tRUBY ItKJAN 8)|$llCM SQCIlj* £e^ ^Or\ de/bZ?^ ttcU * 1 CHRISTIAN HYMNS AND HYMN WRITERS. A COURSE OF LECTURES J. E. PRESCOTT, D.D. ARCHDEACON AND CANON OP CARLISLE ; EXAMINING CHAPLAIN TO THE BISHOP OF CARLISLE ; FORMERLY FELLOW OF CORPUS CHRISTI COLLEGE, CAMBRIDGE. CAMBRIDGE: DEIGHTON, BELL AND CO. LONDON: GEORGE BELL AND SONS. 1883 Cambridge : PRINTED BY C. J. CLAY, M.A. & SON, AT THE UNIVERSITY PRESS. TO THE EIGHT REVEREND HARVEY GOODWIN, D.D. LORD BISHOP OF CARLISLE WITH WHOSE KIND ENCOURAGEMENT THESE LECTURES WERE UNDERTAKEN AXD DELIVERED. Digitized by the Internet Archive in 2Q13 http://archive.org/details/christishyOOpres PEEFACE. These Lectures lay no claim to form a set Treatise on Christian Hymns and Hymn Writers. They were delivered, in substance, in the ancient Fratry or Refectory of Carlisle Cathedral, and not without a view to the Cathedral Services. The object of the Lectures was to awaken a more thoughtful and intelli- gent interest in what is daily becoming a more important portion of public worship in England. It seemed to some who heard them that, if published, they might have this effect over a wider area. I have here put into the shape of Lectures some of the results of searches prosecuted and notes made about Hymns during many years. The subject itself is indeed inexhaustible. But within so small a compass, no more than a mere outline could be given. I have endeavoured to vi Preface. compress as much reliable information as possible into the space at my disposal. The number of Christian hymns is to be calculated by thousands; and hymn writers have lived in so many and such different ages of the Chris- tian era, that to establish a principle of selec- tion affords no easy problem. Those hymns have, in the main, been chosen which are most frequently sung in Divine Service, and which are to be found in most of our Hymn Books. The brief account of the writers of these hymns has been given, as far as possible, in a consecu- tive and historical form. My desire has been to supply a continuous narrative rat her than, what is more usual — a special essay or merely a book of reference. Many excellent Church of England Hym- nals are now in use ; but references have only been given to the hymns in the three which have been ascertained to have the largest cir- culation, viz. — Hymns Ancient and Modern, Church Hymns (S.P.C.K.) and The Hymnal ( ompanion. These cover a wide field. There ore few well-known hymns used in congrega- Preface. vii tional singing which cannot be found in one of them. The variations made in hymns by com- pilers of Hymn Books are so numerous that exact reference is often a matter of difficulty. The lines quoted have, as a rule, been in the words of the author or translator named, and any serious difference has been noted. The hymns given in the text have been generally selected as specimens of their respec- tive authors, while additional hymns by the same author are often set out in the notes. In the Appendix will be found some hymns which it seemed impossible to pass by altogether, but which are, chiefly, by hymn-writers who have not been previously mentioned. Except in a few instances, the subject matter of the hymns has not been discussed. Neither the time at my disposal nor the special object in view would admit of this. Moreover, the alterations made in hymns, even in the days of old, are so numerous and so arbitrary, that a boundless field of investigation and contro- versy at once opens before anyone who enters upon the discussion. viii Preface. I have carefully abstained from filling the notes with learned references ; for the most part, only those works have been referred to which are easy of access. Among others, I have been indebted to the excellent article by Lord Selborne in the Encyclopcedia Britannica, the chapters, on the subject of the ancient hymns, in Bingham's Antiquities of the Chris- tian Church, and the article s. v. KirchenJied in Herzog and Plitt's Real-Encyklopadie. To the many persons who have afforded me valuable private information, I here tender my grateful thanks. Comparatively few of the many who sing hymns with profit and with pleasure think how often they are expressing words and thoughts which have been on the lips and in the hearts of Christian men for lon ; vi. 15, L6 ; 8 Tim. ii. 11 — 13. In the Greek, their rhythmic character is very apparent. The Earliest Hymns. were very numerous and very obstinate. The contagion of this superstition had spread to every age and rank and sex ; and not in the large cities only, but also in the villages and open country. What was he to do with these Christians ? He had punished some of them; but they were in such numbers. The difficulty was, he could find little or nothing against them. On strict examina- tion, he learned, that they bound themselves not to do wrong ; that it was their custom to meet on a fixed day before light, and to sing together in turn, or antiphonally, a hymn to Christ as God ; then to separate, and after a time reassemble in order to eat together a simple and a harmless meal 1 . Here then we have a glimpse of early Christian worship ; and we find, as it has been said, that " the first sound which reached the Pagan ear from the secluded sanctuaries of Christianity was a hymn to Christ as God 2 ." From this period, we might quote, had we the time, much evidence, during the next two centuries, of Christian hymns being sung. What then were these primitive hymns ? Very early, no doubt, the hymns of the New Testament, such as the Magnificat, and Benedictus and Nunc Dimittis, were introduced. Soon, 1 Lib. x. Epist. 