimously repudiated it4 ,it was regarded as 8faultily faultless1 icily regular1 splendidly null40 ,the ,return to ,originals4 ,this abuse of the editorial revision produced a reaction1 and in the last half century1 under the leadership of ,dr4 ,louis ,f4 ,benson1 a strong movement appeared among hymnal editors whose slogan was 8,back to the originals60 ,in many cases that was not practicable1 as the changes made were evident improvements1 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 alteration4 ,,ii4 ,,principles ,,of ,,equity ,,involved ,,in ,,these ,,changes ,the ,rights of the ,original ,writer4 ,there are some principles of equity that lie upon the surface4 ,the writer of hymns has rights that must be recognized4 ,his name should be given as its author4 ,no name other than his own should be connected with the product of his pen4 ,unless there are sufficient reasons1 the hymn should be given as he wrote it4 ,if his name is given1 no doctrine or experience should be interpolated4 ,in business affairs that would be adjudged forgery in the second degree4 ,if interpolations or changes of ideas become necessary for practical reasons1 due notice should be given that the original writer is not responsible for the new ideas or the changes of phraseology4 ,unitarian hymnal editors have not always recognized this obligation4 ,our recent well-edited hymnals have been scrupulous in this particular4 ,the ,limits of the ,author's ,rights4 ,but there are distinct limits to the author's rights4 ,if the hymnal were a merely literary compilation1 the liberty to make changes would not be admissible4 ,but the hymnal is not an anthology2 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 them4 ,that purpose has the right of eminent domain4 ,if the original hymn has faulty lines or weak verses that jeopardize its otherwise practical effectiveness1 competent editors of collections of hymns for congregational use have the right to amend1 or condense1 and so add to its usefulness in the work of the church1 in so far as it does not affect the general spirit and tenor of the original4 ,isaac ,watts recognized this principle1 saying1 8,where an unpleasing word is found1 he that leads the worship may substitute a better one40 ,indeed1 in #agcg1 he acknowledged that 8,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 shall40 ,,iii4 ,,effect ,,of ,,changes ,,on ,,quality ,loss of ,original ,writer's ,vision4 ,it has been strongly urged that the emendation of hymns is dangerous to their quality2 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 expression4 ,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 hymn4 ,furthermore1 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 force4 ,this being true1 the editor who supplies the wanting critical attitude shows no presumption1 provided his vision is clear and his skill in supplying more accurate1 more melodious1 or more practical phraseology adds value to the hymn4 ,martin ,madan was no hymn writer1 but when he rewrote ,watts' hymn1 8,he dies1 the ,heavenly ,lover dies6 ,the tidings strike the doleful sound ,on my poor heartstrings2 deep he lies ,in the cold caverns of the ground10 and gave us the noble stanza1 8,he dies1 the ,friend of sinners1 dies2 ,lo6 ,salem's daughters weep around2 ,a solemn darkness veils the skies1 ,a sudden trembling shakes the ground10 he not only gave it a dignified and ,biblical content and form1 but he rescued the hymn for the spiritual edification of coming generations4 ,biblical ,precedent4 ,there is plenty of ,biblical precedent4 ,the original compiler and editor of the ,psalms1 be he ,asaph or ,ezra1 inserted a version of the eighteenth psalm differing from the original as found in the twenty-second chapter of ,second ,samuel4 ,it cannot escape the most casual reader of the ,new ,testament that its quotations from the ,old ,testament1 whether poetical or prose1 are by no means accurately reproduced4 ,moreover1 the writers of psalm versions from ,marot and ,luther down to ,watts did not hesitate to condense1 alter1 or interpolate new ideas in their transcriptions of the sacred originals4 ,they had no sense of presumption2 their minds were preoccupied with the practical ends they were trying to serve4 ,,iv4 ,,analysis ,,of ,,changes ,,made ,it may be instructive to study more in detail the occasions for changes made in our hymns and learn the justification for many of them4 ,if some of them seem somewhat microscopic and even captious1 none the less they make for exactness1 for nice discrimination1 and for more intelligent appreciation of the literary and spiritual values of our magnificent body of hymns4#b ,the ,omission of ,verses4 ,a very important change from the original of many hymns is the omission of some of the less valuable stanzas1 or even a condensation of some of them by omitting unattractive lines4 8,oh for a thousand tongues to sing10 the fine hymn that opens all but recent ,methodist hymnals1 originally began1 8,glory to ,god and praise and love10 and had eighteen stanzas4 ,the hymn as now used consists of stanzas #g to #ab of the original4 ,some hymnals omit stanza #aj4 ,in the ,trinity hymn sometimes ascribed to ,charles ,wesley1 8,come1 ,thou ,almighty ,king10 the second of the original five stanzas is always omitted3 8,jesus1 our ,lord1 arise1 ,scatter our enemies1 ,and make them fall2 ,let thine almighty aid ,our sure defense be made1 ,our souls on thee be stayed2 ,lord1 hear our call40 ,the evident imitation of the second stanza of the ,british ,national anthem is too obvious3 8,o ,lord1 our ,god1 arise1 ,scatter his enemies1 ,and make them fall4 ,frustrate their knavish tricks1 ,confound their politics1 ,on ,him our hearts we fix2 ,god save the ,king40 ,in ,bishop ,brooks' original of 8,o little town of ,bethlehem10 so widely known and used1 the fourth stanza is omitted3 8,where children1 pure and happy1 ,pray to the ,blessed ,child2 ,where misery cries out to thee1 ,son of the ,mother mild2 ,where charity stands watching1 ,and faith holds wide the door1 ,the dark night wakes1 the glory breaks1 ,and ,christmas comes once more40 ,the reasons are not far to seek3 the double rhyme in the third line is so forced as to be awkward2 the first two lines refer to ,jesus in the third person1 but the next two in the second2 more important still1 the stanza does not make a sufficient addition to the value of the hymn to warrant the added length4 ,the stanza1 8,thy body slain1 sweet ,jesus1 thine1 ,and bathed in its own blood1 ,while all exposed to wrath divine1 ,the glorious suff'rer stood10 if retained1 despite its medieval picture of our suffering ,lord1 would have added nothing to ,watts' noble hymn1 8,alas6 and did my ,saviour bleed10 but rather would have hemmed the progress of its thought and feeling4 ,few of the lovers of ,robinson's classic hymn1 8,come1 ,thou ,fount of every blessing10 would have enjoyed singing and visualizing the omitted fourth stanza1 8,o that day when freed from sinning1 ,i shall see thy lovely face6 ,richly clothed in blood-washed linen1 ,how ,i'll sing thy sovereign grace60 ,a stanza was omitted from a hymn by ,isaac ,watts by ,dr4 ,worcester1 and he was compelled by public sentiment to replace it in his next collection4 ,who was right--,dr4 ,worcester1 or ,watts and the church public8 8,but while ,i bled and groaned and died1 ,i ruined ,satan's ,throne2 ,high on my cross ,i hung and spy'd ,the monster tumbling down40 ,what a travesty in this stanza of ,christ's words1 8,i beheld ,satan as lightning fall from heaven06 ,the omission of all the older hymns regarding 8the state of the unpenitent dead0 in our more recent hymnals is due to their usually rather lurid expressions1 going beyond those of the ,scriptures1 to the reaction in the church at large against the rather mechanical and heartless emphasis of the painful doctrine--not only in hymns1 but in sermons as well--and also to the realization that it is not a theme fitted for singing4 ,what modern congregation could sing ,watts' stanza formulating the doctrine1 8,up to the courts where angels dwell1 ,it the soul mounts triumphant there2 ,or devils plunge it down to hell ,in infinite despair08 ,when we come to the hymns constructed by selecting stanzas from long poems--e4g41 by ,john ,keble or by ,john ,greenleaf ,whittier--we reach marvels of skill in selection and co-ordination that have greatly enriched ,english hymnody4 ,reconstructing and ,rewriting ,faulty ,hymns4 ,john ,wesley inveighed against 8hymn-cobblers10 but he was a most efficient and skillful 8hymn-cobbler0 himself4 ,he deserves high commendation for his literary skill and taste in cutting the rough diamonds that passed through his editorial hands4 ,a few instances will illustrate his success4 8,before ,jehovah's awful throne0 is recognized as one of ,watts' noblest hymns of worship4 ,but it is ,wesley's reconstruction that brought out its essential nobility4 ,watts began it in rather mechanical fashion1 8,sing to the ,lord with joyful voice1 ,let every land his name adore2 ,the ,british ,isles shall send the noise ,across the ocean to the shore40 ,wesley omitted this stanza entirely4 ,beginning with the second stanza1 8,with gladness bow before his throne1 ,and let his presence raise your joys2 ,know that the ,lord is ,god alone ,and formed our soul and framed our voice0 7which shows that ,watts' inspiration had begun to rise71 ,wesley transformed it into a majestic expression of pure worship3 8,before ,jehovah's awful throne1 ,ye nations1 bow with sacred joy2 ,know that the ,lord is ,god alone1 ,he can create and he destroy40 ,he was equally successful with ,watts' third stanza3 8,infinite power1 without our aid1 ,figured our clay to human mould2 ,and when our wandering feet had strayed1 ,he brought us to his sacred fold40 ,the first line is faulty3 the accent of 8infinite0 is on the first syllable3 ,watts placed it on the second4 ,the second line conveys no clear idea3 how is clay 8figured08 ,the third and fourth lines are bald and ordinary1 lacking in poetic grace4 ,see how deftly ,wesley took ,watts' material and gave it grace and dignity3 8,his sovereign power1 without our aid1 ,made us of clay and formed us men2 ,and when like wand'ring sheep we strayed1 ,he brought us to his fold again40 ,transforming ,watts' fourth stanza in like manner1 he added a majestic fifth stanza of his own3 8,wide as the world is thy command1 ,vast as eternity thy love2 ,firm as a rock thy truth shall stand ,when rolling years shall cease to move10 completing one of the noblest hymns in the language4 ,another hymn of ,isaac ,watts was enriched by passing through the hands of ,john ,wesley4 ,besides correcting minor infelicities and curtailing its impracticable length1 he rewrote the third stanza of the very popular hymn1 8,come1 ye that love the ,lord10 transforming ,watts' 8,the ,god that rules on high ,and thunders when he please1 ,that rides upon the stormy sky ,and manages the seas10 into 8,the ,god that rules on high1 ,that all the earth surveys1 ,that rides upon the stormy sky ,and calms the roaring seas40 ,he might have gone further and obviated the break of the sentence occurring between the third and fourth stanzas4 ,some hymnal editors meet the difficulty by omitting both4 ,rev4 ,martin ,madan wrote no hymns2 his only claim to immortality rests on his emendations of the hymns of greater men4 ,but he well deserves to be remembered for some of his happy improvements of important hymns4 ,his revision of ,watts' hymn 8,he dies6 the ,heavenly ,lover dies60 has already been referred to4 ,madan very fortunately changed ,charles ,wesley's 8,hark how all the welkin rings1 ,glory to the ,king of ,kings10 into the much more poetical lines3 8,hark6 the herald angels sing1 #8,glory to the newborn ,king4'0 ,minor ,felicitous ,changes4 ,no small improvement in our hymns consists of the change of individual phrases because of misplaced accents1 unfortunate consonantal combinations1 inept metaphors1 and phrases that are secular in spirit and associations4 ,in ,cowper's 8,jesus1 where'er thy people meet10 the second line had the word 8inhabitest10 difficult to sing2 it was changed to 8,dost dwell with those40 ,in ,bishop ,ken's 8,evening ,hymn0 some bad cases of wrong accents have been corrected4 8,under thy own almighty wings0 now is 8,beneath the shadow of thy wings10 and 8,triumphing rise at the last day0 is become 8,rise glorious at the judgment day40 ,isaac ,watts' theory that hymns should eschew poetic grace was carried too far--into euphonic slovenliness4 ,in 8,welcome1 sweet day of rest0 he wrote 8,one day amidst the place10 ignoring the fact that 8amidst0 is not singable4 8,one day in such a place0 is much more suave4 ,in 8,joy to the world6 ,the ,lord is come60 he wrote in the first line of stanza three 8let sins and sorrows grow02 the excessive sibilation has been removed by using singular nouns4 ,in ,charles ,wesley's very useful hymn1 8,ye servants of ,god1 your ,master proclaim10 8,the praises of ,jesus0 is substituted for 8,our ,jesus' praises10 distributing the hissing s's more musically4 ,the second and third stanzas are wisely omitted2 few congregations could sing1 with the solemnity the rest of the hymn calls for1 such lines as 8,when devils engage1 the billows arise1 ,and horribly rage and threaten the skies40 ,charles ,wesley in his hymn1 8,jesus1 let thy pitying eye10 had a very realistic vision of the crucifixion and wrote 8,my ,saviour gasped1 #8,forgive6'0 which for singing purposes was well emended to 8prayed40 ,how did it escape the eagle eye of his brother ,john8 ,or did the influence of the ,moravians1 who were fond of these physical touches in writing of the crucifixion1 affect both the ,wesleys8 ,the 8,protestant ,te ,deum10 8,all hail the power of ,jesus' name10 has fared well--or ill1 according to the point of view--at the hands of 8hymn-tinkers40 ,revisers have omitted 8,let highborn seraphs tune the lyre ,and1 as they tune it1 fall ,before ,his face who tunes their choir1 ,and crown him ,lord of all40 ,they have transformed the stanza1 8,let every tribe and every tongue ,that bound creation's call ,now shout in universal song ,the crowned ,lord of all10 into the nobler stanza1 8,let every kindred1 every tribe ,on this terrestrial ball1 ,to him all majesty ascribe1 ,and crown him ,lord of all40 ,omitting one or two more stanzas1 ,dr4 ,john ,rippon has added a last stanza that puts a fitting climax to the whole hymn3 8,oh1 that1 with yonder sacred throng1 ,we at his feet may fall6 ,we'll join the everlasting song1 ,and crown him ,lord of all40 ,edward ,mote began his widely-used hymn1 8,my hope is built on nothing less10 with a 8stumble on the threshold10 writing 8,nor earth nor hell my soul shall move10 a very unintelligent plunging in medias res4 ,was it ,bradbury1 who wrote the popular and effective tune that gave the hymn wings1 that had the happy impulse to combine parts of the first and second stanzas1 using the first two lines of the second stanza and the last two of the first8 ,this gave an arresting first line and eliminated a line impossible to put on the lips of a general congregation1 8,midst all the hell ,i feel within40 ,the very familiar and useful hymn of ,george ,heath1 8,my soul1 be on thy guard10 is a notable example of the value of a competent editor's emendations4 ,in stanza three ,heath wrote1 8,ne'er think the vict'ry won1 ,nor once at ease sit down2 ,thy arduous work will not be done ,till thou hast got thy crown40 ,again in the fourth stanza he wrote1 8,fight on1 my soul1 till death4 ,god will thy work applaud1 ,reveal his love at thy last breath1 ,and take to his abode40 ,the improvement in both stanzas1 as found in our hymnals1 is obvious at a glance4 ,even so finished a poet as the distinguished historian ,milman disfigured his noble ,palm ,sunday hymn1 8,ride on1 ride on in majesty10 by such a line as 8,thine humble beast pursues its road10 which ,murray changed to the graceful and appealing line1 8,saviour meek1 pursue thy road40 ,space is wanting to exhaust the various changes in hymns that are amply justified if their most effective use is to be secured4 ,it is sufficient to say that changes of text must increase the perspicuity1 precision1 propriety1 and force of the hymn4 ,single phrases may wisely be modified if a change corrects a wrong accent1 makes a line more euphonious1 adds to its vividness1 expressiveness1 or vigor1 increases its dignity1 clarifies the sense1 or better adapts it to public use4 ,chapter ,v ,,the ,,content ,,of ,,the ,,hymn ,the hymn is not an independent entity1 sufficient unto itself1 whose whole purpose is to be beautiful and to give pleasure to those responsive to its charm4 ,the hymn has a definite message1 is big with purpose4 ,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 others1 or of emotions that demand to be voiced forth in the mystic expressiveness of rhythm and rhyme4 ,it is related to ,god as the original source of its impulse and as the recipient of its response in love and praise4 ,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 inspired1 developed1 and expressed4 ,it is the content expressing these several relations and purposes that separates the hymn from purely literary ideals and criticisms4 ,i4 ,,its ,,relation ,,to ,,god ,thanksgiving4 ,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 particular4 ,there is consciousness of self in this expression of gratitude4 ,the soul still has its feet upon the ground4 ,there is nothing unworthy in this recognition of self as the recipient of ,god's favor1 for the soul honors ,god in its realization of its dependence on him and in its clear vision of the source of its blessedness4 ,indeed1 ,god asks it as his due4 ,prayer for ,future ,blessing4 ,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 ,god1 but there is a kinship between thanksgiving and prayer that makes it easy and logical to pass from the one to the other4 ,the memory of benefits received inevitably suggests needs yet to be supplied4 ,in its relation to ,god the hymn may well be a vehicle for the prayer that envisages the spiritual lack that ,god alone can supply1 and vitalizes the recognition with a desirous urgency that must characterize true prayer4 ,here again we find not only divine authority1 but encouragement and assurance4 ,whether the hymn is an individual or a collective prayer matters not4 ,the individual need is also a need common to all petitioners1 and the prayer by a congregation is still the individual prayer of its units1 only intensified objectively toward ,god and subjectively toward the singers by its mass expression4 ,this intensification is multiplied not arithmetically but geometrically4 ,adoration4 ,the hymn of adoration lifts the soul into a higher plane1 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 beauty1 nobility1 and spiritual elevation remains to thrill the soul4 ,it rises on wings of selfless delight and rejoicing in ,god into a very ecstasy that only song can express4 ,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 headlands1 its forests and fields1 its meadows and orchards1 filled with the overwhelming mystery of life and force obeying implicitly the laws formulated only in inherent nature2 or gazes into the great vault of the sky1 with the silent majesty of circling stars and developing universes1 it will find the anonymous hymn of more than a century ago voicing its deepest awe1 its noblest joy3 8,praise the ,lord6 ye heavens adore him1 ,praise him1 angels in the height2 ,sun and moon rejoice before him1 ,praise him1 all ye stars of light40 ,when the soul on some mountaintop of inner experience and vision glimpses something of the sublimity of the divine character1 its justice1 its truth1 its purity1 its invincible power and will guided by infinite knowledge and wisdom1 its boundless mercy and forgiving grace flowing from the eternal ,source of its all-embracing love1 again it can adopt as its very own the solemn notes of ,tersteegen1 echoed in ,english by ,john ,wesley3 8,lo6 ,god is here2 let us adore ,and own how dreadful is this place2 ,let all within us feel his power1 ,and humbly bow before his face40 ,this is the highest office of the hymn and should be made its largest use2 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 praise1 fully comprehended and sung with unflawed sincerity4 ,the ,hymn of ,communion4 ,beyond the hymn of exultant praise is the hymn of communion with ,god1 where the soul expresses its joy1 not simply in the objective glories of the divine nature1 but in actual communion1 companionship1 and conscious unity with ,god in desire1 ideals1 and purposes4 ,the soul thinks the thoughts of ,god1 delights in what ,god approves1 walks in his ways with spontaneous gladness1 and lives in absolute harmony with his will1 not mechanically under a stress of duty1 but by urge of the deepest depths of the soul4 ,objective praise may pull out all the stops of the soul's enthusiasm and the high imaginings of the spirit1 but the hymn of communion may express itself in tenderness and sweetness1 in upwelling love and quiet affection4 ,it often is a personal rather than a collective hymn4 ,,ii4 ,,relation ,,to ,,the ,,singer ,the ,hymn of ,emotion4 ,given a definite emotion based on realization of some religious truth1 man will urgently call for some expression of it1 directly by speaking or writing1 or by means of some provided method4#a ,christians are stimulated by being impressed by the experiences of others4 ,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 churches4 ,one feels the accelerated spiritual heartbeat as one reads 7or1 better yet1 sings7 ,watts' emotional cry as he stands before the cross of ,christ3 8,when ,i survey the wondrous cross ,on which the ,prince of glory died1 ,my richest gain ,i count but loss ,and pour contempt on all my pride40 ,who can fail to follow him in his final consecration1 8,love so amazing1 so divine1 ,demands my soul1 my life1 my all08 ,medley's hymn1 8,oh1 could ,i speak the matchless worth10 in not a single phrase directly addresses the ,deity4 ,it is a purely subjective expression of delight in the ,lord ,jesus ,christ2 and yet how impressive1 how delightful1 how eminently worthy of the feelings of any great congregation1 is this hymn of ,christian joy4 ,the hymn of emotion1 therefore1 supplies the soul's demand1 for it satisfies the instinct for expression4 ,it clarifies the intellectual basis of the emotion and in so doing intensifies it4 ,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 character1 and so give permanence to the influence of the truth underlying the feeling4 ,where at the beginning the truth is but dimly perceived and passively accepted1 the resulting shallow feeling will be deepened4 ,in this way the hymn becomes a very generator of desirable religious emotion4 ,the ,hymn of ,inspiration4 ,it follows that the hymn may be a means of stimulating interest and enthusiasm in connection with a topic or proposed course of action1 and may become the hymn of inspiration4 ,any line of thought or method of presentation appealing to any emotion or impulse that creates courage1 hopefulness1 confidence1 assurance of success1 will be pertinent and desirable4 ,the intenser element of direct exhortation may be added1 making a hortative hymn of one of mere inspiration4 ,the ,hymn of ,personal ,experience4 ,the hymn of personal experience differs from that of emotional expression in being more subjective1 more analytical of the effect produced on the mind by the apprehension of the religious truth4 ,the latter is based on the realization of some objective truth or doctrine1 while the hymn of personal experience emphasizes the inner experience in prayer1 in specific exercise of faith1 in a reaction of the soul to some accomplished task1 or to a season of communion with ,god4 ,the hymn of the blind poet1 ,george ,matheson1 which has been so widely used1 8,o ,love that wilt not let me go1 ,i rest my weary soul on ,thee10 is distinctly a hymn of ,christian experience2 while ,isaac ,watts gives poignant expression to the emotions of the ,christian1 as he contemplates the sufferings and death of ,jesus ,christ1 borne to atone for his sins1 8,alas6 and did my ,saviour bleed8 ,and did my ,sovereign die8 ,would he devote that sacred head ,for sinners such as ,i60 ,the hymn of personal experience has been rather heatedly objected to by critics like ,bishop ,wordsworth4 ,in some cases these 8,i and ,my0 hymns have been rewritten to meet the objection4 ,these critics who find their own 8ego0 offended by the apparent emphasis of the hymn writer's 8ego0 forget some rather important factors in the situation4 #a4 ,it would have been rather presumptuous on the part of the writer to speak for the collective 8,we0 and 8,us0 who presumably were to sing his verses4 #b4 ,as a spontaneous expression of personal experience1 the hymn had to be individualistic4 ,not often1 if ever1 are particular religious experiences common to a body of believers at a given moment4 #c4 ,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 individuals1 not by a mass of people4 ,to restrict the expression of religious experience to that common to all ,christians1 would be to omit the most inspiring and helpful hymns1 and keep our song service at a dead level of inferior value4 #d4 ,it must not be forgotten that it is not the congregation that sings2 it is its individual units6 ,the congregation is an abstraction1 a merely mental conception4 ,the singing of each member is fundamentally as purely individual as if he were absolutely alone6 ,hence the 8,i and ,my0 hymn is entirely fitting4 ,each sings what is1 or ought to be1 his own individual experience4 ,indeed1 he makes his best contribution to the collective effect if he is intensely individualistic in his singing4 #e4 ,in all ages this individualistic participation in mass singing has been natural and spontaneous4 ,the children of ,israel sang an individualistic 8,i and ,my0 hymn in rejoicing over the army of ,pharaoh4 ,the psalms are largely 8,i and ,my0 hymns of praise1 of prayer1 and of confession4 ,david sings1 8,the ,lord is my ,shepherd2 ,i shall not want40 ,it is too much to expect that every singer shall apprehend the full import of the words he sings2 to accuse him of insincerity and hypocrisy if he fails to rise to their level1 or if he takes them on his lips thoughtlessly1 is uncharitable4 ,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 sung4 ,it is1 therefore1 not a question of the first person singular1 but of the kind of personal experience that finds a voice4 ,is it artificial or genuine8 ,is it morbid or wholesome8 ,is it depressing or stimulating to the spiritual life8 ,is it an experience to which all have attained or may attain1 in terms all can accept1 or is it morbid1 fanatical1 extravagant8 ,no congregation should be expected to sing offhand with ,faber1 8,i love ,thee so1 ,i know not how ,my transports to control10 or 8,oh1 dearest ,jesus1 ,i have grown ,childish with love of thee40 ,there are other limits that need to be considered4 ,a hymn may properly be the vehicle for a confession of sin or of spiritual unworthiness2 but it should not take exaggerated forms of expression that only a few could honestly adopt4 ,the same is somewhat true of hymns of consecration4 ,some hymns are title deeds to gifts to ,jesus ,christ so comprehensive that few could sincerely subscribe to them4 ,all these hymns1 though they may have been spontaneous outbursts from the hearts of the writers1 will seem unreal and forced to the singer1 and will only aggravate the mechanical unreality and the unwitting insincerity that vitiate the average service of song4 ,the ,hymn of ,meditation4 ,the hymn of meditation is less emotional than that of personal experience or feeling4 ,it is quiet in rhetorical style and gentle in mood4 ,its purpose is not didactic1 although it often superficially seems to be so4 ,it is occupied with doctrinal truth only in an inferential way4 ,it contemplates all religious truth1 whether doctrinal or ethical1 in an objective1 impersonal way and notes its implications and corollaries4 ,it is1 therefore1 emotionally negative1 blending with the other elements of the service rather than controlling them4 ,perhaps as typical an instance as can be cited is ,bishop ,bickersteth's 8,peace1 perfect peace1 in this dark world of sin8 ,the blood of ,jesus whispers peace within40 ,charles ,wesley's meditation on the ,christian's duties1 8,a charge to keep ,i have10 is another hymn of this class4 ,faber's 8,there's a wideness in ,god's mercy0 78,was there ever kinder shepherd07 is also in the meditative mood4 ,the ,hymn of ,exhortation4 ,at first blush it may seem a little absurd that the members of a congregation should sing at each other such a hymn as 8,stand up1 stand up for ,jesus0 or 8,work1 for the night is coming40 ,but this is an artificial and not a genuine objection4 ,the instinct of the human race is toward the singing of just such hortatory songs as these4 ,the ,marseillaise ,hymn1 which was one of the strongest influences leading to the ,french ,revolution1 is simply an exhortation1 but it swept the ,french people off their feet and helped prepare the way for the great transformation of the social structure of the nation4 ,the ,church has gone on producing and singing these hortatory hymns throughout all generations from the time of ,david until now1 because the impulse is native to the human heart4 ,the ,didactic ,hymn4 ,the hymn may be used to teach truth as well as to express emotion4 ,if we are to accept ,paul's statements regarding the use of song in the churches in his early day1 the didactic hymn is the oldest form of the ,christian hymn4 8,teaching and admonishing one another0 is his phrase in ,colossians #c3af4 ,indeed1 we can go back to ,moses for authority for it1 for the ninetieth ,psalm is largely didactic4 ,in the ,psalms we find more instruction than worship4 ,there is really no reason why an assembly should not sing truth1 as well as recite it1 as it does in the ,apostles' or in the ,nicene ,creed4 ,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 ,god4 ,never was it more necessary than now4 ,it is significant of ,john ,wesley's appreciation of its didactic value that in his announcement of his hymnal of #aghj1 ,the ,large ,hymn ,book1 he refers to his grouping of the hymns under subjects1 making the hymnal 8a little body of experimental and practical divinity40 ,many of our most frequently used hymns are unfeignedly didactic4 ,bishop ,wordsworth's 8,o day of rest and gladness0 is a resume of the arguments for the validity of the ,christian ,sabbath4 8,the ,church's one foundation0 is one of a series of hymns by ,samuel ,j4 ,stone expounding the ,apostles' ,creed4 ,heber's hymn1 8,holy1 holy1 holy1 ,lord ,god ,almighty0 is suffused with poetical feeling1 but is none the less a didactic hymn emphasizing the doctrine of the ,trinity4 ,at the same time1 this religious truth must have a poetic element4 ,it is the great value of a hymn as a teaching method that it puts heart and feeling into the doctrine it expresses1 and so gives it reality and appeal4 ,despite ,dr4 ,austin ,phelps' rejection of ,montgomery's 8,prayer is the soul's sincere desire0 as 8without the wings of song10 the ,church at large has been singing it for a century4 ,even if the last stanza were omitted1 it would still be a good hymn1 because the doctrine of prayer is clothed in such beautiful and inspiring language that it is eminently fitted for the expression of a congregation in song4 ,the ,doctrinal ,hymn4 ,the doctrinal hymn is simply a limited form of the didactic hymn in that it is devoted to the promulgation of the leading ,christian doctrines1 while the general didactic hymn may be used to inculcate any truth or duty1 whether of a fundamental character or not4 ,the use of the hymn to teach the doctrines of the ,church has numerous advantages4 ,it is clear and succinct1 not obscuring the truth with philosophical or metaphysical subtleties4 ,it is dogmatic and not argumentative4 ,it has the mnemonic advantage of rhythm and rhyme and is easily remembered4 ,it has the inspiration of collective singing4 ,above all it is vivid and poetical1 emotionalizing and vitalizing what in the philosopher's hands becomes abstract and dry4 ,america's most distinguished hymnologist clearly differentiates the doctrinal theologian and the doctrinal hymn writer3 8,the theologian and the hymn writer traverse day by day the same country1 the ,kingdom of our ,lord4 ,they walk the same paths2 they see the same objects2 but in their methods of observation and in their reports of what they see1 they differ4 ,so far as theology is a science1 the theologian deals simply with the topography of the country3 he explores1 he measures1 he expounds4 ,so far as hymn-writing is an art1 the writer deals not with topography1 but with the landscape3 he sees1 he feels1 he sings4 ,the difference in method is made inevitable by the variance of temperament of the two men1 the diversity of gifts4 ,but both methods are as valid as inevitable4 ,neither man is sufficient in himself as an observer or a reporter4 ,it is the topography and the landscape together that make the country what it is4 ,it is didactics and poetry together that can approach the reality of the spiritual ,kingdom40#b ,it follows that the doctrinal hymn is not simply reluctantly admissible1 it is actually peremptorily necessary if the doctrines of the ,christian faith are to be impressed upon each rising generation4 ,this function of the hymn is all the more important because of the decline of doctrinal preaching4 ,it is the 8substance of doctrine0 the hymns supply rather than the rigid philosophical shell which the creeds and the catechism offer4 ,it is this shell that is 8dry10 not the realities it too often hides4 ,the ,homiletical ,hymn4 ,the homiletical hymn is a homily1 as its name implies--a sermonette4 ,the term refers to its form1 not to its content1 for that is usually doctrinal and always didactic4 ,it is sermonic because it proceeds from point to point1 leading the way to a practical application4 ,this form of hymn makes up the great body of the older hymnody1 because it was written by sermonizers who applied homiletical methods to their hymns4 ,take ,doddridge's hymn1 8,ye servants of the ,lord03 the first stanza makes the general appeal for service2 the second emphasizes the need of readiness for that service2 the third1 attention to the ,lord's commands2 the fourth exclaims over the joy and the reward of service2 the fifth1 the honors that ,christ shall heap on his servant4 ,that makes a fine outline for a sermon6 ,the homiletical hymn was often dry because the sermon was dry4 ,they were both too frequently 8proses0 in a sense different from the medieval use of the word4 ,the ,hymn of ,propaganda4 ,the hymn of propaganda calls for consideration4 ,it is a didactic hymn1 of course1 but its purpose is not to express the fundamental doctrines of the faith1 but to urge some subordinate article of it out of all proportion to its intrinsic importance1 or to win adherents for some new religious ideas4 ,there are hymns of ,perfectionism1 of ,holiness1 of ,unity1 of ,premillenialism1 of ,second ,adventism1 of ,christian ,science1 of phases of ,theosophy1 that fall within this category4 ,the spiritual value of some of these is not to be underrated1 but each hymn must be judged on its own merits4 ,the danger of exaggeration is the chief point calling for circumspection4 ,hymns of propaganda criticizing or antagonizing the ,christian ,church must be rejected4 ,hymns of the ,social ,gospel4 ,a few years ago1 when the sociological aspect of ,christianity won wide attention1 it was seriously proposed to rewrite the whole hymnbook and inject the 8,social ,gospel40 ,a few desirable hymns on ,brotherhood were written which fill out a previously somewhat neglected rubric4 ,brotherhood is not a discovery of the twentieth century1 but has been an integral part of ,christianity from the beginning and was never so fully exemplified as at that period4 ,in so far as the 8,social ,gospel0 is simply the application of the gospel of ,christ to old wrongs that yet need to be righted1 like slavery1 and war1 and alcoholism1 or to new social complexes in our modern economic life where there is injustice1 or where there is need of help for body1 mind1 or soul1 hymns may prove desirable helps4 ,they will1 however1 be written spontaneously1 not as propaganda1 and will be used freely in so far as there is practical and emotional justification for them4 ,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 past4 ,it is the appeal to these motives that gives vitality to such a hymn as 8,where cross the crowded ways of life10 by ,frank ,mason ,north4 ,special ,hymns4 ,it is a little difficult to supply hymns for subordinate topics which do not stir the spiritual pulses1 and hence the poorest hymns in our hymnbooks are found in these divisions4 ,the doctrines of ,human ,depravity1 ,regeneration1 ,sanctification1 the ,state of the ,impenitent ,dead1 do not lend themselves to attractive hymnic expression4 ,these hymns have no wings2 they are unemotional and without appeal to the imagination4 ,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 possibilities4 ,if the demands of symmetrical completeness in a hymnal1 or of close fitness of theme in a service1 must be met1 then one must be content with prosaic verses lacking in poetic charm or emotional inspiration4 ,the ,great ,hymnic ,themes4 ,there are certain doctrines1 certain experiences1 that appeal so strongly to ,christian hearts that the impulse to write and sing about them far exceeds that growing out of less general1 less striking themes4 ,there may be a great difference in the favorite themes of different persons1 under different circumstances1 in different generations4 ,the ,latin medieval hymnists greatly stressed the suffering ,christ2 ,watts sang of the majesty and glory of ,god and of his reign in the moral and spiritual world1 and his hymns are found largely in the purely worshipful rubrics of our hymnals2 ,charles ,wesley wrote in the midst of a great revival1 and his hymns emphasize the plan of salvation and voice the personal experiences of the saved4 ,in our own day the ideas of service1 of public welfare1 of works of philanthropy and mercy1 and of social justice find expression4 ,the supreme theme1 of course1 is ,christ4 ,whatever phases of ,christian doctrine or experience may seem to absorb the mind of any generation1 still the songs cluster about the person of ,jesus ,christ4 ,as ,dr4 ,austin ,phelps eloquently insists1 8here the rapture of holy song culminates on earth1 as it does in heaven4 ,here every grace of religious character1 and every experience of a devout life1 has found freedom to express itself in hymns of worship4 ,where can another such body of sacred poetry be found in any language1 as that which comprises the ,christology of the songs of the ,church80 ,this hymnody is all the more appealing in that it sings a living and not a dead ,christ1 a present personality1 near and dear1 and not merely a historical character4 ,the singer does not strain his power of thought and elevation of expression to hymn adequately the perfections of an infinite ,god1 but spontaneously rejoices in a ,friend who 8sticketh closer than a brother06 ,chapter ,,vi ,,the ,,gospel ,,hymn ,if this were a purely scholastic and literary treatise on the hymnody of the ,church1 the subject of this chapter might be ignored2 but this discussion purports to be practical1 and the ,gospel hymn is too large a factor in the life and work of our churches to be thus brushed aside4 ,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 extent4 ,they even elbow their way into the most exclusive hymnals issued by ecclesiastical authorities4 ,collections of them are found not only in rural or village communities1 but in urban churches as well4 ,great denominational publishing houses issue them by the hundred thousand4 ,they are heard in the great ecclesiastical gatherings and conventions of the land4 ,great evangelistic movements depend on them for inspiration and for aggressive energy4 ,yet the ,gospel hymn has been treated as a convenient 8punching bag0 for the literary and musical idealist4 ,one respects the antagonistic attitude of the high liturgist to whom the form is so significant1 or of the literary or scholarly man whose susceptibilities are outraged by the acknowledged shortcomings and banalities of many of these popular religious lyrics4 ,nonetheless1 one is astonished that persons of high intelligence1 in their devotion to exclusively literary and musical standards1 should be blind to the great spiritual value of the better specimens of this indiscriminately condemned class of hymns1 and to the extraordinary effectiveness and the immense results in aggressive religious work which this people's hymnody has demonstrated4 ,this is really only the recrudescence of an ancient feud between the conception of the hymn as exclusively worshipful and belonging to the liturgical service1 and as the free lyrical expression of the religious life of the people adapted to all phases of ,christian life--individual1 domestic1 and social1 as well as ecclesiastical4 ,as the church life of the early ,christians began to crystallize1 the former improvisations were discouraged4 ,in time1 the service of song was taken from the laity in the interest of greater dignity and churchliness4 ,the ,arian controversy with its hymnic outburst freed the wings of popular religious song1 only for them to be restrained again by the rigid formalism organized and enforced by ,gregory the ,great4 ,the ,waldenses1 the ,hussites1 the ,lollards1 each group had its own popular hymnody4 ,in the general breaking of bonds in the ,reformation1 the popular hymns of ,huss and ,luther and their associates1 and the metrical psalms of ,marot and ,sternhold set to popular secular melodies1 were the first manifestations of the new freedom4 ,the same outcry was heard against the hymns of ,watts1 and a little later against those of the ,wesleys1 not only in ,great ,britain1 but in ,new ,england as well4 ,in the latter the outcry was heard against the 8camp-meeting ditties0 of the aggressive ,methodists as they spread into the ,west4 ,even now1 in ,germany there is frequent protest against the use in church service of the simpler 8folk0 hymns1 like 8,harre des ,herrn0 7,wait on the ,lord71 8,ich will streben0 7,i will strive71 and 8,sei getreu bis in den ,tod0 7,be faithful unto death71 because they are more recent in origin and have not the severe dignity of the older hymns and chorals4 ,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 land1 and will continue to do so 8until ,he come40 ,lack of ,discrimination4 ,there is an utter lack of discrimination shown in the opposition to ,gospel hymns4 ,it is no more true that all ,gospel and ,sunday-school hymns are crude1 illiterate1 and undignified than is the anti-foreign ,chinese's charge that all ,americans are liars and thieves4 ,many of the ,gospel hymns were written by devout1 cultured people of high intelligence4 ,fanny ,crosby has had wide recognition1 and there have been many others of equal ability1 but lacking her adventitious appeal for sympathy4 ,there are many ,gospel hymns which deserve the harshest denunciations that have been expressed4 ,in a people's hymnody that was inevitable2 but there are others so fine that the line of essential values between the ,gospel and the standard hymn is difficult to trace4 ,lowell ,mason and ,thomas ,hastings' ,spiritual ,songs was practically a people's ,gospel songbook1 used for the same purposes and in the same relative spirit1 and largely made up of new materials in text and music just like a modern ,gospel songbook1 being even issued in parts4 ,among its new hymns were ,palmer's 8,my faith looks up to ,thee0 and ,smith's 8,the morning light is breaking10 now recognized as leading standard hymns4 ,the same is true of ,gilmore's 8,he leadeth me1 ,o blessed thought60 and ,kate ,hankey's 8,i love to tell the story0 and ,mrs4 ,hawks' 8,i need ,thee every hour40 ,mrs4 ,gates' 8,i will sing you a song of that beautiful land10 ,e4 ,e4 ,hewitt's 8,more about ,jesus would ,i know10 ,hopper's 8,jesus1 ,saviour1 pilot me10 ,stite's 8,simply trusting every day10 ,walford's 8,sweet hour of prayer10 ,hunter's 8,in the ,christian's home in glory10 ,bliss' 8,almost persuaded10 ,spafford's 8,it is well with my soul10 and ,pres4 ,dr4 ,j4 ,e4 ,rankin's 8,god be with you till we meet again0 are none of them illiterate or undignified4 ,indeed1 many of the writers of these despised hymns were college professors1 clergymen of high standing1 editors1 women of education and culture and of profound spiritual life4 ,many ,gospel song writers are far and away superior to the average of the hymnists of the eighteenth century--indeed1 have written nothing so unpoetical and so distinctly offensive to good taste as some of the hymns published by ,watts and ,wesley1 the hymnic giants of that age4 ,there is an impulse to distinguish between ,gospel hymns and ,gospel songs1 accepting the former and rejecting the latter2 but that is playing with words4 ,good ,gospel songs are to be baptized ,gospel hymns and allowed to enter the golden gates of approved hymnody4 ,others draw the line at the end of the ,moody and ,sankey campaigns1 closing the canon at that time and regarding all later ,gospel songs as apocryphal6 ,but the worst specimens that have appeared were issued before that date and many excellent ones have been written since4 ,no such mechanical criteria can be applied4 ,the acid test of actual usefulness must be employed with ,gospel songs as it was to formal hymns4 ,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 lyrics4 ,wrong ,assumptions of the ,opposition4 ,in much of the discussion there seems to be an underlying assumption that there is an inherent antagonism between the standard and the ,gospel hymn1 that the latter is intended to displace the former4 ,nothing can be farther from the truth4 ,it is true there is an occasional church where the standard hymns are neglected1 but they are a negligible minority4 ,the current ,gospel song collections practically all supply a large department of standard hymns and their tunes1 in many cases all that are in actual general use4 ,the value of the standard hymn is recognized everywhere as having a most important place in the work of the church4 ,but its very dignity and strength occasion the limitations to its use1 and beyond those limitations the ,gospel hymn comes as a complementary help4 ,the wise preacher does not use ,gospel hymns in his formal1 worshipful services1 but finds them indispensable in popular evening services1 where not awe and solemnity but spirit and aggressiveness1 and appeal to the person of average or less culture1 are needed4 ,his prayer meeting and other subordinate meetings of groups need the individual feeling and intimacy with religious things supplied by the ,gospel hymns4 ,in evangelistic meetings a few of the standards can express the high peaks of interest1 but the ,gospel songs lead up to those heights4 ,the great revivals of the nineteenth and of the early decades of this century were distinctly characterized by the use of ,gospel songs1 many of them not even of the higher type4 ,unfairness in ,comparisons ,made4 ,while the worst specimens of ,gospel hymns have usually been selected as the basis of attack1 the very best of the standard hymns have been held up as the criterion of value2 the utter unfairness of such comparison is evident enough4 ,gospel hymns should be judged by their best specimens when compared with standard hymns4 ,the inequity of such a comparison is made more flagrant by the fact that these standard hymns1 only hundreds in number1 which are justly appreciated and lauded1 are the survivors of multiplied tens of thousands that were written through the generations4 ,of the more than seven hundred written by ,isaac ,watts1 twenty-three appear in the recent ,presbyterian ,hymnal4 ,of the nearly seven thousand hymns of ,charles ,wesley1 the new ,methodist ,hymnal1 naturally biased in judgment by tradition1 uses only fifty-five1 while the ,new ,presbyterian ,hymnal finds space for only eighteen4 ,this tremendous mortality is not necessarily due to offensive weakness and faults1 for hundreds served their day and generation most acceptably and well4 ,in like manner the older ,gospel hymns1 which have had their day of usefulness are fading out of these collections1 making way for new ones that express the feelings of the present generation more intimately4 ,this is as it should be4 ,but when the detractor of current ,gospel hymns finds some delectable bit of vulgarity or of literary clumsiness or of grammatical solecism1 let him remember that ,watts published lines like these3 8,tame heifers here their thirst allay ,and for the stream wild asses bray40 8,i'll purge my family around ,and make the wicked flee02 and that ,john ,wesley allowed his brother to publish 8,idle men and boys are found ,standing on the devil's ground2 ,he will give them work to do1 ,he will pay their wages too40 ,remember also that ,william ,cowper1 the poet acclaimed by literary critics as the father of a new movement in poetical writing1 issued such a stanza as this3 8,not such as hypocrites suppose ,who with a graceless heart ,taste not of ,thee1 but drink a dose ,prepared by ,satan's art40 ,if the great poets and hymn writers of that age wrote such lines1 what must have been the character of the verses of the obscure scribblers and poetasters of their day6 ,not only do the best of the standard hymns alone survive1 but those survivors have been rewritten and amended by a half-century of editors and hymn revisers1 their revisions being re-revised by succeeding critics1 as we have seen in a previous chapter4 ,every line and phrase has been submitted again and again to the microscope of the literary critic1 until we have a body of hymns established in every detail by the consensus of the best literary minds of the last century4 ,this is no derogation of our accepted hymns1 but a great advantage to them2 but it must not be overlooked in making a fair comparison4 ,criteria for ,evaluation4 ,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 made4 ,but we have already insisted on the fact that these are not the final criteria of the value of hymns1 although they are important factors not to be overlooked4 ,speaking of a hymnal containing material of inferior literary quality1 ,dr4 ,austin ,phelps1 of ,andover ,seminary1 who shared with his colleague in the faculty of that institution the honor of