97. 2 Milman, Hist, of Christianity. 8 Ancient Hymns and Translations. and as a Morning Hymn, we find the "Angelic Hymn." the original form of the Gloria in Excelsis, that is, the " Glory be to God on high" of our Communion Service ; then, in varied forms, the Gloria Patri or Doxology ; and then the Ter Saiictus, Trisagion or 'Holy, Holy. Holy, Lord God of Hosts 1 ." But these, though they had a rhythm, had neither rhyme nor metre. And we hasten on to what, with some reason, has been termed "the earliest metrical Christian hymn." It is found in the writings of Clement of Alexandria, at the end of a Greek work called The Tutor (Pcedagogus), written between the years 190 and 195 a.d. It is a hymn for the young, entitled, A Hymn of the Saviour Christ," addressed to Christ as King, and written in short anapaestic metre. Let us take a few lines from a translation : King of saints, Almighty Word Of the Father, highest Lord : Wisdom's head and chief; Assuagement of all grief; Lord of all time and Space ; Jesus, Saviour of our race. 1 <>n the above points, see the numerous references given by Bingham, Antiquities of the Christian Church, Book \iv. chap. ii. and especially the passages in 1% Apostolical Constitutions, Book \ii. chaps. 47, 18. Clement of Alexandria. . Let us, with hearts undefined, Celebrate the mighty Child. We, Christ-born, the choir of peace, "We, the people of His love, Let us sing, nor ever cease, To the God of peace above 1 . Clement was a copious writer, and the head of the great Christian catechetical school at Alexandria, and the famous Origen was one of his pupils. Alexandria was, at the time, second to no city in the world in literary eminence ; and inferior to Rome alone in mag- nificence. How changed now ! A few years after this date, one of those terrible persecutions of the Christians broke out; and Clement fled from the world-renowned city, never to return. The last we hear of him is far away in Cappadocia, comforting a former pupil, Alex- ander, the future bishop of Jerusalem, who was then a prisoner for the faith. Seventeen hundred years of Church controversy have rolled by since that day ; and we look back with pleasure on that pure and simple hymn, on those noble words of faith in Christ, in " Jesus, Saviour of our race." Another hymn whose author is unknown, quoted by the great writer, Basil, bishop of Csesarea in the 1 By Dr W. L. Alexander. The original, which is largely a list of titles and epithets, is given in Daniel's Thesaurus llymno- logicus, vol. iii. p. 3. io Ancient Hymns and Translations. 4th century, has tried to divide these early honours. It is still used in the Greek Church, and is called the Vesper or " Lamplighting " Hymn ; but no doubt it is of a later date. The translation by John Keble begins — "Hail, gladdening Light, of His pure glory poured 1 ." {Ancient cC Mod. 18) Little more can be brought out of the darkness of the 3rd century. Probably, very few, if any, metrical hymns were in liturgical use 2 . The music and singing were, we learn, of the simplest character, with very slight inflection of the voice. But with the 4th century, we enter upon what the Germans would call, the birth 1 $&>$■ IXapov ayias 86£r)s. The above translation first appeared in Lyra Apostolica, under the signature y. This hymn has been ascribed, hut under a misapprehension, to Athenogenes, "who was martyred about 175 a.d. There is a translation by EL W. Eddie in Church Hymns 25 — "0 Brightness of the Eternal Father's face." 2 There is averyancient metrical hymn in the famous manu- script, the Codex Alexandrinns, in the British Museum. It occurs at the end of the Psalms, and is headed "A Morning Hymn," "Y/xyor twdivos. The manuscript belongs probably to fhc 5th century; the hymn is, of oourse, very much older, al- though there is no authority for its ascription to Telephorus, bishop of Borne, who died in 139 .\.i». It begins with the words, '•clory to Cod in the highest' 9 and is a form, if not the original form, of the Gloria m ExoeUis. An account of it is given by Mr B, Harris Cowper in the Introduction to his edition of Codtx A. Ntu Tut. Ephrem the Syrian. 1 1 year-hundred, or birth century of liturgical Christian hymnody. We shall often note, as we go on, how productive of good hymns have been periods of religious excitement, and especially of religious controversy. In the preceding century, the 3rd, there had been at Edessa, to the North-east of Syria, a Gnostic heretic, named Bardesanes. Gnosticism was a heresy which had in it much poetry ; and Bardesanes was a great poet. He and his son, Harmonius, wrote a number of hymns, in Greek metres, and set them to popular secular melodies. With these, they completely be- witched the ears of the Syrian Christians, and increased the influence of this sect. For many years these heretical hymns retained their great popularity. So attractive were they, that, we learn, the very girls and children knew them by heart, and sang them at their work and at their play. But in the 4th century, there came to Edessa a Christian of distinguished ability, and a keen controversialist, named Ephrem the Syrian. He determined to fight these heretics with their own weapons ; and he proved more than a match for them. He composed a large number of orthodox hymns for public and private use, and set them to the same popular tunes. He also trained choirs of young women, who sang these hymns in chorus. So beautiful were his poems, and so successful were his efforts, that it is said the whole city flocked to listen; and the 12 Ancient Hymns and Translations. heretical strains of Bardesanes were for ever driven out of the field. Ephrem was a most voluminous writer, and much has come down to us in Greek and Syriac, including many hymns. Some of these hymns have been literally translated from the Syriac ; but I am not aware that any of the translations occupy a place in our hymn- books. The Testament of Ephrem, his last work, is also written in the form of a hymn, and contains some curious passages. He tells us that when he was quite a child on his mother's knee, he saw in a dream what became a reality : — " From my tongue there grew a vine which bore clusters of grapes without end, and leaves without number. Those clusters wore sermons, those Leaves were hymns, and God was the giver. To Him be glory for His* grace." I have said that Ephrem was great in controversy. He writes thus, — "Throughout my whole life, neither by night nor day, have I reviled any one, nor striven with any one. But in their assem- blies, I have disputed with those who deny the faith. For if a wolf is entering the fold, and the dog goes not out and barks, the master beats the dog. But a wise man hates no one; or if he hate at all, lie hates only a fool." Wo might learn Borne Lessons from the first Christian hymnologist, Ephrem the Syrian. Tli- aext, and BOmewhat similar, seem' takes us to Constantinople, then the capital of the world, the new Avian Hymn Singing. Rome of the East. At the Council of Nicsea in A. D. 325, the famous heretic, Arius, who had denied the Divinity of our Lord, was condemned, and the main part of our Nicene Creed was put forth. Arius had been rebuked by his great opponent, Athanasius, for the light character of certain hymns which he had set to popular tunes, as well as for the doctrines they con- tained. The Arians might be condemned, but they nourished greatly. And when, more than seventy years after, the renowned John Chrysostom arrived as bishop of Constantinople, he found a strange state of things. The Arians had, some years before, been for- bidden by the Emperor Theodosius to have places of worship within the city 1 . But, on Saturdays, and Sundays, and great festivals, they were in the habit of assembling outside the gates, then coming into the city in procession at sunset; and all night, in the porticoes and open places, singing Arian hymns and anthems with choruses. Chrysostom feared that many of the simple and ignorant people would be drawn from the faith. He therefore organised, at the cost of the Empress Eudoxia, wife of Arcadius, nightly processions of orthodox hymn singers, who carried crosses and lights, and with music and much pomp rivalled the 1 Compare Gibbon, Decline and Fall of the Roman Empire, chap, xxvii. 14 Ancient Hymns and Translations. efforts of the heretics. Riots and bloodshed were the consequence. The chief officer of the Empress was wounded ; and very soon an imperial edict put a stop to Arian hymn-singing in public. The use, however, of hymns in the nocturnal services of the Church became established ; and this at once led up to a much freer and more constant use of them in Divine Service generally. We can scarcely fail to note here, especially in these days, what a strange habit history has of repeating herself from time to time. During this century, many hymns were written for the Eastern Church, by Methodius, bishop of Tyre, and Bishop Gregory Nazianzen, the predecessor of Chrysos- tom, and by others ; of these few came into more modern use. But before we turn to the far West of that day, I would touch upon one hymn. Many have heard of Synesius of Cyrene, bishop of Ptolemais in North Africa. At all events, he is known to the readers of Kingsley's Ilypatia, where a life-like sketch is given of him — the Squire Bishop who talked philosophy and religion at night, and hunted his hounds with equal zest in the morning. We should scarcely suspect him of being the author of, among others, that most spiritual hymn — " Lord Jesus, think on me." (Ancinit & Mod. 185) The translation is by A. W. Chatfield — Synesius. 