being the fathers of ,american hymnology1 wisely remarks3 8,it is a shallow judgment either to approve or to condemn such a work in the spirit of a connoisseur in aesthetics4 ,the very conditions of excellence in a body of popular psalmody must extend its limits out of the range of a purely ,attic taste40 ,the approval or rejection of a hymn1 or of a body of hymns1 is not a question of personal taste or liking1 nor even of personal religious reactions1 but a question of the needs of the people to be stimulated and helped1 and the results of interest and spiritual impression secured among them by the hymns under consideration4 ,gospel ,hymns and the ,unsaved4 ,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 whole1 and even a greater ignorance of the psychology of reaching the unsaved4 ,if the body of our standard hymns fails to develop needed interest among a large element in our churches1 how much less will it appeal to these outside the fold6 ,if these intellectually and culturally less privileged masses in and out of the ,church are to follow the ,apostolic example and 8sing with the understanding10 the songs must lie within the range of their understanding4 ,professor ,a4 ,s4 ,hoyt1 ,d4,d41 of ,auburn ,theological ,seminary1 sums up the situation very wisely3 8,a few of the modern revival hymns make quick appeal to the modern heart1 are easily sung1 and may be teachers of religious life4 ,the majority of them are shallow in thought and without musical worth4 ,but in all matters of education we must help men as we find them and patiently lift them to better things40 ,gospel ,hymns and the ,demands of ,worship4 ,perhaps the most misleading assumption among those who reject the ,gospel hymn is that the chief use of hymns is in worship4 ,they will sing didactic hymns1 hortative hymns1 inspirational hymns1 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 worship4 ,that attitude conceives the ,divine ,being as a literary connoisseur1 or as a music critic who applies conventional academic criteria in accepting what his people bring him4 ,their slogan is that we must bring to ,god only our best1 insisting that anything but our best is an insult to him1 forgetting that we do not bring the hymn1 but the spiritual results of the hymn in devotion and love and consecration1 and that hymn which produces these in the given congregation is the best4 ,moreover1 the approach to ,god is not the sole function of effective hymns2 it may instead be the approach to men4 ,the best hymn in that department is the one that succeeds most fully in affecting the souls to be influenced4 ,there1 not the abstract values of the hymn count1 but its psychological adaptation to the actual mental1 moral1 and spiritual condition of the minds and hearts to be helped1 not overlooking even the physical factors essential to religious results4 ,furthermore1 there are lines of church activity which need the religious atmosphere and suggestiveness but are concerned with social and administrative work1 with the temporalities of church life1 for which many of these ,gospel hymns are eminently fitted4 ,there are campaigns1 drives1 and movements that need musical help such as many of the less subjectively pious ,gospel hymns can give4 ,gospel ,hymns in the ,preparatory ,service4 ,there are large and miscellaneous church gatherings where there is no preparation of mind to sing worthily and deeply religious hymns1 and where it would be a sacrilege to ask the miscellaneous crowd to take upon their lips such a hymn as 8,o ,love that wilt not let me go0 or 8,oh1 worship the ,king1 all-glorious above40 ,better to sing the semi-religious and shallow 8,brighten the corner where you are0 until the crowd has been psychically organized4 ,gospel ,hymns in the ,laboratory4 ,when we come to organized campaigns to persuade unconverted persons1 old and young1 to accept ,jesus ,christ as ,saviour and ,lord1 the need of these informal1 stimulating1 emotional folk songs becomes immediately apparent4 ,awe1 impressiveness1 spiritual elevation of mind1 such as are supposed to be produced by the standard hymns1 are not the stimuli that create aggressiveness of mind among ,christian workers1 nor are they calculated to awaken a response among the unspiritual4 ,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 hydrogen4 ,lord ,shaftesbury1 the great ,english philanthropist and ,christian worker1 speaking in ,ireland in the interest of evangelistic work there1 said3 8,therefore go on circulating the ,scriptures4 ,i should have been glad to have had also the circulation of some well-known hymns1 because ,i have seen the effect produced by those of ,moody and ,sankey4 ,if they would only return to this country1 they would be astonished at seeing the influence exerted by those hymns which they sing40 ,it is worthy of incidental note that the most of those to whom the ,gospel hymn is anathema are not much in sympathy with any evangelistic methods2 nay more1 they seem to shrink from popular manifestations of religious life4 ,they have sharpened the edge of their religious refinement until it will no longer cut4 ,the ,advantages of ,gospel ,hymns4 ,these ,gospel hymns have several distinct advantages that should not be overlooked4 ,they are simple1 easily understood by everybody1 quickly appropriated as his own expression by the most limited in education or culture4 ,they are quite emotional1 expressing feeling and creating it4 ,they are spontaneous and free1 with no labored subtlety or recondite allusion4 ,they are usually more or less rhythmical and stimulating1 physically as well as mentally4 ,they are adaptable to various situations and states of feeling4 ,even more than standard hymns they express personal religious experiences1 and are more direct in their hortative method4 ,the chorus1 if intelligently written1 emphasizes the fundamental idea of the hymn in an unescapable way4 ,as a tool for aggressive effort it has no substitute1 and but one rival--earnest and spirit-filled preaching4 ,discrimination in the ,use of ,gospel ,songs4 ,it should be said1 however1 that the inventory of its values mentioned above applies to only a comparatively small part of the ,gospel songs offered to the public1 just as the accepted standard hymns are a very small part of the formal hymns from which they have been gleaned4 ,usually its faults are aridity1 vapidity1 and shallowness4 ,yet in all these shortcomings1 specimens of equal weakness and futility can be found in verses by accepted hymn writers4 ,the better ,gospel songs are after all the sincere expression of a certain stage of culture of mind and soul4 ,that stage may not be high nor admirable1 but it must be allowed its spontaneous expression4 ,every generation has had its own ephemeral hymnody and will continue to have it in spite of all the scolding critics4 ,when our religious people stop writing and singing new songs and are satisfied to sing over and over again the songs of preceding ages1 it will prove that the process of ossification has set in and that vital force is passing away4 ,better that literary unskillfulness and mediocre musical talent shall continue to write1 better to have ephemeral1 shallow1 and unsatisfying songs written by the thousands1 than that the impulse to express spontaneously the vital godliness within should be entirely lost4 ,,the ,,singing ,,church ,,part ,,ii ,,history ,,of ,,the ,,development ,,of ,,hymns ,chapter ,,vii ,,apostolic ,,origin ,,and ,,development ,in considering the origin of the ,christian hymn1 one must remember that it is an outgrowth of man's innate impulse to express his feelings in hymns and songs4 ,that impulse is constitutional2 man sings because he was so made that he cannot help singing4 ,furthermore1 the ,christian hymn is the natural development of the ,hebrew psalm1 just as ,christianity is the consummation of the ,jewish religion4 ,the two systems of religion are related as closely as the foundation and the superstructure of a great temple4 ,we shall find the ,hebrew voice of worship not only leading the songs of the ,apostolic ,church1 but through all the succeeding ages sounding the controlling note of all ,christian praise4 ,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 synagogues4 ,christianity gave the ,psalms a larger1 more inspiring message and a more literary and more musical setting2 but the thrumming of ,david's harp has been heard through all the long centuries and is still heard around the world4 ,the ,greek atmosphere in which the ,early ,church developed might be supposed to have influenced the character of the ,apostolic hymnody2 but the ,greek ,christians were not literary in culture1 and the ,greek religion had no congregational singing4 ,it took several generations before it began to affect the form and music of the ,christian hymnody1 but eventually it was to become a formative force4 ,i4 ,,sacred ,,song ,,in ,,the ,,new ,,christian ,,church ,the ,rise of ,sacred ,song in ,apostolic ,times4 ,but when the baptism of the ,holy ,spirit vitalized and organized the ,christian ,church1 the tide of sacred song began to swell4 ,it had a great heritage from the dying ,jewish church3 its fundamental ideas1 its laws1 its prophets1 its hope of the ,messiah now transformed into a reality2 but not the least of its inheritances were the habit of praise and worship1 and the lyrics that gave them form4 ,we read that the ,church was filled with joy and praised ,god4 ,incidentally1 we learn that1 despite sufferings from cruel scourging1 ,paul and ,silas sang hymns in the ,philippian prison1 showing that with the new wine of ,christian joy there were created new bottles to contain it4 ,we may be sure this was not an isolated instance1 but the occurrence of an established practice4 ,apostolic ,emphasis of ,sacred ,song4 ,james says1 8,is any merry1 let him sing psalms40 ,whether he meant ,david's or 8private0 psalms is left open to conjecture4 ,the ,american ,revised ,version translates it 8praise40 ,paul is most definite in recognizing 8hymns and spiritual songs0 as distinguished from 8psalms40 ,some commentators have interpreted the latter as ,david's psalms1 the 8hymns0 as the already accepted canticles1 and the 8spiritual songs0 as the new songs1 more or less improvised1 that were sung by individuals1 8teaching and admonishing one another10 8singing with grace in the heart40 ,paul's conception of the hymn1 therefore1 was not a collective hymn1 sung by all1 but a hymn of edification sung by individual singers4 ,the practice of solo singing assumed in ,paul's exhortations in ,ephesians and ,colossians1 due to the perennial danger of governmental raids and persecutions1 still continued in the time of ,tertullian 7circa #aih74 ,he writes that after their common meal 8each man1 according as he is able1 is called on1 out of the ,holy ,scriptures1 or of his own mind1 to sing publicly to ,god4 ,hence it is proved in what degree he hath drunken0--a refutation of the common charge of gluttony and drunkenness4 ,traces of ,hymns in the ,epistles4 ,in the eagerness to unearth traces of the supposed hymnody of the ,apostolic church1 the wish has been father to the thought1 and passages have been pointed out as probable quotations from hymns current in the churches4 ,some of them are quite plausible1 but others are examples of the periodic structure so manifest in the style of both ,christ and ,paul and in the ,oriental proverbial form1 but lacking the parallelism of the ,psalms4 ,in ,ephesians #e3ad1 ,paul has the formula of quotation from the ,old ,testament1 but no such passage1 or anything approaching it1 can be found in either the canonical or uncanonical books of the ,old ,testament4 ,if we should substitute 8it0 for 8he10 the second word of the passage 8it0 might refer to a hymn in common use4 ,westcott and ,hort put it in metrical form1 but the ,revised ,versions do not4 ,it is very plausible1 however2 even in the ,english translation the structure is distinctly metrical3 8,awake1 thou that sleepest1 ,and arise from the dead1 ,and ,christ shall give thee light40 ,equally plausible is the passage in #a ,timothy #c3af1 although not formally quoted3 8,god was manifested in the flesh1 ,justified in the spirit1 ,seen of angels1 ,preached unto the ,gentiles1 ,believed on in the world1 ,received up into glory40 ,this is particularly true of such passages as have rhetorical warmth rather than inherent lyric quality4 ,the extraordinary flight of the ,spirit that has been called the 8,hymn of ,love0 7#a ,cor4 #ac7 can be called a hymn only by stretching the limits of the definition beyond all reasonable bounds4 ,noble as it is1 no composer has ever succeeded in setting it to worthy music4 ,as well call ,lincoln's ,gettysburg address a ,memorial ,day ,hymn4 ,the same may be said of the ecstatic passage which opens ,paul's letter to the ,ephesians 7#a3b-ab74 ,the ,hymns of the ,apocalypse4 ,it has been suggested that the choral passages of the ,book of ,revelation are quotations from current hymns4 ,if that were true1 how could the little gatherings of ,christians have risen to the majesty of these marvelous hymns of adoration1 either vocally or spiritually8 ,they are so intimately a part of the stupendous scenes in which they appear as to make their being merely quotations seem impossible4 ,only the itch of a ,german-type scholarship to press out the last drop of possibility from any given historical material1 and the calm assurance that the results must be true1 since it has recognized them1 can explain this hypothesis4 ,these hymns are too integral a part of the scenes1 too consonant with their elevated spirit1 and logically too inevitable1 that they should have been mechanically introduced or even adapted from current hymns--they are too choral in the grand manner4 ,in general1 we may accept the same judgment of ,dr4 ,lyman ,coleman1 in his work ,the ,primitive ,church4 8,the argument is not conclusive1 and all the learned criticism1 the talent and the taste1 that have been employed on this point1 leave us little else than uncertain conjecture on which to build a hypothesis40 8,the ,odes of ,solomon40 8,the ,odes of ,solomon0 is a ,syriac collection of hymns which good authorities claim to be of the ,apostolic ,age2 one authority1 ,mrs4 ,gibson1 insists that it precedes ,paul's letter to the ,ephesians1 while the most conservative concede that it belongs to the first century1 or the first half of the second4 ,its discoverer1 ,dr4 ,rendell ,harris1 ,director of studies at ,woodbrooke1 the ,quaker center at ,selly ,oak1 ,england1 says of the 8,odes03 8,they are utterly radiant with faith and love1 shot through and through with what the ,new ,testament calls #8the joy of the ,lord4'0 ,he quotes one of them3 8,a great day has shined upon us2 marvelous is ,he who has given us of ,his glory4 ,let us1 therefore1 all of us unite together in the name of the ,lord1 and let us honor ,him in ,his goodness1 and let us meditate in ,his love by night and by day40#a ,the first stanza of ,ode ,,xxvi is translated as follows3 ,i poured out praise to the ,lord1 ,for ,i am his3 ,and ,i will speak his holy song1 ,for my heart is with him1 ,for his harp is in my hands1 ,and the odes of his rest shall not be silent4 ,i will cry unto him from my whole heart2 ,i will praise and exalt him with all my members4 ,for from the ,east and even to the ,west ,is his praise2 ,and from the ,south and even to the ,north ,is his confession3 ,and from the top of the hills to their utmost bound ,is his perfection4 ,the ,failure of ,apostolic ,spiritual ,songs to ,survive4 ,it is likely that the reason why no definitely recognized collection of hymns has survived from ,apostolic times1 and immediately thereafter1 is that the singing1 outside of the ,psalms and ,gospel canticles1 was largely extemporaneous4 ,the later hymnic form and structure had not yet developed4 ,dr4 ,neale1 who deserves to be recognized as a high authority1 referring to the apostolic 8hymns0 and 8spiritual songs10 says3 8,from the brief allusions we find to the subject in the ,new ,testament we should gather that the hymns and spiritual songs of the ,apostles were written in metrical prose40 ,rhyming did not come into use until very much later4 ,the singing was in recitative with rather formless melodies4 ,such extemporizations as appealed to the body of believers were passed on from place to place1 the very best from generation to generation1 from memory and by word of mouth1 for illiteracy was the common lot of the mass of early believers4 ,these people's spiritual songs were presently lost1 much as were most of our early ,american 8spirituals0 that served so excellent a purpose4 ,indeed1 it would be entirely correct to conceive of the stream of devout song flowing steadily on from the 8hymns and spiritual songs0 of the ,apostolic times down through the centuries until our own time1 sometimes finding temporary subterranean channels1 as with the ,albigenses1 the ,hussites1 and the ,lollards1 but always inspiring1 refreshing1 and comforting the generations as it passes4 ,it was the ,laus ,perennis1 the unfailing sacrifice of praise1 that day and night rose without break or intermission to the ears of the ,almighty4 ,in every generation1 hymns that had nobly served preceding generations were replaced by new ones fresh from throbbing hearts that had re-experienced the vital truths of ,christianity4 ,it is no condemnation of a hymn that the ,church lays it aside4 ,that it served only for a season may have been due to its peculiar adaptation to the individuality of the age1 to the temporary conditions and needs among ,god's saints of that particular time4 ,chapter ,,viii ,,the ,,post-,,apostolic ,,hymn ,the ,post-,apostolic ,church a ,singing ,church4 ,whatever conclusion we reach regarding the song service during the ,apostolic age1 because of the meager facts we have regarding it1 we have sufficient information regarding the second1 third1 and fourth centuries to be sure that the hymn had become a more and more important feature of the religious life4 ,the tide of song swells louder and higher as the generations pass4 ,clement of ,alexandria1 the reputed writer of the earliest surviving ,christian hymn1 8,shepherd of tender youth10 writes1 8,we cultivate our fields1 praising2 we sail the sea1 hymning40 ,jerome writes to ,marcellus1 8,you could not go into the field1 but you might hear the plowman at his hallelujahs1 the mower at his hymns1 and the vinedresser singing ,david's psalms40 ,tertullian1 a little earlier1 when the antiphonal singing was still in vogue1 objects to the marriage of a ,christian with an unbeliever1 because they cannot sing together1 whereas the ,christian mates each would challenge the other 8which shall better chant to the ,lord40 ,the early church was1 therefore1 a singing church4 ,tertullian was not a writer of hymns1 for he declared 8,we have a plenty of verses1 sentences1 songs1 proverbs40 ,we do not have their hymns1 but we have the names of prominent hymn writers who sealed their faith with their blood3 ,ignatius1 ,athenogenes1 ,hippolytus1 and many others who did not win a martyr's crown4 ,all these hymns blossomed out of the consuming love for the ,lord ,jesus ,christ1 for which the ,jewish psalms could give no expression4 ,that they were used for public worship we have the testimony of ,pliny 7,a4,d4 #aaj74 ,his report from ,bithynia to the ,emperor ,trajan was that 8the new sect have a custom of meeting before dawn on a stated day and singing by turn a hymn to ,christ as ,god40 ,the ,earliest ,surviving ,hymns4 ,unless we accept the ,syriac 8,odes of ,solomon0 as an apostolic hymnbook1 none of the 8spiritual songs0 of that age survive4 ,the hymn written 7or quoted87 by ,clement in #agj is accepted as the earliest hymn handed down to us1 with the 8,candlelight ,hymn0 as possibly contemporaneous4 ,clement's hymn 8,shepherd of tender youth0 is found in most of our hymnals and is in actual use4#a ,dr4 ,henry ,m4 ,dexter's version1 as generally used1 is an attenuation suited to the taste of our day rather than a faithful reproduction of the original1 which begins with a rather violent figure1 8,curb for stubborn steed0 7,e4 ,h4 ,plumptre74 ,the date of the 8,candlelight ,hymn0 is very uncertain4 ,it was so old in #cgj that another ,st4 ,basil could throw no light on its origin3 8,it seemed fitting to our fathers not to receive the gift of light at eventide in silence1 but on its appearing immediately to give thanks40 ,the version by ,john ,keble is still in use3 8,hail1 glad'ning ,light1 of ,his pure glory poured ,who is the immortal ,father heavenly1 blest1 ,holiest of holies1 ,jesus ,christ1 our ,lord6 ,now we are come to the sun's hour of rest2 ,the lights of evening round us shine2 ,we hymn the ,father1 ,son1 and ,holy ,spirit divine40 ,the ,relation of ,hymns to ,psalms and ,canticles4 ,in the very nature of the case1 these individual songs and hymns and psalms had no authority back of them4 ,they were the 8spirituals10 the ,gospel songs of their day and generation4 ,most of them were improvisations for a single service--flying sparks from the anvil of the ,spirit4 ,undoubtedly others had a longer life1 were written out and passed from hand to hand and even from generation to generation4 ,these hymns were mostly in ,greek1 though some were in ,syriac1 and as far as they were given a standard form they used ,greek classical meters4 ,some were modeled on the ,septuagint psalms and were known as 8private psalms40 ,many were odes1 like the 8,odes of ,solomon40 ,but it is quite evident that this body of song was never regarded as on an equality with the ,psalms of the ,jewish church1 or with the ,canticles of the ,new ,testament4 ,these had the sanctions of the rapidly crystallizing canon of the ,new ,testament1 and the established canon of the ,old1 which gave an authority that was lacking in the current hymnody4 ,the relation was even more pronounced than that in our own day between the body of hymns surviving through the generations recognized as 8standard0 and the current religious songs of the hour4 ,in addition to the ,psalms taken over from the ,jewish psalter 7not over one-half of which were ever sung7 and the ,canticles of ,luke's ,gospel1 there gradually rose a subsidiary body of canticles which by the fourth century had been for the most part fully formulated4 ,they were developments of passages from both the ,old and ,new ,testament4 ,in addition to the ejaculatory responses1 8,alleluia0 and 8,hosanna10 the following were hymns authorized to be used in ,christian services3 #a4 ,the ,gloria in ,excelsis1 developed from the song of the angels as found in ,luke1 known as the ,greater ,doxology4 #b4 ,the ,ter ,sanctus1 based on ,isaiah #f3c1 possibly later associated with ,revelation #d3h1 and called the ,cherubical ,hymn4 #c4 ,the ,benedicite1 the song of the three ,hebrew children in the furnace1 a paraphrase of the forty-eighth ,psalm1 likely taken from the ,apocrypha4 #d4 ,the ,gloria ,patri or ,lesser ,doxology1 apparently handed down from the ,apostolic time1 developed from the baptismal formula4 ,it was expanded during the ,arian controversy1 adding 8,as it was in the beginning1 is now1 and ever shall be1 world without end40#b ,the ,hymn as ,propaganda4 ,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 doctrines4 ,bardesanes and his son ,harmonius in ,edessa1 ,asia1 a little later composed an entire psalter of one hundred and fifty psalms1 8deserting ,david's truth and preserving ,david's numbers10 as ,ephrem ,syrus expressed it4 ,the ,gnostic hymns during the third century were slowly undermining the faith of the people1 but it was not until ,arius appeared with his denial of the deity of ,jesus ,christ and spread broadcast his 8,thalia10 a collection of practical hymns emphasizing practical duties and the value of the daily life of the people1 as well as magnifying the humanity of ,jesus1 that the full extent of the revolution in the religious sentiment of the people became evident4 ,he fitted his measures to well-known popular tunes1 sung only by those 8who sing songs over their wine with noise and revel40 ,arius1 an ungainly giant of tremendous force of personality and unbounded energy1 thus began a movement that was to convulse with its controversy the whole ,roman ,empire through many generations1 even down to our own times1 and was to prepare ,asia and ,northern ,africa for the superimposition of the ,mohammedan personality and cult upon an emasculated ,christianity4 ,in #bfi1 ,paul of ,samosata1 an ,arian ,bishop1 banished from his churches the hymns that had come down from the second century because they were addressed to ,christ as ,god and 8as being innovations1 the work of men of later times40 ,he began the ,arian fashion of propaganda by means of hymns4 ,as an answer to this came the great hymnic outburst of the fourth century1 headed by ,gregory of ,nazianzus and participated in by ,st4 ,chrysostom4#c ,it is not surprising1 therefore1 that the ,synod that met in ,laodicea in #cfc ordered that 8psalms composed by private men must not be read in the church1 nor uncanonical books1 but only the canonical of the ,new and ,old ,testament40 ,nor need we wonder that with the ,arian fanatics interrupting orthodox services by starting their heterodox hymns1 the same ,synod decided that 8beside the psalm singers appointed thereto who mount the ambo and sing out of the book1 no others shall sing in church40 ,this robbing the lips and the hearts of the congregation of its share of the public praise1 in order to prevent ,gnostic and ,arian heretics from profaning public services with their strife and contention1 hardened into a perpetual prohibition1 and in the ,greek church the people are mute to this day4#d ,it should be remembered that these prohibitions applied only to public services and their liturgies4 ,outside the walls of the larger churches the people were still singing4 ,indeed1 the popular song was used by the orthodox to displace the heretical songs of the ,arians1 as was done by ,chrysostom in ,constantinople1 in order to stem the tide of attack on the doctrine of the deity of ,christ4 ,chapter ,,ix ,,the ,,greek ,,hymnody ,i4 ,,early ,,greek ,,hymns ,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 hymn4 ,of the earliest hymn writers we know little1 and their work has not come down to us4 ,we have a hymn of ,methodius 7#caa7 based on the parable of the ten virgins1 of considerable vigor and merit4 ,the most prominent figure that greets us is that of ,gregory of ,nazianzus 7#cbg-chi74 ,he was called to ,constantinople by the ,emperor ,theodosius to lead the orthodox forces against the ,arian enemy4 ,he was appointed court preacher1 ,patriarch of the ,eastern ,church1 and president of the ,ecumenical ,council of ,constantinople2 but the pious1 gentle monk1 while a great preacher and a fertile hymn writer 7it is said that he wrote thirty thousand hymns71 was not fitted for the strife and intrigue rampant in the ,capital2 within a few years he returned to his cell at ,nazianzus in ,cappadocia4 ,his hymns are ranked very high4 ,dr4 ,brownlee has given an excellent version of his 8,evening ,hymn03 8,o word of truth6 ,in devious paths ,my wayward feet have trod2 ,i have not kept the day serene ,i gave at morn to ,god4 ,and now 'tis night1 and night within1 ,o ,god1 the light hath fled6 ,i have not kept the vow ,i made ,when morn its glories shed4 ,for clouds of gloom from nether world ,obscured my upward way2 ,o ,christ1 the ,light1 thy light bestow1 ,and turn my night to day60 ,synesius 7#cge-dcj71 ,bishop of ,cyrene1 was a brilliant man1 a friend of ,hypatia1 whom most general readers know as the heroine of ,charles ,kingsley's great historical romance4 ,he wrote some very tender hymns and poems that have been widely appreciated4 ,he is best known by his hymn1 8,lord ,jesus1 think on me10 a free paraphrase of which 7by ,allen ,w4 ,chatfield7 is found in some of our hymnals4 ,anatolius 7d4 #deh7 is known to us1 not as the able and noble ,byzantine pontiff1 but as the original writer of two quite different hymns1 translated by ,dr4 ,mason ,neale3 the evening hymn1 8,the day is past and over10 and the descriptive hymn1 8,fierce was the wild billow40 ,he was one of the first to forsake the classical forms and to put his thoughts into harmonious prose4 ,he wrote few hymns1 but all of great excellence4 ,,ii4 ,,the ,,later ,,greek ,,hymns ,the earlier ,greek hymn writers wrote in the classical measures and evinced an admirable sense of form2 but the later hymnists1 following the example of ,anatolius1 wrote in rhythmical prose and not by any means as felicitously4 ,moreover1 the later ,greek language greatly degenerated1 losing its lucidity and subtlety of expression4#a ,the later ,greek hymns had many ecclesiastical and theological phrases difficult to render4 ,they were filled with grotesque figures2 the worship of ,mary1 and even of the saints1 is offensive4 ,being mostly in rhythmical prose1 they were not intended to be sung--at most only to be chanted4 ,really they were not hymns in the ordinary sense of the word2 rather they were the raw materials of hymns4 ,as ,dr4 ,brownlie says1 8,the writers are not poets1 in the true sense1 and their language is not ,greek as we have known it40 ,the more conspicuous of these later ,greek devotional writers do not appear until the eighth century4 ,andrew of ,crete 7#ffj-gcb71 an archbishop1 was a very voluminous devotional writer4 ,among his more important works are the 8,great ,canon10#b the 8,triodion10 and the 8,pentecostarion40 ,the 8,great ,canon0 has more than three hundred stanzas1 illustrating by ,scripture examples the feelings of a penitent confessing his sins4 ,he is represented in some of our hymnals by the hymn1 8,christian1 dost thou see them80 translated by ,dr4 ,john ,mason ,neale and said to be taken from the 8,great ,canon40 ,the other hymnists of this century are ,john of ,damascus 7d4#ghj71 his foster-brother ,cosmas1 the ,melodist 7d4#gfj71 and ,stephen the ,sabaite1 his nephew 7#gbe-gid74 ,john of ,damascus wrote the best ,greek of his generation and was most poetical in spirit and style4 ,gibbon calls him the 8last of the ,greek ,fathers40 ,his verse is characterized by being written in iambics 7the most common measure in modern hymns74 ,his best-known hymn is 8',tis the day of resurrection10 taken from his great ,easter canon1 styled the 8,queen of ,canons0 and the 8,golden ,canon0 by the ,greek ,church4 ,john's foster-brother1 ,cosmas1 survives in the ,christmas hymn1 8,christ is born6 exalt his name40 ,although his canons are very thoughtful1 his style is often turgid and difficult to follow4 ,stephen the ,sabaite1 the nephew of ,john of ,damascus1 the third of this 8nest of singing birds0 7to use ,dr4 ,gillman's phrase71 came to ,mar ,saba as a boy and remained there all his life4 ,dr4 ,neale found the inspiration of his hymn 8,art thou weary1 art thou languid80 in some lines of ,stephen4 ,these three ,greek hymn writers were monks in the monastery of ,san ,saba1 to be seen to the north from the highway between ,jerusalem and ,jericho1 on the rugged heights overlooking the ,jordan valley4 ,another group of ,greek hymn writers appears a little later1 headed by ,theodore 7#gei-hbf71 abbot of the ,studium1 a great monastery at ,constantinople4 ,the group was quite controversial1 the occasion being not the ,deity of ,christ1 but the enforced destruction of ikons1 or images4 ,the hymns of this group were not all controversial4 ,theoctistus 7c4#hij71 an obscure and later member of it1 when the heat of strife had presumably subsided1 could write this devout hymn of praise to ,christ3 8,jesu1 name all names above1 ,jesu1 best and dearest4 ,jesu1 fount of perfect love1 ,holiest1 tend'rest1 nearest4 ,jesu1 source of grace completest1 ,jesu purest1 ,jesu sweetest4 ,jesu1 well of power divine1 ,make me1 keep me1 seal me thine40 ,joseph of the ,studium 7c4#hdj71 because of his many hymns1 was called the ,hymnographer4 ,he wrote too much to write well4 ,his work is characterized as tautological1 tawdry1 tedious4 ,three of his hymns1 however1 had enough suggestiveness to inspire ,dr4 ,neale to write 8,let our choir new anthems raise10 8,o happy band of pilgrims10 and 8,safe home1 safe home in port40 ,dr4 ,neale's pump seems to have needed but slight priming to bring up stirring lyrics from the deepest spiritual experiences and emotions6 ,the most striking characteristic of the ,greek hymnody is its sheer objectivity4 ,it is self-forgetful in its rapt1 ecstatic contemplation of the doctrines and facts of the ,christian faith4 ,it is never experiential or self-analytical except when it confesses sin and unworthiness4 ,the sustained dignity and elevation of its praise and adoration are other admirable traits4 ,its consciousness of ,god1 its unflawed acceptance of ,jesus ,christ as ,lord and ,saviour1 its assurance of the indwelling ,spirit1 give it a liturgical value beyond that of any other ancient hymnody4 ,chapter ,x ,,the ,,latin ,,hymnody ,i4 ,,the ,,beginnings ,,of ,,latin ,,hymnody ,the early disciples in the ,west were accustomed to use the ,greek language1 as may be gathered from ,paul's writing his ,epistle to the ,romans in ,greek4 ,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 necessary4 ,that great ode1 the 8,te ,deum10 comes to us only in a ,latin form4 ,the tradition is that it was an antiphon improvised by ,ambrose and ,augustine on the occasion of the latter's baptism1 but that is doubtless a hero-worshiping fancy of the ninth century4 ,that a good deal of it came from the ,greek was to be expected and is quite certain1 whether the ,dacian ,bishop1 ,nicetius of ,remisiana1 gathered up the ,greek material or not 7circa #djj74 ,on the other hand1 there is no ,greek version extant1 except a much later one which is evidently a translation from the ,latin4 ,it may have been written 7or compiled7 during the ,arian controversy as a creedal song to be sung by clerical or monastic choirs4 ,it may have grown by gradual accretion1 from generation to generation1 like the ,easter hymn 8,jesus ,christ is risen today10 which1 begun in the fourteenth century1 was not given final form until #ahaf4 ,this magnificent ode1 for it is a hymn only by a considerable extension of the definition1 appears in our modern hymnals only as a chant1 and is practically never sung in our non-liturgical congregations4 ,it has been used as a choral text throughout all its history1 never as a congregational hymn4 ,it has had unnumbered settings by the greatest composers of ,christendom4 ,it is the high festival ode of the ages1 used in celebrating victories or other stately occasions of great public interest4 ,its comprehensiveness1 nobility of thought1 and elevated style befit the coronation of kings or the investiture of popes4 ,for the mass of our churches1 great as it is1 it has only a historical interest4 ,it might find impressive use as a responsive reading4 ,,ii4 ,,early ,,latin ,,hymn ,,writers ,bishop ,hilary of ,poitiers 7circa #cjj-cfg71 8the hammer of the ,arians10 was exiled into ,phrygia by ,constantius because he called the ,arian emperor 8,the ,antichrist40 ,in his exile he came in touch with the fierce propaganda waged on both sides by means of hymns4 ,his controversial zeal recognized the opportunity1 and he wrote a great many anti-,arian hymns1 which he gathered on his return to ,france into his ,liber ,mysteriorum4 ,that his book was lost was no great calamity1 for his fiery1 combative spirit1 valuable enough at the time1 had no message for future generations4 ,he woke a new interest in singing and furnished a more practicable model4 ,he undoubtedly suggested the antiphonal singing he found in the 8,hinterland0 of ,asia ,minor and thus prepared the way for his fellow-countryman1 ,ambrose1 ,bishop of ,milan4 ,if the latter is recognized as the father of ,latin hymnody1 and even of all the ,western hymnody1 ,catholic and ,protestant1 ,hilary is its grandfather4 ,ambrose 7#cdj-cig7 had been a lawyer1 not a product of the ecclesiastical system1 and he brought to his office a freshness of insight and of resources that might have been atrophied in the mechanical clerical education of his day4 ,the value of song in supporting the spirits of his followers when besieged for days in his cathedral suggested to his practical mind1 stimulated by his musical nature1 its wider use when the battle was won4 ,ambrose broke new ground for ,latin hymnody in several essential particulars4 ,he transformed the merely reading hymn1 confined to the clergy1 to a singing hymn for the congregation1 writing hymns for the express purpose of promoting congregational song4 ,he passed by the artificial classical meters for the simplest of lyrical meters1 four lines of four iambic measures each1 which has come down to us through the centuries as ,long ,meter4 ,he also introduced the free use of rhymes4 ,ambrose was not only a learned man of great ability1 but--what is more to our present purpose--a man of great piety and devotion4 ,he sought to vitalize and actualize the devotions1 personal and collective1 of the ,christian ,church1 to make them genuine and heartfelt as against the formalists to whom the mere letter is all-important4 ,his hymns are evidences of his spirituality4 ,there is room for stanzas from only a few of them3 8,o splendor of the ,father's face1 ,affording light from light1 ,thou ,light of light1 thou fount of grace1 ,thou day of day most bright4 ,thee1 in the morn with songs of praise1 ,thee1 in the evening time1 we seek2 ,thee1 through all ages1 we adore1 ,and suppliant of thy love we speak40 ,in spite of the opposition of the ,roman ,see1 and the later effort of ,charlemagne1 in his zeal for the ,gregorian system1 to destroy all copies of the ,ambrosian hymns and tunes1 the 8,ambrosiani0 still keep a small place in the ,roman ,breviary4 ,among the contemporaries of ,ambrose1 no hymnist stands out more conspicuously than the ,spaniard1 ,prudentius 7#cdh-dbd74 ,he also had been a lawyer and a man of affairs4 ,he had more literary gifts than ,ambrose1 and his poems show more personality1 more charm1 more unaffected sincerity4 ,bentley calls him 8the ,horace and ,virgil of the ,christians40 ,a single stanza may illustrate his spirit and style3 8,the bird1 the messenger of day1 ,cries the approaching light2 ,and thus doth ,christ1 who calleth us1 ,our minds to life excite40 ,mention should be made of ,fortunatus 7#ecj-fji74 ,he was1 like the later ,marot of psalm-version fame1 8the fashionable poet of the day10 a precursor of the troubadours4 ,later in life he became religious1 a priest1 an almoner of a monastery1 and finally ,bishop of ,poitiers4 ,he wrote a processional to be used at the reception of a piece of the true cross presented by ,queen ,rhadegunda4 ,the hymn 8,vexilla regis prodeunt0 has come down the ages4 ,dr4 ,neale calls it 8one of the grandest in the treasury of the ,latin church40 ,we make room for the first and last stanzas of ,dr4 ,neale's translation3 8,the royal banners forward go2 ,the cross shines forth in mystic glow2 ,where he in flesh1 our flesh who made1 ,our sentence bore1 our ransom paid4 99 99 99 99 99 99 99 ,hail1 altar6 ,hail1 ,o ,victim6 ,thee ,decks now thy passion's victory ,where life for sinners death endured1 ,and life1 by death1 for man procured40 ,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 canticles4 ,it is a far cry from ,gregory the ,great to ,john ,calvin and ,john ,knox1 demanding the sole use of canonical material in the services of the church2 and a like far cry from the ,council of ,toledo in ,spain in #fcc1 which made a strong plea for the use of hymns in the church's devotions1 to ,isaac ,watts and his prefaces to his several collections of modified psalms and of hymns4 ,it was only toward the end of the twelfth century that hymns of 8human composure0 were used in ,roman churches1 and then were sung by clerical choirs in the larger basilicas of the capital city4 ,the people were still shut out from their use4 ,but the impulse to write devotional material for the church service persisted4 ,the ,venerable ,bede 7#fgb-gce71 scholar1 theologian1 philosopher1 historian1 general encyclopedist1 wrote both ,latin and ,anglo-,saxon hymns in his faraway monastery at ,yarrow1 ,england4 ,theodulph 7d4#hba71 ,paulus ,diaconus1 ,odo of ,cluny1 ,cardinal ,damiana1 and other minor hymnists wrote hymns1 some of which1 transformed by skillful translators1 have found use in our day4 ,notker1 called ,balbulus 7#hej-iab71 of ,st4 ,gall in ,eastern ,switzerland1 became weary of the long-drawn-out notes of the cadences of the final syllable of the 8,alleluia10 which was prolonged to enable the deacon to ascend to the rood-loft to chant the ,gospel4 ,it was suggested that a text be supplied1 a syllable for every note4 ,at first these texts had no metrical form and were called ,proses4 ,later they were given a definite form and were called sequences1 because they followed the 8,alleluia40 ,these sequences continued to be written for over three centuries and were brought to technical perfection by ,adam of ,st4 ,victor4 ,these sequences1 however1 were an evidence of the abiding urge for lyrical expression rather than a step in the progressive development of the ,christian hymn4 ,,iii4 ,,great ,,latin ,,hymns ,a more important figure in our study of ,latin hymns is ,rabanus ,maurus 7#ggf-hef71 archbishop of ,mainz1 ,germany1 a great scholar1 an influential teacher1 a profound theologian1 a voluminous writer1 as well as a great hymn writer4 ,he had been a notable figure in ,german church history before hymnological investigators proved that he was the writer of the great hymn1 8,veni1 ,creator ,spiritus10 the worthy successor of ,fortunatus' 8,vexilla regis prodeunt40 ,its authorship had been credited at different times to ,ambrose1 ,gregory the ,great1 ,charlemagne1 and ,notker ,balbulus4 ,it is the only metrical hymn officially recognized by the early ,english ,church4 ,it is sung at high ceremonies like the coronation of kings or the consecration of bishops4 ,the accepted version is by ,bishop ,cosin4 ,it appears in our leading hymnals4 ,the next bead in our rosary of great hymns is 8,veni1 ,sancte ,spiritus10 by the helpless little paralytic and humpback1 ,hermannus ,contractus 7#ajac-ajed74 ,an excellent historian1 a renowned philosopher and theologian1 a mathematician of unusual attainments1 in short a universal and encyclopedic scholar1 his chief glory now is that he wrote this hymn which ,archbishop ,trench rated 8as the loveliest of all the hymns in the whole cycle of ,latin sacred poetry40 ,there is space for one stanza only1 the third of this great hymn3 8,o most blessed ,light divine1 ,shine within these hearts of thine1 ,and our inmost being fill2 ,where thou art not1 man hath naught1 ,nothing good in deed or thought1 ,nothing free from taint of ill40 ,the tide of the years had been flowing quietly with only here and there rapids or an eddy1 but now the current was hastening toward the great whirlpool of the ,crusades4 ,hildebert1 ,peter the ,hermit1 ,bernard of ,clairvaux1 ,abelard1 ,peter the ,venerable1 ,adam of ,st4 ,victor1 stand out as lighthouses on an uncharted sea4 ,not the least of these was ,bernard1 the abbot of ,clairvaux 7#ajia-aaec71 scholar1 orator1 statesman1 and man of affairs1 of whom ,archbishop ,trent declares3 8,probably no man during his lifetime ever exercised a personal influence in ,christendom equal to his2 the stayer of popular commotions1 the queller of heresies1 the umpire between princes and kings1 the counsellor of popes40 ,this does not suggest the writer of such a hymn as 8,jesu dulcis memoria10#a the tenderest1 sweetest sacred lyric of the ,middle ,ages4 ,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 abbess1 an origin more consonant with its spirit and with its finished ,latinity4 ,would we knew more about her1 this medieval precursor of ,anne ,steele1 ,sarah ,f4 ,adams1 ,harriet ,beecher ,stowe1 ,elizabeth ,p4 ,prentiss1 and ,fanny ,crosby6 ,dr4 ,s4 ,w4 ,duffield holds 8,bernard to be the real author of the modern hymn--the hymn of faith and worship02 but now the iconoclastic modern hymnologist denies him even the authorship of the 8,salve ,caput ,cruentatum40#b ,we know very little about the other ,bernard1 who was a monk in the greater abbacy of ,cluny2 but his authorship of the great indictment of the ,roman church of his time1 8,de ,contemptu ,mundi10 is undoubted4 ,his great poem of three thousand lines#c occupied itself with the vice and moral filth which his pure soul detested4 ,in his disgust with the moral ordure in which his feet were immersed1 he suddenly takes wing and rises to the heights to contemplate 8the ,heavenly ,land40 ,dr4 ,neale1 out of scattered lines and phrases of the original1 with additions of his own1 constructed the wondrous mosaics which we delight to sing3 8,brief life is here our portion10 8,jerusalem1 the ,golden10 8,for thee1 ,o dear1 dear country40 ,one thinks of ,thomas ,aquinas 7#abbg-abgd7 as the ,aristotelian logician1 the profound ,augustinian theologian1 the philosopher1 the invincible protagonist of medieval orthodoxy1 rather than as a hymn writer2 yet some of our present day hymnals contain two communion hymns of profound thought and deep feeling written by him4 8,pange1 lingua1 gloriosi0 is perhaps the finer2 here is one stanza of ,edward ,caswell's version3 8,now1 my tongue1 the mystery telling ,of the glorious body sing1 ,and the blood1 all price excelling ,which the ,gentile's ,lord and ,king ,once on earth amongst us dwelling ,shed for this world's ransoming40 ,the other1 8,lauda1 ,sion1 ,salvatorem10 has been rendered by ,alexander ,r4 ,thompson1 as follows3 8,zion1 to thy ,saviour singing1 ,to thy ,prince and ,shepherd bringing ,sweetest hymns of love and praise1 ,thou wilt never reach the measure ,of thy most ecstatic lays40 ,,iv4 ,,medieval ,,devotional ,,poems ,we now reach the consideration of hymns and poems of great excellence in themselves but without the appeal1 or practicability as hymns1 possessed by the foregoing4 ,some of them appear in liturgical hymnals1 or in more formal hymnals of non-liturgical churches1 but their use is limited4 ,among these is ,francis of ,assisi's 8,canticle of the ,sun10#d not a hymn1 but a psalm of praise for all created things4 ,for our day it has chiefly literary and antiquarian interest4 ,his follower and biographer1 ,thomas of ,celano 78-#abee71 however1 wrote a sequence or hymn that has intrigued the interest of generation after generation4 ,mozart's 8,requiem0 uses parts of it as its text4 ,goethe introduces it in his 8,faust40 ,unnumbered translations of it have been made into all civilized languages4 ,theodore ,parker called it the 8damnation lyric40 ,in the original 8,dies irae0 there were eighteen stanzas4 ,the version of ,w4 ,j4 ,irons has fourteen stanzas of three lines each1 a few of which follow3 8,day of ,wrath6 ,o day of mourning6 ,see fulfilled the prophets' warning1 ,heaven and earth in ashes burning6 ,oh1 what fear man's bosom rendeth1 ,when from heaven the ,judge descendeth1 ,on whose sentence all dependeth40 ,sir ,walter ,scott's version is in four-line stanzas1 three of which are used to make a practicable hymn4 ,but who in our self-complacent age cares to sing any of these versions1 portraying 8,the ,last ,judgment08 ,another famous hymn1 written by a follower of ,francis of ,assisi1 perhaps ,jacopone da ,todi1 8the fool for ,christ's sake10 is the 8,stabat ,mater ,dolorosa40 ,it celebrates the sufferings1 not of ,christ on the cross1 but of ,mary1 his mother1 standing at its foot4 ,it is the supreme ,mariolatrous hymn in sentiment and in diction4 ,it is ,roman1 of course1 not ,catholic1 and interests us only as marking the sincerity and the depth of the medieval sentiment and devotion to the ,madonna4 ,this great hymn is noteworthy because of the many translations into modern languages which have been made1 seventy-eight into ,german alone and as many more into ,english1 in whole or in part4 ,its emotional possibilities have appealed to many music composers1 including ,palestrina1 ,pergolesi1 ,haydn1 ,rossini1 and ,dvorak--settings varied in style from ,palestrina's high dignity to ,rossini's almost theatrical treatment4 ,it must be remembered that the ,greek hymns of the ,eastern church1 and the ,latin hymns of the ,western1 were not in dead languages1 as they appear to us1 but in living languages1 the vernacular of the persons producing and using them4 ,while the common people may have spoken a different dialect1 the monks and clergy used the classic speech as a very mother tongue4 ,the hymns were for the most part a perfectly spontaneous expression of religious conviction and feeling1 a living product of vital experience1 an instinctive expression of profound faith4 ,in closing this rapid survey of a thousand years of ,greek and ,latin hymns1 one is impressed that they are all clerical--even monastic--in type and character4 ,there are in many of them spontaneity1 genuine feeling1 and personal experience1 a profound sense of spiritual realities2 yet over all of them falls the shadow of the tonsured ecclesiastic1 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 congregation4 ,v4 ,,medieval ,,popular ,,hymnody ,although the hymns whose origin we have been tracing were used in enriching the services of the ,roman ,church1 and for guiding the meditations and devotions of the clerical spiritually-minded readers1 we get hints of a people's hymnody used privately and in public processions1 usually in the common speech of the region4 ,it was the age of the ,troubadours1 a time of universal song4 ,it is unthinkable that a people in whose lives religion was a commanding influence should have no songs of their own about it4 ,but among the ,albigenses and ,waldenses and other pietistic sects in remoter regions there must have been a hymnody all their own4 ,they had no clergy1 no connection with the ,romish ,church--were in utter opposition to its forms and organization4 ,hence their natural impulse for worship and praise compelled the creation of hymns of their own4 ,they were spontaneous utterances expressing their spiritual life in a native vocabulary all could understand and appropriate4 ,although this people's hymnody has perished1 because it was produced and used by the populace and contemptuously ignored or denounced by the clerical custodians of the literature of their day1 or by those of succeeding generations1 the hymns were widely sung in the homes1 on the streets1 at popular religious festivals1 and even in the remoter village churches where the clerical choirs were wanting4 ,it was these popular religious songs1 rather than the more stately hymns read and chanted by clerical and monastic choirs1 that kept alive the vital spark of religious feeling and devotion to ,christ4 ,if most of the doves of song hovered over the head of the ,madonna during this long period1 it was because she was the mother of ,jesus4 ,it was as the representative of all motherhood that she brought home the true manhood of our ,lord4 ,that this popular hymnody of the medieval period has failed to survive is no proof of its worthlessness4 ,it is no condemnation of the sermons of ,chrysostom1 of ,peter the ,hermit1 of ,martin ,luther1 or of a thousand sermons preached every ,sunday that they perish with the breath that gave them utterance4 ,they served a good purpose in their brief hour4 ,that hundreds of ,watts' hymns1 and thousands by ,charles ,wesley1 are no longer sung1 does not establish their uselessness1 but only that their spiritual as well as verbal idiom is not adapted to the needs of our day4 ,chapter ,,xi ,,luther ,,and ,,the ,,german ,,hymn ,i4 ,,pre-,,reformation ,,vernacular ,,hymns ,while there has been a traceable logical progress in the development of the ,christian hymn1 as in that of material creation1 the generative relations are not always clear4 ,the link between ,greek and ,latin hymnody may be found in ,hilary of ,poitiers in the fourth century1 but thereafter for five centuries they developed side by side along independent lines4 ,the same may be said regarding the ,latin and ,german hymns1 ,luther furnishing the connection4 ,but his connection is not so apparent with the clerical ,latin hymn as with the general impulse toward the vernacular hymn4 ,luther did not directly build upon the ,latin hymns1 although he did translate a few of them1 but on the popular songs and hymns that were current in his day4 ,since the eleventh century vernacular hymns and religious songs had been in private use4 ,the ,gregorian rule that ,scripture psalms and canticles only should be sung in public services had been strictly enforced in the monasteries and larger centers2 but even there the proses and sequences had been allowed--in ,latin1 of course4 ,the first hymns sung in the common speech were enlargements of the short responses allowed the people1 8,kyrie eleison0 and 8,christe eleison0 being surviving ,greek phrases which were used as refrains to the stanzas of the hymns4 ,they were called 8,leisen10 or 8,leichen40 ,our ,english word 8lay0 is a derivative from the same source4 ,many of these 8,leisen0 mingled ,german and ,latin words4 ,back of the wrong conception of the way of salvation and the fanaticism expressed in self-torture1 the ,flagellant ,monks of the later medieval period had an intensity of conviction and a selfless devotion that inevitably found expression in song4 ,bands of them made pilgrimages through ,christian lands in processions1 singing hymns to ,mary and her ,son in the common speech1 little recking that they were helping to fertilize the soil from which should spring the ,great ,reformation4 ,when ,king ,conrad was anointed in #ajbd1 our information is that 8joyfully they marched1 the clergy singing in ,latin1 the people in ,german1 each after his own fashion01 but this was not a church service1 it was a festival procession4 ,vernacular hymns became more and more numerous during the twelfth and thirteenth centuries4 ,the troubadours and minnesingers could not but stimulate their production1 furnishing the metrical and rhythmical models and no small part of the hymns themselves1 especially those glorifying the divine motherhood of ,mary4 ,the monks1 the custodians of the literary and scholarly product of this age1 had no motive for making a record of these hymns1 much less of their tunes1 for which1 indeed1 no adequate system of notation existed2 hence but little of this popular hymnody survives4 ,it was not until ,gutenberg brought in the age of printing that some of it was handed down to us4#a ,the great mystic1 ,john ,tauler 7#abij-acfa71 a ,dominican monk of ,strassburg1 and others1 wrote hymns of profound personal religious experience that were widely sung4 ,john ,huss of ,prague 7#acfi-adae71 the renowned ,bohemian martyr1 wrote hymns in both ,czech and ,latin4 ,in #aeja and #aeje ,czech hymnbooks were issued1 the first congregational hymnbooks in the vernacular1 the latter containing no less than four hundred hymns1 while ,luther's first collection1 in #aebd1 nineteen years later1 contained only eight4 ,it will be seen that the foundations of vernacular singing by the people1 with popular tunes1 had been laid1 deep and wide1 foundations on which ,luther could later build his ,german hymnody4 ,in almost every particular he had been anticipated by the ,bohemian reformers1 in vernacular hymns and psalms1 in the use of the people's tunes1 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 propaganda4 ,in ,france1 in ,england and ,scotland1 in the ,netherlands1 the same impulses were felt4 ,the fullness of the times had been prepared1 and the great protagonist and organizer of the spiritual revolt against the hierarchy of ,rome made of the hymn1 which the ecclesiastical builders had rejected1 one of the cornerstones of the new ,church4 ,,ii4 ,,luther',s ,,relation ,,to ,,german ,,hymnody ,luther's objective in regard to the hymn was entirely different from that of these representatives of traditional worship4 ,he did not have in mind the perfecting of a liturgical service on the lines of ecclesiastical tradition1 but the spiritual edification of the mass of the people whom the liturgic monks had been ignoring4 ,while too appreciative of the ,latin liturgy to cast aside psalms and canticles1 as well as sequences1 he rejected them as models for his hymns1 and his creative impulse made the more appealing and practical folk songs his basis of form and spirit4 ,luther was a great lover of poetry and music4 ,in his youth he went about singing in the streets and in private homes4 ,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 hymnody4 ,his great work in hymnody is that he took both the psalm and the hymn from the clergy1 put them into the vernacular in metrical form1 with popular tunes1 and restored them to the people4 ,he added to the function of the hymn as worship those of instruction1 meditation1 and exhortation4 ,he added an entirely new dimension to the value of the hymn1 making it a means of creating a religious atmosphere for the whole life of the ,christian--personal1 family1 community4 ,he made the ,german people a singing people and laid the foundations for their later musical pre-eminence4 ,as ,dr4 ,benson says1 8,he took it the hymn out of the liturgies and put it into the people's hearts and homes4 ,he revived1 that is to say1 ,paul's conception of hymnody as a spiritual function40#b ,luther's hymns are the root out of which grew all our ,protestant hymnody4 ,they are like ,ambrose's in their plainness but1 owing to their popular models1 are superior in their metrical variety and in their cheerfulness4 ,they are purposely cheerful3 8,when we sing1 both heart and mind should be cheerful and merry40 ,they had also a more definite evangelical content1 both objective and subjective1 more personal experience1 more exhortation1 thus immensely widening the horizon of the hymn4 ,much of this was doubtless due to the ,hussite influence4 ,luther anticipated ,isaac ,watts in demanding that the psalm should be transformed into a hymn1 retaining its important subject matter1 but excluding 8certain forms of expression and employing other suitable ones40 ,the most important characteristic of the hymns of ,luther and his associates was the burden of biblical truth4 8,what ,i wish is to make ,german hymns for this people1 that the ,word of ,god may dwell in their hearts by means of song also10 gives us his ideal and his practical purpose4 ,luther's hymns bear the characteristics of their writer4 ,they were straightforward1 clear1 and unpretentious1 full of force and strong of conviction4 ,he was no poet4 ,he was not conscious of literary impulses4 ,his diction often is more forcible than elegant4 ,indeed1 he was a peasant within whose horizon the elegant did not appear4 ,dr4 ,philip ,schaff says of him3 8,he had an extraordinary faculty of expressing profound thought in the clearest language4 ,in this gift he is not surpassed by any uninspired writer2 and herein lies the secret of his power4444 ,his style is racy1 forcible1 and idiomatic40 ,lord ,selborne1 an ,english hymnologist1 remarks on ,luther's hymns1 8,homely and sometimes rugged in form1 and for the most part objective in tone1 they are full of fire1 manly simplicity1 and strong faith40 ,luther wrote thirty-eight hymns4 ,twelve of them were based on ,latin hymns1 among others1 8,veni1 ,redemptor gentium10 8,veni1 ,creator ,spiritus10 8,o ,lux beata ,trinitas10 and 8,te ,deum ,laudamus02 four were rewritten pre-,reformation hymns2 seven were versions of ,latin psalms2 six were paraphrases of other portions of ,scripture1 such as the ,ten ,commandments and the ,lord's ,prayer2 nine were original hymns4 ,nine collections were issued by ,luther1 beginning with the 8,achtlieder ,buch10 the first evangelical hymnbook in the ,german language1 issued in #aebd4 ,it contained but eight hymns1 four by ,luther1 three by ,paul ,speratus1 court chaplain at ,koenigsberg1 and one of unknown authorship4 ,later in the year it was increased to twenty-five hymns1 bringing fourteen new hymns by ,luther2 it was called the 8,erfurt ,enchiridion40 ,during this year1 #aebd1 he wrote twenty-one of his thirty-eight hymns4 ,five years later1 #aebi1 he issued another hymnbook containing fifty-four hymns4 ,the issue of #aeec1 seven years after his death1 contained one hundred and thirty-one hymns4 ,three of these nine issues had prefaces1 as noteworthy as those of ,watts to his several books of psalms and hymns in formulating the principles of the new ,christian hymnody4 ,luther's masterpiece1 8,ein' feste ,burg ist unser ,gott0 78,a mighty fortress is our ,god071 is based on the forty-sixth ,psalm4 ,it is one of the greatest hymns in the whole ,christian hymnody1 great in itself1 great in its influence on the ,protestantism of northern ,europe4 ,ranke1 the noted church historian1 says3 8,it is the production of the moment in which ,luther1 engaged in a conflict with a world of foes1 sought strength in a consciousness that he was defending a divine cause1 which could never perish40 ,carlyle recognized its majesty1 8a sound of ,alpine avalanches1 or the first murmurs of earthquakes40 ,calling up the inspiration it brought to the ,protestant armies1 ,german and ,swedish1 in the religious wars after the ,reformation1 ,heine characterized it as 8the ,marseillaise of the ,reformation40 ,it has been recognized as the national hymn of ,protestant ,germany4 ,a number of translations into ,english have been made4 ,carlyle successfully reproduces its rugged strength in his version1 but for congregational use the translation of ,rev4 ,frederick ,h4 ,hedge1 made in #ahec1 is more practicable4 ,luther's tune is worthy of the text in its ponderous majesty4 ,a small congregation1 or a larger one that does not know it very well1 can do little with it2 only a large congregation singing lustily and in the characteristically ,german slow tempo can do it justice4 ,his ,christmas hymn1 8,vom ,himmel hoch da komm' ich her0 78,from heaven above to earth ,i come071 his praise of ,jesus ,christ1 8,gelobet seist du1 ,jesu ,christ0 78,all praise to ,thee1 eternal ,lord071 a revision of a pre-,reformation popular hymn1 and his doctrinal hymn1 rejoicing over the salvation wrought out by ,jesus ,christ1 8,nun freuet euch1 lieb' ,christen ,g'mein0 78,dear ,christian people1 now rejoice071 have been very much beloved and were very effective in building up the ,protestant cause4 ,luther deserves well of the ,christian ,church1 not only because of his own hymns1 but because of the inspiration he afforded others among his contemporaries1 and to the generations since his day1 to take up the writing of hymns4 ,among the co-laborers in this field in his own generation were ,justus ,jonas1 ,paul ,eber1 ,erasmus ,alber1 ,lazarus ,spengler1 ,paul ,speratus1 and ,nicolaus ,decius4 ,luther furnished the idea1 the inspiration1 and the model for all these hymnists4 ,according to ,koch1 fifty-one writers contributed hymns to swell the ,lutheran hymnody between #aeag and #aefj4 ,as was to be expected1 the early ,german hymnody was also enriched by a number of excellent hymns from the ,bohemian ,brethren4 ,they were translated by ,michael ,weiss and ,johann ,roh1 ,german ministers who had been associated with them4 ,no small part of the immediate success of ,luther's hymns was the tunes which he provided4 ,he used the melodies already current among the people4 ,he had providentially associated with him musical helpers like ,johann ,walther and ,ludwig ,senfl1 who did the musical editorial work on his issues4 ,his settings of his 8,ein' feste ,burg ist unser ,gott0 and 8,gelobet seist du1 ,jesu ,christ0 are still a valuable part of the melodic treasury of the ,christian ,church4 ,chapter ,,xii ,,the ,,later ,,german ,,hymnody ,i4 ,,the ,,rising ,,standard ,,of ,,literary ,,values ,after ,luther's death1 the impetus of his hymnic influence gradually lost its evangelical force1 and a more self-consciously literary coterie raised both the literary and musical standards4 ,prominent among them was ,bartolomaeus ,ringwaldt 7#aecj-aeih71 who wrote 8,es ist gewisslich an der ,zeit0--the ,german 8,dies ,irae0--which probably suggested the ,english hymn1 8,great ,god6 what do ,i see and hear80 ,he was a very fertile writer4 ,equally fertile was ,nicolaus ,selnecker 7#aecj-aeib71 who wrote nearly one hundred and fifty hymns4 ,more important than either was ,philipp ,nicolai 7#aeef-afjh71 a ,westphalian pastor1 whose 8,wie schoen leuchtet der ,morgenstern0 78,o ,morning ,star1 how fair and bright07 and 8,wachet auf1 ruft uns die ,stimme0 78,sleepers1 wake1 a voice is calling07 have been and are the most widely used of all ,german hymns outside of ,luther's two masterpieces4 ,nicolai wrote them while a great pestilence was raging in ,unna1 during which fourteen hundred persons perished4 ,he wrote the hymns for his own comfort and that of his people4 ,he also wrote the chorales to which they are sung and which have been called respectively the 8,queen0 and 8,king0 of ,german chorales4 ,on the basis of their intrinsic value rather than on that of adaptation to ,american spirit and type of church life1 they occasionally appear in our hymnals1 but they are rarely or never sung4 ,miss ,winkworth's translation of the 8,king0 may be judged by the first stanza3 8,wake1 awake1 the night is flying2 ,the watchmen on the heights are crying1 ,awake1 ,jerusalem1 at last6 ,midnight hears the welcome voices1 ,and at the thrilling cry rejoices2 ,come forth1 ye virgins1 night is past6 ,the ,bridegroom comes1 awake1 ,your lamps with gladness take2 ,alleluia6 ,and for his marriage-feast prepare1 ,for ye must go to meet him there40 ,this chorale was used by ,felix ,mendelssohn-,bartholdy as one of the climaxes of his great oratorio1 8,st4 ,paul40 ,the popular 8,te ,deum0 of ,germany1 8,nun danket alle ,gott0 78,now thank we all our ,god071 was written by ,martin ,rinkart 7#aehf-afdi74 ,miss ,winkworth's version is found in most modern hymnals and deserves wide use1 for it is entirely practicable in a congregation of average size4 ,mendelssohn used this chorale in his cantata 8,lobgesang0 with much effectiveness4 ,this great hymn was written at the conclusion of the horrible and disastrous ,thirty ,years' ,war4 ,michael ,altenburg 7#aehd-afdj7 wrote the famous battle hymn of ,gustavus ,adolphus with which the great ,warrior ,king has been credited2 8,verzage nicht1 du ,haeuflein klein0 78,fear not1 ,o little flock1 the foe07 is still used in ,germany4 ,however1 ,luther's 8,ein' feste ,burg ist unser ,gott0 was the more usual battle hymn1 as ,altenburg's hymn was not introduced until late in ,gustavus ,adolphus' campaigns--indeed1 has been called his 8,swan song40 ,martin ,opitz 7#aeig-afci7 deserves mention as a valuable influence in regulating the meters and in stressing poetical values4 ,one of the immortal hymns written during this period was that of ,georg ,neumark 7#afba-afha71 librarian of the ,duke of ,weimar1 8,wer nur den lieben ,gott laesst walten0 78,if thou but suffer ,god to guide thee074 ,other hymn writers during this distressful period were ,johann ,heermann 7#aehe-afdg71 who wrote distinctive hymns of prayer in a correct style and good versification2 ,johann ,rest 7#afjg-affg71 who wrote six hundred and eighty hymns intended to cover the whole domain of theology 7two hundred of which were in common use in the ,german churches72 and ,matthaeus ,apelles von ,loewenstein 7#aeid-afdh71 ,johannes ,matthaeus ,meyfart 7#aeij-afdb71 and ,paul ,fleming 7#afji-afdj74 ,this was a period of tribulation1 calamity1 and desperation1 which1 as ,miss ,winkworth remarks1 8caused religious men to look away from this world0 and led to a more subjective type of hymn1 expressing personal feeling4 ,in general1 the literary value of the hymns of this period1 in form and diction and imagination1 exceeded that of those of the previous generation4 ,,ii4 ,,the ,,golden ,,age ,,of ,,german ,,hymnody ,the spiritual deepening of this age of sorrow1 the widening of the scope of the hymn by the inclusion of more subjective elements1 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 war4 ,it extended from ,paul ,gerhardt 7#afjd-afgf7 to ,christian ,fuerchtegott ,gellert 7#agae-agfi74 ,gerhardt had spent his young manhood amid the desolation and difficulties of the ,thirty ,years' ,war4 ,he did not enter the ministry until he was nearly fifty years old1 having written no hymns up to that time4 ,a great preacher and a devoted pastor1 he was a man of deep piety and of unflinching loyalty to the truth1 as it was given to him to see it4 ,as calamity followed calamity1 under strict divine discipline in preparation for his great work in the writing of hymns1 not only for the ,german church1 but also for the whole ,christian world1 he united in himself the two tendencies1 the one of viewing ,god and divine things in an objective way1 characteristic of the early ,lutheran hymns1 and the other1 the expression of the emotion produced by such contemplation in the heart of the ,christian1 characteristic of the subsequent period4 ,he had the body of the older hymnody and the spirit of the new4 ,moreover1 ,gerhardt was a poet4 ,indeed1 his writings were extensive lyrics rather than hymns4 ,some of them have furnished several hymns4 ,he was the ,keble of ,german hymnody1 and his influence upon subsequent hymn writing has been most helpful4 ,there is a poetic fertility in the man lacking in his predecessors4 ,he wrote one hundred and twenty-three hymns1 of which ,dr4 ,philip ,schaff declares that they 8are among the noblest pearls in the treasury of sacred poetry40 ,they are of such uniform excellence that it is difficult to select those of outstanding merit4 8,befiehl du deine ,wege0 78,give to the winds thy fears07 was translated by ,john ,wesley4 8,o ,jesu ,christ1 mein schoenstes ,licht0 78,jesus1 thy boundless love to me07 is another most successful translation by the same hand4 8,o ,haupt voll ,blut und ,wunden0 78,o sacred head1 now wounded07 leans hard on 8,salve1 caput cruentatum10 but has a spirituality the older hymn does not so fully display4 ,thirty of his hymns are in general use in the ,german churches1 and ,germany recognizes him as her prince of hymnists1 superior even to ,luther4 ,gerhardt's contemporaries1 ,john ,franck 7#afah-afgg7 and ,john ,scheffler 7#afbd-afgg71 while fairly prominent do not compare with him in thoughtfulness and literary felicity4 ,both are more pietistic4 ,the latter has a somewhat exuberant style1 intense and enthusiastic4 ,john ,wesley translated and adopted one hymn known to our hymnals as 8,thee will ,i love1 my strength1 my tower40 ,,iii4 ,,the ,,pietistic ,,hymn ,,writers ,in the latter decades of the seventeenth century1 ,philipp ,jacob ,spener1 ,august ,hermann ,francke1 and ,johann ,anastasius ,freylinghausen led a strong movement of protest1 called ,pietism1 against the arid scholasticism and cold formalism of the ,lutheran church4 ,it was a second ,reformation1 emphasizing piety and sincere emotionalism4 ,it postponed the blight of ,rationalism for a few decades and led a generation into a devouter1 more genuine1 religious life4 ,spener was a great leader and a good man1 but no hymn writer2 ,francke wrote but few hymns1 and so this phase of their work devolved on ,freylinghausen4 ,he was full of spirit1 with attractive rhythms and florid music4 ,his songs were very popular1 but lacked permanent merit4 ,other writers of this school were ,schade1 ,schutz1 and ,rodigast4 ,less immediately connected with the ,pietistic movement1 but under its influence1 are ,hiller of ,south ,germany1 ,arnold1 a professor at the ,university of ,giessen1 and ,tersteegen of ,westphalia1 a mystic1 all of whom wrote very acceptable hymns4 ,tersteegen was highly appreciated by ,john ,wesley1 who translated his 8,gott rufet noch2 sollt' ich nicht endlich hoeren80 78,god calling yet6 shall ,i not hear8074 8,gott ist gegenwaertig6 lasset uns anbeten0 78,lo6 ,god is here2 let us adore07 and 8,jedes ,herz will etwas lieben0 78,something every heart is loving07 are others found translated in current hymnals4 ,lord ,selborne speaks of him as 8of all the more copious ,german hymn writers after ,luther1 perhaps the most remarkable man1 pietist1 mystic1 and missionary1 he was also a great religious poet40 ,that he was a layman makes his religious life all the more remarkable4 ,a more widely known and striking personality was ,count von ,zinzendorf 7#agjj-agfj71 a very devout but somewhat erratic man4 ,he became the patron saint of the ,moravian ,church and shared--perhaps created--its zeal for foreign missions4 ,he spent some time in the ,united ,states1 in eastern ,pennsylvania1 and in the ,west ,indies1 doing evangelistic work4 ,he wrote two thousand religious lyrics1 disfigured to a large extent by extravagances and by repulsive materialistic similes and phrases4 ,his associate and successor1 ,bishop ,august ,gottlieb ,spangenberg1 long resident in ,america1 and ,bishop ,christian ,gregor also wrote very useful hymns4 ,the ,moravian hymnody is all the more noteworthy in that it had a great influence over the hymnic work of the ,wesleys4 ,,iv4 ,,german ,,reformed ,,hymnody ,the ,reformed ,church in ,germany long followed ,calvin in exclusively using the ,psalms of ,david1 but finally felt the impulse of the ,lutheran hymnody4 ,tersteegen1 mentioned above1 leaned to this branch of the ,german church1 although not officially connected with it4 ,joachim ,neander 7#afej-afhj71 a ,reformed minister at ,bremen1 wrote some extremely valuable and popular hymns of praise and was called the ,psalmist of the ,new ,covenant4 ,among his best are 8,sieh1 hier bin ich1 ,ehren-,koenig0 78,behold me here in grief draw near071 8,lobe den ,herren1 den maechtigen ,koenig der ,ehren0 78,praise to the ,lord6 ,he is ,king over all the creation071 8,unser ,herrscher1 unser ,koenig0 78,sovereign ,ruler1 ,king victorious071 still sung in every pious home in ,germany4 ,v4 ,,transition ,,to ,,rationalistic ,,hymns ,the transitional personality between this ,pietistic and the succeeding ,rationalistic era1 was ,christian ,f4 ,gellert 7#agae-agfi71 a professor in ,leipzig ,university4 ,he was a man of sincere piety2 he was a teacher1 not only in the classroom1 but in all his literary efforts4 ,he wrote moral ,tales and ,fables1 ,moral ,poems1 ,didactic ,poems1 as well as ,sacred ,odes and ,hymns4 ,there were fifty-four of these1 all in the same didactic style4 ,they lacked the rugged strength of ,luther1 the poetical element of ,gerhardt1 and the mystic insight of ,tersteegen2 but this very matter-of-factness made his writings immensely popular4 ,of all his hymns1 but one survives in our modern hymnals1 his ,easter hymn1 8,jesus lebt1 mit ihm auch ich0 78,jesus lives1 no longer now074 ,,vi4 ,,rationalism ,,in ,,hymnody ,german hymnody suddenly fell from its exalted ,pietistic rhapsodies into a crass materialism4 ,dr4 ,philip ,schaff gives a vivid glimpse into the situation3 8,he 7,klopstock7 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 faith2 weakened1 diluted1 mutilated1 and watered them1 and introduced these misimprovements into the churches4444 ,conversion and sanctification were changed into self-improvement1 piety into virtue1 heaven into the better world1 ,christ into ,christianity1 ,god into ,providence1 ,providence into fate4 ,the people were compelled to sing rhymed sermons on the existence of ,god1 the immortality of the soul1 the delights of reunion1 the dignity of man1 the duty of self-improvement1 the nurture of the body1 and the care of animals and flowers40 ,there is no poetical1 much less religious1 lyrical impulse in rationalism1 and the church lyrics of this period have left little impress on the hymnody of the ,christian ,church4 ,it was the classic period of ,german literature1 but it had few ,christian elements in it4 ,athens and ,rome1 not ,jerusalem1 were the centers of intellectual interest2 and it might almost be said that it is a pagan literature4 ,,vii4 ,,hymns ,,of ,,renewed ,,religious ,,life ,as in the immediate pre-,reformation age1 in spite of the decadence of religious life among the ,roman ,catholic leaders1 there was a semi-submerged piety that forced the ,reformation inside the church2 so in this recrudescence of paganism in the ,german church1 there was a great body of earnest1 pious ,christians who kept the spirit of true ,german devoutness alive4 ,these were represented by ,friedrich ,gottlieb ,klopstock 7#agbd-ahjc71 who1 although he set the disastrous fashion of re-writing the older hymns in order to improve their literary value by removing archaisms and harsh lines1 was yet a devout man1 writing the great ,german epic 8,messias0 and also some deeply religious hymns that were too poetic for the common people4 ,another devout writer was ,johann ,kasper ,lavater 7#agda-ahja71 better known by his treatise on physiognomy1 who wrote some hymns after the style of ,klopstock1 but with greater popular success1 for his 8,o suessester der ,namen all0 78,o name than every name more dear07 has been translated and used in ,english hymnals4 ,when the first intoxication of the new freedom from churchly1 and even moral1 restraint passed away1 the ,german church again found able representatives to give expression to its religious life4 ,friedrich von ,hardenberg 7#aggb-ahja71 also called 8,novalis10 a mining engineer of fine literary ability1 wrote some hymns of deep feeling and beautiful style4 ,friedrich de la ,motte ,fouque 7#aggg-ahdc71 chiefly known as the author of ,undine1 and as an outstanding representative of the ,romantic school in literature1 wrote some very beautiful hymns1 including two missionary hymns of great excellence4 ,there is a literary and imaginative charm in these hymns1 as in his general ,german style1 that betrays his ,huguenot heredity4 ,both these writers had the literary emphasis that somewhat discounted the value of their hymns for the common people4 ,they stand1 however1 as landmarks of the subsidence of the rationalistic period in ,german hymnody4 ,,viii4 ,,hymns ,,of ,,pietistic ,,type ,in the reaction from ,rationalism1 ,pietism again came into its own and a noble roster of sacred lyrists have given it expression4 ,this includes ,ernst ,moritz ,arndt1 professor of history at the ,university of ,bonn1 whose 8,wahres ,christentum0 was as necessary to every ,christian home as the ,bible itself1 a patriot who won the hatred and persecution of ,napoleon ,bonaparte by his patriotic songs1 and whose hymns are no small part of the treasury of later ,german hymnody4 ,among them are 8,ich weiss1 an wen ich glaube0 78,i know in whom ,i put my trust071 which is one of the ,german classics4 ,friedrich ,adolf ,krummacher 7#agfg-ahde7 is best remembered by his hymn 8,mag auch die ,liebe weinen0 78,though love may weep with breaking heart07 and his missionary hymn1 8,eine ,herde und ein ,hirt0 78,one shepherd and one fold to be074 ,still others are ,friedrich ,ruckert 7#aghi-ahff7 whom ,dr4 ,schaff calls 8one of the greatest masters of lyric poetry10 ,albert ,knapp 7#agih-ahfd71 editor of the outstanding critical collection of ,german hymns1 8,der ,liederschatz10 and writer of many widely used hymns1 and ,meta ,heusser-,schweizer 7#agig-ahgf71 of ,switzerland1 8the most eminent and noble among all the female poets of our whole evangelical ,church40#a ,the primate of them all is ,karl ,johann ,philipp ,spitta 7#ahja-ahei71 8the most popular hymnist of the nineteenth century40 ,the fifty-fifth edition of his ,psalter und ,harfe appeared in #ahhi4 ,he was an ,hanoverian pastor4 ,he had been under rationalistic teachers at the ,university of ,goettingen1 but toward the end of his university course had a profound religious experience that affected all his future life2 he wrote no secular verse after that time4 ,he was recognized as a mystic and pietist and his promotion was antagonized on that ground4 ,many of his hymns have been translated into ,english4 ,among the most successful are 8,o ,jesu1 meine ,sonne0 78,i know no life divided071 8,es kennt der ,herr die ,seinen0 78,he knoweth all ,his people071 8,o selig ,haus1 wo man dich aufgenommen0 78,o happy home1 where thou art loved the dearest071 8,o treuer ,heiland1 ,jesu ,christ0 78,we praise and bless thee1 gracious ,lord074 ,spitta may be called 8the ,gerhardt of the nineteenth century10 for he has many of that great hymn writer's qualities as well as his popularity4 ,he was sincerely devout1 a man of an abiding sense of ,god's care and nearness2 his style is smooth and melodious as well as poetical4 ,spitta's hymns are very practical in length and form of stanza1 and his themes grow out of the common needs and experiences of general humanity4 ,for this reason they have been very largely translated into ,english--no less than thirty-three of them--and1 what is more significant1 selected by editors of hymnals1 especially in ,england4 ,karl von ,gerok 7#ahae-87 is another exceedingly popular religious lyrist of the nineteenth century1 hardly second to ,spitta4 ,his 8,palm-blaetter10 issued in #aheg1 reached its fifty-sixth edition in #ahhf4 ,by this time it has likely reached the century mark4 ,but his verses are religious poetry1 not hymns1 and but a few centos have been admitted to ,german hymnbooks4 ,recently the new rationalism and sensual materialism have again submerged the religious life of ,germany and the impulse to write hymns has lost its urgency4 ,whether the shattering of the illusion of world-wide power1 and the sobering effect of its terrible losses of men and of wealth1 will bring ,germany back to her religious senses must be patiently awaited by those eager for her highest welfare4 ,the recrudescence of paganism and its threat of renewed striving after world dominance need not blast this pious hope4 ,god's hand is still on the tiller of the ,german national bark1 and the heart of the ,german people is not represented by the bulletins on the surface of its current events1 caused by the pride of nationalism in the shallow vocal stratum that stridently claims the world's attention4 ,in this hurried review of the development of the ,german hymn from ,luther to ,spitta much that is interesting and profitable has been omitted4 ,but it is manifest that this ,german hymnody holds the supreme place in the hymnody of the ,christian ,church in all ages and nations4 ,the reasons for this lie on the surface3 the ,german people are a singing people1 and the instinct to sing their thoughts and feelings is stronger than in any other race4 ,again1 they did not lose two centuries under the spell of ,calvin's devotion to the ,hebrew ,psalms1 as did ,great ,britain and ,america4 ,in contrast with the ,latin and ,greek hymnodies1 it is the voice of the people1 not the restrained liturgical voice of the clergy4 ,the ,german hymnody is often ponderous and heavy1 often tediously prolix and dull1 but at the heart of it is a profound realization of the actualities of the ,christian faith1 and a responsiveness to its appeals to the hearts of men1 that one cannot find elsewhere to the same extent4 ,chapter ,,xiii ,,metrical ,,psalmody ,i4 ,,calvin',s ,,conception ,,of ,,congregational ,,singing ,while ,luther recognized the value of hymns as pre-eminent in his work1 he still left a large place for the ,psalms1 himself making some admirable versions and inciting others to do the same4 ,but there were limits to his sympathy with an undue and merely formal emphasis of them4 ,he canceled the obligation of repeating the whole ,psalter once a week1 instituted by ,cardinal ,quimonez1 as 8a donkey's burden40 ,luther was a reformer1 changing only what needed changing in order to secure a deeper spirituality4 ,calvin and ,zwingli were not reformers1 but re-creators1 setting wholly aside all the liturgy1 the ecclesiastical organization1 the clerical rules1 and the distinctive doctrines of the ,roman church1 and building up an entirely new church with no other sanction than their interpretation of the ,word of ,god4 ,perhaps unconsciously1 ,calvin harked back to the ,roman attitude of ,gregory the ,great1 in insisting on purely ,scriptural sources for the service of song4 ,he was too good a ,biblical scholar not to know that the ,apostolic ,church used 8hymns and spiritual songs0 as well as ,psalms2 indeed he never categorically forbade hymns of 8human composure40 ,but the people had been forbidden the ,bible4 ,the ,psalms had been sung by the clergy alone in an already dead language4 ,calvin declared that 8if a man sang in an unknown tongue1 he might as well be a linnet or a popinjay40 ,so he reacted somewhat violently4 ,he had a profound sense of the authority of the ,word of ,god1 and his mind was possessed by the idea of the divine sovereignty2 hence religious rites of human origin seemed trifling and negligible4 ,this attitude was emphasized all the more by the ,latin hymns sung and read in the churches1 and on religious occasions1 whose chief burden was worship of the ,madonna1 and even of the saints1 against which his mind rose in outraged horror4 ,,ii4 ,,calvin',s ,,followers ,,more ,,extreme ,human nature being what it is1 it was inevitable that ,calvin's followers should carry his ideas to an extreme1 and mechanically add the conclusion that hymns independent of the lyrics of the ,scriptures should be forbidden4 ,while ,luther stressed the ,biblical content of the hymns and exalted the ,psalms as the source of religious lyrical impulses1 ,calvin and his disciples added a rigid and almost superstitious regard for the mere form of the ,scripture lyrics4 ,they accepted their distortion and mutilation in giving them a metrical form as justified by the congregational necessity1 and by the evident devotional results among the people4 ,,iii4 ,,marot',s ,,successful ,,versions ,beneath his austerity ,calvin evidently had an appreciation of literary beauty and grace1 for he developed an ambition to clothe the ,hebrew ,psalms in a literary ,french metrical dress4 ,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 7#adig-aedd71 who had come under the influence of ,marguerite de ,valois1 the ,huguenot princess1 whose valet de chambre he was during his early twenties4 ,it is possible that he and ,calvin met at ,ferrara in #aece4 ,though the work of a ,huguenot poet1 these lyrics were admired in high political and social circles in ,france4 ,written in measures fitting them to popular tunes1 they were very popular among the royal courtiers1 ,catholics as well as ,protestants1 and were soon introduced into other countries4 ,that he was later persecuted by the ,roman ecclesiastics only recommended him the more to ,calvin4 ,here was a poet of high reputation1 a skillful versifier of the ,psalms1 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 ,psalms8 ,so ,marot was called to ,geneva4 ,,iv4 ,,development ,,of ,,the ,,genevan ,,psalter ,in #aedc1 nineteen years after ,luther's first venture1 the ,acht ,liederbuch1 appeared1 ,the ,genevan ,psalter was issued in the ,french language4 ,it contained fifty psalms by ,marot4 ,marot died in #aedd4 ,the completion of the ,psalter was committed to ,theodore ,beza of ,burgundy1 who revised ,marot's verses1 eliminating the classical allusions and offensive gaiety4 ,with the help of ,bourgeois1 and later of ,goudimel1 in completing and harmonizing the tunes1 he finished the ,psalter in #aefb4a ,v4 ,,english ,,psalm ,,versions ,,before ,,sternhold ,there had been ,english versions of some of the ,psalms before ,sternhold undertook the task4 ,bishop ,aldhelm of ,sherborne1 who died in #gji ,a4,d41 composed a complete psalter4 ,two versions were due to ,lutheran influence4 ,that of ,miles ,coverdale1 ,ghoostly ,psalms and ,spiritual ,songs1 appearing sometime between #aecj and #aedj1 used some of the ,german chorales1 including the great 8,ein' feste ,burg40 ,the ,wedderburn brothers of ,dundee1 ,scotland1 issued the ,compendious ,booke of ,gude and ,godlie ,ballates1 also known as ,dundee ,psalms1 on the return of ,john ,wedderburn1 soon after #aeci1 from ,wittenberg1 where he had been under the influence of both ,luther and ,melanchthon4 ,latin psalms and hymns had no value with young people1 he insisted in his preface2 8but when they hear it sung into their vulgar tongue1 or sing it themselves1 with sweet melody1 then shall they love their ,god with heart and mind1 and cause them to put away bawdry and unclean songs40 ,while considerably better than the songs the collection displaced1 the new book was too cheaply popular1 and undignified in many of its religious parodies of popular songs1 to satisfy the elders of the ,scottish ,kirk 767 and they tried to suppress it4 ,but the lines of religious1 social1 doctrinal1 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 ,luther4 ,to human minds with some sense of literary dignity and style and of a more spontaneous expression of religious life and experience1 it seems a great pity6 ,the first response in ,england to the new version of ,marot was the ,latin version of ,george ,buchanan in #aedh4 ,latin was an entirely dead language to the commonalty1 but was quite generally familiar to people of scholarship and culture4 ,this version1 in the scholarly language of all ,europe 7like the ,mandarin in ,china71 found wide appreciation in intellectual circles and many editions of it were issued4 ,of course1 the mass of the ,english people was not affected by it1 and it had little or no influence on the development of ,english psalmody4 ,that there were vernacular versions already in use1 is quite certain4 ,robert ,cowley anticipated ,sternhold and ,hopkins in the versifying of the whole ,psalter1 issuing his work in #aedi4 ,in the preface to this collection he refers to previous versions which had passages 8obscure and hard40 ,probably they were ,lollard or ,wycliffite in origin1 for these 8sweet singers10 precursors of the ,reformation to come1 worked among the lower classes in the ,low ,countries as well as in ,england1 singing the ,gospel in the vernacular4 ,,vi4 ,,version ,,of ,,sternhold ,,and ,,hopkins ,undoubtedly it was the ,french ,psalms of ,marot1 and their great popularity in the highest circles in ,france1 that incited ,thomas ,sternhold to undertake a like version in the ,english language4 ,his first issue1 probably in #aedg and #aedh1 contained nineteen ,psalms4 ,in #aedi he published another edition containing thirty-seven ,psalms4 ,sternhold died in #aedi1 leaving but nineteen additional ,psalms unpublished4 ,another poet1 ,john ,hopkins1 a near neighbor in ,gloucestershire1 contributed to the edition of #aeea4 ,in #aefb the psalter was completed4 ,of the one hundred and fifty ,psalms1 ,sternhold had supplied fifty-one1 ,hopkins sixty1 all in common meter1 and the rest were contributed by various writers4 ,it also contained metrical versions of the ,canticles1 the ,ten ,commandments1 the ,athanasian ,creed1 the ,te ,deum1 the ,lord's ,prayer1 an ,english version of the festival hymn1 8,veni1 ,creator ,spiritus10 and several original ,english hymns4 ,this psalter had a popularity equaled only by ,hymns ,ancient and ,modern and the ,gospel ,hymns series in the recent past4 ,within half a century more than fifty editions were issued4 ,by #ahda no less than six hundred and fifty different editions had been absorbed by the religious public--more than all other metrical versions combined4 ,this version was adopted by the ,church of ,england in #aefb and continued to be used for nearly two hundred and fifty years1 despite its notorious crudities and imperfections1 and despite the many efforts made to supersede it by other versions and by hymns4 ,the singing of ,psalms became universal4 ,at ,st4 ,paul's ,cross1 after the service1 there were sometimes six thousand persons engaged in singing ,psalms4 ,it was a time of genuine community singing4 ,,vii4 ,,the ,,scotch ,,version ,in #aeef1 ,john ,knox issued his ,anglo-,genevan ,psalter1 based on the #aeea edition of ,sternhold and ,hopkins1 with some alterations and additions4 ,it naturally was greatly influenced by ,calvin's ,genevan ,psalter4 ,the ,anglo-,genevan ,psalter is significant chiefly because of its influence on the ,scotch ,psalter4 ,through that1 it is the source of some psalms and tunes still in use--notably1 8,all people that on earth do dwell0 and 8,old ,hundredth0 to which the ,long ,meter ,doxology is sung4 ,the ,scotch ,psalter developed on a different line4 ,the ,psalm editors of the ,scottish ,church accepted eighty-seven of the ,anglo-,genevan ,psalms1 added and somewhat altered forty-two from the final ,sternhold and ,hopkins editions1 and supplied twenty-one from their own versifiers4 ,it appeared in #aefd and was adopted by the ,general ,assembly as its authorized ,psalm book4 ,in #afjj ,james ,i began a revision and himself wrote thirty-five of the ,psalms before his death4 ,this psalter was completed by ,william ,alexander and was issued in #afcj1 being known as the ,royal ,psalter4 ,charles ,i bound up a revised edition of it with a new liturgy prepared by the ,scotch bishops in #aecf1 and ordered its exclusive use4 ,but the ,scotch clergy declined with thanks1 having no use for 8the mass in ,english40 ,but the question of a revision of this ,psalter having been raised1 its deficiencies1 which had been passively accepted1 rose up into consciousness4 ,rous' version1 adopted by the ,westminster ,assembly in #afdc1 and hence widely used in ,england1 was made the basis of the new ,scotch ,psalter and1 after seven years of amending and revision1 was adopted in #afej4 ,it is still used in ,scotland and in ,american ,presbyterian churches whose eyes look back reverently to ,scotland4 ,,viii4 ,,rous' ,,version ,rous' version was made by ,francis ,rous1 ,provost of ,eton ,college1 ,oxford1 a ,presbyterian lawyer and a man of public affairs4 ,it was an improvement on ,sternhold and ,hopkins1 but still left much to be desired in smoothness of versification and grace of diction1 owing to the continued loyalty to the original phraseology of the ,psalms4 ,hence it had some 8awful examples10 to use ,matthew ,arnold's phrase1 whose repetition here might amuse but not edify4 ,but it also had some happy stanzas that we still are glad to sing1 e4g43 8,the ,lord's my ,shepherd1 ,i'll not want2 ,he makes me down to lie ,in pastures green2 he leadeth me ,the quiet waters by40 ,compare this with ,archbishop ,parker's version of the ,shepherd ,psalm written in #aeeg3 8,to feed my neede3 he will me leade ,to pastures green and fat3 ,he forth brought me3 in libertie ,to waters delicate40 ,but with the blindness of the versifiers to the need of diversifying their meters in the interest of varied and attractive tunes1 all the psalms were written in ,common ,meter4#b ,,ix4 ,,tate ,,and ,,brady',s 8,,new ,,version0 ,a new version by two ,irishmen1 ,nahum ,tate and ,nicholas ,brady1 appeared in #afif4 ,tate was a literary man1 a playwright1 a poet1 and finally poet laureate4 ,brady had a rather varied clerical career in ,ireland and in ,england1 becoming chaplain to ,king ,william4 ,this will partly explain why this version received royal endorsement and gradually replaced ,sternhold and ,hopkins in the ,english ,church4 ,it was adopted by the ,protestant ,episcopal ,church of ,america in #aghi4 ,the fact that the ,nonconformist churches remained faithful to the 8,old ,version0 and to ,rous' version1 no doubt had its bearing on the final acceptance of the 8,new ,version0 by the ,established ,church4 ,this 8,new ,version0 was a little smoother than the 8,old ,version10 and had a little more literary grace1 but still was shackled by devotion to 8purity0--to the exact thought and phraseology of the ,hebrew ,psalms4 ,nevertheless1 as ,gillman says1 8this book contained a plentiful supply of chaff1 but perhaps a few more grains of golden corn than ,sternhold's40 8,as pants the hart for cooling streams0 and 8,through all the changing scenes of life0 are still highly prized1 and ,tate's ,christmas ,carol1 8,while shepherds watched their flocks by night0 7which appeared in a supplement to the 8,new ,version07 is a masterly adaptation of the ,nativity story4 ,on the other hand1 ,montgomery1 in comparing the 8,new ,version0 with the 8,old ,version10 remarks3 8,it is nearly as inanimate as the former1 though a little more refined40 ,of the 8,old ,version0 he says3 8,the merit of faithful adherence to the original has been claimed for this version and need not be denied1 but it is the resemblance which the dead bear to the living40 ,old ,thomas ,fuller wittily says of ,sternhold and ,hopkins that 8,they are men whose piety was better than their poetry1 and they had drunk more of ,jordan than of ,helicon40 ,thomas ,campbell even more harshly exclaims3 8,with the best intensions and the worst taste1 they degraded the spirit of ,hebrew poetry by flat and homely phraseology1 and1 mistaking vulgarity for simplicity1 turned into bathos what they found sublime40 ,from the literary point of view these dicta are correct enough1 but they overlook what is vastly more important--the high moral and spiritual uses which these homely versions so amply served4 ,x4 ,,american ,,psalmody ,the ,pilgrims brought with them from ,leyden ,ainsworth's version of the ,psalms1 published in ,amsterdam--,genevan rather than ,english in character4 ,its use was largely confined to the ,pilgrims and their descendants4 ,presently the copies of both versions became rare and the service of song depended on the 8lining out0 of the verses4 ,the first book printed in ,america was the ,bay ,psalm ,book1 an independent version of the ,psalms made by ,thomas ,welde1 ,richard ,mather1 and ,john ,eliot1 the apostle to the ,indians1 a committee appointed in #afcf4 ,it was proposed to make it more scriptural than either of the previous versions used4 ,it appeared in #afdj4 ,its preface consisted of a discourse urging that psalm-singing was both lawful and necessary4 ,during the next century and a half no less than seventy editions were printed4 ,it was improved by ,dunster and ,lyon and reprinted in ,great ,britain1 eighteen editions being called for in ,england and twenty-two in ,scotland4 ,this was ,america's first contribution to the song service of the ,mother ,country1 but by no means the last4 ,it may be interesting to see just what literary style this ,bay ,psalm ,book could display1 and a few specimens are herewith given4 ,the one hundred and thirty-seventh ,psalm1 for instance1 was given the following form3 #a4 8,the rivers on of ,babilon ,there when wee did sit downe3 ,yea1 even then wee mourned when wee remembred ,sion4 #b4 ,our ,harp wee did hang it amid ,upon the willow tree1 ,because there they that us away led in captivitee1 #c4 ,required of us a song and thus ask mirth3 us waste who laid1 sing us among a ,sion's song unto us then they said4 #d4 ,the ,lord's song sing can wee8 being in stranger's land4 ,then let loose her skill my right hand1 if ,i ,jerusalem forget4 #e4 ,let cleave my tongue my pallate on if minde thee doe not ,i if chief joys or'e ,i prize not more ,jerusalem my joy40 ,cotton ,mather's rhymeless version was much more sensible in its form1 for it eliminated the chief handicap in producing a literal version in metrical form4 ,as in the ,psalm versions of ,england and ,scotland1 there was a vivid consciousness of literary and poetic shortcomings2 but the sense of obligation to supply a literal translation of the ,hebrew overrode all impulses toward a smoother rendering4 ,the preface frankly states the position of the committee3 8,if therefore the verses are not always so smooth and elegant as some may desire or expect2 let them consider that ,god's altar needs not our polishing 7,ex4 #bj71 for we have respected rather a plaine translation1 than to smooth our verses with the sweetness of any paraphrase1 and soe have attended ,conscience rather than ,elegance1 fidelity rather than poetry1 in translating the ,hebrew words into ,english language and ,david's poetry into ,english meetre40 ,there were other ,american ,psalm versions1 but the only versions worth considering are the revisions of ,isaac ,watts' ,psalms1 which will come up in introducing ,american hymnody later4 ,,xi4 ,,the ,,value ,,of ,,the ,,psalm ,,versions ,in smiling over this rude psalmody of ,england1 ,scotland1 and ,america1 it is always to be remembered that these versions were not a literary endeavor4 ,their ambition was to secure #8purity1' loyalty to the rather prosaically conceived doctrines of the originals4 ,there was no thought of poetry or of literary finish4 ,the meter and rhyme were practical devices to make congregational singing possible4 ,chapter ,,xiv ,,the ,,english ,,hymn ,,before ,,watts ,i4 ,,the ,,earliest ,,english ,,hymn ,just as ,gregory the ,great did not create the music that bears his name1 nor ,luther the congregational hymnody1 so ,isaac ,watts did not originate the ,english hymnody of which he is often termed the father4 ,the ,lollards1 or ,wickliffites1 sang metrical psalms1 and also hymns1 in the ,low ,countries1 as well as in ,england1 long before ,luther1 or ,marot1 or ,sternhold4 ,moreover1 the emphasis of the ,psalms was an ecclesiastical1 clerical attitude1 while the people at large to whom the ,scriptures had been a closed book1 and the ,psalms an unknown language1 sang such vernacular hymns as sprang up among them2 so1 while we cannot doubt but that they sang some metrical psalms1 based on the ,wickliffe ,english ,bible1 the body of their singing was presumably hymnic4 ,indeed1 we must go back much farther to find the spring of religious song that was to become a great river of praise4 ,caedmon1 a monk1 originally a swineherd1 of the early seventh century1 supplied the earliest recorded ,english hymns3 8,now must we hymn the ,master of heaven1 ,the might of the ,maker1 the deeds of the ,father1 ,the thought of his heart40 ,undoubtedly the times before ,caedmon were resonant with earlier songs1 for the ,venerable ,bede 7#fgc-gce7 in the next generation records the fact of a great deal of singing among the people4 ,indeed1 he himself wrote hymns in ,anglo-,saxon1 as well as in ,latin4 ,patrick and ,colombo sang psalms and hymns and made them a means of converting the pagans of ,ireland and ,scotland4 ,,ii4 ,,english ,,hymnody ,,submerged ,,by ,,reformed ,,psalmody ,the urge1 not only for versifying all parts of the ,scriptures1 including genealogies1 but of actually singing them with fervor1 submerged the native impulse of song4 ,the religious loyalty to the letter of the ,scriptures that followed closed the door against the development of the ,english hymn4#a ,professor ,reeves in his ,the ,hymn as ,literature remarks3 8,as vigorous and variegated and prevalent as this union of popular poetry and popular music was in ,england1 it strangely weakened and paled at the one time in ,english history when it might have been expected most to flourish4 ,the ,reformation1 born of that new freedom of thought and worship which produces the best hymnody1 did not in ,england1 as it gloriously did in ,germany1 speak out richly in the native vernacular hymn40#b ,,iii4 ,,english ,,literary ,,ideals ,,unfavorable ,,to ,,hymn-,,writing ,but it was not only the blight of a narrow bibliolatry that prevented the development of the ,english religious lyric4 ,english poetry had lost its spontaneity and its gracious simplicity in a self-conscious devotion to false literary ideals4 ,the conception of a congregational hymn did not exist among the literary men of the ,reformation and later4 ,indeed1 that ,reformation among the cultured and intellectual classes was not so much a religious transformation as a political and cultural repudiation of clerical bonds1 and an enjoyment of new liberties4 ,there was some religious feeling1 of course1 but it was expressed in elaborate forms1 not in spontaneous simple lyrics that the people could sing4 ,the technic of the singing hymn had not been developed1 nor its limitations recognized4 ,it took nearly a century before even an approximation could be reached to the practicability of the ,lutheran hymns1 which were written1 not by literary connoisseurs1 but by men in close touch with the people1 men who had with singleness of mind striven to win and edify them4 ,as we study the ,english lyrics1 written1 not to be sung1 but simply to express the personal feelings of the writer in the current style and in complicated measures1 we see how far ,english poets had to go before a practicable singing hymn could be written4 ,the conceptions of poetry1 the prevalent grandioseness of style1 the studied phrasemaking1 the excessive ,latinity of vocabulary among distinctively literary men1 made the simplicity needed in a congregational hymn impossible4 ,despite ,mr4 ,horder's enthusiasm over the possible use ,luther would have made of ,john ,milton1 the ,german hymnody creator could have done nothing with the ponderous large-planning author of ,paradise ,lost1 with his wealth of classical allusions and mythology1 and his phrasing rich with preciosity4 ,milton's ,psalm versions1 fine as they are1 were simply not singable by the commonalty of his time who were to be depended on to do the singing4 ,he was a writer of odes1 not of singing hymns4 ,here is a literary hymn--balancing phrases1 piling up antitheses1 consciously seeking striking and euphonious combinations of words3 8,i praise ,him most1 ,i love ,him best1 all praise and love is ,his2 ,while ,him ,i love1 in ,him ,i live1 and cannot live amiss4 ,love's sweetest mark1 laud's highest theme1 man's most desired ,light1 ,to love ,him life1 to leave ,him death1 to live in ,him delight40 ,the writer of the foregoing1 ,robert ,southwell1 a ,romanist martyr1 writing in prison1 could write simple lyrics out of the fullness and genuineness of his religious experience1 but it was not in the accepted fashion4 ,what ,protestant dare refuse to sing this simple hymn of his8 8,yet ,god's must ,i remain1 ,by death1 by wrong1 by shame2 ,i cannot blot out of my heart ,that grace wrought in his name40 ,,iv4 ,,the ,,development ,,of ,,the ,,technic ,,of ,,writing ,,singing ,,hymns ,all these writers1 and many others that might be mentioned1 had not acquired the technic of congregational hymn writing4 ,they either did not recognize the limitations of the singing hymn1 or refused to be hampered by its restraints4 ,but presently the idea of the singing hymn defined itself4 ,thomas ,campion in #afac issued a number of lyrics that combined spiritual insight1 literary grace1 and practical availability to a hitherto unattained degree4 ,dr4 ,benson characterizes his 8,never weather-beaten sail ,more willing beat to shore10 as 8among the loveliest of the lyrics expressing the heavenly homesickness40 ,campion was a musician as well as a poet1 which partly accounts for the singability of his hymns4 ,in #afbc ,george ,withers issued a complete hymnbook for the ,established ,church4 ,it was made up of ,scriptural paraphrases and hymns for special occasions4 ,the hymns are superior to previous attempts in structure and method1 in their simple piety and practical purpose1 and in their availability for actual congregational singing4 ,but in the midst of admirable lines there were strange lapses in taste4 ,the hymn whose first verse began so auspiciously1 8,come1 oh1 come1 in pious lays ,sound we ,god ,almighty's praise2 ,hither bring in one consent ,heart and voice and instrument10 makes the singing congregation a conductor directing a vast chorus3 8,from earth's vast and hollow womb ,music's deepest bass may come2 ,seas and floods1 from shore to shore1 ,shall their counter-tenors roar10 etc4 ,clever in a way1 but hardly devotional6 ,withers' 8,musicians' ,hymn0 has a very practical hint to the 8singers' gallery10 as well as to the congregation3 8,he sings and plays ,the songs which best ,thou lovest1 ,who does and says ,the things which ,thou approvest40 ,what ,withers' influence on subsequent ,english hymnody might have been we can only conjecture3 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 trade4 ,his second collection1 8,hallelujah10 was even more practicable and candidly didactic in style4 ,but ,withers had but a slight1 if any1 influence1 for ,sternhold and ,hopkins still ruled the worship of the churches4 ,his immediate successors in hymn writing1 ,herbert1 ,donne1 ,crashaw1 and ,vaughan1 were not influenced by his practical spirit and sang to please themselves1 not to lead the congregation4 ,george ,herbert 7#aeic-afcc7 was a devout soul1 full of a usually charming fantasy and fertile in imagery2 but antithesis was still an allurement to poets in his generation4 ,his 8,antiphon0 makes an effective hymn1 but the inevitable contrast is still there3 8,the heavens are not too high1 ,his praise may thither fly2 ,the earth is not too low1 ,his praises there may grow40 ,donne1 ,crashaw1 and ,vaughan all share in the quaintness of ,herbert and also in his general hymnic impracticability4 ,robert ,herrick 7#aeia-afgd71 the singer of rather worldly songs1 but a literary artist withal1 in his 8,litany to the ,holy ,spirit0 reaches more nearly up to the ideal of the singing hymn3 8,in the hour of my distress1 ,when temptations me oppress1 ,and when ,i my sins confess1 ,sweet ,spirit1 comfort me40 ,but when in the second stanza he descends to a description of a feverish sleepless night1 8,when ,i lie within my bed ,sick in heart and sick in head1 ,and with doubts discomforted1 ,sweet ,spirit1 comfort me10 a doubt of its congruity on the lips of a crowd of worshipers begins to rise4 ,but when in the fourth and fifth verses one is asked to sing1 8,when the artless doctor sees ,no one hope but of his fees1 ,and his skill runs on the lees1 ,sweet ,spirit1 comfort me4 ,when his potion and his pill1 ,his or none or little skill1 ,meet for nothing but to kill1 ,sweet ,spirit1 comfort me10 one understands why1 despite some fine lines1 hymnal editors hesitate to use it4 ,richard ,baxter 7#afae-afia71 chiefly remembered by his ,saints' ,everlasting ,rest and ,call to the ,unconverted and a mass of other most useful writings1 prepared a metrical psalter which found little response2 he also wrote some poetry1 but1 as a child of his age1 delighted in antithesis4 ,one of his books of poetry had as its subtitle ,the ,concordant ,discord of a ,broken-healed ,heart4 ,his hymns1 however1 are simple in style and make a close approach to the practicable type4 ,two of them are still largely in use3 8,lord1 it belongs not to my care0 and 8,ye holy angels bright40 ,had the churches in his day given a fair opportunity1 or furnished the inspiration of demand1 ,baxter might have been one of our great hymnists1 superior to ,watts in his deeper spirituality4 ,john ,austin 78-#affi7 wrote some excellent hymns for a book of 8,devotions0 for family use4 ,among them is 8,blest be ,thy love1 dear ,lord1 ,that taught me this sweet way1 ,only to love ,thee for ,thyself ,and for that love obey10 which still finds a worthy place in our hymnals4 ,about this time 7#afaf7 the long poem1 8,hierusalem1 my happie home10 appears to have been written4 ,only the initials ,f4 ,b4 ,p4 are attached to the manuscript1 now in the ,british ,museum4 ,it is conjectured that they stand for ,francis ,baker ,priest4 ,out of it have been fashioned two very useful hymns3 8,jerusalem1 my happy home10 by ,joseph ,bromehead in #agie1 and 8,o mother dear1 ,jerusalem10 by an unknown hand4 ,the debt of the original to the ,latin is quite evident1 but it has original values as well4 ,aside from its length1 a common fault in its time1 it approaches the final type of the congregational hymns very nearly in its simplicity1 devoutness1 and in its practicable measure4 ,closely allied to the ,herbert school of religious lyrics1 ,bishop ,thomas ,ken 7#afcg-agaa7 had the advantage of belonging to a later generation in which the conception of the congregational hymn had begun to crystallize into a definite form4 ,his ,morning and ,evening ,hymns are both simple in structure--in ,ambrose's iambic long meter--free from affectations and bizarre rhetoric1 easily comprehensible1 and devout and spiritual4 ,they have been accepted as among the best hymns in the language4 ,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 literature4 ,there is in this doxology a nobility1 a majesty1 a comprehensiveness of praise which have not been approached elsewhere outside of the choruses found in the ,book of ,revelation4 ,english hymnody had at last found its voice1 its spirit1 and its model4 ,the conception of the congregational hymn had now been clearly defined and1 from ,bishop ,ken on1 ,english hymnody was established as a distinct department of ,english lyrical poetry4 ,hymn writers thenceforward were content to accept the mediocrity ,montgomery later called for4 ,the difficulty was that the ,english ,protestant churches1 still psalm-fanatic1 were not ready to sing the hymns they needed so much for their highest spiritual development1 and which now began to be supplied4 ,that the idea of singing hymns of 8human composure0 was making progress is evidenced by the issue in #afei of the first collection of hymns1 ,a ,century of ,select ,hymns1 by ,william ,barton 7#afjc-afgh74 ,he had issued a collection of versified ,psalms in #afdd and a little book of ,psalms and hymns of thanksgiving in #afea4 ,a little later he published a review of the current ,psalm version discussing its 8errors0 and 8absurdities40 ,he issued six collections during his lifetime1 most of whose content we would recognize as hymns4 ,his work has little interest to us except as it1 as well as that of ,wither1 ,baxter1 and ,mason1 helped to clarify the ideas of the young man ,watts4 ,v4 ,,the ,,ideal ,,of ,,the ,,singing ,,hymn ,,realized ,it was the lack of preparation on the part of the churches1 rather than any essential inferiority to ,isaac ,watts1 that prevented ,john ,mason 78-#afid7 from being recognized as the father of ,english hymnody4 ,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 conclusion4 ,mason's hymns were the first to be used in regular congregational worship4 ,twenty editions of his ,spiritual ,songs were issued2 considering the times and the small population1 this was a marvelous success4 ,this collection may be considered the thin edge of the wedge1 later driven by ,watts1 between the churches and psalmody4 ,horder in his ,hymn ,lover declares that 8rarely did ,watts rise to the height of thought and beauty of expression which are found in ,mason's hymns40 ,one of ,mason's most widely used hymns is 8,now from the altar of my heart ,let incense flames arise2 ,assist me1 ,lord1 to offer up ,mine evening sacrifice4 ,awake1 my ,love6 awake1 my ,joy2 ,awake1 my ,heart and ,tongue3 ,sleep not3 when ,mercies loudly call1 ,break forth into a ,song40 ,high authority claims that ,mason's hymn1 8,thou wast1 ,o ,god1 and ,thou wast blest10 is one of the best in the language4 ,its third verse is particularly noble3 8,to whom1 ,lord1 should ,i sing but ,thee1 ,the ,maker of my tongue8 ,lo1 other lords would seize on me1 ,but ,i to ,thee belong4 ,as waters hasten to their sea1 ,and earth unto its earth1 ,so let my soul return to ,thee1 ,from whom it had its birth40 ,his influence on ,watts was very considerable4 ,george ,mac,donald says of ,mason's hymns3 8,dr4 ,watts was very fond of them2 would that he had written with similar modesty of style40 ,mason was made to supply many a good line to the hymns of ,watts1 we are told by those who have compared the hymns of the two writers4#c ,the hymns are good1 because the writer was good6 ,richard ,baxter styled him 8the glory of the ,church of ,england10 saying that 8the frame of his spirit was so heavenly1 his deportment so humble and obliging1 his discourse of spiritual things so weighty1 with such apt words and delightful air1 that it charmed all that had any spiritual relish40 ,before closing this chapter1 mention must be made of ,joseph ,addison 7#afgb-agai71 who is so widely known because of his connection with the famous ,spectator1 a weekly devoted to essays on various topics1 literary and otherwise4 ,while his essays are his chief claim to literary honor1 he wrote five hymns1 three of which are found in most of our larger hymnals3 8,the spacious firmament on high10 8,when all thy mercies1 ,o my ,god10 8,how are thy servants blest1 ,o ,lord40 ,these hymns are all most thoughtful and felicitously expressed4 ,they are admirably adapted for the worship of ,god1 but they too unanimously ignore the higher attributes of the divine nature as manifested in ,jesus ,christ1 and the salvation he wrought out for fallen and needy humanity1 to take a high place in ,christian ,hymnody4 ,the same is true of ,psalms1 of course1 but they were written before ,christ appeared4 ,chapter ,,xv ,,isaac ,,watts ,,and ,,his ,,period ,i4 ,,the ,,hymnic ,,need ,,of ,,the ,,time ,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 realized1 and where the conception of the practicable congregational hymn was clarified and the model definitely established4 ,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 inertia2 all the better1 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 people4 ,he needed to be a man of clear vision of the essential lyric needs of the church1 of a clear conception of the type of hymns best fitted to supply those needs1 of literary culture and adaptativeness1 and of a high moral courage to face and overcome the extreme conservativeness that seems to be inherent in all ecclesiastical organizations4 ,,ii4 ,,the ,,life ,,of ,,watts ,in the distinct providence of ,god1 the man appeared1 exactly fitted for the important task4 ,isaac ,watts was born at ,southampton1 ,england1 ,july #ag1 #afgd1 the son of a very intelligent and devout schoolmaster1 who during the reign of ,charles ,,ii was imprisoned and exiled from his family for his nonconformity4 ,isaac was extraordinarily precocious1 studying ,greek and ,hebrew at the age of eight years1 writing verses when a mere child1 and attempting ,latin and ,english poetry in his schooldays4 ,his brilliant scholarship brought him offers of a career at one of the universities1 but he refused1 being staunch in his nonconformity4 ,he became a ,nonconformist minister in #afih and pastor of the ,independent ,church1 ,berry ,street1 ,london1 in #agjb4 ,his health being frail1 owing to his excessive study as a student1 he was given an assistant1 ,rev4 ,samuel ,price1 with whom he spent 8many harmonious years of fellowship in the ,gospel40 ,visiting ,sir ,thomas ,abney1 a staunch ,dissenter living at ,theobalds in ,hertfordshire1 for a week1 ,watts was persuaded to remain with him and his wife permanently1 making his home with them the rest of his life4 ,he never married4 ,his health was always precarious1 and his pastorate at the ,berry ,street ,independent ,church1 which ended only with his death1 was largely nominal4 ,we rarely think of ,isaac ,watts as anything more than a hymn writer1 but his intellectual activities were wide and his writing outside of hymnody extensive4 ,he wrote a number of treatises on ,theology4 ,his textbooks on ,geography1 ,astronomy1 and ,logic were used in the ,english universities1 and at ,yale and ,harvard4 ,,iii4 ,,watts ,,as ,a ,,hymn ,,writer ,watts had been recognized from childhood as having a talent in the making of verses4 ,returning from a church service in ,southampton1 he sharply criticized the hymns of ,barton--an inferior contemporary of ,john ,mason4 ,his devout father1 a deacon in the church1 playfully1 perhaps seriously1 replied that he should try his skill in supplying a better one4 ,the challenge was accepted and he brought his father the hymn3 8,behold the glories of the ,lamb ,amidst his ,father's throne2 ,prepare new honors for his name1 ,and songs before unknown40 ,he little realized that it was his life's most illustrious task to fulfill the exhortation of the last two lines4 ,the success of the new hymn when lined out to the congregation and sung by them led to a demand for more4 ,thus unconsciously and unpretentiously was ushered in a new epoch in the devotional singing of the ,christian ,church4 ,presumably this occurred in his twenty-first year1 for this and the succeeding year were spent at home in ,southampton in varied studies and in writing hymns4 ,these hymns seem to have remained in manuscript for some years1 despite the earnest protest of his younger brother1 who declared that 8,mason now reduces this kind of writing to a sort of yawning indifference1 and honest ,barton chimes us asleep40 ,this literary judgment of young ,enoch must not be taken too seriously1 except as expressing his eagerness to have his brilliant brother's hymns brought before the public4 ,it was nearly or quite ten years after the first hymn that a collection of hymns and odes and other poems1 ,hor ,lyric1 was issued1 in #agjf4 ,it contained twenty-five hymns1 four psalm paraphrases1 and eleven religious songs in varied measures and meters4 ,it also contained elegies1 odes1 and blank verse of a purely literary character4 ,in his preface he suggests the spirit and methods which should later be more fully developed4 8,the hymns were never written to appear before the judges of wit1 but only to assist the meditations and worship of vulgar ,christians40#a ,in #agji the second edition of the ,hor furnished an increased number of hymns4 ,in the preface of this edition he confesses that in the hymns of the ,hor 8there are some expressions which are not suited to the plainest capacities1 and differ too much from the usual methods of speech in which holy things are proposed to the general part of mankind40 ,the hymns contained in the more popular ,hymns and ,spiritual ,songs in #agjg1 and in the augmented edition of #agji1 were of a plainer type for 8the level of vulgar capacities40 ,the edition of #agji contained two hundred and fifty-five hymns1 seventy-eight paraphrases1 and twenty-two communion hymns4 ,the hymns were in only three meters1 ,long1 ,common1 and ,short4 ,watts had an eye single for practicability4 ,the four ,psalm versions contained in his ,hor ,lyric had a prefatory note1 8,an essay on a few of ,david's ,psalms translated into plain verse1 in language more agreeable to the clearer revelations of the ,gospel10 which makes certain that he had already clearly in mind the evangelical psalter which1 despite his absorption in other tasks and his long illness in #agab1 finally appeared in #agai1 8,the ,psalms of ,david imitated in the language of the ,new ,testament and apply'd to the ,christian state and worship40 ,watts excluded twelve ,psalms entirely and omitted passages from some of the one hundred and thirty-eight that were retained1 because they were not adapted to ,christian use4 ,although he never married1 ,watts was very fond of children4 ,in #agae1 in the midst of his program for the public service of song1 his opus magnum1 he prepared his 8,divine ,songs1 attempted in easy language for the use of children40 ,it was to be used in connection with the 8,catechism0 he had prepared for their use4 ,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 school4 ,one is amazed that the writer of 8,when ,i survey the wondrous cross10 or 8,our ,god1 our help in ages past10 could write so tender and graceful a lullaby as 8,hush1 my babe1 lie still and slumber1 ,holy angels guard thy bed6 ,heavenly blessings without number ,gently falling on thy head40 ,,iv4 ,,watts' ,,arguments ,,for ,,the ,,hymn ,however kindly we may estimate the value of ,watts' hymns and of his evangelical metrical versions of the ,psalms1 we must recognize that his service as the protagonist of the free hymn is quite as great4 ,his hymns and evangelical psalter would likely have suffered the fate of those of ,wither and ,mason1 his immediate predecessors1 had he not written attractive and practicable congregational hymns and versions1 and not accomplished two other results essential to the substitution of the free hymn for the often grotesque ,psalm versions4 ,he did not simply write a miscellaneous lot of religious lyrics and shoot them like arrows into the air2 he had a clear and efficient theory of church song1 recognizing not only the varied needs1 but the psychology underlying those needs1 and produced 8a system of praise0 that supplied those needs and conciliated current prejudices4 ,again1 in his prefaces and in his ,essay towards the ,improvement of ,psalmody1 he laid hymnological foundations that not only prepared the way for the introduction of his own hymns and versions1 but also for such a fresh consideration of the whole subject as led to the revolution in the ,english song service2 from these have come the freedom and spontaneity1 genuineness and sincerity1 definiteness of purpose1 and deepening of personal experience which have blessed succeeding generations4 ,his supreme merit1 in this definite onslaught on the rigid literalism of the churches1 was that he not only brought destructive criticism1 but supplied an adequate substitute for that which he condemned4 ,watts denied the obligation to sing the ,bible4 ,the ,scriptures were the ,word of ,god to the soul and the hymn was the work of the soul in response to ,god4 ,he further denied that the ,book of ,psalms was given as a hymnbook for the ,christian ,church4 ,it was not even adapted to its use1 for it was distinctly ,jewish and not ,christian in ideals and spirit4 8,some of 'em are almost opposite to the spirit of the ,gospel2 many of them are foreign to the state of the ,new ,testament and widely different to the present circumstances of ,christians40 ,before they can be sung in a ,christian service they must be rewritten as if ,david were a ,christian and not a ,jew4 ,even allowing that there was an obligation to sing the ,word of ,god1 ,watts denied that the metrical ,psalm was the pure ,word of ,god4 ,the demands of meter and rhyme so refashioned and even mutilated the ,psalms that they no longer were the words of the ,scripture1 nor even its ideas4 ,its inspiration suffered a total eclipse under the hands of the versifiers1 and the metrical ,psalm became a work of 8human composure0 with none of the vital spirit of the free hymn4 ,watts could not understand why 8we under the ,gospel should sing nothing else but the joys1 hopes1 and fears of ,asaph and ,david40 ,he declared that 8,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 ,exodus40 ,he complained that even in those places where the ,jewish psalmist seems to mean the ,gospel1 excellent poet as he was1 he was not able to speak it plain1 by reason of the infancy of that dispensation1 and longs for the aid of a ,christian writer4 ,he set aside the prevalent 8superstitious reverence for the letter of the ,jewish ,scriptures10 and in an almost defiant spirit declared1 8,though there are many gone before me who have taught the ,hebrew ,psalmist to speak ,english1 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 life1 and led the ,psalmist of ,israel into the ,church of ,christ1 without anything of the ,jew about him40 ,whatever devotional value we may assign to the ,psalms1 we 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 ,church4 ,his further contention that not all the ,psalms1 nor all parts of them1 are adapted to ,christian use1 we cannot now gainsay4 ,the ,jews themselves only used about forty of them4 ,it was not until centuries after the ,apostolic ,age had elapsed that1 due to monkish superstition1 all the ,psalms were recognized as of equal exclusive use4 ,so many versions of individual ,psalms make such satisfactory hymns and so many hymns are such faithful transcripts of passages from the ,psalms1 or echoes of their sentiments1 that the distinction between psalm versions and hymns in individual cases might well be set aside entirely1 as having no actual basis or value4 ,v4 ,,watts' ,,insistence ,,on ,,practicability ,while ,watts laid the strongest emphasis on the awkwardness and absurdity of much of the ,psalm paraphrasing1 he was also impressed with the unavailability of the literary hymns of his predecessors1 or even of some of his own in his first book4 ,the common people would not sing them1 they were out of their reach2 moreover1 they were not in practicable meters and measures1 and did not fit the accepted tunes the people knew4 ,watts accepted the current ,psalm version meters1 ,long ,meter1 ,common ,meter1 and ,short ,meter1 and the ,psalm tunes at once became hymn tunes4 ,it was quite a handicap to a literary hymn writer1 but essential to the practical use of the hymn4 ,watts deliberately avoided distinctly literary quality in his hymns1 seeking only lucidity and plainness of expression1 all within the capacity of the common people4 ,to quote from his prefaces1 he 8endeavored to make the sense plain and obvious4444 ,the metaphors are generally sunk to the level of vulgar capacities4444 ,some of the beauties of poesy are neglected and some wilfully defaced40 ,dr4 ,benson1 whom it is always profitable to quote1 says3 8,watts' work earns a place in the literature of power1 the literature that leaves esthetic critics cold while it moves men40 ,palgrave included nothing of ,watts in his ,golden ,treasury1 but elsewhere speaks of him as 8one of those whose sacrifice of art to direct usefulness has probably lost them those honors in literature to which they were entitled40 ,,vi4 ,,the ,,inestimable ,,value ,,of ,,watts' ,,hymns ,the offensive lines in ,watts must be judged with due regard to their background4 ,the ,sternhold and ,hopkins version was vastly worse4 ,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 texts4 ,in these matters he was speaking in the idiom and with the accent of his own generation4 ,in the two centuries that have since passed1 the sand and gravel and debris have been washed away1 and our hymnals contain the pure gold of his verse for our edification and delight4 ,outside of the hymnbooks of the ,wesley brothers1 where can we find such a placer mine of spiritual wealth8 ,at his best ,watts wrote hymns of majesty and ecstatic adoration that have never been excelled3 8,our ,god1 our ,help in ages past1 ,our ,hope for years to come2 ,our ,shelter from the stormy blast1 ,and our eternal ,home40 ,how he has made the ,long ,meter measure sound like the great ,open ,diapason of the pipe organ in the following lines6 8,before ,jehovah's awful throne1 ,ye nations bow with sacred joy2 ,know that the ,lord is ,god alone1 ,he can create1 and he destroy40 ,what if ,john ,wesley does add a majestic note or two in the foregoing hymn2 the singer of the whole hymn is the noble spirit of little ,dr4 ,watts4 ,had ,david himself returned with an ,english tongue1 he could not have reproduced the spirit of the seventy-second ,psalm more nobly3 8,jesus shall reign where'er the sun ,doth his successive journeys run2 ,his ,kingdom spread from shore to shore1 ,till moons shall wax and wane no more40 ,solomon's coronation song 7,ps4 #gb7 was no more majestic than this crowning hymn ,watts wrote for his ,lord4 ,but ,watts could not only be majestic2 he could be tender3 8,when ,i survey the wondrous cross ,on which the ,prince of ,glory died1 ,my richest gain ,i count but loss1 ,and pour contempt on all my pride40 ,is there a tenderer strain in all ,english hymnody than the third verse8 8,see1 from his head1 his hands1 his feet1 ,sorrow and love flow mingled down6 ,did e'er such love and sorrow meet1 ,or thorns compose so rich a crown80 ,not in the same exquisite vein of noble tenderness1 but perhaps all the more useful for its reduced voltage1 is his other hymn of the ,crucifixion1 8,alas6 and did my ,saviour bleed8 ,and did my ,sovereign die8 ,would he devote that sacred head ,for such a worm as ,i60 ,its last verse has deepened the consecration of unnumbered millions as they sang the sacred vow3 8,but drops of grief can ne'er repay ,the debt of love ,i owe2 ,here1 ,lord1 ,i give myself away-- ',tis all that ,i can do40 ,the list of the great hymns that have come down to us from ,isaac ,watts is too long to be given here1 but they enrich the pages of all our hymnals and exalt the spirit of all our church services4 ,the criticism often urged that ,watts wrote too much cannot well be gainsaid1 but the striking fact confronts us that most of the great hymns were written by men who wrote too much6 ,the same is true of the composers of our greatest music1 as1 for instance1 ,mendelssohn and ,handel4 ,much writing develops technic1 ease1 spontaneity1 unselfconsciousness1 that make the heights of feeling and expression more accessible4 ,but what ,watts needed was not so much to write less1 but to have a competent editor like ,john ,wesley to eliminate his vulgar and often grotesque lines4 ,that ,watts should find plenty of antagonists to pick up the gauge of challenge he threw out was inevitable4 ,his hymns were called 8,watts' ,whims0 in sardonic derision4 ,it is noteworthy that the opposition did not prove so heated against his hymns as against his ,the ,psalms of ,david ,imitated 7#agai74 ,in daring to amend the ,judaism of ,david he had committed sacrilege6 ,this volume practically closed his work of reforming the service of song in the ,english language4 ,he was but forty-four years old at this time and he lived thirty years more--spent in theological1 educational1 and devotional writings4 ,the hymns of ,watts slowly found their way among the ,nonconformist churches4 ,before his death a large part of the ,presbyterian and ,congregational churches were nearly monopolized by them4 ,however1 the ,established ,church still clung to the ,psalm ,versions4 ,,vii4 ,,contemporaries ,,of ,,watts ,a contemporary of ,watts1 ,simon ,browne 7#afhj-agcb7 issued a collection of hymns in #agbj1 ,hymns and ,spiritual ,songs1 designed as a supplement to ,dr4 ,watts1 containing one hundred and sixty-six hymns which had considerable vogue during the next generation4 ,now only one hymn1 8,come1 gracious ,spirit1 heavenly ,dove10 survives in some of our hymnals4 ,another contemporary was ,john ,byrom 7#afia-agfc71 scientist and mystic1 whose 8,christians1 awake1 salute the happy morn0 is still a ,christmas favorite and whose 8,my spirit longeth for ,thee0 is 8terse and tender in a very high degree40#b ,mac,donald speaks of his few hymns as a 8well of the water of life1 for its song tells of the love and truth which are the grand power of ,god40 ,another hymn writer of ,watts' day was ,robert ,seagrave 7#afic-871 who added fifty of his own hymns to a collection prepared for his own church at ,lorimer's ,hall1 ,cripplegate1 ,london1 all of which had a high degree of excellence1 of which 8,rise1 my soul1 and stretch thy wings0 is found in most of our current hymnbooks4 ,a greater than any of the above was ,philip ,doddridge 7#agjb-agea71 who was a close friend of ,isaac ,watts1 although nearly thirty years younger4 ,he wrote three hundred and seventy-five hymns1 most of them as pendants to sermons1 recapitulating and enforcing the points of his discourse4 ,they were not collected and published until four years after his death4 ,the fine character and high ability displayed by ,doddridge endeared him to many of the most important people of his day4 ,the devoutness1 literary grace1 and adaptation to actual use of his lyrics were immediately recognized4 ,their distinctly homiletical character1 combined with deep religious feeling and tenderness1 and their varied topics1 greatly appealed to ministers1 and they were recognized as second only to ,watts4 ,the ,church owes some of its most useful hymns to him3 8,awake1 my soul1 stretch every nerve10 8,grace2 'tis a charming sound10 8,how gentle ,god's commands10 8,o happy day1 that fixed my choice10 8,my gracious ,lord1 ,i own thy right10 are among the many found in all our hymnals4 ,his relative standard may be inferred from the use made of leading hymn writers by ,dr4 ,benson in his ,revised ,presbyterian ,hymnal3 ,watts #di1 ,charles ,wesley #bd1 ,doddridge #ac4 ,chapter ,,xvi ,,the ,,wesleys ,,and ,,their ,,era ,i4 ,,the ,,influence ,,of ,,watts ,,on ,,the ,,wesleys ,the line of hymnic succession between ,watts and the ,wesleys was direct and not through ,doddridge1 for the latter's hymns did not appear until #aged4 ,one-half of ,john ,wesley's ,american ,collection1 the first hymnbook published in ,america1 issued in ,charleston1 ,south ,carolina1 in #agcg1 after two years' work in the new ,colony of ,georgia1 consisted of ,watts' hymns4 ,it goes without saying that ,watts' hymnbooks1 with others like ,tate and ,brady's ,new ,version1 ,george ,herbert's poems1 the hymns of ,john ,austin1 of ,henry ,more1 and of ,norris of ,bemerton1 were so well known1 and so appreciated1 that copies of them were included among the books carried to ,america4 ,in early manhood they met the already elderly ,watts1 and as they walked they sang together4 ,indeed1 with ,dr4 ,benson we may 8infer that ,watts' ,psalms and ,hymns1 in connection with ,tate and ,brady's ,new ,version1 furnished the materials for the singing of the #8,holy ,club4'0 ,it is evident from the list of hymnbooks1 and from the list of ,wesley's selections for his ,american ,collection1 that ,watts was not the only influence that gave the impulse and fashioned the ,wesleyan ideals of the public song service4 ,it is noteworthy that ,barton and ,mason were not included4 ,the ,high-,church ,anglican ,wesleys were not so prejudiced against ,watts' ,nonconformist hymns as to exclude them4 ,,ii4 ,,the ,,home ,,of ,,the ,,wesleys ,with the ,wesleys perhaps the strongest influence was that of the family and the home4 ,their grandfather1 ,john ,wesley1 was a ,nonconformist clergyman1 and1 what is more to the point1 a poet4 ,their father1 ,samuel ,wesley1 was quite a voluminous poet 7sixteen volumes71 owing his ,epworth rectorship to ,queen ,mary's approval of his ,life of ,christ1 an ,heroic ,poem4 ,one of his hymns1 8,behold the ,saviour of mankind10 still appears in some of our current hymnals4 ,their maternal grandfather was ,rev4 ,samuel ,annesley1 ,,ll4,d41 a scholarly ,nonconformist clergyman4 ,their mother1 ,susanna ,annesley1 is recognized as a woman of extraordinary force of character1 organizing ability1 and intense piety1 the 8,mother of ,methodism10 and even more gifted than her gifted but less steady and dependable husband4 ,it will be noted that both grandfathers were dissenting clergymen4 ,the ,epworth rectory life was intellectual1 intensely devout1 and full of the singing of psalms and hymns1 for it was 8a nest of singing birds40 ,when students at ,oxford1 ,john and ,charles used to walk out into the meadows and sing songs and hymns together4#a ,,iii4 ,,the ,,moravian ,,influence ,as we shall see1 another extremely important influence was that of the ,moravians on their personal religious experience1 which under the ,moravian guidance1 on the ,atlantic voyage and later1 became intense and profound1 furnishing tremendous motive power for all their work4 ,the ,moravian missionaries brought the realization of the power the ,christian hymn can wield1 and of the deep spirituality it may be used to express4 ,it was not only the hymns the ,moravian brethren sang that impressed ,john ,wesley1 but the spirit and genuineness of feeling with which they sang4 ,,iv4 ,,john ,,wesley ,john ,wesley was born at ,epworth in #agjc4 ,he inherited his mother's organizing and administrative ability1 no less than her deep religious nature4 ,he was to ,methodist hymnody what ,john ,calvin was to the ,reformed psalmody1 its initiator and director4 ,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 them4 ,at ,oxford he was called the 8,father of the ,holy ,club40 ,his aggressive spirit drove him to ,georgia as a missionary1 where he was a misfit1 but where he was subjected to needed spiritual discipline1 and to the influence of the ,moravian pietism and absorption in spiritual things1 so valuable for his symmetrical preparation for his future work4 ,it led to his conversion--or1 if you prefer1 to his baptism of the ,holy ,spirit--and that of ,charles1 in #agch1 which opened out to them both a new spiritual dimension4 ,it also led to his interest in the ,moravian 8,gesangbuch10 or hymnbook1 from the ,german of which he translated several hymns for his ,charleston ,collection4 ,on his return to ,england he took an early opportunity to visit ,herrnhut1 ,saxony1 the parent society of the connection4 ,he was delighted with the atmosphere of piety and ,christian song which he found there4 ,his pietistic and mystical tendencies were greatly strengthened by his intercourse with ,count ,zinzendorf and ,rothe whom he there met4 ,on his return to ,london ,john ,wesley kept up his association with the ,moravian brethren for some time2 but his active temperament could not long be content with their quiet1 contemplative attitude1 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 mystics4 ,so they presently parted company to the advantage of the aggressive spirit the ,wesleys were developing4 ,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 university4 ,he had the critical faculty well developed1 a nice sense of the value of words1 and the ability to marshal them for the expression of his thoughts4 ,his sermons and his theological treatises reveal his logical and analytical mind4 ,his feelings were strong1 but not of the effusive character4 ,with this type of mind1 it was not strange that as a hymn writer he would succeed better as a translator than as an original hymnist4 ,his important contribution1 therefore1 consisted of translations from the ,german of ,tersteegen1 ,gerhardt1 ,scheffler1 ,spangenberg1 and ,zinzendorf1 and the amendment or even recasting of hymns by ,watts1 or of poems by ,george ,herbert4 ,perhaps his greatest work in hymnody lay in encouraging as well as editing the work of his younger brother1 ,charles4#b ,in ,john ,wesley's plans to elevate the degraded population of ,england both spiritually and mentally1 the hymn bears an important part4 ,his keen and critical literary faculty was brought to bear upon its cultural as well as spiritual aspects1 and his drastic corrections and revisions1 as well as his translations1 did much to lift the hymnody of his age to a higher literary plane4 ,v4 ,,charles ,,wesley ,charles ,wesley was born at ,epworth in #agjg1 being four and a half years younger than ,john4 ,he inherited a full portion of the family religious nature1 but with his mother's mental energy he combined a double portion of the ,wesley poetic temperament4 ,with less of the rigid will of his older brother1 he had a more sensitive spirit1 a more emotional nature1 a greater literary impulse4 ,critics scold that he wrote too much4#c ,as well scold the mockingbird for being so prodigal of its notes or that it occasionally merely twitters4 ,when he 8got religion10 his religion made him sing4 ,did he rejoice8 ,his joy found utterance in a joyous hymn1 8,o for a thousand tongues to sing40 ,had he trials8 ,what more natural than a hymn of prayer1 8,my ,god1 my ,god1 to ,thee ,i cry08 ,was there a riot about him8 ,a hymn of steadfastness1 8,thou hidden ,source of calm repose10 sang in his heart4 ,the impulse to write was not always accompanied by creative insight1 so1 of course1 he wrote inferior hymns4 ,the urge to write was too spontaneous that it should wait for the critical attitude4 ,let ,john supply that6 ,charles had the joy of writing and ,john winnowed the product4 ,there was chaff1 of course1 but the golden wheat cannot grow without chaff4 ,it must not be assumed that ,charles was only a hymn writer4 ,immediately on his conversion1 he began to preach the need of the new birth1 and for fifteen years he vied with ,john in field work in behalf of the new movement4 ,with his background1 his culture and education1 his poetic nature and wealth of vocabulary and depth of experience1 ,charles might be expected to preach a vivid1 glowing1 flaming message--and such was his style4 ,his meetings carried him into all parts of ,england1 ,wales1 and ,ireland4 ,what a team the ,wesley brothers were6 ,john with his masterly logical sermons and profound theological writings1 ,charles with his hymns and his sermons aflame with feeling1 the ,annesley organizing instinct in both of them4 ,what a spiritual force they set in motion that transformed the spiritual and moral life of ,england and saved its soul--nay more1 it swept around the whole earth1 and determined the character of nations yet waiting to be born4 ,,vi4 ,,charles ,,wesley',s ,,hymns ,,quite ,,subjective ,by the necessities of the situation1 by the character of the work1 and by his own temperament1 ,charles ,wesley was led to write subjective1 emotional hymns1 keeping personal experience to the fore4 ,but his emotionality was not shallow sentiment1 but spontaneous and genuine feeling1 based on clear recognition of the actual truths of the ,scriptures4 ,in a very intense way he had actually experienced the sorrow for sin1 the joy of salvation from its guilt and power1 complete assurance of divine acceptance1 the longing for divine communion1 the sense of the love of ,god as it planned and fashioned his inner as well as his outward life1 the certainty of safety from the power of sin in sanctification4 ,he could write affecting invitations to sinners1 for he knew their condition and danger1 and also the results of peace and joy1 of power and efficiency1 that the acceptance of ,christ would bring4 ,the truths of the ,gospel in passing through the crucible of his personality acquired an actuality1 a poignancy of appeal1 that made his hymns a mighty power1 not only in the immediate campaigns of the ,wesley brothers1 but in the life and work of the ,church in the generations to come4#d ,,vii4 ,,watts ,,and ,,charles ,,wesley ,that was the difference between ,wesley and ,watts4 ,the latter was objective1 reasonable1 formal4 ,the majesty of a sovereign ,god appealed to him4 ,he delighted in the infinite perfections of the divine nature4 ,he surveyed the wondrous cross4 ,he trembled before it1 as did the children of ,israel before the ,holy ,mount4 ,his attitude was that of the ,old ,testament4 ,watts viewed the sovereignty of ,god objectively2 ,wesley felt the facts of salvation as actual experiences4 ,charles ,wesley was subjective2 he expressed the feelings that the truths of the ,gospel produced in him4#e ,god to him also was great1 but as a ,saviour1 companion1 friend4 ,why should he tremble8 ,he was not ,moses viewing the burning bush1 but ,john leaning on the breast of ,jesus4 ,he shared the ecstasies of the apostles and disciples portrayed in the ,new ,testament4#f ,so ,watts gives dignity and majesty to the early topics of our hymnbooks on the attributes of ,god1 his worship1 the awe of the soul in the presence of its sovereign ,lord in hymns like 8,before ,jehovah's awful throne10 8,great ,god6 how infinite thou art10 8,i'll praise my ,maker while ,i've breath10 8,jesus shall reign where'er the sun10 8,our ,god1 our help in ages past10 while ,charles ,wesley fills the sweeter1 tenderer1 more intimate departments of salvation1 forgiveness1 communion with ,god1 with the odor of the spikenard of his heart in hymns like 8,depth of mercy6 can there be10 8,i know that my ,redeemer lives10 8,jesus1 ,lover of my soul10 8,love divine1 all loves excelling40 ,how well these singers of the ,lord's song supplement each other1 and how much more symmetrical and complete are our hymnals because both have written in their own lines and styles6 ,which is the greater hymn writer8 ,that is a mooted question that need not be decided here4 ,in ,scriptural content the older man is superior1 as1 at his best1 he is in majesty of style4 ,for formal services of worship his hymns are more fitting and impressive4 ,on the other hand1 ,wesley was superior in quantity and in the number of hymns of high quality4 ,it must be granted that he is more poetical1 more graceful1 more suave and human4 ,his range is more extensive1 his emotion deeper and more noble4 ,in immediate results on the lives of the people ,charles ,wesley is incomparably richer than ,watts1 for his hymns then and since turned multitudes unto righteousness4#g ,,viii4 ,,the ,,issues ,,of ,,the ,,wesleyan ,,hymns ,space is wanting1 and the profit would be slight1 to give a catalogue of the sixty-four original issues of hymns that ,john published from #agcg to #agij1 the mass of them for the use of the evangelistic campaign4 ,they were largely occasional1 issued to meet a pressing but only temporary need4 ,they varied from a single sheet containing but a single hymn 7,charles ,wesley's hymn praying for his brother's long life7 to the two volumes with two thousand and thirty short hymns on ,scripture passages4 ,it was not until #aghj that a regular hymnbook 8for the use of the people called #8,methodists'0 was issued1 containing five hundred and twenty-five hymns4 ,,ix4 ,,the ,,methodist ,,tunes ,so practical a mind as that of ,john ,wesley1 who had from childhood engaged in sacred song1 would not be expected to overlook the great importance of the tunes to which the new hymns were to be sung4 ,in #agdb he printed a ,collection of ,tunes in which only three of the ,old ,version tunes appeared4 ,tunes were freely borrowed from the musical ,supplement to the ,new ,version1 six were secured from ,german ,moravian sources1 and a few were new4 ,tunes were later supplied by ,handel and ,lampe2 popular melodies which the ,wesleys picked up in their preaching tours were also adopted4 ,some twenty years later fugal tunes became popular among the churches1 but became known as 8,old ,methodist ,tunes10 although they had never been officially recognized and had first been written in ,scotland4 ,when we regard the quantity and quality of the ,wesleyan hymns1 or their adaptation to the spiritual and evangelistic purposes for which they were written1 or the body of teaching they conveyed1 or the spiritual fervor they created and are still creating in millions of souls1 or the influence they exerted on all subsequent hymnody1 we do not find the sweeping statement of ,dr4 ,james ,martineau1 the ,unitarian divine and hymnbook editor1 as exaggerated3 8,after the ,scriptures1 the ,wesley ,hymn ,book appears to me the grandest instrument of popular religious culture that ,christendom has produced40 ,x4 ,,influences ,,opposing ,,the ,,wesleyan ,,hymns ,the contemporary prejudice against the ,wesleyan hymnody was very strong and bitter4 ,there were many influences against them3 the conservative devotion to the psalm versions1 8,new0 and 8,old10 the ,nonconformist loyalty to the psalms and hymns of ,watts1 the ,established ,church's resentment against the revolters against established rule and custom within her bounds1 the formalist objection to what seemed to them the fanatical1 extravagant1 and effusive type of piety1 the emotional1 subjective1 experiential style of the hymns1 and 7worst of all67 the low social class that constituted the bulk of the followers of the ,wesleys4 ,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 movement4 ,it was many years before any appeared in the ,english church hymnals2 even when they did1 ,charles ,wesley's name did not appear with them2 it even happened that other writers were credited with them4 ,in ,america1 where the ,methodists were the ,salvation ,army of their day1 the ,wesleyan hymns were slow of recognition4 ,this was partly due to the general1 almost fanatical1 devotion to ,watts' hymnody4 ,the ,arminian attitude of the ,wesleys1 as against the rigid ,calvinism of both the ,established and the ,nonconformist churches1 led to acrid theological discussions that intensified the opposition to the movement they headed4 ,even among those favorable to the spiritual reformation was there an element antagonistic to the ,wesleys4 ,whitefield1 ,toplady1 and the ,countess of ,huntingdon were leaders in this revolt4 ,the fact that ,charles ,wesley rather monopolized the writing of hymns undoubtedly had its adverse influence4 ,john ,wesley did not encourage others to write4#h ,this accounts for the fact that comparatively few of their immediate associates wrote hymns1 and some of these drifted into other relations4 ,what else could a man expect who fearlessly amended1 revised others' hymns1 and then warned the general hymnbook maker regarding the ,wesleyan hymns as follows3 8,hymn-cobblers should not try to mend them4 ,i really do not think they are able40 ,,xi4 ,,other ,,methodist ,,hymn ,,writers ,among these transient supporters was ,edward ,perronet 7#agbf-agib7 of ,huguenot stock4 ,he wrote 8,all hail the power of ,jesus' name10 which makes so noble a climax for many of our services4 ,for a time he was a preacher in the ,wesleyan connection4 ,he then adopted ,calvinistic views1 and joined the forces of the ,countess of ,huntingdon1 preaching under her direction4 ,his caustic ,gallic wit1 exercised against the ,established ,church1 offended his patroness and he became the pastor of a small congregation of dissenters4 ,another associate of the ,wesleys was ,thomas ,olivers 7#agbe-agii71 who had small educational advantages1 but was an indefatigable worker4 ,one of his hymns has kept its place in our hymnals1 8,the ,god of ,abraham praise40 ,montgomery says of it3 8,this noble ode1 though the essay of an unlettered man1 claims special honor4 ,there is not in our language a lyric of more majestic style1 more elevated thought1 or more glorious imagery40 ,john ,bakewell1 the head of a prominent academy at ,greenwich1 was a local preacher of whom his tombstone1 near to that of ,john ,wesley in the cemetery of the ,city ,road ,chapel1 records that 8he adorned the doctrine of ,god1 our ,saviour1 #hj years and preached his ,gospel #gj years40 ,he is remembered by the hymn1 8,hail1 ,thou once despised ,jesus10 which is found in most of the current hymnals4 ,,xii4 ,,calvinistic-,,methodist ,,hymn ,,writers ,there were no poetic restraints felt by the adherents of the ,calvinistic wing of the ,methodist movement as met the associates of the ,wesleys1 and the number of hymn writers in its ranks is larger4 ,william ,williams 7#agag-agia71 8the ,watts of ,wales10 spent his life in working in the ,welsh ,calvinistic-,methodist connection4 ,early in his career the need of appropriate ,welsh hymns was so pressing that recourse was had to a sort of ,eisteddfod of hymn-writing in which he easily won first honors4 ,he was an indefatigable preacher1 taking all ,wales for his parish4 ,his chief claim to immortality is his hymn1 8,guide me1 ,o ,thou great ,jehovah10 originally written in ,welsh1 but soon used in the ,whitefield ,methodist ,connection in ,england4 ,his missionary hymn1 8,o'er the gloomy hills of darkness10 while not so popular1 has had a wide use4 ,john ,cennick 7#agah--agee7 was originally associated with the ,wesleys as a preacher1 but the burning question of ,calvinism separated them and he became associated with ,whitefield and later with the ,moravians4 ,two hymns of his were extremely popular both in ,great ,britain and in the early years of ,methodism in ,america3 8,jesus1 my all1 to heaven is gone10 and 8,children of the heavenly ,king40 ,the former was used as the verse basis of a great many 8spiritual0 choruses in pioneer times4 ,his 8,lo6 ,he comes with clouds descending0 was reshaped and rewritten by ,charles ,wesley and ,martin ,madan4 ,the literary quality of his hymns is not high1 but their sincerity and adaptation to universal ,christian experience give them practical value4 ,augustus ,montague ,toplady 7#agdj-aggh7 was associated with the ,wesleys and with the ,calvinistic-,methodist leaders1 but was a ,church of ,england clergyman4 ,he wrote four hundred and nineteen hymns2 only a few continue in use4 ,notable among these is 8,rock of ,ages1 cleft for me10 which has been almost universally used and most mercilessly amended and revised4 ,it has been translated into many languages3 ,gladstone having translated it into ,latin1 ,greek1 and ,italian4 ,montgomery says of ,toplady's hymns3 8,there is a peculiarly etherial spirit in some of these1 in which1 whether mourning or rejoicing1 praying or praising1 the writer seems absorbed in the full triumph of faith40 ,another hymn of ,toplady's1 8,deathless principle1 arise10 has been characterized as 8almost peerless10 but it is rather a reading hymn4 ,,xiii4 ,,baptist ,,hymn ,,writers ,while the ,methodists were enriching the hymnody of the ,christian ,church1 the ,baptists were not idle4 ,the second reformation of ,england did not leave them unaffected1 even though they were not officially associated with it4 ,their chief hymn writer was ,anne ,steele 7#agaf-aggh71 an invalid of great spirituality and piety and of much literary felicity as well as facility4 ,she wrote one hundred and forty-four hymns and thirty-four versions of psalms4 ,her hymns are meditative in style1 graceful and gentle in spirit4 ,she is best remembered by her hymn of resignation1 8,father1 whate'er of earthly bliss40 ,other hymns still widely used are 8,now ,i resolve with all my heart10 the hymn regarding the ,scriptures1 8,father of mercies1 in ,thy word ,what endless glory shines10 and the 7for her7 enthusiastic hymn of praise to ,christ1 8,to our ,redeemer's glorious name40 ,her vogue in ,america at one time was very great4 ,john ,fawcett was another ,baptist hymnist of note4 ,he issued one hundred and sixty-six hymns1 three of which are standards in our day3 8,how precious is the book divine10 8,lord1 dismiss us with ,thy blessing10 and 8,blest be the tie that binds40 ,besides the duties of a heavy pastorate at ,wainsgate 7with a salary of less than two hundred dollars7 he did a great amount of literary work4 ,the third hymn mentioned above has done more for ,christian unity than all arguments and commissions4 ,another hymn writer of note1 who may be classed as a ,baptist1 was ,robert ,robinson 7#agce-agij74 ,converted under ,whitefield's preaching1 he later took a ,baptist pastorate at ,cambridge4 ,he was very active in a literary way4 ,he began a ,history of ,baptists in #agha which appeared in #agij1 but in spite of laborious research it did not reach the completeness he desired4 ,besides eleven hymns of but moderate value written for ,whitefield1 he wrote a ,christmas hymn1 8,mighty ,god1 while angels bless ,thee0 and the ever-useful and prayerful 8,come1 ,thou ,fount of every blessing40 ,this was another favorite basis for 8,spiritual0 revival choruses in ,america4 ,there was a lack of steadiness in his temperament4 ,after writing ,a ,plea for the ,divinity of ,our ,lord ,jesus ,christ1 he later came under suspicion as a ,unitarian and ,socinian4 ,samuel ,medley was a midshipman in the navy1 but being sorely wounded in a terrible naval battle off ,cape ,lagos1 he refused to continue as a naval officer4 ,during his recovery he was soundly converted under the influence of his grandfather ,tonge4 ,after being at the head of a school for a time1 he accepted a ,baptist pastorate4 ,medley wrote a number of hymns1 of which 8,o could ,i speak the matchless worth10 8,awake1 my soul1 to joyful lays10 8,i know that my ,redeemer lives10 and 8,mortals1 awake1 with angels join10 are still found in most of our hymnals4 ,he claimed no literary merit for himself1 but his hymns have found a hearty response in ,england1 and even more in ,america4 ,joseph ,grigg 7#agbj-agfh7 was not a ,methodist or a ,baptist1 but a ,presbyterian4 ,he is further noteworthy as an 8infant phenomenon10 having written a very familiar hymn1 8,jesus1 and shall it ever be80 at the age of ten years4 ,he was in humble circumstances at first1 8a laboring mechanic40 ,he was assistant minister in a prominent ,london ,presbyterian church for four years1 then 8married well0 and retired1 still writing and preaching4 ,his 8,behold1 a ,stranger at the door10 with a stirring tune by ,t4 ,c4 ,o',kane1 has been widely used in ,america as an evangelistic hymn with a refrain4 ,chapter ,,xvii ,,hymns ,,in ,,the ,,church ,,of ,,england ,i4 ,,rise ,,of ,,spiritual ,,life ,,in ,,the ,,english ,,church ,although the ,wesleys were ,church of ,england clergymen1 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 barriers4 ,but ,john ,wesley's somewhat arrogant spirit1 the extreme methods which he found necessary to reach the lower classes1 so desperately in need of a new religious impulse1 above all1 his sharp reaction against the high ,calvinistic theology of the ,church1 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 life4 ,,ii4 ,,early ,,collections ,,of ,,evangelical ,,hymns ,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 hymns4 ,nor were they at first willing to set entirely aside the psalmody that had served the church for so many generations4 ,as might be expected1 the earliest collections of hymns for use in the ,established churches were largely based on ,nonconformist and ,wesleyan materials1 since most of their editors1 and the churches they wished to serve1 were under the influence of the ,countess of ,huntingdon1 who in turn was in close touch with the ,calvinistic-,methodist movement4 ,one of the first of the collections of the ,evangelical wing was that of ,martin ,madan1 ,psalms and ,hymns1 containing #agj hymns without order or arrangement1 except that sacramental hymns had a department by themselves4 ,madan used a free hand in revising and remodeling the hymns he selected1 sometimes for good1 frequently for ill4 ,he was quite a musician1 supplying tunes1 thirty-three of which were his own composition1 of which 8,huddersfield0 and 8,helmsley0 still occasionally appear in our hymnals4 ,his book was used to a considerable extent and helped to hasten the introduction of hymns in the ,church of ,england4 ,other collections of the same name and type were issued by ,berridge and ,conyers4 ,more important was ,toplady's ,psalms and ,hymns1 issued in #aggf4 ,despite his virulent attacks on the ,wesleys1 he used quite a number of their hymns1 without credit and drastically revised4 ,his collection contained #dah hymns1 some by ,watts and by other ,nonconformists4 ,his revisions were not wholly on doctrinal grounds1 but on literary as well--8,god is the ,god of ,truth1 of ,holiness1 and of ,elegance4 ,whoever1 therefore1 has the honor to compose1 or to compile1 anything that may constitute a part of his worship should keep those three particulars constantly in view40 ,in this remark1 found in his preface1 ,toplady anticipated the later period of the literary hymn by ,heber1 ,keble1 and ,milman4 ,this collection continued in use for nearly fifty years4 ,,iii4 ,,evangelical ,,hymn ,,writers ,with the exception of this later collection of ,toplady these hymnbooks were mere compilations4 ,the impulse of this ,evangelical wing to write hymns of their own did not long delay4 ,the most notable of these hymn writers were ,john ,newton 7#agbe-ahjg7 and ,william ,cowper 7#agca-ahjj74 ,they co-operated in the issue of ,olney ,hymns1 so called after the village of which ,newton was the curate4 ,john ,newton was born in ,london4 ,his mother1 who was a pious ,dissenter1 and had dedicated her boy from his birth to the ,christian ministry and had tried to train him in preparation for this work1 died when he was but seven years old4 ,he grew up to be a wild1 profligate1 wicked young man2 he speaks of himself as 8once an infidel and libertine1 a servant of slaves in ,africa40 ,at the age of twenty-three he again came under religious influences and became an ardent ,christian4 ,it was not until he was nearly thirty-nine years old that he entered the ministry of the ,established ,church1 being appointed curate of the village of ,olney4 ,he had always had an impulse1 even during his wildest years1 to read and study and to add to his general culture4 ,hence1 in spite of his vagrant life 7having spent eighteen years on the sea7 and his secular pursuits1 he came into the ministry with a rough-hewn education1 and a practical and resourceful attitude of mind1 that served him well in his aggressive ministry4 ,his spiritual experience was deep and intense4 ,he had been in close touch with ,whitefield1 the ,wesleys1 and other leaders in the great evangelistic movement4 ,for his work as a curate in the ,established ,church1 the hymns of ,watts lacked the deep personal spirituality for which his own soul sought expression4 ,the ,wesleys supplied that element abundantly1 but their hymnbooks did not express his ,calvinistic attitude1 nor fit his local needs4 ,his own urge to write hymns and his intimacy with ,cowper1 which undoubtedly seemed a providence1 encouraged him to produce ,olney ,hymns1 which contained #bhj hymns by ,newton and #fh by ,cowper4 ,newton sympathized with ,watts in his objection to pronouncedly poetic elements in hymns2 in his preface he remarks that 8the imagery and coloring of poetry1 if admitted at all1 should be admitted very sparingly40 ,the book was dedicated to 8the use of plain people10 to promote the faith and comfort of sincere ,christians4 ,to secure these1 8perspicuity1 simplicity1 and ease0 were sought4 ,yet some of ,newton's best hymns closely approach the best of his friend1 the poet ,cowper4 ,genuine feeling gave lyric wings4 ,of his #bhj hymns1 the most successful in maintaining a place in our hymnals are3 8,amazing grace6 how sweet the sound10 8,approach1 my soul1 the mercy seat10 8,glorious things of thee are spoken10 8,come1 my soul1 thy suit prepare10 8,how sweet the name of ,jesus sounds10 8,safely through another week10 8,while with ceaseless course the sun10 8,one there is1 above all others40 ,what a noble chaplet of pearls for his ,lord is this amazing contribution by the former 8servant of slaves06 ,newton's famous coworker on the ,olney ,hymns1 ,william ,cowper1 was the son of one of the chaplains of ,george ,,ii and was born in ,hertfordshire in #agca4 ,he was frail and shy1 and had a very painful experience among the boys of the ,westminster ,school which he attended for ten years4 ,doubtless his later mental affliction was due in large part to the bullying of his schoolmates4 ,he studied law1 but did not find it to his taste4 ,at the age of thirty-six he moved to ,olney1 where he met ,john ,newton1 who became his close friend and protector as well as his leader in the writing of hymns4 ,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 work4 ,while his literary work shows no trace of his melancholia1 being cheerful and even humorous1 his hymns frequently show traces of it1 notably in 8,god moves in a mysterious way0 and 8,oh1 for a closer walk with ,god40 ,newton's habit of introspection may have influenced him1 and the obscurity of the people and of the occasions for which he wrote may have given him a sense of freedom in expressing his deeper1 subconscious experience4 ,he was an exceedingly spiritual-minded man4 ,it was said of him by one who often heard him1 8,of all the men ,i ever heard pray1 none equaled ,mr4 ,cowper40 ,he had a vivid and intense experience when he was converted3 8,for many succeeding weeks tears were ready to flow if ,i did but speak of the ,gospel1 or mention the name of ,jesus4 ,to rejoice day and night was all my employment4 ,too happy to sleep much1 ,i thought it was lost time that was spent in slumber40 ,cowper's literary work was done after he was fifty years old--indeed1 after his contributions to ,olney ,hymns had been made4 ,his hymns were really preliminary studies for his secular work4 ,cowper made a very important contribution to the ,christian hymnody of the ages3 8,god moves in a mysterious way10 8,oh1 for a closer walk with ,god10 8,jesus1 where'er thy people meet10 8,sometimes a light surprises10 8,there is a fountain filled with blood10 8,hark1 my soul1 it is the ,lord10 which will all survive as long as devout hearts meditate and sing4 ,olney ,hymns was very widely accepted and had more to do with the introduction of hymns into ,anglican services than any other hymnbook up to that time4 ,it was speedily reprinted in ,america and was very popular there4 ,beyond all its ,church of ,england predecessors1 it established the ideal of the hymn as evangelical1 as an expression of personal spiritual experience1 as a vehicle for the conveying of spiritual truth4 ,it was closely akin to the ,methodist ideal1 but more sober and sedate1 with less of the poetical element4 ,the hymnbook was the crystallizing force of the ,evangelical party and its unifying discipline4 ,it did not win the co-operation of the whole ,church1 by any means1 but it prepared the way for the final acceptance of the hymn as an inherent part of the ,church service in that communion4 ,while the ,olney ,hymns continued in use by the ,evangelical wing of the ,established ,church1 there continued to be ,psalms and ,hymns issued by various compilers1 ,basil ,woodd1 ,simeon ,bidulph1 ,cecil ,venn1 and others1 all giving increasing attention to the hymns1 and extending their use1 in the church service4 ,,iv4 ,,hymn ,,writers ,,of ,,the ,,romantic ,,school ,if in the actual singing hymn up to this time there had been any definitely literary quality or poetic spirit1 it had been in spite of a theory that the hymn must be plain and simple and adapted to plain people1 as in those of ,watts and ,newton1 or somewhat unconsciously so by reason of an imagination vitalized by deep feeling1 as in those of ,charles ,wesley4 ,the hymn had been a practical religious vehicle for expressing feeling and impressing truth1 not an artistic and a literary effort4 ,from this time on the ,romantic movement in literature began to affect the ideal of the hymn4 ,since the hymn was to become a part of the religious service1 instead of a ,nonconformist addition to the sermon1 and since the metrical psalm was to pass away because of its literary shortcomings and absurdities1 it was felt that the opportunity had come to put a higher literary quality1 a more vivid imagination1 a more definitely poetic element into the hymn--hence the literary singing hymn came into being4 ,this was all the more opportune1 since literature was turning to religion for its themes4 ,coleridge issued his ,religious ,musings1 ,wordsworth his ,ecclesiastical ,sonnets1 ,moore his ,sacred ,songs1 and the libertine ,byron his ,hebrew ,melodies4 ,in #ahjg the literary remains of the lamented ,henry ,kirke ,white1 including his ten hymns1 among which was the sublime 8,the ,lord our ,god is clothed in might0 and his spiritually autobiographical 8,when marshalled on the mighty plain10 were edited by ,robert ,southey4 ,it is also worth while noting that from #ahji to #ahaf ,reginald ,heber printed his religious poems and his hymns4 ,in #ahbg ,john ,keble's ,the ,christian ,year made its appearance with its materials for singing hymns4 ,in the same year the hymns of ,bishop ,heber and of ,henry ,hart ,milman greeted the ,christian public4 ,as early as #ahji ,heber was considering the use of a hymnal in his parish church4 ,in #ahaa he published four hymns in the ,christian ,observer as specimens of a series he was contemplating4 ,he proposed a hymnbook that should be 8a collection of sacred poetry40 ,he sought the help of ,sir ,walter ,scott1 ,robert ,southey1 and other literary men of prominence1 but only ,henry ,hart ,milman1 the great church historian1 responded4 ,the ecclesiastical authorities sympathized1 but thought the church unready for an authorized hymnbook4 ,after ,heber's death in ,india in #ahbf1 his widow brought the manuscript back to ,england and it was published in #ahbg--not as a hymnbook1 however1 but in the form and style of current poetic issues4 ,in this book appeared fifty-seven hymns by ,heber and twelve by ,milman4 ,having due regard to its size1 it was probably the richest contribution ever made to ,christian hymnody4 ,after the lapse of a century1 his hymns are still in current use1 many of them inevitable in every hymnal whether churchly or popular1 such as 8,from ,greenland's icy mountains10 8,holy1 holy1 holy1 ,lord ,god ,almighty10 8,the ,son of ,god goes forth to war10 8,by cool ,siloam's shady rill10 8,bread of the world1 in mercy broken10 8,brightest and best of the sons of the morning40 ,the beauty of ,heber's style was recognized from the first4 ,his hymns were distinctly literary in flavor1 poetically conceived1 with varied rhythms and forms of stanza4 ,but he did not transgress the limitations of the singing hymn1 as had the literary men of a century and more before1 nor did he ignore the practicability of the small number of verses4 ,the hymns were poems1 but they were congregational hymns none the less4 ,but they might have been all this and yet perished by the way4 ,it was their deep spirituality1 their lucid expression of ,christian truth1 transmuted by intense conviction and personal experience into a personal appeal that was abiding1 that have made them immortal4 ,dean ,henry ,hart ,milman 7#agia-ahfh7 was a brilliant scholar and church historian and a poet of great reputation4 ,his hymns are strong1 churchly1 thoughtful to a high degree1 but they lack the poetic charm of those of ,heber4 ,of the eleven that appeared in ,heber's posthumous collection1 and of others that were printed later1 only one1 his ,palm ,sunday hymn1 8,ride on1 ride on in majesty10 is certain to be included in every hymnal4 ,the litany1 8,when our hearts are bowed with woe10 and 8,oh help us1 ,lord1 each hour of need10 are only occasionally used4 ,like ,saul among the prophets1 we find the author of ,lalla ,rookh1 ,thomas ,moore 7#aggi-aheb71 enrolled among our ,english hymn writers4 ,the charm of his secular verse and songs is found also in his ,sacred ,songs1 from which his ever-useful and tender 8,come1 ye disconsolate0 has been taken2 it is found in most of our hymnals4 ,less often do his 8,sound the loud timbrel o'er ,egypt's dark sea0 and 8,o ,thou who driest the mourner's tear0 find a place4 ,not directly associated with ecclesiastical circles and lacking in religious fervor1 he yet deserves a place among distinctly literary hymn writers4 ,no small factor in the development of the literary hymn was ,the ,christian ,year by ,john ,keble 7#agib-ahff74 ,it was not a collection of hymns1 but a series of poems appropriate to all the several sacred times and seasons2 but out of it were salvaged a number of hymns that have served the needs of high liturgical churches on special days4 ,hymns ,ancient and ,modern1 the ,high-,church hymnal so popular in ,great ,britain and its dominions1 contains no less than eleven of these adapted hymns4 ,the ,christian ,church at large is a grateful debtor to this devotional poetry for the two hymns1 8,sun of my soul1 thou ,saviour dear10 the evening hymn1 and 8,the voice that breathed o'er ,eden10 the wedding song4 ,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 hymn4 ,it was this literary quality of the work of the foregoing writers1 their definite recognition of the liturgic needs of the ,church1 and their high church ideals and sympathies1 that won the final victory of the hymn over the metrical psalm in the ,church of ,england4 ,this party had been the last stronghold in ,england of metrical psalmody4 ,v4 ,,contemporary ,,hymn ,,writers ,although contemporary with the foregoing romantic school1 ,thomas ,kelly 7#agfi-ahed71 originally an ,evangelical ,church of ,england clergyman1 later on an ,independent1 was not particularly influenced by them4 ,he was an indefatigable hymn writer2 his collection of ,scripture ,hymns finally contained #gfe hymns1 all original4 ,his ideal was still that of ,watts1 ,wesley1 and ,newton--the useful hymn4 ,he had no conscious striving after literary quality1 but1 like ,newton1 frequently rose to a high standard in this particular when lifted by his theme4 ,he was an earnest1 pious1 zealous1 enthusiastic preacher1 and liberal with his large wealth4 ,his influence in ,ireland was widespread and counted largely for piety and for evangelistic aggressiveness4 ,some of our most widely used hymns are from his pen3 8,hark1 ten thousand harps and voices10 8,look1 ye saints1 the sight is glorious10 8,on the mountain's top appearing10 8,the ,head that once was crowned with thorns10 8,zion stands with hills surrounded40 ,another distinguished contemporary1 ,james ,montgomery 7#agga-ahed71 was probably more directly influenced by the literary impulses of the times4 ,a ,moravian layman1 the son of a ,moravian minister1 he was a professional writer and editor of a secular newspaper of considerable influence4 ,for years a worldling1 he was forty-two years old before he publicly professed his acceptance of ,christ4 ,he had written quite a good deal of secular poetry up to this time2 now he turned to writing hymns1 which he had ceased to do since he was a boy of fourteen4 ,his poetry was highly appreciated at the time1 but it is now forgotten1 although his hymns keep his memory green4 ,he had served a full literary apprenticeship and had formulated his theories of the hymn--its character1 its content1 its limitations--before he began writing1 so that his hymns have an average excellence and effectiveness that can be paralleled only by those of ,bishop ,heber4 ,his critical attitude is very evident in his introduction to his second book1 ,christian ,psalmist3 8,the faults in ordinary hymns are vulgar phrases1 low words1 hard words1 technical terms1 inverted construction1 broken syntax1 barbarous abbreviations that make our beautiful ,english horrid even to the eye1 bad rhymes1 or no rhymes where rhymes are expected1 but above all numbers without cadence40 ,it is not surprising that1 with this keenly critical approach1 he made many alterations in ,cotterill's ,selection of ,psalms and ,hymns1 which he was asked to edit1 nor that he almost rewrote the ,moravian hymnbook on which he labored for twelve years4 ,the list of ,montgomery's widely accepted hymns is very large3 ,the ,new ,methodist ,hymnal has #h1 the ,new ,presbyterian ,hymnal #i1 ,hymns ,ancient and ,modern 7#aijd ,ed47 #ac4 ,the most widely used of ,montgomery's hymns are3 8,angels from the realms of glory10 8,forever with the ,lord10 8,hail to the ,lord's ,anointed10 8,hark the song of jubilee10 8,in the hour of trial10 8,prayer is the soul's sincere desire10 8,oh1 where shall rest be found10 8,the ,lord is my ,shepherd1 ,no want shall ,i know40 ,,vi4 ,,minor ,,hymn ,,writers ,there are some minor writers in this and the succeeding generation that deserve passing mention4 ,the man of a single hymn sometimes strikes twelve4 ,among these is ,john ,marriott 7#aghj-ahbe71 a ,church of ,england vicar whose 8,thou1 whose almighty word0 is in the first rank because of its dignity and sustained feeling4 ,it is one of our best missionary hymns4 ,james ,edmeston 7#agia-ahfg71 a ,london architect1 served his day and generation with hundreds of hymns for adults and children2 only one of them has become a permanent addition to ,english hymnody1 the evening hymn1 8,saviour1 breathe an evening blessing40 ,another layman1 ,sir ,robert ,grant 7#aghe-ahch71 was conspicuous in his day as a statesman1 and finally as ,governor of ,bombay2 he was a man of deep piety and elevation of mind4 ,he wrote a number of thoughtful and impressive hymns1 but he made his most permanent contribution to the ,christian ,church's sacrifice of praise in his noble 8,oh1 worship the ,king1 all-glorious above10 which is in the first rank for its noble poetry as well as its profound devotion4 ,another writer of high merit is the butcher's son1 ,henry ,kirke ,white 7#aghe-ahjf71 whose death at the early age of twenty-one years1 after writing at the age of seventeen some poems of such merit as to arrest the attention of the literary world1 was a distinct loss to ,english hymnody4 ,how great that loss can be judged from the high quality of his 8,the ,lord our ,god is clothed with might10 8,oft in danger1 oft in woe10 and his ,christmas hymn1 8,when marshaled on the nightly plain40 ,his struggles with poverty in seeking an education1 with skepticism in finding peace of soul1 with dread disease to which he had to succumb1 invest his story with a poignant pathos4 ,another hymnist deserving attention was ,bernard ,barton 7#aghd-ahdi71 a ,quaker banker1 twenty of whose hymns came into general use4 ,two of them seem to have won a permanent place in our hymnody1 8,lamp of our feet1 whereby we trace0 and 8,walk in the light6 so shalt thou know0--not great hymns1 but extremely useful4 ,henry ,francis ,lyte 7#agic-ahdg7 entered the church as a profession1 but presently was led into a deep religious experience by attending the dying bed of a neighboring clergyman who1 too1 had looked upon his work as a means of livelihood4 ,the fruit of this experience was the hymns that have been so loved and appreciated on both sides of the ocean4 ,the favorites among them are 8,abide with me6 ,fast falls the eventide10 8,jesus1 ,i my cross have taken10 8,as pants the hart for cooling streams10 and 8,praise1 my soul1 the ,king of heaven40 ,the pathetic story of his last days has touched the hearts of ,god's people as they have sung his swan song1 8,abide with me0--the finest evening hymn of the ,christian church--if it is accepted as an evening hymn4 ,that a ,unitarian1 ,sir ,john ,bowring 7#agib-ahgb71 should have written so noble a hymn about the cross of ,christ as 8,in the cross of ,christ ,i glory10 expressing all its spiritual implications1 can be explained only by his orthodoxy of heart4 ,his superficial reasonings were the outgrowth of his early educational and social environment1 and were not in co-ordination with his deeper convictions4 ,he was a voluminous writer4 ,his extraordinary genius for languages is revealed in his series of 8,specimens0 from the poetry of no less than five ,european languages4 ,politically he was even more conspicuous than ,sir ,robert ,grant1 but1 like him1 his name will be ever revered for a single great hymn1 8,in the cross of ,christ ,i glory40 ,other hymns in common use are 8,watchman1 tell us of the night0 and 8,god is love2 his mercy brightens40 ,josiah ,conder 7#aghi-ahee71 the compiler of the ,congregational ,hymn ,book1 wrote fifty-six hymns for it1 one of which is very impressive and worshipful1 8,the ,lord is ,king6 lift up thy voice10 which will undoubtedly live through coming generations4 ,his other hymns are uniformly good and of a high literary standard1 but with less appeal4 ,,vii4 ,,the ,,hymns ,,of ,,the ,,oxford ,,movement ,cardinal ,newman held that ,john ,keble was the originator of the ,oxford ,movement#a by his great ,assize sermon on 8,the ,great ,apostasy0 preached at ,oxford1 and by his emphasis of the church's calendar in his ,the ,christian ,year2 but he can hardly be associated with the school of hymn writers that grew out of it1 for some of them repudiated the literary hymn entirely4 ,john ,henry ,newman 7#ahja-ahij7 was the leader of the movement back to the ideals of the pre-,reformation church4 ,he wrote some poetry1 notably 8,the ,dream of ,gerontius10 and a few hymns4 ,of these1 8,lead1 kindly ,light1 amid the encircling gloom0 is the most widely known1 because of its attractive music1 as he himself testifies4 8,praise to the ,holiest in the height0 is really a more serviceable hymn for actual church services4 ,his disciples1 ,edward ,caswall 7#ahad-ahgh7 and ,john ,mason ,neale 7#ahah-ahff71 opened new veins of hymnic wealth in their translations from the ,latin and the ,greek1 with which they greatly enriched the treasury of sacred song4 ,in the enthusiasm evoked by their success1 the suggestion was seriously made that all the post-,reformation hymnody be set aside to give way to the medieval and even earlier hymns6 ,caswall devoted himself to the ,latin medieval hymns and sequences and made some surpassing translations1 or1 if you please1 transformations--e4g41 8,jesus1 the very thought of ,thee10 8,the sun is sinking fast10 8,my ,god1 ,i love ,thee1 not because10 and 8,when morning gilds the skies0 from the ,german4 ,he was a ,church of ,england man1 but in #ahdg he entered the ,roman ,catholic ,church1 following his leader1 ,dr4 ,newman4 ,dr4 ,neale did not leave the ,english ,church1 but was quite prominent in ,high-,church circles4 ,he was intensely interested in the liturgics of his church1 which led to his studies of the early ,greek church and its breviaries4 ,he brought to his translations of ,greek hymns a literary skill1 a spiritual insight1 and a fervor that made him the primate among those who found their inspiration in these ancient books of service and breathed into these ancient lyrics the breath of modern life4 ,among his most notable successes are3 8,art thou weary1 art thou languid80 8,christian1 dost thou see them80 8,the day is past and over10 8,fierce was the wild billow10 8',tis the day of resurrection10 8,brief life is here our portion10 8,jerusalem the golden40 ,it must be remembered that these are not literal translations1 but ,english hymns made up of ideas suggested by phrases in the originals4 ,only a poet imbued with devout feelings1 responding to the vague suggestions of the often obscure originals1 could have produced them4 ,another disciple of ,cardinal ,newman who also followed him into the ,roman ,catholic ,church was ,frederick ,w4 ,faber 7#ahad-ahfc71 a poet by the grace of ,god1 a devout ,christian1 a man of intense convictions1 but somewhat temperamental and impulsive4 ,among his many good hymns are3 8,my ,god1 how wonderful thou art10 8,there's a wideness in ,god's mercy0 7sometimes beginning 8,was there ever kindest ,shepherd071 8,o ,paradise6 ,o ,paradise10 8,hark1 hark1 my soul6 angelic songs are swelling10 8,faith of our fathers6 living still40 ,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 hymnals4 ,nevertheless1 in its present form it is a very impressive and valuable hymn that has been redeemed from the propagandist vagary of its original writer4 ,still under the influence of the ,oxford ,high1 or ,anglo-,catholic ,church1 we find ,mrs4 ,cecil ,frances ,alexander1 7#ahbc-ahie71 the writer of many hymns1 especially for children1 among which are a number that promise permanent usefulness3 8,there is a green hill far away10 8,jesus calls us1 o'er the tumult10 8,the roseate hues of early dawn40 ,bishop ,w4 ,w4 ,how 7#ahbc-ahig7 wrote a number of excellent hymns for his hymnal1 ,psalms and ,hymns1 some of which have since found their way into other hymnals4 ,perhaps those that have appealed most are 8,o ,jesus1 ,thou art standing10 8,we give ,thee but ,thine own10 8,o ,word of ,god incarnate10 8,soldiers of the cross1 arise10 8,summer suns are glowing40 ,his hymns are thoughtful1 devout1 and full of tender feeling2 their literary quality is admirable4 ,a very copious writer of the same generation was ,frances ,ridley ,havergal 7#ahcf-ahgi71 whose devotional poetry touched the heart of her generation to a remarkable degree4 ,her pen was quite facile1 and not all she wrote had more than transient value3 but some of her hymns the ,christian ,church will permanently treasure3 8,take my life1 and let it be10 8,i could not do without ,thee10 8,true-hearted1 whole-hearted10 8,lord1 speak to me1 that ,i may speak10 8,i gave my life for thee40 ,miss ,havergal was a woman of profound ,christian experience1 which is voiced by her hymns4 ,among the later writers is ,sabine ,baring-,gould 7#ahcd-aibg71 voluminous writer on a variety of topics as well as a fairly popular novelist4 ,he wrote the stirring 8,onward1 ,christian soldiers0 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 him4 ,he also wrote an appealing evening hymn1 8,now the day is over10 that ,joseph ,barnby has made popular by his pleasing tune1 8,merrial40 ,in spite of ,sir ,walter ,scott and ,robert ,burns and a number of minor poets1 and in spite of a wealth of charming folk songs1 to prove that the spirit of song dwells in the ,scottish breast1 ,scotland has made but a small contribution to ,english hymnody4 ,the metrical psalm ruled the ,scotch religious heart with a rod of iron4 ,only during the last generation has ,scotia almost unwittingly made an important contribution4 ,horatius ,bonar 7#ahjh-ahhi7 was an industrious writer on many topics4 ,he allowed no hymns to be sung in his church1 but by a strange anomaly he issued three series of ,hymns of ,faith and ,hope--in #ahef1 #ahfa1 and #ahff4 ,while these hymns were being increasingly sung around the world1 his church sang metrical psalms6 ,more than one hundred of his hymns are in common use4 ,among them are the following3 8,i heard the voice of ,jesus say10 8,i lay my sins on ,jesus10 8,go1 labor on2 spend and be spent10 8,beyond the smiling and the weeping10 8,a few more years shall roll10 8,i was a wand'ring sheep10 8,when the weary1 seeking rest40 ,another ,scotchman1 ,george ,matheson 7#ahdb-aijf71 the blind preacher1 has written1 among many others1 a hymn whose beauty and mystical suggestiveness has rapidly given it wide usefulness3 8,o ,love1 that wilt not let me go40 ,fortunate in having a very pleasing and effective tune1 ,st4 ,margaret by ,albert ,l4 ,peace1 it promises to be a permanent fountain of blessing4 ,chapter ,,xviii ,,american ,,hymnody ,i4 ,,the ,,transition ,,from ,,psalmody ,,to ,,hymnody ,the metrical versions used in ,new ,england were ,ainsworth's in ,plymouth and vicinity under ,pilgrim influence1 and ,sternhold and ,hopkins'1 where ,puritan influence controlled4 ,the ,new ,england ministers were scholarly and knew their ,hebrew ,bible4 ,the ,sternhold and ,hopkins version was unsatisfactory1 not so much for its literary deficiencies1 but because it was not literal enough1 did not reproduce the ,hebrew minutely enough4 ,this led1 as we have seen in ,chapter ,x1 to the ,bay ,psalm ,book of #afdj1 which was widely adopted1 although ,sternhold and ,hopkins still had its partisans4 ,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 churches4 ,the utter collapse of the congregational singing due to the lack of tunes in the psalm books1 and the absence of competent precentors1#a hastened the revolt among some of the ,churches against the versions4 ,yet the tyranny of 8use and wont0 kept most of the churches in line1 only a few of them adopting the later version of ,tate and ,brady4 ,the interest aroused by the 8singing school10 and by the organization of choirs due to the multiplication of tune books1 both ,english and ,american1 delayed the abolition of the older metrical versions and postponed the introduction of ,watts' ,imitations and ,hymns for several decades1 but the complaints from the larger and more cultured churches and their scholarly ministers became more vociferous4#b ,the combination of the absurdities of the metrical versions1 and those created by the senseless repetition made necessary by the fugue tunes then in use1 became unendurable4 ,,ii4 ,,the ,,introduction ,,of ,,watts' ,,hymns ,watts' ,the ,psalms of ,david ,imitated was very well adapted to serve as an entering wedge4 ,it brought a certain sanction by making ,david's ,psalms the foundation4 ,they were still psalms1 not hymns1 and so satisfied to some degree the claims of tradition1 and placated those who would have balked at hymns of 8human composure40 ,benjamin ,franklin in #agbi was the first to reprint the ,imitation1 but complained that the copies remained on his shelves unsold4 ,the demand evidently grew1 for in #agda he issued a second edition4 ,the first reprint of ,watts' ,hymns appeared in #agci in ,boston4 ,three years later1 in #agdb1 ,franklin reprinted them in ,philadelphia1 and years later still1 they were republished in ,new ,york4 ,whitfield's visit to ,america and the outburst of singing of the ,great ,awakening 7#agdb71 with its profound religious experiences that could find no adequate expression in the ,psalms alone1 gave ,watts' ,hymns a larger opportunity4 ,in #agdd the singing of ,watts' ,hymns was one of the diversions of the people when they met together4 ,it was not until after the ,revolution that the introduction of ,watts' ,psalms and ,hymns became general4 ,there were a number of issues with such abridgments or changes as were made necessary by ,watts' references to ,british conditions1 by ,joel ,barlow1 a patriotic poet1 author of the ,columbiad1 and later ,u4 ,s4 ,minister to ,france1 and by ,nathan ,strong1 ,samuel ,worcester1 and ,timothy ,dwight1 the distinguished president of ,yale ,college4 ,all these had considerable vogue1 especially the last which contained metrical versions of the ,psalms ,watts had omitted and other psalms versified anew4 ,president ,dwight's 8,i love ,thy kingdom1 ,lord0 appeared as a versification of ,psalm #acg4 ,it is a classic1 one of the two leading hymns on the ,christian ,church1 and is rarely omitted in our hymnals4 ,besides the ,psalms it contained #bfc hymns1 #afh of which were by ,watts4 ,the contentions which had occurred over methods of singing--the 8,deaconing0 or lining out of the hymns1 the use of choirs1 the fugal tunes--now gave way to differences over the use of various editions of ,watts1 or over the use of hymns in church service4 ,the tradition1 happily unjustified now1 that the music of the church constituted 8the war department0 seems to have been originated during that century of conflict4 ,,iii4 ,,the ,,beginnings ,,of ,,american ,,hymnody ,wherever ,watts had been able to overthrow the tyranny of the metrical versions1 he seemed to have instituted a tyranny of his own1 to the detriment of the development of an ,american hymnody4 ,but here and there lonesome birds were singing songs of their own1 early harbingers of the springtime of ,american sacred song4 ,samuel ,davies1 the eloquent ,president of the ,college of ,new ,jersey1 now ,princeton ,university1 began writing hymns in the middle of the eighteenth century that were accepted in ,english hymnbooks before they became generally known in ,america4 ,their quality may be judged from his hymn of consecration3 8,lord1 ,i am thine1 entirely thine1 ,purchased and saved by blood divine2 ,with full consent thine ,i would be ,and own thy sovereign right in me40 ,the other verses are equally good1 if not superior4 ,mather ,byles1 the brilliant ,tory preacher of ,boston1 was a poet of no mean pretentions and in close touch with ,swift1 ,pope1 and ,watts4 ,he wrote hymns that served their purpose in his day and generation1 but have not been recognized since1 partly because of his political attitude and his advanced views1 being one of the first to use ,watts' ,hymns in his congregation4 ,his somewhat oratorical style is evident in his hymn on the greatness of ,god3 8,who can behold the blazing light8 ,who can approach consuming flame8 ,none but thy wisdom knows thy might2 ,none but thy word can speak thy name40 ,another early songbird was ,samson ,occom1 the ,mohegan ,indian1 who raised the money in ,england which later became the financial nucleus of the present ,dartmouth ,college4 ,his autobiographical hymn1 8,waked by the ,gospel's joyful sound10 was widely used in ,england and translated into ,welsh1 among whom it was used in their revivals and 8led many hundred sinners to the cross of ,christ40 ,harry ,alline 7#agdh-aghc7 was the most copious hymn writer of that early day1 his ,hymns and ,spiritual ,songs containing four hundred and eighty-seven ,hymns1 all from his own pen4 ,his 8,amazing sight1 the ,saviour stands1 ,and knocks at every door6 ,ten thousand blessings in his hands ,to satisfy the poor10 was quite a favorite for many years1 but was finally submerged in the larger tide of sacred song that sprang up through the years4 ,the scholarly and eloquent ,nathan ,strong in his ,hartford ,selection used several hymns of his own4 ,his patriotic hymn1 8,swell the anthem1 raise the song10 has had a long life of wide usefulness4 ,while ,watts still reigned supreme during the next quarter of a century1 the impulse and the ability to write acceptable hymns was rapidly developing4 ,eccentric ,elder ,john ,leland 7#aged-ahea7 among a lot of almost amusing trash wrote an evening hymn that had very wide acceptance4 ,dr4 ,duffield characterizes it as a 8classic in its unpretending beauty10 and ,dr4 ,charles ,s4 ,robinson esteemed it so highly as to exclaim1 8,may it live forever and ever60 ,unfortunately the supply of fine evening hymns is so great that in the competition ,leland's hymn has fallen by the way4 ,the last verse will enable the reader to savor its quality3 8,and when our days are past1 ,and we from time remove1 ,oh1 may we in ,thy bosom rest1 ,the bosom of ,thy love40 ,how many ministers who sing 8,coronation0 so heartily are aware that the composer1 ,oliver ,holden 7#agfe-ahdd71 was a hymn writer as well as a musician8 ,yet one of his hymns had a wide use in both ,america and ,england3 8,they who seek the throne of grace ,find that throne in every place2 ,if we live a life of prayer1 ,god is present everywhere40 ,after a long and useful life1 it1 too1 has practically disappeared from our hymnals4 ,,iv4 ,,collections ,,of ,,american ,,hymns ,by #ahbd the evangelistic movement1 partly a heritage from the ,great ,awakening1 partly due to the ,methodist aggressiveness1 and partly to the religious needs of a widely scattered and pioneer population1 made it evident that the hymns of ,watts and his school1 with minds set on worship in more or less formal services for the edification of the elect1 and ignoring the needs of an urgent discipling1 were not fitted for revival work4 ,rev4 ,asahel ,nettleton1 an evangelistic minister greatly interested in foreign missions1 issued his ,village ,hymns1 containing six hundred hymns1 only fifty of which were by ,watts4 ,some of ,charles ,wesley's hymns were included1 but most of these were credited to other authors4 ,while other ,english sources were drawn upon1 the book was noteworthy for the ,american hymns that appeared in it4 ,hymns by ,davies1 ,occom1 ,alline1 ,strong1 and ,dwight were used4 ,an eager quest for new ,american hymnists was rewarded by contributions from ,william ,b4 ,tappan 78',tis midnight2 and on ,olive's brow0 and 8,the ransomed spirit to her home072 from ,phoebe ,hinsdale ,brown 78,i love to steal awhile away072 and from ,abby ,b4 ,hyde 78,dear ,saviour1 if these lambs should stray074 ,william ,b4 ,tappan 7#agid-ahdi7 was a largely self-educated man1 having attended school but six months4 ,his hymn 8,there is an hour of peaceful rest0 was widely published in ,america and ,england1 and on the ,continent1 and used to be inevitable in the hymnbooks of sixty years ago4 ,his 8',tis midnight2 and on ,olive's brow0 still holds its place1 though largely descriptive1 but none the less impressive and useful4 ,mrs4 ,phoebe ,hinsdale ,brown 7#aghc-ahfa7 still is represented in most of our hymnals by her 8,i love to steal awhile away10 with its pathetic story of her misunderstood habit of prayer among the scenes of nature4 ,greater than the hymn1 valuable as it has been1 is her contribution to the progress of ,christ's ,kingdom in the work of her missionary son1 ,rev4 ,samuel ,r4 ,brown1 in ,china and ,japan and that of her grandsons in the latter country4 ,but the revival took on an intenser form under the preaching and praying of ,charles ,g4 ,finney and1 bright as was the spirit of the ,village ,hymns1 it called for something more vigorous and with a greater appeal to the unsaved people who were to be won1 especially in the music4 ,rev4 ,joshua ,leavitt1 a ,congregational minister1 a militant reformer1 enemy of intemperance and slavery 7a dangerous attitude in those days71 and an ardent believer in the revival work of ,finney1 issued his ,the ,christian ,lyre in #ahcj1 which created quite a sensation4 ,its hymns did not differ much from those of ,village ,hymns1 but it was more practical in that it supplied the music on the page opposite to each hymn1 no small advance on the ponderous tune book that had to be held in one hand and the hymnbook in the other4 ,lowell ,mason and ,thomas ,hastings had been editing these tune books filled with dull and stupid music1 in whose abundant chaff an occasional grain of gold occurred1 which the ,christian ,church has been glad to cherish4 ,the music in ,the ,christian ,lyre was bright and popular1 being secular melodies the people were singing4 ,leavitt had taken a leaf out of the book of the old mass-writers1 who used popular melodies for their descants1 and of ,luther and ,bourgeois1 in taking popular tunes to reach the people4 ,it was an anticipation of ,horace ,waters' policy in his ,sabbath ,school ,bell in #ahei4 ,it was also an anticipation of ,moody and ,sankey's ,gospel ,hymns1 except that ,leavitt had no ,fanny ,crosby or ,lydia ,baxter to supply new texts1 and no reserve of popular music by ,lowry1 ,doane1 ,bliss1 and others to draw upon4 ,as ,horace ,waters stimulated ,bradbury into developing the popular ,sunday school music1 one of whose by-products was the ,gospel song1 so ,leavitt stirred up ,mason and ,hastings to begin the issue in #ahcb of ,spiritual ,songs for ,social ,worship1 in twelve parts1 more nearly the archetype of the future ,gospel ,hymns4 ,the ,christian ,lyre left no residuum for future generations1 but ,spiritual ,songs1 edited by men of wide experience1 in touch with the most cultivated clerical circle of the day1 one of them a hymnist of both facility and felicity1 made important permanent contributions not only to ,american but to universal ,christian hymnody4 ,in this collection appeared ,thomas ,hastings' 8,hail to the brightness of ,zion's glad morning10 8,gently1 ,lord1 ,o gently lead us10 8,how calm and beautiful the morn10 8,child of sin and sorrow40 ,here also appeared his enlargement of ,thomas ,moore's 8,come1 ye disconsolate40 ,add to these his tunes 8,ortonville10 8,retreat10 8,zion10 8,toplady10 and others and his other hymns1 8,return1 ,o wanderer1 to my home10 8,delay not1 delay not1 ,o sinner1 draw near10 8,the ,saviour bids thee watch and pray10 and it will be seen that ,thomas ,hastings1 even if he is not in the first rank as hymnist or composer1 deserves well of the ,christian ,church4 ,in this same volume of ,spiritual ,songs first appeared ,rev4 ,samuel ,f4 ,smith's two great hymns1 8,the morning light is breaking0 and 8,my country1 'tis of thee40 ,he was still a theological student1 twenty-four years of age1 when these were written4 ,the theme of the latter was suggested in a general way by ,lowell ,mason1 who needed a patriotic song for his children's singing schools1 and who supplied him with some music he had recently received from ,germany4 ,during a leisure moment his eye fell on 8,heil dir im ,sieger-,kranz10 the ,german 8,god ,save the ,king10 written to the ,english tune1 8,god ,save the ,king40 ,this latter fact he did not know1 but liked the tune and was moved to write unknowingly our ,national ,hymn4 ,sung by ,lowell ,mason's children's chorus1 it was rapidly introduced and was presently viva voce accepted as the long-desired ,national ,anthem4 ,practically an improvisation1 not intended for wide use1 it is open to criticism2 but it is greatly superior to its only competitor for national honors1 8,the ,star-,spangled ,banner10 because of its practicability in singing1 its dignity1 and its noble expression of the ,american spirit4 ,that it refers to hills and not to prairies1 and speaks of 8pilgrim's pride0 7without the capital7 is open only to captious criticism4 ,his 8,the morning light is breaking0 was due to the missionary spirit that was prevalent in the theological seminaries during that period4 ,it is the peer of ,heber's 8,from ,greenland's icy mountains0 as a missionary hymn2 many recent critics greatly prefer it4 ,another great hymn that made its premier appearance in ,spiritual ,songs was 8,my faith looks up to ,thee10 by ,dr4 ,ray ,palmer 7#ahjh-ahhg71 set to one of ,lowell ,mason's best tunes1 8,olivet40 ,meeting ,dr4 ,palmer on the street1 ,mason asked him whether he had not an appropriate hymn for his forthcoming book2 young ,palmer remembered he had some verses in his pocketbook and handed them to ,mason4 ,meeting ,palmer a few days afterwards on the street1 ,mason with great earnestness exclaimed3 8,mr4 ,palmer1 you may live many years and do many good things1 but ,i think you will be best known to posterity as the author of #8,my faith looks up to ,thee6'0 ,the prophecy1 so literally fulfilled1 speaks well for ,mason's critical acumen4 ,ray ,palmer1 despite ,bishop ,wordsworth's objection to the pronouns of the first person1 wrote 8,my faith10 8,i pray10 8my guilt10 for his hymn was not intended to be sung1 but simply to express his own spiritual experience4 ,it was a personal prayer none the less that it took a metrical form4 ,it is one of the great factors in its world-wide appeal that it becomes the personal expression of every individual who sings it4 ,but ,dr4 ,palmer was not the author of only a single song3 he wrote many others of almost equal value4 ,writing a sermon on the words of ,peter1 8,jesus ,christ1 whom having not seen ye love10 he was suddenly overwhelmed by his rapture of love for the ,christ1 and1 the sermon forgotten1 he wrote down the hymn the church will never allow to die3 8,jesus1 these eyes have never seen ,that radiant form of thine2 ,the veil of sense hangs dark between ,thy blessed face and mine4 ,i see thee not1 ,i hear thee not1 ,yet art thou oft with me2 ,and earth hath ne'er so dear a spot ,as where ,i meet with thee40 ,in his dying hour he was heard to repeat with broken voice the last stanza of this hymn3 8,when death these mortal eyes shall seal1 ,and still this throbbing heart1 ,the rending veil shall thee reveal1 ,all glorious as thou art40 ,other important hymns of ,dr4 ,palmer's are3 8,come1 ,jesus1 ,redeemer1 abide ,thou with me10 8,o ,jesus1 sweet the tears ,i shed10 8,take me1 ,o my ,father1 take me10 8,o ,christ1 the ,lord of heav'n1 to ,thee10 8,come1 ,holy ,ghost1 in love40 ,his translation of 8,jesu1 dulcedo cordium10 the ,paris cento of 8,jesu1 dulcis memoria10 by an unknown ,spanish abbess1 is most highly esteemed3 8,jesus1 ,thou joy of loving hearts40 ,this cento is made up of selected verses from 8,jesu1 dulcis memoria10 from which ,edward ,caswell took his admirable 8,jesus1 the very thought of ,thee40 ,dr4 ,leonard ,bacon 7#ahjb-ahha71 the son of a missionary among the ,indians of ,michigan1 is noteworthy in two particulars3 he issued1 at the age of twenty-one1 the first collection of missionary hymns printed in ,america1 and he wrote the ,new ,england patriotic hymn still used in our churches1 8,o ,god1 beneath thy guiding hand ,our exiled fathers crossed the sea2 ,and when they trod the wintry strand ,with prayer and psalm they worshiped ,thee40 ,born in ,detroit1 he sang the praise of the divine hand that founded the ,new ,england churches4 ,v4 ,,episcopal ,,hymn ,,writers ,while the ,anglican ,church remained faithful to the traditional metrical versions well into the nineteenth century1 the ,american ,episcopal ,church was hospitable to hymns much earlier4 ,already in #aghi the ,house of ,bishops ratified the addition of hymns to the psalter4 ,from decade to decade the demand for additional hymns grew until in #ahbc ,william ,a4 ,muhlenberg1 a rector of ,lancaster1 ,pa41 issued his ,church ,poetry1 consisting of psalms and hymns1 which was adopted by the rectors of other ,episcopal churches4 ,in #ahbg appeared ,hymns of the ,protestant ,episcopal ,church1 the majority of whose hymns were by ,watts1 ,doddridge1 ,steele1 and ,charles ,wesley4 ,its most distinctive feature was the new hymns supplied by five ,episcopal writers1 ,dr4 ,h4 ,u4 ,onderdonk1 ,dr4 ,william ,augustus ,muhlenberg 7#agif-ahgg71 ,bishop ,george ,w4 ,doane 7#agii-ahei71 ,j4 ,w4 ,eastburn1 and ,francis ,s4 ,key 7#aggi-ahdc74 ,of ,dr4 ,onderdonk's nine hymns one came into general use1 8,the ,spirit in our hearts40 ,dr4 ,muhlenberg was more successful1 for three of his five are recognized as a part of ,american ,hymnody3 8,i would not live alway2 ,i ask not to stay10 8,shout the glad tidings1 exultingly sing10 and the baptismal hymn1 8,saviour1 who thy flock art feeding40 ,bishop ,doane was represented by two hymns1 both of which still find a place in our hymnals3 8,thou art the way2 to thee alone10 8,softly now the light of day40 ,the latter is one of our most acceptable evening hymns4 ,fully as useful is his vigorous missionary hymn1 which1 with its very appropriate tune1 8,waltham10 by ,j4 ,baptiste ,calkin1 is adding inspiration everywhere to the cause1 8,fling out the banner6 let it float ,skyward and seaward1 high and wide2 ,the sun1 that lights its shining folds1 ,the cross1 on which the ,saviour died40 ,francis ,s4 ,key1 the well-known writer of 8,the ,star-,spangled ,banner10 to whom ,baltimore has erected an elaborate statue1 furnished a fine hymn of praise1 8,lord1 with glowing heart ,i'd praise ,thee40 ,,vi4 ,,unitarian ,,hymnody ,the production of original hymns in ,new ,england took a peculiar course4 ,after ,samuel ,f4 ,smith1 the spirit of praise left the ,orthodox churches and took refuge with the ostensible ,unitarians4 ,the reaction against the rigid and harsh ,calvinism was not so much against the doctrine of the deity of ,christ1 as against the false corollaries drawn metaphysically from the noble doctrine of the ,sovereignty of ,god1 as well as the crass1 materialistically conceived1 conception of the state of the impenitent dead1 that was painted so luridly and offensively in song as well as in sermon4 ,henry ,ware1 ,jr4 7#agid-ahdc71 was the son of ,professor ,henry ,ware1 who held the chair of ,divinity in ,harvard ,college for thirty-five years4 ,he himself became professor of ,pulpit ,eloquence and ,pastoral ,care in the same institution in #ahcj4 ,the pastor for thirteen years of a prominent ,unitarian church in ,boston1 he never wavered in his faith in the deity of ,jesus ,christ4 ,how otherwise could he have written that triumphant ,easter hymn3 8,lift your glad voices in triumph on high1 ,for ,jesus hath risen1 and man cannot die2 ,vain were the terrors that gathered around him1 ,and short the dominion of death and the grave40 ,william ,cullen ,bryant 7#agid-ahgh71 ,america's first great poet1 wrote five hymns for ,henry ,d4 ,sewall's ,unitarian ,church hymnal in #ahbj4 ,he was a member of the ,first ,congregational ,unitarian ,church in ,new ,york ,city4 ,yet in #ahfe he could write a hymn containing the following stanza3 8,lo6 in the clouds of heaven appears ,god's well-beloved ,son2 ,he brings the train of brighter years2 ,his ,kingdom is begun2 ,he comes1 a guilty world to bless ,with mercy1 truth1 and righteousness40 ,in #ahge he could still write in a hymn on 8,the ,star of ,bethlehem10 8,yet doth the ,star of ,bethlehem shed ,a luster pure and sweet2 ,and still it leads1 as once it led1 ,to the ,messiah's feet40 ,an even more remarkable ,unitarian was ,oliver ,wendell ,holmes 7#ahji-ahid71 the great physician1 but even greater poet4 ,he had the reputation of being rather radical in his religious views2 he was a humorist whom human life rather amused than impressed seriously 7though he was tender enough to human suffering71 but1 when a hymn seemed an appropriate close for one of his genial essays1 he could write1 8,lord of all being1 throned afar1 ,thy glory flames from sun and star2 ,center and soul of every sphere1 ,yet to each loving heart how near40 ,but unless in the deeper depths of his soul there still lingered faith in ,jesus ,christ as the ,son of ,god1 how could he write1 8,o ,love divine1 that stooped to share ,our sharpest pang1 our bitterest tear1 ,on thee we cast each earthborn care2 ,we smile at pain while thou art near40 ,especially that last verse of unshaken faith3 8,on thee we fling our burdening woe1 ,o ,love divine1 forever dear2 ,content to suffer while we know1 ,living and dying1 thou art near40 ,what might not ,oliver ,wendell ,holmes have done for ,christian hymnody1 had he had ,charles ,wesley's evangelical experience and piety8 ,another ,unitarian deserving recognition was ,edmund ,hamilton ,sears 7#ahaj-ahgf71 who is not remembered because of his successful pastoral career of forty years1 nor by his theological treatises and religious writings1 but by his two ,christmas hymns1 perhaps the best written in ,america 7not forgetting ,bishop ,brooks' 8,o ,little town of ,bethlehem07--8,calm on the listening ear of night0 and 8,it came upon the midnight clear40 ,the first was written soon after his graduation from ,harvard ,college in #ahcd1 and the other in #ahdi after he had been in the pastorate over a decade4 ,of course1 he was a firm believer in the deity of ,christ1 else he could not have written these hymns4 ,after ,dr4 ,ray ,palmer1 our best ,american hymnist is ,john ,g4 ,whittier 7#ahjg-ahib71 who never aspired to such honors6 ,his hymns have been most deftly extracted from longer poems and1 despite their being mere fragments1 are distinctive hymns in progress of thought and structure4 ,moreover1 they are the very choicest passage in these longer poems4 ,the additional marvel is that this ,unitarian ,hicksite ,quaker1 who was not taught to sing hymns in his youth1 should have given finer expression than any other writer to the sense of present intimate communion with ,christ3 8,but warm1 sweet1 tender1 even yet ,a present help is ,he2 ,and faith has still its ,olivet1 ,and love its ,galilee40 ,,vii4 ,,later ,,orthodox ,,hymn ,,writers ,to this generation ,george ,duffield1 ,jr4 7#ahah-ahhh71 may be said to have belonged4 ,his hymn1 8,stand up1 stand up for ,jesus10 is never omitted from any reputable collection of hymns1 liturgic or popular4 ,he was a foremost figure in the ,philadelphia revival of #aheg and #aheh1 being associated with ,alfred ,cookman1 the ,methodist1 and ,dudley ,a4 ,tyng1 the ,episcopalian1 whose dying words suggested the hymn4 ,old ,dr4 ,lyman ,beecher was a giant in his day1 but his chief glory was in his remarkable family of children4 ,while ,henry ,ward was most conspicuous in his day1 he was hardly more so than ,harriet ,beecher ,stowe 7#ahab-ahif71 the author of ,uncle ,tom's ,cabin1 which1 with ,hanby's ,darling ,nellie ,gray1 prepared the heart of the ,north to buy at a tremendous cost of treasure and blood the ,emancipation ,proclamation4 ,but ,mrs4 ,stowe is not simply a historic character whose work is done2 she is living still in her hymns1 notably the exquisite morning hymn1 8,still1 still with thee1 when purple morning breaketh10 a fitting mate for ,lyte's evening hymn1 8,abide with me2 fast falls the eventide40 ,mention should be made of ,anna ,warner 7#ahbj-aiae71 whose children's hymn1 8,jesus loves me1 this ,i know10 set to ,bradbury's simple pentatonic melody has girdled the globe4 ,other hymns by ,miss ,warner are 8,one more day's work for ,jesus0 and 8,we would see ,jesus2 for the shadows lengthen40 ,among later ,american hymn writers is ,mary ,artemisia ,lathbury 7#ahda-aiac71 who wrote 8,break ,thou the bread of life0 7not a communion hymn1 by the way7 and 8,day is dying in the ,west10 with ,william ,f4 ,sherwin's tunes1 which are to be found in all our hymnals and which are very tender1 very useful4 ,the ,american ,episcopal ,church has supplied some admirable hymns through ,bishop ,arthur ,cleveland ,coxe 7#ahah-ahif71 who wrote 8,oh1 where are kings and empires now10 the almost apocalyptic 8,we are living1 we are dwelling10 and the missionary 8,saviour1 sprinkle many nations10 all hymns of high worth2 and ,bishop ,phillips ,brooks 7#ahce-ahic71 whose 8,o little town of ,bethlehem0 is a favorite ,christmas carol4 ,mrs4 ,frances ,crosby ,van ,alstyne 7#ahbj-aiae71 familiarly known as 8,fanny ,crosby10 would be the premier hymn writer of ,america if the criteria were quantity and wideness of use4 ,there can be no question as to the evangelistic and devotional value of her hymns1 whatever their literary quality or permanent appeal may be4 8,safe in the arms of ,jesus10 8,rescue the perishing10 8,blessed ,assurance10 8,pass me not1 ,o gentle ,saviour10 8,saviour1 more than life to me10 8,i am thine1 ,o ,lord1 ,i have heard thy voice10 8,jesus1 keep me near the cross10 and many others will probably be permanent in hymnals and song collections of a popular and evangelistic type4 ,valuable hymns of the same practical gospel song type have been written by ,mrs4 ,lydia ,baxter1 ,philip ,paul ,bliss1 ,annie ,sherwood ,hawks1 ,mrs4 ,ellen ,huntington ,gates1 ,rev4 ,e4 ,a4 ,hoffman1 ,miss ,e4 ,e4 ,hewitt1 ,mrs4 ,c4 ,h4 ,morris1 ,president ,j4 ,e4 ,rankin1 ,d4,d41 and many others4 ,mrs4 ,elizabeth ,prentiss 7#ahah-ahgh71 daughter of the saintly and greatly beloved ,rev4 ,edward ,payson1 wrote ,stepping ,heavenward1 a book that stimulated and cheered multiplied thousands and lifted their spiritual ideals4 ,of her #abc ,religious ,poems1 one has won a permanent place in our hymnals1 8,more love to ,thee1 ,o ,christ40 ,it is not a substitute for ,mrs4 ,adams' 8,nearer1 my ,god1 to ,thee10 but a complement4 ,other writers of single hymns that the ,church has used with great effect are ,dr4 ,washington ,gladden's 7#ahcf-aiah7 8,o ,master1 let me walk with ,thee10 a hymn of ,christian service2 ,dr4 ,sylvanus ,dryden ,phelps' 8,saviour1 ,thy dying love20 ,dr4 ,edward ,hopper's 8,jesus1 ,saviour1 pilot me20 ,dr4 ,joseph ,henry ,gilmore's 7#ahcd-aiah7 8,he leadeth me1 ,o blessed thought20 ,ernest ,w4 ,shurtleff's 7#ahfb-aiag7 8,lead on1 ,o ,king eternal20 ,frank ,mason ,north's 7#ahej-aice7 8,where cross the crowded ways of life02 the second1 third1 and fourth of the songs just mentioned have a ,gospel song origin4 ,more recent writers are ,rev4 ,frederick ,l4 ,hosmer and ,rev4 ,william ,c4 ,gannett in whose ,the ,thought of ,god are found hymns of deep piety and strong religious feeling4 ,room is made for two stanzas of ,dr4 ,hosmer's 8,found10 8,o ,name1 all other names above1 ,what art thou not to me1 ,now ,i have learned to trust thy love ,and cast my care on thee8 ,what is our being but a cry1 ,a restless longing still1 ,which thou alone canst satisfy1 ,alone thy fullness fill80 ,a more important recent hymn writer is ,rev4 ,louis ,f4 ,benson1 ,d4,d4 7#ahee-aicj71 the editor of the current ,presbyterian hymnals4 ,this history of ,christian hymnody cannot close more fittingly than to quote part of a stirring hymn by this greatest of ,american hymnologists3 8,forward6 singing #8,glory ,to our ,lord the ,king'2 ,forward6 ,trusting only ,in the name we sing4 ,see the day is breaking ,and the road points far2 ,march1 with eyes uplifted ,to the ,morning ,star4 ,blessed is the ,kingdom2 ,blessed be the ,king6 ,crowned is every duty ,his commandments bring4 ,now to serve like soldiers1 ,now to work like men2 ,oh1 to love as ,god loves ,and to conquer then40 ,,the ,,singing ,,church ,,part ,,iii ,,practical ,,hymnology ,chapter ,,xix ,,the ,,study ,,of ,,hymns ,i4 ,,importance ,,of ,,the ,,study ,,of ,,hymns ,it has been said that the two great books which every minister should study are the ,bible and human nature4 ,a third great book may be added1 in which the foregoing two unite in a new combination--the ,hymnbook4 ,in that collection of hymns the truths of the ,bible find their expression in a new form4 ,they are no longer ,oriental in spirit1 based upon human experiences under different conditions and in a different intellectual atmosphere1 but modern1 and strong with a fresh vitality4 ,they have passed through the crucible of intense personal feeling and experience1 and have been recast in forms more comprehensible to a different race and to a different age4 ,next to his library of comment upon the ,bible1 and of exposition of its doctrines1 should be that of the minister's hymnological books giving the history1 the illustrations1 and the methods of making effective the hymns he uses in his congregation4 ,,ii4 ,,personal ,,advantages ,,of ,,such ,,study ,,of ,,hymns ,the first line of the study of hymns should be contributory to his own personal development4 ,literary ,pleasure4 ,a great delight awaits the minister of cultivated taste and sensibility1 for there are not only ten really good hymns1 as a famous literary doctor#a once insisted1 but hundreds of them1 whose distinction and beauty of phraseology1 whose fresh and orderly development of ideas1 and whose elevation and glory of thought give unfailing literary pleasure4 ,how can one read ,harriet ,beecher ,stowe's 8,still1 still with ,thee10 that best of ,american morning hymns1 without exquisite delight8 8,still1 still with ,thee1 when purple morning breaketh1 ,when the bird waketh1 and the shadows flee3 ,fairer than morning1 lovelier than daylight1 ,dawns the sweet consciousness1 ,i am with ,thee40 ,prominent among these literary hymns will be that hymn of majestic praise by ,sir ,robert ,grant3 8,oh1 worship the ,king1 all-glorious above1 ,oh1 gratefully sing his power and his love2 ,our ,shield and ,defender1 the ,ancient of days1 ,pavilioned in splendor1 and girded with praise4 ,oh1 tell of his might1 oh1 sing of his grace1 ,whose robe is the light1 whose canopy space3 ,his chariots of wrath the deep thunderclouds form1 ,and dark is his path on the wings of the storm40 ,here are majesty and beauty of thought1 flawless phraseology1 and musical numbers4 ,no editor has found excuse to alter or amend it4 ,even ,isaac ,watts1 who boasted his freedom from literary trammels and who illustrated that freedom all too often and too perversely1 proved his latent poetic powers in the noble poetry of 8,our ,god1 our ,help in ages past1 ,our ,hope for years to come1 ,our shelter from the stormy blast1 ,and our eternal home40 ,that the literary quality of ,adelaide ,a4 ,procter's hymn1 8,my ,god1 ,i thank ,thee who hast made10 is high no one would deny3 8,my ,god1 ,i thank ,thee1 who hast made ,the earth so bright1 ,so full of splendor and of joy1 ,beauty and light2 ,so many glorious things are here1 ,noble and right40 ,the minor chord in the third verse but renders more poignant the high glory of her praise3 8,i thank ,thee more that all our joy ,is touched with pain2 ,that shadows fall on brightest hours1 ,that thorns remain2 ,so that earth's bliss may be our guide1 ,and not our chain40 ,there is a mine of inestimable literary wealth awaiting the search of discriminating taste4#b ,literary ,culture4 ,but many ministers of limited native susceptibility to literary and poetic beauty1 and perhaps of none too efficient literary opportunities1 will not be able at once to enter into the delight of the literary qualities of hymns4 ,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 values4 ,their imaginations need to be stimulated4 ,their response to the charm of musical phrases1 to the clearness and lucidity of the thought expressed1 to the fitness of the unexpected and pleasing metaphors used1 to the nice selection of the words employed to weave a garb of beauty for the message the hymn is intended to convey1 can be and must be developed1 if not only the proper appreciation of the hymns but also their highest efficiency as preachers are to be secured4 ,few preachers realize the importance of this literary culture2 yet1 apart from his deity1 ,jesus ,christ was the greatest literary man the race has developed4 ,his parables1 his similes1 his aptness of phrase1 his wit1 his clearness of style1 despite the great topics on which he discoursed1 cannot be paralleled in any literature4 ,the literary value of the ,gospels is one of the reasons of their agelong and race-wide appeal4 ,the effort of the preacher to sensitize his mind and spirit1 in order to appreciate what his hymnal offers1 will give him more of the extraordinary winsomeness of his ,master's style4 ,while not all hymns are distinctly literary in style and vocabulary1 most of them have some poetical and imaginative qualities1 and a great many of them have marked literary value4 ,a careful canvass of these values will develop literary discrimination and taste4 ,hymns like ,keble's 8,sun of my soul1 thou ,saviour dear0 and ,heber's 8,brightest and best of the sons of the morning0 must stimulate genuine literary appreciation4 ,to segregate carefully in his mind the genuinely literary hymns--those that are full of imagination1 symmetrical in structure1 gracious in phraseology--will be a literary exercise of inestimable value4 ,development of ,emotional ,nature4 ,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 hymns4 ,but this emotion must not simply be poetic1 it must be spiritual1 based on an actualization of the profound spiritual truths expressed in the hymns4 ,the most common fault among ministers is an aridity of mind1 a dryness of feeling1 a habit of abstract1 academic thinking which have no response to the emotional values in the doctrines they preach4 ,it is the secret of many an empty church1 of many a barren pastorate4 ,to some men who lack emotional and poetic insight1 the hymnbook may appear dry and uninteresting4 ,it certainly is unappealing to the unspiritual man1 no matter how poetical he may be1 and this will account for the occasional attack upon the hymns of the ,christian ,church as being without poetical power or merit4 ,but the ,christian minister1 who deals with spiritual things1 for whom the emotions of the human heart are a great opportunity1 ought to find in the study of his hymnbook a great deepening of emotional intuition4 ,here he comes in touch with the saints of the ,church who have risen to the greatest heights of spiritual insight1 and who have sung because the feelings within them were so impelling that they could not do otherwise than sing4 ,his own deficient emotion and his own dull insight into spiritual truth are here inspired and stimulated until he too stands upon the mountaintop4 ,for his own spiritual edification1 therefore1 there is nothing1 outside the ,bible1 so likely to be of spiritual help as the hymnbook4 ,when he is discouraged1 its hymns of inspiration and encouragement cannot but lift the cloud4 ,when his heart is dull1 and his vision of his ,lord obscured1 such hymns as 8,jesus1 ,i love ,thy charming name10 by ,philip ,doddridge1 8,jesus1 these eyes have never seen ,that radiant form of ,thine10 by our own ,ray ,palmer1 or 8,jesus1 the very thought of ,thee ,with sweetness fills my breast10 by that unknown saintly abbess of the ,middle ,ages1 surely will once more set his spiritual pulses in motion and thrill him with the vitalizing vision of his ,lord4 ,it is with this emotional attitude alone that a minister should study his hymns2 otherwise1 he will fail in realizing any of their values4 ,to come to them coldly dissecting them with knife and scalpel is to miss their beauty1 their spiritual appeal4 ,the minister who prays over his sermon would do well to pray with equal fervency over the hymns he studies and selects4 ,if he vitalizes them for himself1 that fresh vision of their meaning will reach the congregation directly and indirectly4 ,,iii4 ,,the ,,practical ,,values ,,of ,,individual ,,hymns ,not the least important consideration in the study of hymns is clearly to envisage their several effective values4 ,to know the literary worth and the spiritual stimulus of a given hymn is most desirable2 but to realize what spiritual results it is fitted to secure1 and how1 is even more important4 ,each hymn has its individual force1 its individual adaptation to definite mental and spiritual results2 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 strychnine4 ,to announce 8,all hail the power of ,jesus' name10 when the situation calls for the tenderness of 8,how sweet the name of ,jesus sounds10 is malpractice none the less that it is so frequently done4 ,classifying ,hymns by ,their ,nature4 ,it will be helpful to classify hymns1 deciding to which group each one belongs4 ,some are purely didactic1 bearing instruction rather than emotion4 ,others are meditative1 combining elements of instruction and personal experience4 ,another class expresses personal experience and the resultant emotion2 such hymns may be tender or joyous or even exultant4 ,taking another step upward1 we find hymns of inspiration and exhortation1 fundamental expressions of faith and enthusiasm4 ,rising high above all the foregoing are the hymns of worship and adoration1 thanksgiving and praise4 ,this is the primary process in evaluating the practical possibilities of hymns4 ,it is in these pigeonholes of his memory that the minister finds the hymn called for by a given situation4 ,classifying ,hymns by ,their ,fitness for ,definite ,purposes4 ,then there is the classification of fitness for different purposes1 organizing them according to the particular work each is fitted to do4 ,some hymns are distinctly liturgical1 fitting only into a solemn and stately service by the great congregation--e4g41 ,faber's 8,my ,god1 how wonderful ,thou art10 ,watts' 8,before ,jehovah's awful throne10 or ,tersteegen's 8,lo1 ,god is here3 let us adore40 ,in a less formal class are ,van ,dyke's 8,joyful1 joyful1 we adore ,thee10 ,grant's 8,oh1 worship the ,king1 all-glorious above10 8,praise the ,lord6 ye heavens1 adore ,him10 and many others in which rejoicing in the ,lord takes a less majestic but none the less genuine form1 fitting smaller assemblies and what without derogation may be called ordinary church services4 ,hymns of still another class1 represented by ,robinson's 8,come1 ,thou ,fount of every blessing10 ,wesley's 8,o ,love divine1 how sweet ,thou art10 ,keble's 8,sun of my soul1 ,thou ,saviour dear10 are still distinctly worshipful1 but have an intimacy of communion in which tenderness and joy veil the sense of infinite majesty4 ,the foregoing classes of worshipful hymns are available for the regular services of the church1 although some of them call for a preparation of the worshipers for their intelligent and sincere singing4 ,they are helpful to devout people in their approach to the ,triune ,god4 ,jesus ,christ is not only ,god in the fullest1 truest sense2 he is our ,redeemer1 our ,mediator1 our ,sharer of the deeper experiences of the soul1 our ,comrade in the march of life1 our intimate ,friend in time and eternity4 ,hence1 there are many hymns of praise and adoration of ,jesus ,christ that are elevated in mood1 even majestic1 like ,wesley's 8,oh1 for a thousand tongues to sing10 ,robinson's 8,mighty ,god1 while angels bless thee10 ,hammond's 8,awake and sing the song10 which will fit into the most exalted service of worship4 ,there are many others like 8,fairest ,lord ,jesus1 ,ruler of all nature10 ,medley's 8,oh1 could ,i speak the matchless worth10 ,havergal's 8,o ,saviour1 precious ,saviour10 which are keyed a little lower1 but are still most appropriate for an average church service4 ,in addition to these there are hymns of communion with ,christ1 of love for and delight in him1 yea1 even of intimate affection1 like ,caswall's 8,my ,god1 ,i love ,thee1 not because10 ,newton's 8,how sweet the name of ,jesus sounds10 ,palmer's 8,my faith looks up to ,thee10 which are so fine in feeling1 so heartfelt1 so intimate1 that they require preparation of the congregation before they can be sung sincerely4 ,some of them are so intense1 like 8,i need ,thee every hour10 8,my ,jesus1 ,i love ,thee1 ,i know ,thou art mine10 and ,palmer's 8,jesus1 these eyes have never seen10 that their use seems limited to assemblies1 small or large1 entirely made up of earnest believers4 ,indeed1 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 expressed4 ,some of them cannot be sung by the general congregation except when the tide of religious fervor runs high4 ,without further analysis1 enough has been said to show that in the practical classification of hymns two major factors must be considered3 the character1 depth1 and quality of the emotional burden of the hymn1 and the character and the emotional responsiveness of the people who are expected to sing it4 ,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 results4 ,,iv4 ,,the ,,minute ,,study ,,of ,,hymns ,there can be no adequate knowledge of a hymn without a survey of the whole field of hymnology4 ,it is necessary to understand the character and limitations of the hymn1 to visualize its history and development1 in order to secure its proper interpretation and use4 ,it is unfortunate that too many ministers are satisfied with this general knowledge which is1 after all1 only a preparation for the study of the individual hymn4 ,it is only in the individual hymn that the point of contact with practical results is reached4 ,one may know all about ,isaac ,watts and yet know so little of his great hymn 8,when ,i survey the wondrous cross0 as to announce it at a church banquet before all the people are done eating6 ,imagine ,john1 ,peter1 and the rest munching dried figs or dates as they stand before the cross on which their ,master is dying6 ,only as the individual hymns are fully understood as to their meaning1 and as to the methods required to get that meaning transformed into experience and character1 can hymnology become a practical force4 ,analysis of the ,hymn4 #a4 ,the first step is the investigation of its structure4 ,the form of the stanza1 the kind of measure used1 the proper occurrence of accents1 the schedule of rhymes all are important1 controlling the music and the reading of the hymn4 ,the logical structure is even more important as governing the development of thought4 ,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 verses4 ,this structure is more evident in didactic and homiletical hymns1 of course1 but the progress of thought usually lies near the surface4 ,the doctrinal teachings should be clearly and explicitly thought out4 #b4 ,there is a logic of emotion more or less paralleling that of thought4 ,there are ebb and flow of feeling1 radical change of feeling1 one feeling merging into another1 that must be recognized4 ,the climaxes of interest in the succeeding verses1 rising higher and higher and culminating in the supreme climax of the last verse1 should be noted that they may be expressed in the reading and the singing4 ,this recognition of the emotional character of the hymn is absolutely essential to its real effectiveness4 ,the hymn is fundamentally an expression of emotion1 and only as such has it practical value4 #c4 ,after this general analysis of the structure and thought and of the general emotion of the hymn1 there will need to be a study of its detailed phrases4 ,the minister ought to study it line by line and phrase by phrase4 ,the ,scriptural allusions need to be located and their connections noted4 ,what did ,charles ,wesley mean in his great hymn1 8,love divine1 all loves excelling10 by the phrase in the second verse1 8the second rest08 ,why did he pray 8,finish1 then1 thy new creation08#c ,what is the ,scriptural justification for the phrases of ,newton's 8,how sweet the name of ,jesus sounds08#d ,in ,doddridge's 8,awake1 my soul1 stretch every nerve10 what ,biblical authority has he for 8cloud of witnesses10 or the ideas of 8prize0 and 8race08#e ,what did ,watts mean in the third verse of his 8,not all the blood of beasts10 8,my faith would lay her hand ,on that dear head of ,thine1 ,while like a penitent ,i stand ,and there confess my sin08 ,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 7,lev4 #af3ba71 what meaning can these lines convey8 ,the ,background of the ,hymn4 #a4 ,the interpretation of the hymn cannot be complete without a recognition of the person who wrote it4 ,his type of mind1 his responsiveness to divine truth1 his conception of the work of the ,church1 stamp themselves on the product of his pen4 ,the personality of ,watts1 of ,wesley1 of ,whittier1 and of ,faber interpret their several hymns4 ,knowledge of the circumstances under which a given hymn was written will add to the value and correctness of the interpretation1 by giving a sense of actuality to the thought and feeling expressed4 #b4 ,the age in which a hymn was written will be a large factor in its interpretation4 ,the sheer objectiveness of the ancient hymns1 the meditativeness of the medieval hymns stressing the sufferings of ,christ on the cross1 the worship character of the pre-,wesley hymns1 including those of ,watts1 the warm1 tender1 experiential hymns of the ,wesleyan ,revival1 all stamp their several hymns ineffaceably with their characteristics4 8,a mighty fortress is our ,god0 bears the stigmata of the opening battles of the ,german ,reformation4 8,jesus1 the very thought of ,thee0 is permeated by the peace and ardent piety of the ,spanish nunnery whose devout abbess wrote the ,latin original4 8,stand up1 stand up for ,jesus0 sounds the militant note of the great ,philadelphia revival of #aheg and the ,antislavery campaign that was so soon to drench the ,south with the noblest blood of both sections4 ,watts' hymns must be analyzed in the light of the prevailing psalmody1 of the religious aridity of his time1 and of the formalism1 not of the ,established ,church only1 but of that of the ,nonconformist societies as well4 ,wesley's hymns cannot be understood except as expressing the struggle between extreme worldly-mindedness1 sensuality1 and social decay outside of the ,church1 allied with the mere formalism and the cold and sheerly pharisaic morality within1 on the one side1 and the emphasis of conversion1 profound religious experience1 and aggressive evangelistic propaganda on the other4 ,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 vitality4 #c4 ,the greater hymns gather about themselves the noble associations of the many generations which have lived and died with their lines upon their lips4 ,would 8,rock of ,ages1 cleft for me0 or 8,jesus1 ,lover of my soul10 if written now1 speedily win the place they now hold in our ,christian hymnody8 ,would 8,come1 ,thou ,fount of every blessing0 be widely sung1 if it were not that in ,england and ,america it had been an impressive voice of worship in chapel and home1 in stately church1 and in mountain schoolhouse on the ,american frontier8 ,lips now trembling with age lisped them in childhood2 memories of father and mother1 of thrilling religious experiences1 when the very heavens seemed to open to the soul1 cluster about them4 #d4 ,only in this way can he secure a clear idea of what parts of a hymn will serve his immediate purpose1 which lines and phrases will enrich his discourses or bring his points to an incandescent glow1 or which verses when sung will assure the definite effect he has in mind4 ,there may well be occasions when he will want his people to sing1 not the first verse of ,whittier's tender hymn1 8,we may not climb the heavenly steeps10 but the second1 8,but warm1 sweet1 tender1 even yet ,a present help is ,he2 ,and faith has still its ,olivet1 ,and love its ,galilee10 or the even more comforting third verse1 8,the healing of the seamless dress ,is by our beds of pain2 ,we touch him in life's throng and press1 ,and we are whole again40 ,such a study in interpretation will greatly enhance the spiritual values of the hymns to the minister himself1 enriching mind and heart4 ,it will make it possible for him to interpret them to his people4 ,to any person the hymn is what he understands it to mean1 no more2 its effect on him is in due proportion to the completeness of his interpretation of it4 ,the minister1 therefore1 is in duty bound to supply each singer in his congregation with an accurate and complete understanding of the hymns that are sung4 ,making a ,hymnal of ,his ,own4 ,the minister who has given his hymnal the study that has been suggested will wish to garner and organize the materials he has thus won4 ,he will proceed to make a little hymnal of his own by selecting a given number of the hymns that appeal to him--say one hundred--in his regular hymnal4 ,this will constitute his inner hymnal to which from time to time he will make additions4 ,these hymns will be marked in his own copy of the church hymnal1 a wide margined one1 or an interleaved one1 if it can be secured4 ,as he analyzes each one1 finding the joints in its structure1 he will indicate the results by lines of division with the proper captions4 ,his dissection of the phrases will disclose more or less obscure allusions needing explanation1 like 8,siloam's pool10 8,mt4 ,nebo's lonely height10 8,gog and ,magog10 8,ebenezer0 and many others that convey no meaning to the average mind4 ,these should be underlined for explanation4 ,some phrases are so suggestive1 so packed with meaning1 that their value eludes the ordinary singer--for instance1 the second verse of ,monsell's 8,my sins1 my sins1 my ,saviour40 ,these should be put in quotation marks to remind the preacher to unpack by spirited comment their wealth for the edification of his people4 ,numbers referring to his card index or commonplace book will bring to mind helpful facts about the hymn1 or its writer1 or illustrations that will quicken both mind and heart4 ,enclosing a verse or verses in brackets will mark those that can be omitted without wrecking the symmetrical progress of the thought4 ,that will eliminate the usual thoughtless phrase1 8,we will omit the third verse40 ,if there is a choice of tunes1 the most practicable one can be indicated2 or a tune better known to the congregation elsewhere in the hymnal may be suggested with its number4 ,verses to be read by the congregation1 or to be sung by the choir or by a soloist1 before being sung by the people may be starred4 ,changes of force1 or speed1 may be marked p4 for soft singing1 or f4 for loud singing4 ,a passage marked rit4 will be retarded1 or hurried if marked accel4 ,a repeat sign1 bis1 after a verse will suggest that a verse may be profitably repeated4 ,scripture references will suggest passages that can be used to emphasize the sentiment of the hymn1 such as ,genesis #bh3aj-ac1 for the hymn1 8,nearer1 my ,god1 to ,thee40 ,m before a verse may mark it as a memory verse to be sung with closed hymnal4 ,p may indicate that it is a prayer1 to be sung before the long prayer4 ,dates connected with a hymn will show when it has been sung1 and so prevent its unduly frequent repetition from mere force of habit4 ,every alert-minded minister will have methods and devices of his own that should be recorded in connection with the hymns so treated4 ,such a hymnal1 individual1 practical1 wealthy in resources1 will be of incalculable value to the wide-awake1 aggressive minister1 rendering him independent of moods1 of dull spirits1 of disturbing environments4 ,he needs but open his hymnal1 a treasure house of practical suggestions1 and his resources1 immediately accessible and fully prepared1 await his use4 ,a personal hymnal like this will not be made in a day or a month4 ,week by week1 as hymns are selected1 they are fully investigated and studied and their points recorded in the preacher's copy4 ,his skimming of newspapers and magazines1 his daily experiences1 his hearing of addresses and sermons2 his reading of history and literature1 no less than his study of hymnological literature1 will pay heavy tribute to such a royal treasury4 ,the books of hymnic material1 pretty largely historical1 are fairly numerous1 and their help should not be despised1 for they offer very useful illustrative matter4 ,robinson's ,annotations upon ,popular ,hymns is not as up-to-date nor as scholarly exact as the later ,duffield's ,english ,hymns1 or as ,nutter and ,tillett's ,hymns and ,hymn ,writers of the ,church1 but is richer anecdotally and more suggestive of expository comment4 ,dr4 ,benson's still later ,studies of ,familiar ,hymns1 ,series ,i and ,,ii1 will be found very rich in practical material4 ,the present writer's ,practical ,hymn ,studies#f offers help most ministers need4 ,the matter found in these and other like collections should be carefully sifted and recorded4 ,a condensation of the selected items1 particularly of the longer anecdotes1 may be ample for all practical purposes4 ,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 or1 better yet1 in a rebound1 interleaved hymnal8 ,in making such a thorough study of as many hymns as he has leisure to analyze1 the minister is really editing a hymnal of his own1 none the less his own that it is embedded in the larger collection4 ,there are very few preachers who do not have such an inner hymnal made up of the hymns they are in the habit of using2 the pity is that it is frequently so small1 so poorly selected1 so unsymmetrical1 so dependent on an unresponsive memory1 and so lacking in the materials that would help to make the hymns effective4 ,memorizing ,hymns4 ,a large number of hymns should be committed to memory for his own mental enrichment and comfort4 ,it will enlarge his devotional vocabulary1 his power of expression of spiritual things--nay more1 increase the spontaneity and spirituality of his thinking and feeling1 for memory lies nearer the springs of subconscious intuition and impulses than the printed word4 ,a wealth of spiritual thought1 of sanctified imagination1 of vibrant religious feeling1 of apt and expressive phrase and vocabulary1 is provided by such a well-stocked memory4 ,the subconscious mind will furnish the fitting quotation1 whether he writes his sermon or speaks ex tempore4 ,in unexpected emergencies1 when there is no time to leaf over the hymnal for a verse to be sung1 the mind automatically supplies it4 ,in personal work1 in cheering the sick1 in comforting those who mourn1 in inspiring the lagging and discouraged ones1 the apt quotation will be exceedingly effective4 ,there are moments in a service1 unexpected episodes of an emotional character1 climaxes of feeling in a discourse1 when a verse of a hymn sung by the congregation will exceed in impressiveness any oratorical outburst2 if the minister can trust his memory1 he can carry the faltering memories of his people and realize an effect otherwise impossible1 not only not losing any momentum1 as he would if it were necessary to refer to the hymnal1 but indefinitely increasing it4 ,the great hymns of the ,church should be made a part of his mental furniture1 become a large share of his clerical working capital4 ,he should not be satisfied to have less than a hundred hymns at his mental fingers' ends for efficient use at a moment's notice4 ,v4 ,a ,,study ,,of ,,methods ,,of ,,use ,but it is not enough to gather the materials and study the individual hymns4 ,a magazine of blasting powder has immense possibilities of power2 but unless methods are invented for applying that power to desired ends1 it is a liability and not an asset4 ,having learned all about hymns1 the next study is how efficiently to use them1 to organize the best methods of exploiting the social1 mental1 and spiritual values their singing offers4 ,using ,hymns in ,sermons4 ,few ministers utilize the possibilities of apt ,scripture quotations in their sermons2 fewer still know how to draw on the treasures found in their hymnals to increase interest and intensify emotion4 ,in many cases the very finest climax to a section of a sermon1 or to the sermon itself1 will be found in one or more verses of a hymn which brings the emotion of the theme to its high culmination4 ,there is no lack of material2 for the expression of every ,christian doctrine that lends itself to lyric feeling there are intense and poignant phrases and lines steeped in transcendent emotion4 ,abstract truth has intellectual value of course1 but has spiritual value only when transmuted into the gold of intense conviction in the heart of true believers4 ,it is the genuine hymn that raises the temperature to the transmuting point1 if properly introduced and emotionally used4 ,studying ,responsiveness of the ,congregation4 ,the intelligent preacher will study his congregation and its capacities of song to determine what he can do4 ,he will canvass their responsiveness to certain classes of hymns1 solemn1 cheerful1 aggressive1 meditative1 emotional1 didactic--literary1 popular4 ,their taste in the tunes to be used will need to be carefully considered4 ,it would be folly to announce 8,when the ,roll is ,called up ,yonder0 in a congregation used to singing and enjoying ,luther's 8,ein' feste ,burg ist unser ,gott02 equally so to ask a congregation that enjoys singing 8,there's sunshine in my soul0 to sing ,iron's version of the 8,dies ,irae40 ,a survey must needs be made of the musical resources and of the adaptability of musical helpers4 ,in some cases such adaptability needs to be trained and developed4 ,their pliancy in rapidly taking up new methods1 and executing unexpected plans of the preacher quickly1 will require training4 ,studying ,methods of ,announcement and ,securing ,participation4 ,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 congregation1 and also how to help the people to sing with their minds and hearts1 as well as with their vocal cords4 ,the methods to be used in securing full participation in the singing1 without losing sight of the deeper meaning of the hymn1 will need to be formulated or borrowed from successful leaders of song4 ,the problem is not met by merely urgent demands that everybody sing2 they must all be moved upon to want to sing4 ,can it be done by illustrations1 by moving anecdotes1 by tender appeals bearing on the thought and feeling of the hymn in hand8 ,the kind of anecdotes and how they are to be used1 before or during any given hymn1 will call for careful discrimination4 ,how shall the preacher acquire the power of introducing a hymn in a very few well-chosen words1 vibrant with the feeling the hymn expresses1 striking the spiritual key connecting up the hymn with the religious purpose of the whole service8 ,year after year1 by observation of other ministers and song leaders1 by his reading1 by experiments of his own1 he will acquire a body of efficient methods with which to vitalize his song service4 ,studying ,use of ,hymnal for ,specific ,purposes4 ,this will include methods of using hymns for specific purposes4 ,is his congregation indifferent with regard to some particular line of work that he wishes to present--missions1 for instance3 what hymns1 and methods of using them1 will stimulate their minds and prepossess them for this as yet unappealing topic8 ,are they careless or irreverent in mood as they gather3 can he sober their minds and awe their souls with a consciousness of ,god's actual presence with a solemn hymn and its impressive tune8 ,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 ,master8 ,in a thousand ways the intelligent and adroit minister can make his hymns count largely in accomplishing his beneficent purposes4 ,,vi4 ,a ,,study ,,of ,,the ,,tunes ,one of the most important lines of study will be that of the tunes to which the hymns are to be sung4#g ,to use a botanical figure1 a hymn will not bear fruit unless it is pollenized by a vital tune4 ,who would be even aware of ,cardinal ,newman's 8,lead1 ,kindly ,light10 if it were not for ,dykes' tune8 ,without ,lowry and ,doane's music what recognition would the modest lyrics of ,fanny ,crosby have won8 ,wesley's 8,hark1 the herald angels sing0 owes the wideness of its ,christmas use to ,mendelssohn's tune4 ,tennyson's 8,sunset and ,evening ,star0 and 8,sweet and ,low0 were brought to wide public attention by ,barnby's two settings4 ,without the wings of melody few hymns would get very far in place or time4 ,a mediocre hymn with a good singable tune will do vastly more good than a great hymn with an impracticable one4 ,hence it is the minister's business to study the tunes4 ,not the notes1 not the harmony3 he can leave them to his musical experts1 if he has them4 ,he must study the singability of the tune1 its appeal to his particular people1 its adaptation to the sentiment of the hymn with which it is associated4 ,its age1 its traditional or conventional use1 its style1 its composer1 its elaboration of harmony--all these are merely incidental4 ,that it is singable1 fitted to express and intensify the sentiment of the hymn1 to give it access to the hearts of the congregation1 to create the contagion of feeling in the assembly--these are the essentials of a good tune4 ,just as the sales departments of our great manufacturing establishments make an intensive study of the psychology of salesmanship in all its phases1 so the ministry of the church1 in its schools of preparation and in its several organizations1 should increase its efficiency as salesman of vital religion by a like study of the psychology of the hymn and of its use4 ,chapter ,,xx ,,the ,,practical ,,use ,,of ,,hymns ,i4 ,,the ,,hymn ,,as ,a ,,means ,,to ,,an ,,end ,while our discussion attempts to consider every phase of the ,christian hymn1 its chief interest to us lies in it as a means to an end4 ,it may be a work of literary art1 the expression of a noble genius admirable in itself2 it may be an interesting epitome of some noble doctrine that calls for appreciation of its lucidity and comprehensiveness2 but for us its primary quality must be its adaptation to meet spiritual needs1 in other words1 its usefulness in religious work4 ,in some way it must help in the work of the church1 if it is to come within the sweep of our present horizon4 ,,ii4 ,,analysis ,,of ,,practical ,,application ,,of ,,hymns ,there are two values in the singing of hymns that must needs be taken into consideration3 one is the sheerly musical or nervous value2 the other is the message or burden of the hymn4 ,the two must co-operate for the best results4 ,there are two lines of application in using hymns3 the one is the expression and further intensification of an existent religious feeling2 the other1 the creation of religious interest or emotion where none exists4 ,the two types of hymns must be clearly distinguished1 if proper and efficient use is to be made of them4 ,the first type is worshipful1 religiously emotional1 based on personal experience1 tenderly meditative4 ,the second is didactic1 inspirational1 or hortatory4 ,,iii4 ,,the ,,use ,,of ,,hymns ,,for ,,creating ,,religious ,,interest ,in selecting hymns for the opening of a religious meeting1 the existing nervous and emotional condition of the congregation is an important factor4 ,that condition may be due to an unlimited number of influences4 ,are they gathering under the open sky1 in a tent1 in a rough tabernacle1 or amid churchly surroundings8 ,what is the character and background of the assembled people8 ,in a distinctly unreligious environment1 the crowd will be disorganized1 in a nervous flutter1 in a secular state of mind1 more consciously interested in securing a desirable seat than in the purpose of the meeting4 ,the people need to be psychically organized as a unit1 need to have their attention concentrated on the occasion of the meeting1 need to be brought into a religious state of mind4 ,there is nothing better than the singing of a hymn to secure these very essential results4 ,the unifying effect of common action1 the nervous calming of the music1 the religious suggestiveness of the hymn itself1 all will co-operate in creating the proper attitude of mind4 ,what hymn shall we use to secure such a diversified result8 ,shall it be 8,my faith looks up to ,thee10 or 8,o ,love that wilt not let me go08 ,they are both superexcellent hymns1 but they would be utterly out of place4 ,they belong to the first type1 the expression of existent religious feeling2 but there is little or no such feeling under the proposed circumstances4 ,the people are not in a state of mind to sing them sincerely and earnestly4 ,it would lead to the all too common hypocrisy of indifference4 ,moreover1 the tunes to these hymns are not of the organizing or stimulating type1 fine as they are4 ,they are tunes of expression of existing feeling1 not of exhilaration or inspiration4 ,for such a miscellaneous crowd as has been described1 a much less emotional hymn with a somewhat livelier tune is called for1 such as 8,blow ye the trumpet1 blow10 8,come1 we that love the ,lord10 or 8,onward1 ,christian soldiers40 ,in most cases a lively ,gospel song1 such as 8,sunshine in my soul10 8,rescue the perishing10 or even1 in extreme cases1 8,brighten the corner where you are0 is more effective4 ,the problem is not so much that of making a religious impression1 as of preparing the people to receive a religious impression4 ,to use tender1 deeply emotional1 profoundly spiritual hymns for such preliminary treatment is to flout psychology4 ,if the congregation meets in a church or other distinctly sacred edifice1 the religious associations will simplify the problem4 ,in part1 at least1 the secular attitude will have given place to a hospitality of mind for religious ideas and impressions4 ,under favorable circumstances the nervous strain will relax and religious susceptibilities will begin to function4 ,these nervous and mental transformations of mood will be deepened by the organ prelude1 if that has been wisely selected and effectively played4 ,in some conservative1 devout congregations where solemn earnestness is the prevailing mood1 and the bowed head on entering the pew is not a mere convention1 the usual ,doxology may be used after the call to worship2 but usually an introit1 such as 8,the ,lord is in ,his holy temple0 or 8,oh1 come1 let us worship10 sung by the choir1 will be the wiser preparation for the preacher's invocation4 ,the 8,gloria ,patri0 should prepare the congregation for some solemn hymn of profound worship1 such as 8,my ,god1 how wonderful ,thou art10 or 8,lord of all being1 throned afar40 ,by the time this is sung1 the members of the congregation should be united in sympathy and responsiveness to the worshipful exercises that follow4 ,if the service is to be a joyous one1 with an aggressive purpose1 the hymns should still be strictly worshipful1 but more animated4 8,come1 sound ,his praise abroad10 8,oh1 worship the ,king1 all-glorious above10 or 8,kingdoms and thrones to ,god belong0 should be the unifying spiritualizing agency4 ,but if the social instincts are allowed to find expression as the people gather1 and more or less furtive conversation and even gossip are heard1 or worse yet1 if the ,sunday school has overflowed into the auditorium or1 for lack of separate room1 has occupied it1 and the going out of the school and the coming in of the congregation make a confusion that submerges the hallowed associations of the place1 a much more difficult problem is faced1 and a more conscious effort must be made to prepare the people in mind and heart for the experience of the hour4 ,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 situation4 ,once quiet and order are secured1 the music may begin a quieter1 more religious movement4 ,but the high ecstasy of the ,long ,meter ,doxology is out of the question4 ,an earnest ,call to ,worship by the preacher1 and a quiet sentence or introit by the choir1 will hush the people's minds into sympathy with the invocation1 that may possibly be somewhat longer and more earnest1 which in turn will prepare them for a sincere and thoughtful participation in the 8,gloria ,patri40 ,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 8,o day of rest and gladness10 8,safely through another week10 or the more elevated 8,holy1 holy1 holy1 ,lord ,god ,almighty10 or 8,before ,jehovah's awful throne40 ,by the time this hymn is sung1 the fate of the service has practically been settled4 ,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 service2 or they are dull and unresponsive1 even somnolent1 with an unconscious resentment that they have not been stirred and quickened4 ,the failure of the service is assured1 unless a miracle happens4 ,if the minister is a slave to the conventional order of service1 that miracle will not happen4 ,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 dropped4 ,in such a situation the best means to redeem it is a hymn with a profound appeal4 ,but it cannot function1 if it is used in the ordinary1 conventional way4 ,if the minister is alert and senses the stupor that is shadowing the minds of his people1 and if the success of his service is more important to him than the mechanical regularity of the usual order of events1 he can bring the miracle to pass by the use of the next hymn in an unexpected1 thrilling way4 ,if the scheduled hymn does not lend itself to his purpose1 he can exercise the audacity without which no public man can hope to succeed1 by changing it to one that will1 and by that act will storm the first defense of ,morpheus1 the god of sleep4 ,of course1 he will always keep in mind practical considerations of teamwork with his musical helpers1 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 sung4 ,usually that takes but a moment4 ,announcing the hymn1 he will explain the message of the hymn in doctrine or in feeling1 as a preliminary to its intelligent and sympathetic singing2 or he may make emotional comment1 or relate a fitting anecdote that will grip the feelings1 leaving historical data for some other occasion2 or he may ask the congregation to join him in silent prayer for divine guidance into the heart of the hymn to be sung2 or he may ask his people to read the first verse in concert1 in order that they may sing it with more intelligence2 or if he has a sympathetic soloist1 he can ask him or her to sing a verse1 letting the people sing the rest of the hymn4 ,if the people are submerged in indifference and stupor1 he may treat the whole hymn in like fashion1 verse by verse1 always careful to make his few words count1 for prolixity will defeat his purpose4 ,he will be even more careful that there shall be a crescendo movement of increasing impressiveness and deepening feeling4 ,such a jolt to the passive attitude of an unresponsive people1 genially administered in a confident manner1 and with sincere feeling1 will waken the most indifferent congregation and avert the impending defeat4 ,it will make the frequent use of such unusual methods unnecessary by creating a latent expectation of the unexpected4 ,fortunate is the minister who has a native sensitiveness to the tides of feeling that ebb and flow in his congregation1 to whom the faces and attitudes of his people are an open book4 ,most ministers must develop such a power by keen and persistent observation and by intelligent experimentation4 ,this psychical en rapport is very important to the minister4 ,as well might an organist play without hearing his instrument as for a minister to be ignorant of the states of feeling of his congregation4 ,he is a blind man trying to paint a picture4 ,some ministers think themselves lacking in magnetism1 in sensitiveness to outside influences1 and make no effort to develop their latent powers4 ,this inferiority complex is wrong2 the very sense of limitation is a proof that the capacity for it exists4 ,it is too essential to the largest success that a man should not use every possible effort and method to develop it4 ,,iv4 ,,the ,,hymn ,,as ,,an ,,opportunity ,,for ,,teaching ,,truth ,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 express1 and so to teach1 to bring back to memory1 or to vitalize the articles of their faith which average ,christians are apt to forget4 ,there are ,christian beliefs that do not call for elaborate discussion in a sermon1 that are best impressed by emotional treatment in connection with a hymn4 8,depth of mercy6 can there be10 with a background of pure-minded ,charles ,wesley's consciousness of sin1 will give an opportunity of impressing the people with sin's subtle and soul-destroying power4 8,there is a fountain filled with blood0 will be the basis of a very short but a clear and tender exposition of the atonement made for sin by ,christ on the cross4 ,that a person may be conscious of salvation1 of acceptance by ,god through ,jesus ,christ1 will find fitting explanation in an exposition of 8,rock of ,ages1 cleft for me40 ,what better opportunity for emphasizing the ,christian's dependence on ,christ could be afforded than a study of 8,jesus1 ,lover of my soul08 ,our inability to understand the ways of ,god's providences1 and our need of a faith that does not demand explanations1 may well be stressed in an analysis of 8,god moves in a mysterious way40 ,a score of such hymn discussions at irregular intervals during the year would prove illuminating1 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 rest4 ,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 steel4 ,v4 ,,hymn ,,sermons ,,and ,,hymn ,,services ,the versatile and adaptable preacher1 full of resources1 quick to take advantage of unusual methods1 will find the ,song ,sermon1 or rather the ,hymn ,sermon1 a most attractive and impressive way of using hymns4 ,instead of finding an appropriate proof text from the ,scriptures for each leading point of the discourse1 search out a hymn1 or a single verse1 expressing it in a lucid and emotional way and have it sung by the congregation1 by the choir1 or by a soloist4 ,comment on the hymn and its illustration1 consonant with the development of the general theme1 will supply a new line of most interesting materials4 ,care must be taken not to let the hymn hem the momentum of the sermon1 but to make it add to the tide of interest4 ,there will be no time for playing the tune or to find the hymn1 while the preacher is silently waiting4 ,close connection and sharp attack are absolutely essential4 ,such a sermon will be sure to win a great hearing4#a ,a less formal use of hymns may be made in the ,song 7or ,hymn7 ,service in which eight or ten hymns with historical1 illustrative1 and devotional comment are sung by soloists1 choir1 and congregation4 ,less valuable in formal teaching than the ,hymn ,sermon1 it will probably win larger popular acceptance4 ,such a religious service should not be allowed to degenerate into merely a ,sacred ,concert4 ,,vi4 ,,the ,,use ,,of ,,hymns ,,in ,,emergencies ,there are occasional disturbing and disorganizing occurrences during services--a violent storm1 a noisy epileptic1 a fanatical intruder1 a fire where a panic would be disastrous--when it is important to keep the disturbance down to a minimum1 or even to control the congregation4 ,the singing of an efficient hymn is often the solution of the problem when there is a leader of presence of mind 7preferably the minister7 who will promptly start it4 ,it must be a hymn that everybody knows2 it must not be a tender1 experiential hymn1 but one with a stirring spirit to a stimulating tune that everybody can sing1 such as 8,onward1 ,christian soldiers40#b ,such occasions sometimes suggest fitting hymns that turn what might have been disaster into a spiritual victory4 ,in such a case there must be a peculiar fitness to the difficulty1 an adaptation to the form it takes4 ,in case of a death1 or paralytic stroke1 the hymn will not be loud1 but tender like 8,rock of ,ages10 8,he ,leadeth ,me10 or 8,the ,sweet ,by and ,by40 ,softly sung1 the episode will be turned from a shock into a deep spiritual impression4 ,chapter ,,xxi ,,the ,,selection ,,of ,,hymns ,i4 ,,selection ,,should ,,secure ,,unity ,,of ,,service ,next in importance to the minister's selection of his text comes the selection of his hymns4 ,if he has a clear conception of the real unity of his service1 it will appear in this more than in anything else4 ,narrow ,conception of ,unity4 ,if the minister is a narrow1 mechanically-minded man1 with a sense of the need of mere logical unity1 he will make the subject of his sermon the governing consideration in all parts of his service4 ,the hymns will needs be all or nearly all didactic1 the type with the least emotional or inspiring value4 ,the early hymns of the service will in an ineffective way anticipate the points of his discourse and1 in so far as they have effectiveness1 weaken by their more lucid and concise statement the discussion in the sermon4 ,as the congregation usually does not know what the topic of the discourse is to be1 the pertinency of the selection is not evident4 ,the same is true of the ,scripture lesson1 if it is read before the long prayer4 ,logically the whole basis of selection is absurd4 ,broader ,conception of ,unity4 ,the sermon is simply a co-ordinate part of divine service1 not its governing feature to which all things else must be subordinated4 ,the early hymns should not be selected with reference to the theme of the sermon2 the last hymn should sum up not so much the ideas of the sermon as its emotional values4 ,unity ,based on ,purpose4 ,among heathen people instruction must be the leading purpose of any meeting held for their benefit2 but among well-taught ,christian people1 the chief purpose should be worship1 to which the sermon should be simply one of several aids4 ,the hymns should be emotional1 worshipful1 and not exclusively didactic1 and should harmonize with the sermon by being subordinated1 with the sermon1 to the clearly-conceived worshipful purpose of the entire service4 ,dr4 ,austin ,phelps1 more than three-fourths of a century ago1 enunciated the right policy3 8,it aims at unity of worship1 not by sameness of theme1 but by resemblance of spirit4 ,it would have a sermon preceded and followed1 not necessarily by a hymn on the identical subject1 but by a hymn on a kindred subject1 pertaining to the same group of thought1 lying in the same perspective1 and enkindling the same class of emotions40 ,to announce the theme of the coming sermon in the first hymn1 to read a ,scriptural passage as a basis for it1 to grope around that theme in the prayer1 to emphasize another phase in the second hymn1 is a case of professional egotism so flagrant that its only shocking mitigation is that it is the accepted clerical estimate of the situation4 ,now every service1 of whatever form or character1 is properly intended to bring the soul into conscious relation with ,god4 ,every phase of the soul's activities is to be brought under the influence of this dominating purpose4 ,as it cannot comprehend ,god in ,his completeness at any one moment1 different attributes of ,his nature and the varied relation of these several attributes to manifold human needs furnish an endless abundance of worshipful themes4 ,they will appeal to the understanding through the truth1 to the heart through an emotional realization of that truth1 and to the will by the choices offered to the soul's supreme tribunal4 ,here1 then1 in this clearly-conceived phase of worshipful attitude1 you find the basis for the logical unity of the service--a living unity that moves heart and will as well as reason4 ,there is in this no fetter to the intellectual activity of the preacher1 but rather a fresh stimulus and source of suggestion4 ,it brings to bear vital forces within the speaker's own soul that too often find little exercise1 and changes the emotional elements of the service1 the prayer1 and the music--now too often mere haphazard1 characterless excrescences--into definite sources of power for the realization of the desired spiritual results4 ,a preacher whose heart is a barometer of the spiritual condition of his people has no difficulty in finding subjects and texts for his sermons4 ,if the needs of his people press upon him1 those needs furnish an arc light that illuminates the ,bible1 and a suggestiveness that brings him an embarrassment of homiletical riches4 ,given a clear recognition of a definite immediate need and the consequent definite purpose1 it will not only make sermonizing easy but will control the rest of the service4 ,not the theme of the sermon1 but the purpose of the service as a whole1 will be the organizing vitality4 ,,ii4 ,,suggestive ,,selections ,,of ,,hymns ,here is an earnest pastor who is impressed with the growing materialism1 or worldliness1 of his people4 ,how shall be best dredge the stagnant shallows of their souls8 ,he decides1 not upon a single sermon1 but upon a series of services with cumulative power1 whose whole outlook shall be upon the ,person and ,character of ,god as the basis of his claims upon his creatures4 ,there will be sermons upon these high themes of course1 but they will call for noble and elevated co-ordinate co-operation in the rest of the service4 ,now these sermons should all be peculiarly worshipful1 but that worship will be set to different keys4 ,hymns for ,service on ,god's ,omnipotence4 ,the sermon on the ,divine ,omnipotence calls for a noble enthusiasm4 ,the hymns should be majestic and joyful4 ,after profoundly worshipful preliminary exercises it will not be wise to sing ,watts' hymn1 8,let all the earth their voices raise1 ,to sing the great ,jehovah's praise1 ,and bless ,his holy name10 to the tune 8,ariel0 for the first hymn in spite of its appropriateness of thought3 first1 because it is not sufficiently elevated1 and secondly1 because the tune is too light4 ,watts' more majestic hymn1 8,before ,jehovah's awful throne1 ,ye nations bow with sacred joy10 sung to 8,old ,hundredth10 would be more harmonious with the general purpose of the service4 ,by the time the second hymn is reached there must be some exhilaration of spirit4 ,it will not be desirable therefore to select 8,all people that on earth do dwell1 ,sing to the ,lord with cheerful voice02 first1 because it is in exactly the same key of feeling as the previous hymn2 second1 because for that reason no tune is quite so fitting to it as 8,old ,hundredth10 which is already provided for2 and third1 because the presumable intensifying of feeling by this time calls for a brighter text and more spirited music4 ,but it must be a hymn of worship1 none the less2 we choose1 therefore1 8,oh1 worship the ,king1 all-glorious above2 ,oh1 gratefully sing ,his power and ,his love10 the interrupted dactylic measure and triple time tune giving both dignity and movement4 ,if the prelude was a joyfully majestic composition1 the anthem one of elevated praise--e4g41 a 8,venite0 or a 8,jubilate0--the responsive reading and the choir responses reverent and worshipful1 the long prayer of the preacher exalted with genuine adoration 7forgetful of the routine catalogue of petty petitions71 and the ,scripture passage noble with inspiring truth1 the service might close at this point as having already realized its prime object of worship4 ,there must have been something radically wrong in the spirit and management of it1 if the preacher does not find his people responsive and himself inspiringly attuned to his noble theme4 ,at the close of his discourse on the ,divine ,omnipotence1 his people will presumably be ready to sing 8,let all on earth their voices raise1 ,to sing the great ,jehovah's praise1 ,and bless ,his holy name40 to the exhilarating movement of the tune 8,ariel40 ,the organist's postlude will be characterized by a joyful solemnity1 some strong maestoso movement4 ,hymns for ,service on ,god's ,love4 ,a service devoted to the worship of ,god1 as manifested in ,his love1 offers a wider range of possibilities4 ,is it the love manifested in the atonement8 there may be the somber element of the crucifixion combined with its nobly elevated aspects2 is it the love manifested to ,his children8 there will be a chastened ecstasy in the hymns and prayers2 is it the love that consoles and comforts8 there will be the tender and sympathetic development of the theme--each will call for its own selection of hymns4 ,as the last is perhaps the most difficult1 let us see what program we should prepare for it4 a4 ,tender ,service4 ,the organ prelude will be soft1 sweet music1 full of chromatic chords that melt one into the other1 or a tender1 emotional melody with soft accompaniment4 ,the usual opening doxology will give way to an introit1 sung very gently by the choir1 set to a text expressing divine sympathy or a prayer for help4 ,the invocation will be a plea for ,god's manifest presence among ,his needy people4 ,the first hymn sung by the congregation will sustain the feeling already established1 8,lord1 we come before ,thee now1 ,at ,thy feet we humbly bow10 sung to the tune 8,aletta0 or 8,pleyel's ,hymn40 ,the responsive reading may be the forty-second and forty-third ,psalms4 ,the choir1 having been advised in good time what was desired1 sings some sympathetic setting of the twenty-third ,psalm1 or of the forty-second ,psalm1 or of the hymn 8,just as ,i am40 ,if the preacher has kept step in his heart with the emotional progress of his service1 the long prayer will be an expression of the need of the people and of a tender appreciation of ,god's loving sympathy1 closing with an ascription of praise to ,his limitless love4 ,the people ought now to be ready to sing 8,love divine1 all loves excelling1 ,joy of heaven1 to earth come down40 ,after the discourse1 a hymn in direct didactic relation to it may be sung in a bright and joyous spirit3 8,god is love2 ,his mercy brightens ,all the path in which we rove40 ,the postlude will be tenderly joyous and sympathetic in style4 ,there are many preachers whose nervous organizations would not enable them to adjust themselves to so tender an emotional key in developing the service4 ,on the other hand1 many congregations would not follow it1 but would be lulled to sleep by it4 b4 ,joyful ,service4 ,they would be entirely right in selecting as the opening hymn one of general praise and worship3 8,come1 ,thou ,almighty ,king1 ,help us ,thy name to sing1 ,help us to praise02 or even the quietly majestic hymn1 8,holy1 holy1 holy1 ,lord ,god ,almighty6 ,early in the morning our song shall rise to ,thee40 ,the second hymn may be more prayerful and tender3 8,guide me1 ,o ,thou great ,jehovah1 ,pilgrim through this barren land10 or 8,when all ,thy mercies1 ,o my ,god1 ,my rising soul surveys40 ,the final hymn may be more didactic3 8,god is the refuge of ,his saints1 ,when storms of sharp distress invade02 or the more stirring and forceful 8,give to the winds thy fears2 ,hope1 and be undismayed02 or that wonderful paean of faith in the divine love and providence1 8,how firm a foundation1 ye saints of the ,lord1 ,is laid for your faith in ,his excellent word40 ,in this case the postlude will be bright and joyous1 preferably with some soft and tender episodical passages4 ,hymns for a ,missionary ,service4 ,the preacher plans a missionary discourse3 what is his order of service to be8 ,that means an aggressive1 spiritual program whose purpose is stimulation of enthusiasm1 of courage1 of conquering faith1 of bold decision4 ,the organist will be asked to play a bright prelude with pronounced but dignified rhythm1 and striking harmonic progressions4 ,the anthem by the choir may be based on some text of praise from the ,psalms with stirring1 somewhat rhythmical music that will stimulate the nerves of the people rather than soothe them4 ,the responsive reading should be a ,psalm of triumph1 say the ninety-sixth4 ,the long prayer for once may drop out of the omnibus conventionality and lead the people in magnifying the irresistible power and the conquering love of ,god1 with enough reference to current sorrows in the congregation to serve as a contrast1 to make the realization of the strong right arm of ,god more vivid4 ,the hymns should be in keeping with this joyous recognition of ,god's invincibility and assured triumph4 ,the first hymn may be ,charles ,wesley's 8,oh1 for a thousand tongues to sing40 ,this is worship--mingled with faith and with aggressive purpose1 it is true1 but nevertheless distinctly worship4 ,an equally appropriate selection from ,charles ,wesley would be 8,ye servants of ,god1 your ,master proclaim40 ,care should be taken that the tune used for either is vigorous and well known4 ,a dull tune for either would be a stumble on the threshold of the service4 ,the point in the service has not yet been reached where a distinctly missionary hymn is called for2 aggressiveness in the ,lord's service is still the mood to be created4 ,there would be a choice between ,shurtleff's vigorous 8,lead on1 ,o ,king ,eternal10 with its specific dedication of self to any forward movement of the ,christian ,church1 or ,baring-,gould's marching hymn with its ,american tune written by an ,english composer1 8,onward1 ,christian soldiers10 which can hardly fail to stimulate the pulses of a presumably already stirred congregation1 unless it is sung in a drawling1 unaccented way4 ,if by this time the congregation is not prepared to be thrilled by an unexpected missionary sermon1 eloquent with an appeal hardly to be equaled by any other topic connected with the ,church's activities1 there has been something wrong with the preacher or his people4 ,at the close of the sermon the hearts of the people will be glad to express themselves either in ,smith's 8,the morning light is breaking10 or in ,watts' noble ,christianized version of the seventy-second ,psalm1 8,jesus shall reign where'er the sun40 ,for once the organist can pull out all his stops and play a brilliant but not flippant postlude without disturbing the mind and nerves of thoughtful and devout people4 ,in these suggested programs it has been evident that the unity is one of feeling and not of logic4 ,this gave room for the interest which the unexpected supplies4 ,there must be progress of feeling as well as of thought4 ,the long prayer or the music after it1 be it organ or choir or hymn1 should be the climax of emotion4 ,it should be allowed to subside a little during the announcements and offering1 in order to rise to a still higher climax in the sermon and closing hymn4 ,in a tender1 sympathetic service there is more danger of not taking the audience with you4 ,if the music and the feelings suggested by the hymns are too quiet and depressing1 there is danger of its acting as a lullaby1 putting the people to sleep4 ,many a preacher wonders why some of his hearers are asleep before his text is fairly announced4 ,in nine cases out of ten1 it is due to the depressing character of the music used in the devotional part of the service4 ,,iii4 ,,importance ,,of ,,the ,,tunes ,as has been incidentally suggested in the course of the illustrative progress1 no small importance is to be attached to the selection of the tunes to be used with the hymns4 ,the preacher cannot always afford to trust the compiler of the hymnal which he uses4 ,that learned gentleman does not know what tune the preacher's people can sing with a given hymn to the best advantage4 ,he has to meet the difficulty of providing every hymn with an appropriate tune without having well-known and effective tunes enough to go round2 he cannot repeat them over and over1 but must use less popular tunes4 ,who shall judge him harshly1 therefore1 if in this dilemma he occasionally follows his own personal taste rather than the vaguely conceived needs of miscellaneous congregations4 ,but the minister must study the tunes in his hymnal lest he limit his song service to the small number he happens to know well4 ,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 well4 ,hence1 it is the minister's task to re-edit the hymnal in part1 remating hymns and tunes in order to secure the greatest results with his own people4 ,nor need he suffer with a sense of presumption4 ,the important consideration is the results of the singing of hymns in an effective way1 not loyalty to his church hymnal at the expense of those results4 ,chapter ,,xxi ,,the ,,announcement ,,and ,,treatment ,,of ,,hymns ,i4 ,,the ,,announcement ,,of ,,hymns ,it may seem quite superfluous to give any attention to the mere announcement of hymns2 but in many cases the spiritual success or failure of the congregational song is determined there4 ,it is generally assumed that any one can announce a hymn and initiate its singing1 but probably the least successful work of ninety-nine out of a hundred ministers is their management of the service of song in their churches4 ,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 sing4 ,the awkwardness and helplessness of the man invariably produced a most unfortunate effect upon the congregation4 ,many ministers announce the number and read the first line4 ,it makes no difference whether the first line is complete in meaning or not2 they have identified the hymn4 ,like a great many others of their professional brethren1 they used the hymn perfunctorily as a traditionally necessary part of the service1 with which they really had little or nothing to do2 that it has any relation to the needs or the objects they have in view for the service does not occur to them4 ,the unpardonableness of an aimless sermon need not be emphasized1 but why should it be easier to forgive a preacher for aimlessly selecting and announcing hymns8 ,many churches have hymn boards and even bulletins1 making the mechanical interruption caused by the preacher's announcement of the numbers unnecessary4 ,the people presumably have found the hymn by the time the tune is played through4#a ,of course1 if these devices for announcing the hymn are absent1 the preacher must announce the number4 ,if he does so in a listless1 mechanical way1 he will unconsciously give the congregation an unfortunate emotional keynote1 and1 in turn1 it will sing in a listless1 mechanical way4 ,the psychical and emotional value of the singing of the hymn is already discounted4 ,if it has been announced in a joyous1 or1 at least1 in an interested spirit1 with only a happy phrase or two1 giving a cue to the spirit in which it is to be sung1 the congregation will respond in kind4 ,twenty seconds of effective introduction will make the difference between success and failure4 ,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 needed4 ,the order of service has advantages1 but if it robs the preacher of freedom and spontaneity1 it becomes a curse4 ,too rigidly followed it makes for dullness and boredom4 ,the congregation should not be allowed to feel that any departure from it is a doubtful liberty on the part of the preacher4 ,opportunity should be made to dispel any such idea4 ,if a hymn is curtly announced1 or courteously suggested with a 8please0 or a 8kindly0 7as if to sing it were a special favor to the preacher71 and if no hint is given as to the message to be conveyed1 or as to the feeling which is to be expressed1 how can the minister hope that the merely improvised singing of an unexpected hymn1 perhaps with an unknown tune1 will have any stimulating1 not to say spiritual1 value8 ,if the hymn is well known1 it is probably a great hymn1 and what gathering of saints can rise at a moment's notice to its spiritual altitude8 ,what intelligent minister would presume suddenly to ask a trained elocutionist to read to his audience a poem he had never before seen8 ,or what honest lawyer would ask a client to sign a legal paper involving obligations without explanations or previous reading8 ,yet1 every ,sunday1 congregations are asked to sing hymns they have never noticed1 expressing they know not what sentiments1 promises1 or consecrations1 in the most solemn and exalted manner4 ,is it ethical8 ,is it efficient8 ,,ii4 ,,the ,,treatment ,,of ,,hymns ,if a congregation is to sing a hymn1 not thoughtlessly and mechanically1 but intelligently and with feeling1 it must be prepared for the devout exercise4 ,it is the minister's task to tune his people up for the individual hymn1 and create the habit of finding meaning and genuine feeling in all the hymns they sing4 ,stupid singing is a habit3 why not create a habit of singing thoughtfully and feelingly8 ,that may be done2 but it cannot be done overnight4 ,it will call for persistent training1 for a wealth of resources1 and for an unbroken attitude of genuineness of emotion on the part of the preacher4 ,it is no small undertaking to transform sleepy church members into sons of praise4 ,we may add to the obligations involved still another4 ,if the hymn to be sung is not merely didactic or meditative1 but distinctly emotional in character1 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 voice8 ,a rapid sketch of blind ,matheson's experience before writing 8,o ,love that wilt not let me go0 will set the heartstrings of the congregation quivering in the emotional key of the hymn4 ,a vivid picture of the death of ,christ on the cross in a dozen sentences will inspire a preacher's people to sing 8,beneath the cross of ,jesus0 with genuine emotion4 ,drawing a picture with rapid touches of the charge of the ,light ,brigade as it went to its death at ,balaklava1 and quoting a few lines of ,tennyson's poem1 will stir the pulses for the singing of 8,lead on1 ,o ,king ,eternal40 8,prayer is the soul's sincere desire0 may be introduced by a few tender sentences on the vital necessity of prayer to a sincere ,christian4 ,a minute's resume of the influence of the cross of ,christ on an individual life1 or on the upward sweep of the human race under its influence1 will give the people a clue to 8,in the cross of ,christ ,i glory40 ,the tender aspect of the atonement made by ,christ for sin may be solemnly suggested before singing 8,alas1 and did my ,saviour bleed80 ,where a hymn has allusions not likely to be recognized by the average singer1 they ought to be made plain4 ,how many of the millions who have sung the well-known hymn1 8,come1 thou ,fount of every blessing10 knew what the word 8,ebenezer0 signified8 ,striking phrases1 packed with deep thought and feeling1 like ,matheson's 8,i lay in dust life's glory dead1 ,and from the ground there blossoms red ,life that shall endless be10 should have their treasures brought to light1 lest the average churchgoer should overlook them4 ,in other words1 there should be a rapid exposition of unusual and also of over-familiar hymns1 so that the congregation may sing with its mind and heart4 ,the range of possible comment is so wide1 and the opportunity of using it is so limited1 that only the most striking and impressive illustrations should be considered for actual use4 ,rhetorical and anecdotal illustrations should be used sparingly--only when they promote an exalted and distinctly spiritual state of mind4 ,they are apt to be prolix1 to distract the mind from spiritual contemplation4 ,they are permissible with joyous1 aggressive1 victorious hymns rather than with those that are tender1 emotional1 subjective4 ,the inexorable limitations of time must always be borne in mind4 ,when a hymn is announced the people expect to sing1 not to listen to a hymnological dissertation or to a long-winded anecdote4 ,the simile or metaphor1 or other oratorical comment1 must explode with a very short fuse of preliminary remark4 ,the anecdote must be compact1 shorn of unessential preface or background1 and reach its peak of interest1 or of appeal to feeling1 with the succinctness of an epigram4 ,better limit the illustrations and comments to those that can gracefully and lucidly be uttered in one or rarely two minutes4 ,discussions and illustrations of hymns are often confined to the hymns as hymns1 which is rarely necessary4 ,it is not the hymn that needs emphasis1 much less its writer3 it is the message1 the burden1 the feeling of the hymn that is to be enforced4 ,an instance of the saving of a 8down and outer0 from the ,jerry ,mc,auley mission in ,new ,york1 or the ,pacific ,garden mission in ,chicago1 will create more responsiveness to 8,rescue the ,perishing0 than biographical facts about ,fanny ,crosby or about the composer1 ,w4 ,howard ,doane4 ,the anecdote of missionary success from the last missionary bulletin or magazine will lead a ,congregation to sing 8,jesus shall reign where'er the sun0 more enthusiastically than an explanation of ,watts' having metricized the seventy-second ,psalm with a free hand1 making the ,jew1 ,david1 sing like a ,christian4 ,illustrating the sense rather than the form of the hymn will be found very much more thrilling to the people4 ,in evening services of song1 or in midweek lectures1 historical backgrounds will be very helpful and interesting4 ,a series of lectures on the great hymns of the ,church1 or even a general survey of the development of our ,christian hymnody1 will lay the foundations of a more intelligent song4 ,in such services1 anecdotal illustrations may have a large place4 ,they need not be emotional under such circumstances1 just so they add interest and understanding4 ,as an occasional variation in the introduction of the hymn1 why not have the congregation read it8 8,it is not done80 ,all the more reason for doing it6 ,they will get more actual values out of the reading of the hymn and its subsequent singing than in any other way2 the very unusualness of the method will give additional effectiveness4 ,single stanzas can be most impressively treated in this manner4 ,in singing ,isaac ,watts' great hymn1 8,when ,i survey the wondrous cross10 ask the people to read the third verse softly1 8,see1 from his head1 his hands1 his feet1 ,sorrow and love flow mingled down6 ,did e'er such love and sorrow meet1 ,or thorns compose so rich a crown80 and then sing it very softly and note the effect4 ,the same method may be used with ,mrs4 ,alexander's children's hymn1 8,there is a green hill far away10 which adults have adopted for their own2 have them read the last verse1 8,oh1 dearly1 dearly has ,he loved1 ,and we must love ,him too1 ,and trust in ,his redeeming blood1 ,and try ,his works to do10 and then sing it quite emotionally4 ,a great many people deprecate the minister's reading of the hymns4 ,but that is because so few ministers are able to read hymns with any degree of impressiveness or reality4 ,perhaps half the ministers who read them leave no desirable impression whatever as the result1 for the reading has been without even a thoughtful sense of the meaning of the hymn1 much less of its emotional force4 ,to allow one's voice to fall at the end of every line1 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 second1 without variation1 is so vile1 from an elocutionary standpoint1 that one cannot wonder that the general congregation prefers its omission4 ,on the other hand1 if the minister's mind and heart are profoundly awake to the thought and feeling of the hymn that is to be used1 if the minister has a definite purpose which he wishes to realize through the singing of that hymn1 if the whole song service is thoroughly vital and earnest1 he cannot help reading the hymn in such a way as to impress and interest his people4 ,one need not be a well-trained elocutionist to do this4 ,the genuine feeling will develop a natural elocution and will even neutralize faulty habits and mannerisms of reading that would otherwise make it unendurable4 ,the fact that the hymn is a familiar one may be only an additional reason for reading it1 instead of being an imperative reason for omitting its reading4 ,as coins long in circulation often lose their superscription1 these familiar words often lose their meaning and reality by constant use1 and these may be restored by intelligent and emotional reading4 ,a mere habit of reading a hymn through is sheer mechanism1 the fatal enemy of interest4 ,the situation1 the purpose in view1 the character of the service and the time allotted to it1 even the preacher's own passing mood--all are factors that need to be considered4 ,at this point it is well to drop a word of warning against the unintelligent omission of verses4 ,some ministers invariably restrict the number to be sung to three or four4 ,if there are five verses1 they invariably omit the fourth1 or announce1 8,we will sing the first three verses10 no matter what the development of thought may be4 ,one of the most painful manifestations of ministerial thoughtlessness and indifference to the congregation's share of the service1 is this brutal mutilation of the hymns4 ,the preacher wishes a little more time for his sermon1 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 unity1 its progress of thought1 and perhaps of its best stanzas4 ,or he has preached too long and closes with a single verse of some great hymn1 unwittingly losing the best climax his sermon could have had4 ,because of the same egotism and his obsequious regard for the tyranny of the dinner hour1 he cuts out the reading and proper introductions of his hymns throughout the service4 ,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 sermon4 8,there is that withholdeth more than is meet1 but it tendeth to poverty40 7,prov4 #aa3bd47 ,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 work4 ,the pastor's task is such a varied one1 with such a mass of details1 all of seeming importance1 that he is in danger of wasting time on comparative trifles1 of 8puttering0 around1 feeling very busy while accomplishing little4 ,a common remark at the close of the day is1 8,i've been busy as a nailer all day and can't see that ,i have accomplished anything60 ,it is this time that is lost by lack of concentration which could quite comfortably be devoted to hymnological studies4 ,the difficulty in most cases is not lack of time1 but lack of interest1 lack of realization as to how great a contribution the hymn service can make to the success of his work4 ,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 cadences1 of great power to express the emotions of the heart of the singer1 and to suggest and stimulate the feelings of the minds and hearts of the hearers3 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 responsible8 ,is it not a crying piece of egotism1 in view of the proven efficiency of hymn singing1 to depend exclusively on his own preaching for the realization of the spiritual ends to which his life is devoted8 ,when ministers realize the positive power the hymn service can exert1 they will not begrudge the occasional hours for studying and planning it which are necessary to its full success4 ,that success will create ,a ,,singing ,,church ,,epilogue ,let us hear the conclusion of the whole matter4 ,eccl4 #ab3g4 ,in traversing the long history of the human use of song in religious services1 rites1 and ceremonies1 we have found that #a4 ,the hymn has been recognized in every age1 in every generation1 by every race1 whether savage or cultured1 under every sky1 as an expression of religious emotion1 and as the generator of such emotion4 #b4 ,religious emotions are of various types4 ,it may be the earnestness of strong conviction2 it may be the hot indignation against sin and evil1 against neglect of the soul's highest obligations4 ,it may be the depressing sense of conscious unworthiness1 rising into repentance for sin1 into the tenderness of grateful recognition of the divine love and forgiving grace1 expressed in tears1 joy over the assurance of salvation expressed in beaming countenance or in ejaculations of delight1 or even in shouts of victory4 ,the human heart becomes an olian harp from which the winds of the ,spirit of ,god evoke an infinitude of melodies1 grave and solemn1 tender and sweet1 joyous and triumphant1 or vigorous and inspiring1--a very symphonic orchestra4 #c4 ,as an expression of religious emotion the hymn has been effective in moving the human will1 stubborn in its revolt against ,god1 by intensifying the mental and spiritual power of religious ideas4 #d4 ,the religious idea is primary1 of course1 but its emotional response in the heart gives it vitality4 ,it is the team of idea and its normal emotion that exerts the power of the hymn4 ,an abstract idea1 abstract because its emotional reflex has been abstracted1 has no motive power4 #e4 ,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 composure4 ,a dry hymn written without vitalizing feeling has no power to inspire2 it gives no sense of reality4 ,dry sermons1 not pollinated by emotional vigor1 can bear no fruit4 ,the effectiveness of sermon or hymn will be determined by the intensity of the feeling behind it4 #f4 ,the emotional appeal must be genuine1 both writer and singer must be sincere4 ,artificial emotion1 the mere pretense of a feeling that does not exist1 has no power4 ,it is not merely unappealing1 it is offensive4 #g4 ,but emotion necessarily implies an intelligence and a susceptibility to be moved--in other words1 a personality4 ,it also implies that one person's feelings can call forth like emotions in other persons4 ,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 vibrating1 creating a very contagion of feeling4 #h4 ,it follows that in actual aggressive work1 largely depending on emotional transmission1 the minister or the leader must supply the initiating impulse4 ,if the minister has a dry mind--there are ministers who desiccate every topic they discuss--religious ideas suffer a blight of aridity1 killing all sense of reality1 this sense of reality being the sine qua non of all spiritual effectiveness4 ,if he is fortunate in having a vivid imagination and a heart responsive to religious truth1 he can multiply his mental gifts twentyfold by intensifying the truths he expresses4 #i4 ,treated in this way1 the hymn becomes the peer of the sermon in influencing power1 and assures the minister eager for spiritual results a large harvest of souls1 saved and spiritualized4 ,,references ,,and ,,notes ,,introduction #a;,genesis #d3ba1 #bc4 #b;,genesis #ca3bg4 #c;,exodus #ae3a-ba4 #d,numbers #ba3af1 #ag4 #e,psalm #ij4 #f;,joshua #f3af4 #g;,judges #e3a-ca4 #h;,i ,samuel #b3a-af4 #i;,i ,samuel #aj3e4 #aj;,i ,chronicles #i3bb2 #aa3d1 #aa3e4 #aa,mark #ad3bf4 #ab;,acts #af3be4 #ac;,colossians #c3af4 #ad;,james #e3ac4 #ae,revelation #e3i2 #g3i-ab2 #aa3ae-ah2 #ad3b1c2 #ae3c1d2 #ai3a-g4 ,,chapter ,i #a;,dr4 ,phelps goes on to say1 8,yet the greatest of these1 that grace which above all else vitalizes a true hymn1 is that which makes it true--its fidelity to the realities of religious experience40 #b8;,a hymn must have a beginning1 middle1 and end4 ,there should be a manifest graduation in the thoughts1 and their mutual dependence should be so perceptible that they could not be transposed without injuring the unity of the piece2 every line carrying forward the connection1 and every verse adding a well-proportioned limb to a symmetrical body4 ,the reader should know when the strain is complete1 and be satisfied1 as at the close of an air in music40 7,james ,montgomery47 #c;,dr4 ,parks1 back in #aheg1 remarks3 8,that is not always the best church song which sparkles most with rhetorical gems4 ,there are spangled hymns which will never excite devotional feeling40 #d,sung at ,president ,mc,kinley's funeral4 #e;,greece never had a sacred book1 she never had any symbols1 any sacerdotal caste organized for the preservation of dogmas4 ,her poets and her artists were her true theologians4 7,renan1 in ,studies in ,religious ,history47 #f8;,even when deeds and events of an innocent and pure character are thus sung1 there is nothing more of spiritual worship in it than in the recitation of an epic poem4 ,the singer confesses no need1 asks no blessing1 reveals no yearning1 expects no response4 ,there is no communion of thought and feeling1 no aspiration for purity1 no laying hold of moral strength40 7,rev4 ,g4 ,o4 ,newport1 a missionary in ,india1 quoted in ,the ,hymn ,lover47 ,,chapter ,,ii #a,the instinct to use song in worship was recognized so long ago as #afie by ,dr4 ,hickman3 8,there never was any land so barbarous1 or any people so polite1 but have always approached their gods with the solemnity of music and have expressed their devotions with a song40 7,quoted by ,dr4 ,a4 ,s4 ,hoyt in his ,public ,worship for ,non-,liturgical ,churches47 #b8,our hymns spring out of religious experience at its best1 and they tend to lift experience to its highest levels4 ,the very cream of truth and of soul life is gathered into them4 ,they contain the refined riches1 the precious essences1 the cut and polished jewels of ,christianity in all ages4 ,they are truly prophetic1 the records of the insight and intuition and rapture of the seer and the saint40 7,dr4 ,waldo ,s4 ,pratt1 in ,musical ,ministries4 ,new ,york3 ,revell ,co41 #aiae4 ,used by permission47 #c;,henry ,ward ,beecher placed a high value on the song service of the church3 8,i have never loved men under any circumstances as ,i have loved them while singing with them2 never at any other time have ,i been so near heaven with you1 as in those hours when our songs were wafted thitherward40 #d8;,in all great religious movements the people have been inspired with a passion for singing4 ,they have sung their creed3 it seems the freest and most natural way of declaring their triumphant belief in great ,christian truths1 forgotten or denied in previous times of spiritual depression and now restored to their rightful place in the thought and life of the ,church4 ,song has expressed and intensified their enthusiasm1 their new faith1 their new joy1 their new determination to do the will of ,god40 7,dr4 ,w4 ,r4 ,dale47 #e,pratt1 ,musical ,ministries4 #f;,ephesians #e3 #ah-bj4 #g;,colossians #c3 #af4 #h;,i ,corinthians #ad3 #ae4 #i,over three-quarters of a century ago1 this lament was made by a prominent ,new ,england minister3 8,many a man1 who carefully interrogates his own experience1 will confess that1 while the voice of public prayer readily engages his attention and carries with it his devout desires1 it is not so with the act of praise2 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 ,god4 ,the song has been wafted near him as a vehicle for conveying upward the sweet odor of a spiritual service1 but the offering has been withheld1 and the song ascends as empty of divine honors as a sounding brass or a tinkling cymbal40 7,rev4 ,daniel ,l4 ,furber1 in ,hymns and ,choirs47 ,,chapter ,,iii #a8,to get behind the hymnbook to the men and women who wrote its contents1 and to the events1 whether personal or public1 out of which it sprang and which it so graciously mirrors1 is to enter a world palpitating with human interest4 ,for a hymnbook is a transcript of real life1 a poetical accompaniment to real events and real experiences4 ,like all literature that counts1 it rises directly out of life40 7,frederick ,j4 ,gillman1 in ,the ,evolution of the ,english ,hymn4 ,new ,york3 ,the ,macmillan ,co41 #aibg4 ,used by permission47 #b;,j4 ,balcom ,reeves1 ,the ,hymn in ,history and ,literature4 7,new ,york3 ,d4 ,appleton-,century ,co41 #aibd74 ,used by permission4 #c8,there is an inclination to fence in what are called #8literary lyrics1' as if to fence out singing lyrics6 ,now there is1 of course1 a distinction between poems meant to be sung and poems written in the pattern of lyrical poetry1 but never meant to be sung2 but the terminology which classes one kind as literary1 thereby implying that the other kind is not of the realm of literature1 is inaccurate and unhappy40 ,ibid4 #d8;,in his volume1 ,the ,english ,lyric1 ,professor ,felix ,e4 ,schelling virtually disposes of the hymn with the remark that #8we may or may not 8accept0 certain hymns1 but we do not have to read them4' ,that is readily granted--unless1 of course1 one wishes to know them or to write just criticism about them40 ,ibid4 #e8;,frequently a hymn is a prayer2 and it is a rule for the structure of prayers that they exclude all those recondite figures1 dazzling comparisons1 flashing metaphors1 which1 while grateful to certain minds of poetic excitability1 are offensive to more sober and staid natures1 and are not congenial with the lowly spirit of a suppliant at the throne of grace4 ,a simile may be shining1 but it may not be exactly chaste2 and a hymn prefers pure beauty to bedizening ornament40 7,dr4 ,edwards ,a4 ,park1 in ,hymns and ,choirs47 #f,these numbers1 of course1 refer to the number of syllables in a line4 ,,chapter ,,iv #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 8,blow ye the trumpet1 blow40 #b,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 subject1 and to the abundant cases cited1 by ,professor ,edwards ,a4 ,park1 ,d4,d41 of ,andover ,theological ,seminary1 in ,hymns and ,choirs1 issued in #ahfj by ,drs4 ,austin ,phelps1 ,edwards ,a4 ,park1 and ,daniel ,l4 ,furber4 ,the lapse of years has in no way diminished the value of this volume4 ,it is unfortunately out of print and inaccessible to the average pastor1 outside of public libraries4 ,,chapter ,v #a8;,but the emotional life1 strongest1 no doubt1 in youth1 remains a lifelong element of personality and especially of the religious personality4 ,feeling is not merely an integral part of religious experience1 it is central1 vital1 its inmost core4 ,william ,james speaks of it as the deeper source of religion1 and says that #8philosophical and theological formulas come below it in importance4 ,it is the dynamic factor in the religious life4 ,when it is absent1 religion degenerates into mere formalism or barren intellectualism4'0 7,gillman1 in ,the ,evolution of the ,english ,hymn47 #b,rev4 ,louis ,f4 ,benson1 ,d4,d41 in ,the ,hymnody of the ,christian ,church4 7,new ,york3 ,harper and ,bros41 #aibg47 ,used by permission4 ,,chapter ,,vii #a;,dr4 ,harris says of his discovery1 8,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 times1 or at the very latest of the sub-apostolic times40 ,,chapter ,,viii #a,there is frequent lament that in the translations of ,greek1 ,latin1 and ,german hymns into ,english much of the original beauty is lost4 ,but the converse is also true3 that such translators as ,neale1 ,brownlie1 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 beauty4 #b,the ,te ,deum has only slight claims to ,greek origin and is postponed to a later chapter4 #c;,in like manner the rationalists of the age of ,frederick the ,great of ,prussia sought to prevent the use of the ,lutheran hymns2 the ,arians in the pre-,wesleyan times contended for the psalm versions without doxologies recognizing the ,trinity2 in our own day1 extreme ,modernists belittle ,christian hymns as dogmatic and unpoetical and urge the use of sociological hymns4 #d,this transfer of the song to clerical singers soon had its inevitable result4 ,jerome begins to be apprehensive that the form of singing would come to have too exclusive consideration4 ,he complained that those who led the song1 like comedians1 8smoothed their throats with soft drinks in order to render their melodies more impressive1 and that the heart alone can properly make melody to ,god48 ,,chapter ,,ix #a8,the ,greek language lived long and died slowly1 and the ,christian hymn writers wrote in its decadence40 7,rev4 ,john ,brownlie1 in his preface to ,hymns of the ,greek ,church47 #b,the canon is an elaborate service consisting of nine odes or hymns of different forms4 ,,chapter ,x #a8;,jesus1 the very thought of ,thee0 7,caswall7 or 8,jesus1 ,thou joy of loving hearts0 7,palmer74 #b8,o sacred ,head1 now wounded10 translated by ,james ,w4 ,alexander from ,paul ,gerhardt's 8,o ,haupt voll ,blut and ,wunden10 a ,german version of the ,latin hymn above4 #c;,imagine a poem of such length in the difficult 8,leonine hexameter0 of which the following translated lines will give an inkling3 8,these are the latter times1 these are not better times1 let us stand waiting6 ,lo1 how with awfulness1 ,he1 first in lawfulness1 comes arbitrating40 ,dr4 ,neale wisely reduced his centos to a plain meter1 giving them practical usefulness4 #d,matthew ,arnold described it as 8the utterance of all that is exquisite in the spirit of its century40 7,quoted by ,gillman1 in his ,evolution of the ,english ,hymn47 ,,chapter ,,xi #a;,as an indication of how prevalent this singing of religious hymns was1 we note the fact that in #aeab1 twelve years before ,luther's first hymnbook appeared1 a collection of ,roman ,catholic hymns1 set to profane tunes1 was issued in ,venice1 ,italy4 #b8,to ,luther belongs the extraordinary merit of having given to the ,german people in their own tongue the ,bible1 the ,catechism1 and the ,hymnbook1 so that ,god might speak directly to them in his ,word1 and that they might directly answer him in their songs40 ,dr4 ,philip ,schaff adds elsewhere that ,luther 8is the father of the modern ,high ,german language and literature10 and that these are the common possession of the ,germanic tribes with their diversified dialects from the ,adriatic to the ,baltic ,sea4 ,erasmus ,alber1 a contemporary who wrote twenty excellent hymns1 calls ,luther 8the ,german ,cicero1 who not only reformed religion1 but also the ,german language40 ,hans ,sachs1 the poet cobbler of ,nuremberg1 who1 besides a great deal of general poetry1 also wrote a number of hymns1 styled ,luther 8the nightingale of ,wittenberg40 ,,chapter ,,xii #a;,dr4 ,schaff4 ,,chapter ,,xiii #a;,dr4 ,louis ,f4 ,benson has well characterized this ,psalter in its influence on ,french character3 8,the metrical ,psalter made the ,huguenot character4 ,no doubt a character nourished on ,old ,testament ideals will lack the full symmetry of the ,gospel4 ,but the ,huguenot was a warrior1 first called to fight and suffer for his faith4 ,and in singing psalms he found his confidence and strength4444 ,in the wars of religion1 the ,psalms in meter were the songs of camp and march1 the war cry on the field1 the swan song at the martyr's stake40 #b8,of course1 psalms in the ballad form were easily learned and kept in memory4 ,and in the days when the ability to read was less general than now1 these rhymes1 scattered so freely broadcast1 took root in many a mind and contributed powerfully to the righteousness and stability of the nation40 7,j4 ,balcom ,reeves1 in ,the ,hymn in ,history and ,literature47 ,,chapter ,,xiv #a;,comparing the ,english church with the ,german1 ,horder exclaims3 8,the ,puritans1 indeed1 had in their midst a finer poet than ,luther1 but they never introduced even ,milton's superb renderings of certain of the ,psalms into their worship4 ,what a use ,luther would have put ,milton to1 if he had been a member of his church6 ,what songs he would have written6 ,aye1 what music1 too60 #b8,thus the psalms have been at once an inspiration and a bondage3 an inspiration in that they have kindled the fire which has produced the hymnody of the entire church2 a bondage1 because1 by stereotyping religious expression1 they robbed the heart of the right to express in its own words the fears1 the joys1 the hopes that the ,divine ,spirit had kindled in their souls40 7,w4 ,garrett ,horder1 in ,the ,hymn ,lover47 #c,thomas ,wright in his recent ,life of ,isaac ,watts remarks3 8,earlier in this work ,i referred to ,watts' enthusiasm for1 and his indebtedness to1 ,john ,mason1 who deserves rather than any other writer the name of the ,father of the ,modern ,hymn4 ,if there had not been a ,mason there would never have been a ,watts40 ,,chapter ,,xv #a;,it is perhaps needless to say that the word 8vulgar0 did not have the opprobrious connotation that it inevitably brings today4 ,it simply meant 8ordinary40 #b;,george ,w4 ,garrett ,horder1 in ,the ,hymn ,lover4 ,,chapter ,,xvi #a8;,it was their love of social psalmody that made ,methodist hymnody what it was1 and it was the desire to better parochial psalmody that furnished ,john ,wesley with the original motive of his work in hymnody40 7,dr4 ,louis ,f4 ,benson1 in ,the ,english ,hymn4 ,new ,york3 ,harper and ,bros4 ,used by permission47 #b8;,john ,wesley was a good writer and preacher1 and possessed extensive learning4 ,he was a man of unfailing perseverance1 great self-denial1 large liberality1 singular devotedness to his ,master's service1 and eminent piety4 ,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 followers40 7,josiah ,miller1 in ,singers and ,songs of the ,church47 #c8,wesley1 like ,watts1 wrote very freely and spontaneously1 as the thousands of lyrics he wrote bear witness4 ,not all of them were good2 much of the verse reminds one of a painter's tentative sketches4 ,but had he not freely written so many1 he might not have written the smaller number so consummately well40 7,j4 ,balcom ,reeves1 in ,the ,hymn in ,history and ,literature47 #d8,the ,wesley hymnbooks constitute an extraordinary interesting human document1 palpitating with real life4 ,every event of those wonderful years1 every experience1 public or private1 through which the singers passed1 is mirrored in some sweet song4 ,but there is more in them than that4 ,they are ,pilgrim's ,progress in verse4 ,they trace the religious life of every man as he travels from the ,city of ,destruction to the ,celestial ,city4 ,they unfold the spiritual drama of man1 his hopes and fears1 his aspirations and affections1 his failures and victories2 each chequered experience trembles into songs1 and scarcely a note is missing4 ,springing from the heart of the eighteenth century1 their music seems to drown its licentiousness and frivolity in paeans of praise40 7,frederick ,j4 ,gillman1 in ,the ,evolution of the ,english ,hymn47 #e;,charles ,wesley's best hymns--and who would dare estimate his genius on any other basis8--meet ,john ,drinkwater's two tests of vital poetry3 7#a7 ,it must spring from vital and intense personal experience4 7#b7 ,it must transfer to the reader by 8pregnant and living words0 the ecstasy that swelled the heart of the poet4 #f8,the style of ,watts is austere1 objective1 formal2 the style of ,wesley is warm1 subjective1 intimate40 7,j4 ,balcom ,reeves1 in ,the ,hymn in ,history and ,literature47 #g;,dr4 ,benson in his exhaustive treatise on ,the ,english ,hymn remarks3 8,the ,wesleys inaugurated a great spiritual revival2 and their hymns did as much as any human agency to kindle and replenish its fervor4444 ,john ,wesley led an ecclesiastical revolt and1 failing to conquer his own church1 established a new one of phenomenal proportions3 the hymns prefigured the constitution of the new church and formed the manual of its spiritual discipline40 #h;,he frankly expressed his inhospitable attitude3 8,were we to encourage little poets1 we should soon be overrun40 ,,chapter ,,xvii #a,the ,oxford or ,tractarian ,movement on the one hand sought a deeper spiritual life than was then prevalent1 and on the other emphasized the solidarity of the ,church of ,christ before and after the ,reformation4 ,it recognized the authority of the pre-,reformation theology and of the associated ceremonial liturgy4 ,many of its leaders entered the ,roman ,catholic ,church1 accepting even its worship of ,mary1 the mother of ,jesus1 and of the saints4 ,,chapter ,,xviii #a,the condition of congregational singing at this time is reported by ,rev4 ,thomas ,walter as follows3 8,our tunes are left to the mercy of every unskilful throat to chop and alter1 to twist and change1 according to their infinitely diverse and no less odd humors and fancies4 ,i have myself paused twice in one note to take breath4 ,no two men in the congregation quaver alike or together2 it sounds in the ears of a good judge like five hundred tunes roared out at the same time with perpetual interferings with one another40 #b;,it is related of a ,new ,england minister1 ,rev4 ,t4 ,bellamy1 that after the choir had outdone all its past discord and blundering in rendering the ,psalm1 he announced another and admonished his choir1 8,you must try again1 for it is impossible to preach after such singing40 ,,chapter ,,xix #a;,dr4 ,s4 ,weir ,mitchell4 #b;,dr4 ,louis ,f4 ,benson says of ,charles ,wesley's 8,jesus1 lover of my soul03 8,the suspicion remains that the secret of its appeal lies in a poetic beauty that the average man feels without analyzing it1 and in a perfection of craftsmanship that makes him want to sing it simply because it awakens the spirit of song in him1 rather than a mood of reflection40 #c,the ,wesleyan doctrine of the ,second ,work1 or ,holiness1 now known as 8,the ,victorious ,life40 #d;,it will be a good introduction to this minute study to work out the ,biblical authority for the dozen or more allusions4 #e;,hebrews #ab3a4 #f;,fleming ,h4 ,revell ,co4 ,new ,york4 #g;,a full discussion of hymn tunes will be found in ,chapters ,x to ,,xii of ,music in ,work and ,worship or in ,chapters ,v to ,x in ,practical ,church ,music1 of which books the present writer is the author4 ,both published by ,fleming ,h4 ,revell ,co4 ,new ,york4 ,,chapter ,,xx #a;,a fuller discussion of this topic will be found in ,chapter ,,xxix of ,music in ,work and ,worship1 by the present writer4 #b,when ,moody was superintendent of a ,sunday school in ,chicago1 he had a vicious boy in one of the classes whom he had reprimanded again and again for disturbing the meeting4 ,finally one ,sunday the boy was unusually fractious and ,moody turned to his chorister and said1 8,when ,i get up and walk up the aisle1 you start #8,hold the ,fort' as vigorously as you can40 ,while the song was being sung with much enthusiasm1 ,moody dragged the boy out of the class by the collar1 took him to an adjacent room1 and punished him drastically while the school sang and submerged the boy's cries4 ,the boy grew up1 became a minister1 and often told with glee the story of how ,moody started the work of grace in his heart4 ,,chapter ,,xxii #a;,in regular services1 single verse tunes may be played through1 but only the last half of double verse tunes should be allowed1 lest the momentum gained by the introductory comment be lost4 ,,general ,,index ,a ,adam of ,st4 ,victor #abc ,addison1 ,joseph #afg ,adolphus1 ,gustavus #ach ,ainsworth's ,version #aee ,alber1 ,erasmus #acf ,albigenses #abh ,aldhelm1 ,bishop #aej ,alexander1 ,mrs4 ,cecil ,frances #bjf ,alexander1 ,william #aec ,alline1 ,harry #bab ,ambrose of ,milan #abj1 #abd ,american ,hymnody1 ,beginnings of #bjh ,american ,hymns1 ,early ,collections of #bac ,american ,psalmody #aee-aeg ,american ,recent ,hymn ,writers #bbb-bbe ,anatolius #aae ,andrew of ,crete #aaf ,annesley1 ,rev4 ,samuel #aha ,annesley1 ,susanna #aha ,announcement of ,hymns #bff-h ,appelles1 von ,loewenstein #aci ,aquinas1 ,thomas #abe ,arndt1 ,ernst ,moritz #add ,arnold1 ,matthew #eg1 #eh ,austin1 ,john #afd ,b ,bacon1 ,dr4 ,leonard #bah ,bakewell1 ,john #ahi ,baring-,gould1 ,sabine #bjg ,barnby1 ,joseph #bjg ,barton1 ,bernard #bjc ,barton1 ,william #afe ,basil1 ,saint #ej ,baxter1 ,richard #afc1 #afg ,bay ,psalm ,book #aef1 #bji ,benedicite1 ,the #aaa ,benson1 ,louis ,f4 #g1 #fb1 #fe1 #he1 #acc1 #agd1 #bbe ,bernard of ,clairvaux #abd ,bernard of ,cluny #abe ,beza1 ,theodore #aej ,bliss1 ,p4 ,p4 #ea1 #ia1 #bbd ,bonar1 ,horatius #bjg ,bourgeois #aej ,bowring1 ,sir ,john #bjd ,bradbury1 ,william ,b4 #ea ,brady1 ,nicholas #aed ,bromehead1 ,joseph #afd ,brooks1 ,bishop ,phillips #ea1 #bbb1 #bbc ,brown1 ,phoebe ,hinsdale #bad ,brownlie1 ,rev4 ,dr4 ,john #aad ,bryant1 ,william ,cullen #bbj ,buchanan1 ,george #adc1 #adg ,byles1 ,mather #baa ,byrom1 ,john #agh ,c ,caedmon #aeh ,calkin1 ,j4 ,baptiste #bai ,calvin1 ,john #adh ,campbell1 ,thomas #aee ,campion1 ,thomas #afa ,candlelight ,hymn #aaj ,canon1 ,golden #aaf ,canon1 ,pentecostarion #aaf ,canons1 ,queen of #aaf ,canon1 ,the ,great #aaf ,canon1 ,triodion #aaf ,carlyle1 ,thomas #ace ,caswall1 ,edward #abf1 #bjd ,celano1 ,thomas of #abf ,cennick1 ,john #aij ,character of ,german ,hymnody #adf ,charlemagne #abd ,christian ,lyre #bae ,christian ,year #bjj ,church ,poetry #bah ,clement of ,alexandria #aji ,coleman1 ,dr4 ,lyman #ajf ,compendious ,booke of ,gude and ,godlie ,ballates #aej ,concordant ,discord of a ,broken-,hearted ,heart #afd ,conder1 ,josiah #bjd ,cosin1 ,bishop #abd ,cosmas #aaf ,cotterill1 ,thomas #bjb ,coverdale1 ,miles #aej ,cowley1 ,robert #aea ,cowper1 ,william1 ,life of #aif1 #aig ,coxe1 ,bishop ,arthur ,cleveland #bbc ,crosby1 ,fanny #ea1 #bfa ,d ,damiana1 ,cardinal #abc ,da ,todi1 ,jacopone #abg ,davies1 ,samuel #baa ,decius1 ,nicolaus #acf ,de la ,motte ,fouque #add ,dexter1 ,henry ,m4 #aaj ,doane1 ,bishop ,george ,w4 #bai ,doane1 ,william ,h4 #ea1 #bgj ,doddridge1 ,philip #bcc1 #bch ,doddridge1 ,relative ,standing #agh ,duffield1 ,george1 ,jr4 #bbb ,dundee ,psalms #aej ,dunster and ,lyon #aef ,dwight1 ,timothy 7,pres47 #baj ,e ,earliest ,english ,hymns #aeh ,eber1 ,paul #acf ,edmeston1 ,james #bjc ,eliot1 ,john #aef ,emergency ,hymns #bfj ,english ,literary ,ideals ,discourage ,hymn ,writing #aei ,english ,psalmody ,submerges ,english ,hymnody #aei ,english ,psalm ,versions ,before ,sternhold #aej ,f ,faber1 ,frederick ,w4 #bjf1 #bce ,fawcett1 ,john #fj1 #aia ,finney1 ,charles ,g4 #ea1 #bad ,fitting ,hymn ,tunes to ,congregations #bdi ,flagellant ,monks #aca ,fleming1 ,paul #aci ,francis of ,assisi #abf ,francke1 ,august ,hermann #ada ,franck1 ,john #adj ,franklin1 ,benjamin #baj ,freylinghausen1 ,johann ,a4 #ada ,fuller1 ,thomas #aee ,furber1 ,rev4 ,daniel ,l4 #g ,g ,gates1 ,ellen ,h4 #ia ,gellert1 ,christian ,fuerchtegott #aci1 #adb ,genevan ,psalter #aej ,gerhardt1 ,paul #aci ,german ,te ,deum #ach ,gerok1 ,karl von #adf ,ghoostly ,psalms and ,spiritual ,songs #aej ,gill1 ,thomas ,hornblower #eh ,gilman1 ,frederick ,j4 #aee ,gilmore1 ,joseph ,h4 #ia1 #bbd ,gladden1 ,washington #ea1 #bbd ,gloria in ,excelsis #aaa ,gloria ,patri #aab ,goethe #abf ,gospel ,hymn1 ,the #hi ,adaptation to ,practical ,work #if-ii ,advantages of #ih ,almost ,universal ,use #hi ,discrimination in ,use of ,gospel ,songs ,needed #ih ,judged by ,results #ij ,lack of ,discrimination of ,critics #ia ,precursors of #ij ,standard ,hymns #ib ,unfair ,comparisons #ic ,wrong ,assumptions #ib ,goudimel #aej ,grant1 ,sir ,robert #bjc1 #bcj1 #bce ,great ,hymnic ,themes #hh ,gregory of ,nazianzus #aad ,gregory the ,great #abd ,grigg1 ,joseph #aib ,h ,hammond1 ,william #bce ,hankey1 ,kate #ia ,hardenberg1 ,friedrich von #add ,harris1 ,dr4 ,rendell #ajg ,hastings1 ,thomas #ia1 #bae1 #baf ,havergal1 ,frances ,ridley #bjg ,hawks1 ,mrs4 ,annie ,s4 #ia1 #bcd ,heath1 ,george #ge ,heber1 ,bishop ,reginald #hd1 #aii1 #bcb ,hedge1 ,frederick ,h4 #ace ,herbert1 ,geo4 #cf1 #afb ,hermannus ,contractus #abd ,herrick1 ,robert #afc ,hewitt1 ,eliza ,edmunds #ia ,hilary1 ,bishop of ,poitiers #abj1 #acj ,hiller #ada ,holden1 ,oliver #bac ,holmes1 ,oliver ,wendell #bbj ,hopper1 ,rev4 ,edw4 #ia1 #bbd ,horder1 ,w4 ,garrett #be1 #afj1 #aff ,hosmer1 ,rev4 ,frederick ,l4 #bbd ,how1 ,bishop ,w4 ,w4 #bjf ,hoyt1 ,dr4 ,a4 ,s4 #if ,hunter1 ,rev4 ,william #ia ,huntington1 ,countess of #aid ,huss1 ,john1 of ,prague #aca ,hyde1 ,abby ,b4 #bad ,hymnal as a ,text ,book of ,theology #hd-hf ,hymnal1 ,making a ,personal #bdj-bdb ,hymn ,lover1 ,the #be ,hymnology1 ,works on #g-h ,hymns #ce ,adjusted to ,mass ,singing #gd ,as a ,pedagogic ,device #gd ,as ,literature #ec ,as ,poetry #bg ,changes in #fc-ge ,character of changes #fg-gb ,john ,wesley as ,reviser #gj-gb ,limits of author's rights #fe ,minor changes in hymns #gc-ge ,often needless #fd ,return to originals #fe ,rights of authors #fe ,christocentric #ca ,congregational or ,singing ,hymn #bg ,create ,religious ,atmosphere #gb ,definition of ,hymn #be ,definition of ,hymn by ,dr4 ,benson #bh ,distinctly ,religious #cj ,earliest ,hymns #aaj ,early ,greek ,hymns #aad ,efficiency of ,hymns #ba ,excessive 8,ego0 in ,hymns #ha ,flaws in ,hymns by ,standard ,writers #id ,ignorance of ,hymns #ba ,importance of ,hymns #ag ,impulse to ,write ,hymns #dj ,in ,apostolic ,times #ajd ,indifference to ,hymns #ej-eb ,influence of ,purpose on ,writing #dj-dc ,in the ,epistles #aje ,limitations of #eh ,literary ,criticism of #da1 #ee-eg ,means of ,emotional ,expression #dc ,meters of #cc1 #ei-fa ,of the ,apocalypse #ajf ,of the ,social ,gospel #hg ,origin and ,development of ,apostolic ,hymns #ajd ,place of ,hymns #ag ,practicability of #cd ,purpose of ,singing ,hymns #db ,purpose of ,user #db ,relation of ,hymns to ,god #gf-h ,relation of ,hymns to ,singer #gi-hb ,scriptural1 ,must be #ca ,source of #ajc ,special ,subjects #hg ,succeeded ,psalms #ajc ,supreme ,theme of #hh ,taken from ,congregation #aab ,too ,intense #bde ,use in ,propaganda #aab ,valuable ,aids in ,services #bdb ,value of #dj-df 8,hymns ,ancient and ,modern0 #ed ,hymn ,sermons and ,services #bed ,hymns of the ,protestant ,episcopal ,church #bah ,i ,irons1 ,rev4 ,w4 ,j4 #abf ,j ,james ,i of ,england #aec ,john of ,damascus #aaf ,johnson1 ,dr4 ,samuel #ef ,joseph of the ,studium #aag ,jonas1 ,justus #acf ,k ,keble1 ,john #aii1 #bjj1 #bcb1 #bce ,kelly1 ,thomas #bja ,ken1 ,bishop ,thomas #gb1 #afd ,key1 ,francis ,s4 #bai 8,king0 and 8,queen0 ,chorales #acg ,king ,conrad #aca ,klopstock1 ,friedrich ,g4 #adc ,knapp1 ,albert #ade ,knox1 ,john #aec ,knox's ,version #aec ,krummacher1 ,friedrich ,adolph #ade ,l ,language of ,post-,apostolic ,hymns #aaa ,later ,american ,orthodox ,hymnists #bbb ,lathbury1 ,mary ,artemisia #bbc ,latin ,psalm ,version by ,geo4 ,buchanan #aea ,lavater1 ,johann ,kasper #add ,leavitt1 ,rev4 ,joshua #bad ,leland1 ,john #bac ,literary ,trend in ,english ,hymns #aih ,lollards1 ,the #ej ,lowry1 ,robert #ea ,luther and ,calvin #adh ,luther and the ,vernacular ,hymn #acj ,luther1 ,martin #acj ,luther's ,great ,chorale #acd ,luther's ,hymn ,collections #acd ,luther's ,relation to ,german ,hymnody #acb ,luther's ,tunes #acf ,lyte1 ,henry ,francis #bjd ,m ,mac,donald1 ,george #afg1 #agh ,madan1 ,rev4 ,martin #gb1 #aid ,marot1 ,clement #adi ,marriott1 ,john #bjc ,marseillaise ,hymn #hc ,martineau1 ,dr4 ,james #da1 #ahg ,mason1 ,john #aff ,mason1 ,lowell #ia1 #bae-bag ,mather1 ,cotton #aeg ,mather1 ,richard #aef ,matheson1 ,dr4 ,george #bjh ,medieval ,popular ,hymnody #adf ,medley1 ,rev4 ,samuel #aib1 #bce ,memorizing ,hymns #bdc ,mendelssohn-,bartholdy1 ,felix #ach ,methodist ,hymnal #ic ,methods of ,hymn ,study #bcd-bdj ,meyfart1 ,johannes #aci ,milman1 ,henry ,hart #ge1 #aii1 #bjj ,milton1 ,john #afj ,montgomery1 ,james #ef1 #fd1 #aee1 #aij1 #bja-b ,montgomery1 ,james1 as ,critic #bjb ,moore1 ,thomas #bjj ,moravians #aha ,morris1 ,mrs4 ,c4 ,h4 #bbd ,mote1 ,edward #gc ,mozart1 ,wolfgang ,a4 #abf ,muhlenberg1 ,rev4 ,william ,augustus #bah ,n ,neale1 ,dr4 ,mason #aae1 #abe1 #bje ,neumark1 ,georg #ach ,newman1 ,cardinal ,john ,henry #ea1 #bjd ,new ,presbyterian ,hymnal #ic ,newton and ,cowper #aie ,newton1 ,john1 ,life of #aie ,nicolai1 ,philipp #acg ,north1 ,frank ,mason #bbd ,notker1 called ,balbulus #abc1 #abd ,o ,occom1 ,samson #bab ,odes of ,solomon #ajf ,odo of ,cluny #abc ,olivers1 ,thomas #ahi ,olney ,hymns 7,newton7 #aie ,omitting ,verses #bgb ,onderdonk1 ,dr4 ,h4 ,u4 #bai ,opitz1 ,martin #ach ,p ,palgrave #ef1 #age ,palmer1 ,ray #ia1 #bag-ah1 #bcc ,parker1 ,archbishop #aed ,parker1 ,theodore #abf ,parks1 ,prof4 ,edwards ,a4 #g ,patrick1 ,saint #aei ,paul of ,samosata #aab ,paulus ,diaconus #abc ,perronet1 ,edward #ahi ,personal ,hymnal #bdj-b ,peter the ,hermit #abe ,phelps1 ,prof4 ,austin #g1 #hh1 #ie1 #beg ,phelps1 ,dr4 ,sylvanus ,dryden #bbd ,phillips1 ,philip #ea ,pietism in ,german ,hymnody #add ,planning ,music of ,service #bej-ec ,popularity of ,sternhold and ,hopkins ,version #aeb ,poteat1 ,prof4 ,h4 ,m4 #ba ,practical ,hymnology #ba ,practical ,hymn ,studies #bdb ,prentiss1 ,mrs4 ,elizabeth #bbd ,preparing a ,congregation to ,sing ,hymns #bfh-gb ,priest1 ,francis ,baker #afd ,primitive ,church1 ,the #ajf ,procter1 ,adelaide ,a4 #bca ,proses #abc ,protestant ,te ,deum #gd ,prudentius1 ,bishop of ,poitiers #aab ,psalmody in ,america #bji ,psychology of ,psalmody #adh-i ,r ,rabanus1 ,maurus #abc ,rankin1 ,rev4 ,jeremiah ,e4 #ia1 #bbd ,rationalism in ,german ,hymnody #adc ,reeves1 ,prof4 ,j4 ,balcom #aei ,revised ,presbyterian ,hymnal #agi ,ringwaldt1 ,bartolomaeus #acg ,rinkart1 ,martin #ach ,robinson1 ,robert #aia1 #bce ,rodigast #ada ,roh1 ,johann #acf ,root1 ,george ,f4 #ea ,rous1 ,francis #aec ,rous' ,version #aec ,ruckert1 ,friedrich #ade ,s ,saint ,basil #ej ,saint ,colombo #aei ,saint ,patrick #aei ,sanctus #bh ,schade #ada ,schaff1 ,dr4 ,philip #acd1 #adc ,scheffler1 ,john #adj ,schultz #ada ,scott1 ,sir ,walter #abg ,seagrave1 ,robert #agh ,sears1 ,edmund ,hamilton #bba ,selborne1 ,lord #acd ,selnecker1 ,nicolaus #acg ,senfl1 ,ludwig #acf ,shurtleff1 ,ernest ,w4 #bbd ,smith1 ,samuel ,f4 #ia1 #baf ,solomon's ,coronation ,song #agf ,southwell1 ,robert #afj ,spafford1 ,horatio ,g4 #ia ,spener1 ,philipp ,jacob #adj ,spengler1 ,lazarus #acf ,speratus1 ,paul #acd1 #acf ,spirituals #ee ,spiritual ,songs for ,social ,worship #baf-ag ,spitta1 ,karl ,johann ,philipp #ade ,steele1 ,anne #abe1 #aia ,stephen1 the ,sabaite #aaf ,sternhold and ,hopkins ,versions #aeb ,sternhold1 ,thomas #aeb ,stite1 ,edgar ,f4 #ia ,stone1 ,samuel ,j4 #hd ,stowe1 ,harriet ,beecher #bbb1 #bcj ,strong1 ,nathan #bab ,studying ,hymn ,tunes #bdf1 #bfd ,studying ,methods of ,using ,hymns #bdd-dg1 #bdi ,study of ,hymns1 ,advantages of #bbi-cc ,suggestive ,selection of ,hymns #beh-fd ,synesius #aae ,t ,tappan1 ,william ,b4 #bad ,tate and ,brady's ,version #aed ,tate1 ,nahum #aed1 #bji ,tauler1 ,john #aca ,teaching ,truth by ,use of ,hymns #bec ,technic of ,hymnwriting ,established #afe ,te ,deum ,laudamus #bh1 #aai ,ter ,sanctus1 ,the #aaa ,tersteegen1 ,gerhardt #ada1 #bce ,tertullian #aji ,theodore of the ,studium #aag ,theodulph #abc ,thomas of ,celano #abf ,thompson1 ,alexander ,r4 #abf ,toplady1 ,augustus ,montague #aij ,toplady's ,hymn ,tests #aid ,treasury of ,sacred ,songs #ef ,trench1 ,archbishop #ee1 #abd ,trent1 ,archbishop #abe ,troubadours #abh ,two ,values in ,singing ,hymns #bdh ,types of ,hymns #gf-hh 8,i0 and 8,my0 hymns #ha ,in ,relation to ,god #gf-i ,in ,relation to ,singer #gi ,u ,unitarian ,hymnody in ,america #bai ,unity in ,selecting ,hymns #bef ,v ,valois1 ,marguerite de #adi ,value of ,psalm ,versions #aeg ,van ,alstyne1 ,frances ,crosby #bbc ,van ,dyke1 ,dr4 ,henry #bce ,venerable ,bede1 ,the #abc1 #aei ,verse1 ,secular and ,sacred ,compared #ef ,w ,waldenses #abh ,walford1 ,h4 ,w4 #ia ,walther1 ,johann #acf ,ware1 ,henry1 ,jr4 #bbj ,warner1 ,anna #bbc ,waters1 ,horace #bae ,watts and ,charles ,wesley #ahe ,watts1 ,isaac #da1 #fb1 #afi1 #bce1 #bch ,watts' ,argument for ,hymns #agb-d ,watts' ,first ,hymn #afi ,watts' ,hor ,lyric #afi1 #agj ,watts' ,hymns in ,america #baj ,watts' ,hymns1 ,value of #age ,watts1 ,life of #afh ,watts1 ,stress on ,practicability #agd ,wedderburn ,brothers #aej ,weiss1 ,michael #acf ,welde1 ,thomas #aef ,wesley ,brothers1 ,relation of #ahb ,wesley1 ,charles #fb1 #hh1 #ahc1 #bce1 #bch1 #bed ,wesley1 ,charles1 as a preacher #ahd ,wesley1 ,charles1 ,life of #ahc ,wesley ,family1 ,the #aha ,wesley ,hymns1 ,issues of #ahf ,wesley1 ,john #fd1 #aha1 #ahb ,wesley1 ,john1 ,american ,collection #ahb ,wesley1 ,john1 ,changes in ,watts' ,hymns #gj-b ,wesley1 ,john1 ,character of #ahc ,wesley1 ,john1 ,life of #aha ,wesley1 ,samuel #aha ,wesleys and the ,moravians1 ,the #aha ,wesleys1 ,opposition to #ahg ,wesleys1 ,theology of #ahh ,white1 ,henry ,kirke #aih1 #bjc ,whitfield1 ,george #baj ,whittier1 ,john ,g4 #bbb ,williams1 ,william #ahi ,winkworth1 ,catherine #ach ,withers1 ,george #afa ,wordsworth1 ,bishop ,christopher #ch1 #hd ,z ,zinzendorf1 ,count ,nicholaus ,ludwig von #ahb ,zwingli1 ,ulrich #adh ,,index ,,of ,,hymns 7,first lines1 except those in parenthesis which are first lines of other than first verse1 or of first lines of translations47 ,a ,a charge to keep ,i have #fb1 #hc ,a few more years shall roll #bjh 7,a mighty fortress is our ,god7 #acd1 #bci ,abide with me2 fast falls the eventide #bjd1 #bbc ,ah1 dearest ,jesus1 ,i have grown #cf ,alas1 and did my ,savior bleed #fi1 #ha1 #aaf1 #bfi ,all hail the pow'r of ,jesus' name #fj1 #gd1 #ahi1 #bcd ,all people that on earth do dwell #aec1 #bei 7,all praise to ,thee1 eternal ,lord7 #ace ,almost persuaded1 now to believe #ia ,amazing grace1 how sweet the sound #dh1 #aif ,amazing sight1 the ,savior stands #bab 7,and when our days are past7 #bac ,angels from the realms of glory #bjb ,approach1 my soul1 the mercy seat #aif ,art thou weary1 art thou languid #aag1 #bjf ,as pants the hart for cooling streams #aee1 #bjd ,awake and sing the song #bce ,awake1 my soul1 in joyful lays #aib ,awake1 my soul1 stretch every nerve #fj1 #agi1 #bch ,b ,be faithful unto death #ij ,befiehl du deine ,wege #adj ,before ,jehovah's awful throne #ei1 #gj1 #age1 #ahf1 #bce1 #bea1 #bei ,behold1 a ,stranger at the door #aib ,behold the glories of the ,lamb #agj ,behold the ,savior of mankind #aha ,beneath the cross of ,jesus #bfh ,beyond the smiling and the weeping #bjh ,blest be the tie that binds #aia ,blest be ,thy love1 dear ,lord #afd ,blow ye the trumpet1 blow #fc1 #bea ,bread of the world1 in mercy broken #aii ,break ,thou the bread of life #bbc ,brief life is here our portion #abe1 #bjf ,brighten the corner where you are #cj1 #ig1 #bea ,brightest and best of the sons of the morning #aii1 #bcb 7,but warm1 sweet1 tender1 even yet7 #bbb ,by cool ,siloam's shady rill #aii ,c ,calm on the listening ear of night #bbb ,child of sin and sorrow #bae ,children of the heavenly ,king #aij ,christ is born1 exalt ,his name #aaf ,christian1 dost thou see them #bjf ,christians1 awake1 salute the happy morn #agh ,come1 gracious ,spirit1 heavenly ,dove #agh ,come1 ,holy ,ghost1 in love #bah ,come1 ,holy ,spirit1 come #fj ,come1 ,jesus1 ,redeemer1 abide ,thou with me #bah ,come1 my soul1 thy suit prepare #aif ,come1 oh1 come1 in pious lays #afa ,come1 sound ,his praise abroad #bea ,come1 ,thou ,almighty ,king #fa1 #fh1 #bfa ,come1 ,thou ,fount of every blessing #aib1 #bce1 #bci1 #bfi ,come1 we that love the ,lord #bea ,come1 ye disconsolate1 where'er ye languish #bjj1 #baa ,crown ,him with many crowns #fj ,d ,day is dying in the ,west #bbc ,day of wrath6 ,o day of mourning #abg 7,dear ,christian people1 now rejoice7 #ace ,dear ,savior1 if these lambs should stray #bag ,deathless principle1 arise #aij ,delay not1 delay not1 ,o sinner1 draw near #baf ,depth of mercy1 can there be #ahf1 #bed ,e ,ein' feste ,burg ist unser ,gott #acd1 #acf1 #ach1 #aej1 #bde ,eine ,herde und ein ,hirt #ade ,es ist gewisslich an der ,zeit #acg ,es kennt der ,herr die ,seinen #ade ,f ,fade1 fade1 each earthly joy #fa ,fairest ,lord ,jesus1 ,ruler of all nature #bce ,faith of our fathers1 living still #bjf ,father of mercies1 in ,thy word #aia ,father1 whate'er of early bliss #fj1 #aia 7,fear not1 ,o little flock1 the foe7 #ach ,fierce was the wild billow #aae1 #bjf ,fling out the banner2 let it float #bai ,for thee1 ,o dear1 dear country #abe ,forever with the ,lord #bjb ,forward6 singing glory #bbe ,from all that dwell below the skies #ei ,from ,greenland's icy mountains #aii1 #baf 7,from heaven above to earth ,i come7 #ace ,g ,gently1 ,lord1 oh1 gently lead us #bae ,gelobet seist du1 ,jesu ,christ #ace-f ,give to the winds thy fears #adj1 #bfb ,glorious things of thee are spoken #dh1 #aif ,go1 labor on1 spend and be spent #bjh ,god be with you till we meet again #ia 7,god calling yet2 shall ,i not hear87 #ada ,god is love2 his mercy brightens #bjd1 #bfa ,god is the refuge of ,his saints #ei1 #bfb ,god moves in a mysterious way #dh1 #aif1 #bed ,gott ist gegenwaertig6 lasset uns anbeten #ada ,gott rufet noch1 sollt' ich nicht endlich hoeren8 #ada ,grace1 'tis a charming sound #agi ,great ,god1 how infinite ,thou art #ahf 7,great ,god1 what do ,i see and hear7 #acg ,guide me1 ,o ,thou great ,jehovah #aij1 #bfb ,h ,hail1 glad'ning light1 of ,his pure glory poured #aaj ,hail1 ,thou once despised ,jesus #ahi ,hail to the brightness of ,zion's glad morning #bae ,hail to the ,lord's ,anointed #bjb ,hark1 hark1 my soul1 angelic strains are swelling #bjf ,hark1 my soul1 it is the ,lord #aig ,hark1 ten thousand harps and voices #bja ,hark1 the herald angels sing #gb1 #bdf ,hark1 the song of jubilee #bjb ,harre des ,herrn #ij ,he dies1 the ,friend of sinners dies #fg 7,he knoweth all ,his people7 #ade ,he leadeth me1 ,o blessed thought #ia1 #bbd1 #bee ,he sings and plays the songs which best thou lovest #afb ,holy1 holy1 holy1 ,lord ,god ,almighty #hd1 #aii1 #bea1 #bfa ,how are ,thy servants blest1 ,o ,lord #afg ,how firm a foundation1 ye saints of the ,lord #bfb ,how gentle ,god's commands #agi ,how precious is the book divine #aia ,how sweet the name of ,jesus sounds #dh1 #aif1 #bcf1 #bch ,hush1 my babe1 lie still and slumber #agb ,i ,i am ,thine1 ,o ,lord1 ,i have heard ,thy voice #bbc ,i could not do without ,thee #bjg ,i gave my life for ,thee #bjg ,i heard the voice of ,jesus say #bjh ,i hunger and ,i thirst #fa 7,i know in whom ,i put my trust7 #ade 7,i know no life divided7 #ade ,i know that my ,redeemer lives 7,medley7 #aib ,i know that my ,redeemer lives 7,wesley7 #ahf ,i lay my sins on ,jesus #bjh ,i love ,thee so2 ,i know not how #ce1 #hb ,i love ,thy kingdom1 ,lord #baa ,i love to steal awhile away #bad ,i love to tell the story #ia ,i need ,thee every hour #ia1 #bcf ,i praise ,him most1 ,i love ,him best #afj ,i sing th' almighty pow'r of ,god #fj ,i was a wand'ring sheep #ce1 #bjh ,i will sing you a song of that beautiful land #ia ,i would not live alway2 ,i ask not to stay #bai ,i'll praise my ,maker while ,i've breath #ahf ,ich weiss1 an wen ich glaube #ade ,if thou but suffer ,god to guide thee #aci ,in the ,christian's home in glory #ia ,in the cross of ,christ ,i glory #bjd1 #bfi ,in the hour of my distress #afc ,in the hour of trial #bjb ,it came upon the midnight clear #bbb ,it is well with my soul #ia ,j ,jedes ,herz will etwas lieben #ada ,jerusalem1 my happy home #afd ,jerusalem the golden1 with milk and honey blest #abe1 #bjf ,jesu1 dulcedo cordium #bah ,jesu1 dulcis memoria #abe1 #bah ,jesus1 name all names above #aag ,jesus1 and shall it ever be #aib ,jesus calls us1 o'er the tumult #bjf ,jesus1 ,i love ,thy charming name #bcc ,jesus1 ,i my cross have taken #bjd ,jesus1 keep me near the cross #bbc ,jesus1 lebt1 mit ihm auch ich #adb ,jesus1 let thy pitying eye #gc 7,jesus lives1 no longer now7 #adb ,jesus1 ,lover of my soul #ch1 #fc1 #fd1 #ahf1 #bci1 #bed ,jesus loves me1 this ,i know #bbc ,jesus1 my all1 to heaven is gone #aij ,jesus1 ,savior1 pilot me #ia1 #bbd ,jesus shall reign where'er the sun #ei1 #agf1 #ahf1 #bfc ,jesus1 the very thought of ,thee #dc1 #fj1 #bje1 #bah1 #bcc1 #bci ,jesus1 these eyes have never seen #bag1 #bcc1 #bcf ,jesus1 ,thou joy of loving hearts #bah ,jesus1 where'er ,thy people meet #gc1 #aig 7,jesus1 ,thy boundless love to me7 #adj ,joyful1 joyful1 we adore ,thee #bce ,joy to the world1 the ,lord is come #gc ,k ,kingdoms and thrones to ,god belong #bea ,l ,lamp of our feet1 whereby we trace #bjc ,lead1 kindly ,light1 amid the encircling gloom #cd1 #ea1 #bje1 #bdf ,lead on1 ,o ,king eternal #bbd1 #bfc1 #bfi ,let all the earth their voices raise #bei1 #bfj ,let our choir new anthems raise #aag ,lift your glad voices in triumph on high #bbj ,lo6 ,god is here1 let us adore #gh1 #ada1 #bce ,lo6 ,he comes with clouds descending #aij ,lo6 in the clouds of heaven appears #bbj ,lobe den ,herren1 den ,maechtigen ,koenig der ,ehren #adb ,look1 ye saints1 the sight is glorious #bja ,lord1 dismiss us with ,thy blessing #aia ,lord1 ,i am ,thine1 entirely ,thine #baa ,lord1 it belongs not to my care #afd ,lord ,jesus1 think on me #aae ,lord of all being1 throned afar #ei1 #bba1 #bej ,lord1 speak to me1 that ,i may speak #bjg ,lord1 we come before ,thee now #bfa ,lord1 with glowing heart ,i'd praise ,thee #bah ,love divine1 all loves excelling #ahf1 #bch1 #bfa ,m ,mag auch die ,liebe weinen #ade ,mighty ,god1 while angels bless ,thee #aia1 #bce ,more about ,jesus would ,i know #ia ,more love to ,thee1 ,o ,christ #fa1 #bbd ,mortals awake1 with angels join #aib ,my country1 'tis of thee #fa1 #baf ,my faith looks up to ,thee #dc1 #fa1 #ia1 #bac1 #bcf1 #bdi 7,my feet are worn and weary7 #ce ,my ,god1 how wonderful ,thou art #bjf1 #bce1 #bej ,my ,god1 ,i love ,thee1 not because #bje1 #bcf ,my ,god1 ,i thank ,thee1 who hast made #bca ,my ,god1 my ,god1 to ,thee ,i cry #ahd ,my ,god1 the spring of all my joys #ch ,my gracious ,lord1 ,i own ,thy right #agi ,my hope is built on nothing less #gd ,my ,jesus1 as ,thou wilt #fj ,my ,jesus1 ,i love ,thee1 ,i know ,thou art mine #bdf ,my soul1 be on thy guard #fj1 #ge ,my spirit longeth for ,thee #fa1 #agh ,n ,nearer1 my ,god1 to ,thee #fa1 #bbd1 #bdb ,never weather-beaten sail #afa 7,not all the blood of beasts7 #bch ,now from the altar of my heart #aff ,now ,i resolve with all my heart #aia ,now must we hymn the ,master of heaven #aeh ,now1 my tongue1 the mystery telling #abf 7,now thank we all our ,god7 #ach ,now the day is over #bjg ,nun danket alle ,gott #ach ,nun freuet euch1 lieb ,christen ,g'mein #ace ,o ,o ,christ1 the ,lord of heaven1 to ,thee #bah ,o day of rest and gladness #ch1 #hd1 #bea ,o ,god1 beneath ,thy guiding hand #bah ,o happy band of pilgrims #aag ,o happy day that fixed my choice #agi 7,o happy home1 where ,thou art loved the dearest7 #ade ,o ,haupt voll ,blut und ,wunden #adj ,o ,jesu ,christ1 mein schoenstes ,licht #adj ,o ,jesu1 meine ,sonne #ade ,o ,jesus1 our chief cornerstone #ei ,o ,jesus1 sweet the tears ,i shed #bah ,o ,jesus1 ,thou art standing #bjg ,o little town of ,bethlehem #ea1 #fh1 #bbc ,o love divine1 how sweet ,thou art #bce ,o ,love divine1 that stooped to share #bba ,o ,love6 how deep1 how broad1 how high #ei ,o ,love that wilt not let me go #cd1 #hj1 #ig1 #bjh1 #bdi1 #bfh ,o lux1 beata ,trinitas #acd ,o ,master1 let me walk with ,thee #ea1 #bbd 7,o ,morning ,star1 how fair and bright7 #acg ,o most blessed ,light divine #abd ,o mother dear1 ,jerusalem #afd ,o name1 all other names above #bbd 7,o name than every name more dear7 #add ,o ,paradise1 ,o ,paradise #bjf 7,o sacred head now wounded7 #adj ,o ,savior1 precious ,savior #bce ,o selig ,haus1 wo man dich aufgenommen #ade ,o splendor of the ,father's face #aba ,o sussester der ,namen all #add ,o ,thou who driest the mourner's tear #bjj ,o treuer ,heiland1 ,jesu ,christ #ade ,o ,word of ,god1 incarnate #bjg ,o ,word of truth6 in devious paths #aad ,o'er the gloomy hills of darkness #aij ,oft in danger1 oft in woe #bjc ,oh1 could ,i speak the matchless worth #gi1 #aib1 #bce ,oh1 for a closer walk with ,god #aif ,oh1 for a thousand tongues to sing #fh1 #bce1 #bfc ,oh1 help us1 ,lord1 each hour of need #bjj ,oh1 where are kings and empires now #bbc ,oh1 where shall rest be found #bjb ,oh1 worship the ,king1 all-glorious above #ig1 #bjc1 #bce1 #bea1 #bei ,on the mountain's top appearing #bja ,on the wings of ,his love ,i was carried above #cf ,one more day's work for ,jesus #bbc 7,one ,shepherd and one fold to be7 #ade ,one there is above all others #aif ,onward1 ,christian ,soldiers #bjg1 #bea1 #bee1 #bfc ,our ,god1 our help in ages past #aga1 #age1 #ahf1 #bcj ,p ,pange1 lingua1 gloriosi #abe ,pass me not1 ,o gentle ,savior #bbc ,peace1 perfect peace1 in this dark world of sin #hc ,praise1 my soul1 the ,king of heaven #bjd ,praise the ,lord1 ye heavens adore ,him #gh1 #bce ,praise to the ,holiest in the height #bje 7,praise to the ,lord6 ,he is ,king over all the creation7 #adb ,prayer is the soul's sincere desire #hd1 #bjb1 #bfi ,r ,return1 ,o wanderer1 to thy home #baf ,ride on1 ride on in majesty #ge1 #bjj ,rise1 glorious ,conqueror1 rise #fa ,rise1 my soul1 and stretch thy wings #agh ,rock of ,ages1 cleft for me #fd1 #aij1 #bci1 #bed1 #bee ,s ,safe home1 safe home in port #aag ,safe in the arms of ,jesus #bbc ,safely through another week #aif1 #bea ,salve1 ,caput cruentatum #abe1 #adj ,savior1 breathe an evening blessing #bjc ,savior1 more than life to me #bbc ,savior1 sprinkle many nations #bbc ,savior1 ,thy dying love #bbd ,savior1 who ,thy flock art feeding #bai 7,see from his head1 his hands1 his feet7 #bga ,see1 the ,conqueror rides in triumph #ch ,shepherd of tender youth #aji1 #aaj ,shout the glad tidings1 exultingly sing #bai ,sei getreu bis in den ,tod #ij ,sieh1 hier bin ich1 ,ehrenkoenig #adb ,simply trusting every day #ia 7,sleepers1 awake1 a voice is calling7 #acg ,softly now the light of day #bai ,soldiers of the cross1 arise #bjg 7,something every heart is loving7 #ada ,sometimes a light surprises #dh1 #aig ,sound the loud timbrel o'er ,egypt's dark sea #bjj 7,sovereign ,ruler1 ,king ,victorious7 #adb ,stand up and bless the ,lord #fj ,stand up1 stand up for ,jesus #hc1 #bbb1 #bci ,still1 still with ,thee1 when purple morning breaketh #bbc1 #bcj ,summer suns are glowing #bjg ,sun of my soul1 ,thou ,savior dear #bjj1 #bcb1 #bce ,sweet hour of prayer1 sweet hour of prayer #ia ,swell the anthem1 raise the song #bab ,t ,take me1 ,o my ,father1 take me #bah ,take my life1 and let it be #bjg ,the bird1 the messenger of day #abb ,the church's one foundation #hd ,the day is past and over #aae1 #bjf ,the ,god of ,abraham praise #ahi ,the ,head that once was crowned with thorns #bja ,the heavens are not too high #afb ,the indorsement of supreme delight #cf ,the ,lord is ,king1 lift up thy voice #bjd ,the ,lord is my ,shepherd1 no want shall ,i know #bjb ,the ,lord our ,god is clothed with might #cg1 #aih1 #bjc ,the ,lord's my ,shepherd1 ,i'll not want #aed ,the morning light is breaking #ia1 #baf1 #bfc ,the ransomed spirit to her home #bad ,the rivers on of ,babilon #aef ,the roseate hues of early dawn #bjf ,the royal banners forward go #abb ,the ,savior bids thee watch and pray #baf ,the ,son of ,god goes forth to war #aii ,the spacious firmament on high #afg ,the spirit in our hearts #bai ,the sun is sinking fast #bje ,the voice that breathed o'er ,eden #bja ,thee will ,i love1 my strength1 my tower #adj ,there is a fountain filled with blood #dh1 #fj1 #fe1 #aig1 #bed ,there is a green hill far away #bjf1 #bga ,there is an hour of peaceful rest #bad ,there's a wideness in ,god's mercy #hc1 #bjf ,there's sunshine in my soul #bde ,they who seek the throne of grace #bac ,thou art the way1 to ,thee alone #bai ,thou hidden source of calm repose #ahd ,thou wast1 ,o ,god1 and ,thou was blest #aff ,thou1 whose almighty word #bjc 7,though love may weep with breaking heart7 #ade ,through all the changing scenes of life #aee ,thy way1 not mine1 ,o ,lord #fj ',tis midnight1 and on ,olive's brow #ei1 #bad ',tis the day of resurrection #bjf ,to our ,redeemer's glorious name #aia ,true-hearted1 whole-hearted #bjg ,u ,unser ,herrscher1 unser ,koenig #adb ,v ,veni1 ,creator spiritus #abd1 #acd1 #aeb ,veni1 ,redemptor gentium #acd ,veni1 ,sancte ,spiritus #abd ,verzage nicht1 du ,haeuflein klein #ach ,vexilla regis prodeunt #abb1 #abd ,von ,himmel hoch da komm ich her #ace ,w ,wachet auf1 ruft uns die ,stimme #acg 7,wait on the ,lord7 #ij 7,wake1 awake1 for night is flying7 #ach ,waked by the ,gospel's joyful sound #baa ,walk in the light2 so shalt thou know #bjc 7,was there ever kindest ,shepherd7 #bjf ,watchman1 tell us of the night #bjd ,we are but strangers here #fa ,we are living1 we are dwelling #bbc ,we give ,thee but ,thine own #bjg ,we may not climb the heavenly steeps #bdj 7,we praise and bless ,thee1 gracious ,lord7 #ade ,we would see ,jesus1 for the shadows lengthen #bbc ,welcome1 sweet day of rest #fj1 #gc ,wer nur den lieben ,gott laesst walten #ach ,when all ,thy mercies1 ,o my ,god #afg1 #bfb ,when ,i can read my title clear #ch ,when ,i survey the wondrous cross #ch1 #ei1 #gi1 #aga1 #agf1 #bcg ,when marshaled on the mighty plain #bjc ,when morning gilds the skies #bje ,when our hearts are bowed with woe #bjj ,when the roll is called up yonder #bde ,when the weary1 seeking rest #bjh ,where cross the crowded ways of life #hg1 #bbd ,while shepherds watched their flocks by night #aee ,while with ceaseless course the sun #aif ,who can behold the blazing light #bab ,wie schoen leuchtet der ,morgenstern #acg ,work1 for the night is coming #hc ,y ,ye holy angels bright #afd ,ye servants of ,god1 your ,master proclaims #gc1 #bfc ,yet ,god's must ,i remain #afa ,z ,zion stands with hills surrounded #bja ,zion1 to thy ,savior singing #abf ,,the ,,singing ,,church ,the ,hymns ,it ,wrote and ,sang ,by ,,edmund ,s4 ,,lorenz ,to this author the hymn is not a dry abstraction but an experience of intense reality--of those realities 7as of ,god1 ,christ1 sin1 salvation1 divine care1 eternal life7 to which human hearts have responded throughout the ages4 ,his study makes full recognition of the personal elements in hymn development4 ,the singers whose vision of spiritual things is fresh and keen stand out in every age1 expanding the permanent content of church hymnody4 ,here is indeed a book which will set the ,church to singing once more1 in an effort to proclaim a new awareness of the presence of ,god--that same awareness which stirred the composers of our greatest hymns4 ,dr4 ,lorenz makes visible to us the golden stairway of great hymn writers1 shining at every level of its ascent with the glory of the ,christian faith4 ,,the ,,contents ,introduction4 ,,part ,i3 ,the ,character of the ,hymn4 ,chapters3 ,what ,is a ,hymn8 ,the ,purpose and ,value ,of ,hymns4 ,the ,literary ,aspect of ,hymns4 ,the ,emendation of ,hymns4 ,the ,content of the ,hymn4 ,the ,gospel ,hymn4 ,,part ,,ii3 ,history of the ,development of the ,christian ,hymn4 ,chapters3 ,apostolic ,origin and ,development4 ,the ,post-,apostolic ,hymn4 ,the ,greek ,hymnody4 ,the ,latin ,hymnody4 ,luther and the ,german ,hymn4 ,the ,later ,german ,hymnody4 ,metrical ,psalmody4 ,the ,english ,hymn before ,watts4 ,isaac ,watts and ,his ,period4 ,the ,wesleys and ,their ,era4 ,hymns in the ,church of ,england4 ,american ,hymnody4 ,,part ,,iii3 ,practical ,hymnology4 ,chapters3 ,the ,study of ,hymns4 ,the ,practical ,use of ,hymns4 ,the ,selection of3 ,hymns4 ,the ,announcement and ,treatment of ,hymns4 ,epilogue4 ,the study is pre-eminently thorough both in literary analysis and in historical research4 ,the altogether practical treatment illuminates the whole field of hymnology and its values4 ,,the ,,singing ,,church ,the ,hymns ,it ,wrote and ,sang ,by ,,edmund ,s4 ,,lorenz ,this book merits the careful study of the minister1 the choir master1 the organist1 and others who wish to vitalize public and private worship by an intelligent use of our ,christian hymnody4 ,the book is at once scholarly and practical4 ,no other treats so informatively and yet so interestingly3-- 7#a7 ,the religious and musical heritage of the hymn writers in the ,greek1 the ,latin1 the ,german1 the ,english1 and the ,american epochs2 7#b7 ,the outstanding personalities who made valuable and permanent hymnological contributions in those epochs2 7#c7 ,the occasions and emotional crises out of which many great hymns were born2 7#d7 ,the critical standards by which hymns may be adjudged great4 ,no less important is the closing section of this impressive study1 ,practical ,hymnology4 ,here ,dr4 ,lorenz discusses the ways and means of utilizing the hymn in achieving a new awareness of the presence of ,god4 ,edmund ,s4 ,lorenz1 ,,ll4,d41 ,mus4,doc41 became interested in church music very early in life1 and helped himself through the years of his academic and seminary training 7at ,otterbein ,university1 the ,united ,brethren ,seminary1 and ,yale ,divinity ,school7 by writing gospel songs and editing various songbooks4 ,after two years in the ministry and a year as president of ,lebanon ,valley ,college1 where at the beginning of the second year overwork brought on a complete collapse1 he turned again to music4 ,in #ahij1 he began the business known as ,lorenz ,publishing ,company4 ,dr4 ,lorenz has had many years of experience as editor of ,sunday-school ,songbooks1 church hymnals1 and choir magazines4 ,this experience and his years of close contact with the work of the ,church have given him a peculiar qualification for the writing of services1 choir cantatas1 sheet music solos1 organ compositions1 and songbooks4 ,he has written many books1 such as ,practical ,church ,music1 ,church ,music--,what a ,minister ,should ,know about ,it1 ,music in ,work and ,worship1 ,practical ,hymn ,studies4 ,at home and abroad1 he has been in wide demand as a lecturer on church music4 ,,cokesbury ,,press ,,nashville ,,tennessee ,publishers of ,cokesbury ,good ,books ,transcriber's ,notes --,retained publication information from the printed edition3 this e,book is public-domain in the country of publication4 --,silently corrected a few palpable typos4 --,in the text versions only1 text in italics is delimited by underscores4 --,collated ,table of ,contents against headings in the text2 removed the reference to the 7nonexistant7 ,chapter ,,xv section ,,vi and renumbered subsequent sections4