1 5 Lord Jesiis, think on me, And purge away my sin ; From earthborn passions set me free, And make me pure within. Lord Jesus, think on me, Nor let me go astray ; Through darkness and perplexity Point Thou the heavenly way. Lord Jesus, think on me, That, when the flood is passed, I may the eternal brightness see, And share Thy joy at last. There are those who knew the somewhat secular manner of Charles Kingsley at times in public, and also the deep piety of his more spiritual moments, and they have not failed to trace some likeness in character to Synesius, the Squire Bishop, of Cyrene 1 . It is remarkable, that the action of the Arians of the West led up, about the same time, or a little before, to the same result as that produced by the Arians of the East, viz. the establishment of metrical hymns as a constant part of Divine Service. We go, not to Home, but to her rival in Italy at the time, to Milan, the 1 Synesius was made bishop, a.d. 410. Among his extant writings, there are ten hymns. 1 6 Ancient Hymns and Translations. capital of North Italy, the Athens of the West. We meet two of the greatest names in Ecclesiastical his- tory, Augustine and Ambrose. The Church at Milan was rent by strife between the Orthodox and the Arian sympathizers. A violent contest arose on a vacancy in the bishopric. Ambrose was the consular magistrate of the province at the time, an able, high-minded Chris- tian man. He had come down to the Church to keep the peace between the contending parties, when a cry arose amid the tumult, said to have been uttered by a child, ''Ambrose for bishop." The cry caught the popular ear. The ardour of the people at length pre- vailed; and he became perhaps the greatest bishop that the world has seen (a. d. 375). After no slight expe- rience of his strength, the Emperor Theodosius said, " I have known no bishop, except Ambrose.'"' He is one of the few ecclesiastics of whom the historian Gibbon speaks with respect. The Arians, however, continued their efforts, and they were strongly supported by the court. Ten years after Ambrose had come to the See, a demand was made by the Empress-mother Justina, that one <»t' the basilicas or Churches of Milan should he given up for Arian worship, Ambrose promptly refused. A period of terrible excitement followed. The imperial troops were Bent t-» enforce obedience. Ambrose ami the people occupied the basilica day after day, So great was his Ambrose. 1 7 influence, that, when at length the soldiers crowded in, they cried out — they had come to pray and not to fight. The court party was worsted. The next year, the angry empress determined to remove Ambrose. But the devoted people took the alarm. In immense numbers, they gathered about him, and kept guard day and night in the Church, ready if need be, to die with their bishop. Ambrose preached to them, and gave them psalms and hymns and, in some cases, tunes of his own to sing, in order to cheer and sustain them. The court gave way. Again Ambrose was victorious. Among those anxious worshippers, was Monica, the mother of the great Augustine. Augustine himself tells us : — " at this time it was instituted that, after the manner of the Eastern Churches, hymns and psalms should be sung lest the people should grow weary and faint through their sorrow ; which has ever since been retained, and is imitated by almost all the congregations throughout the world 1 ." We learn too, from Paulinus, the secretary of Ambrose, and from others, that to these services, thus organized, we owe the introduction of hymns and antiphons into the regular Offices of the Western Churches. Augustine describes how deeply he himself was 1 Augustine, Confessions, Book ix. chap. 7. 1 8 Ancient Hymns and Translations. moved by the singing of these " hymns and canticles " about a year afterwards in the Church at Milan. We are anxious to know what they were. Nearly one hundred extant hymns are called "Ambrosian." Most of them belong to that period, or to the next century, and are in imitation of him. About twelve metrical b viniis are with good authority ascribed to Ambrose. Augustine distinctly quotes four as being by Ambrose. To one, an evening hymn, he refers under very touching circumstances. It was the night after the funeral of his mother Monica, to whom he was so deeply attached He had been overwhelmed with grief. " As I lay alone upon my bed," he says, " there came into my mind those true verses of Ambrose', for Thou art — Maker of all things! God most High! Great Ruler of the starry sky ! Robing the day in beauteous light; In sweet repose the quiet night, That Bleep may our tired limbs restore, And fit for toil and use once more : May gently soothe the careworn breast, And lull our anxious griefs to rest 1 ." That Latin livum, Deus, Creator omnium, has been sung many a time in this Cathedral in the daya of old 1 AugttfltinQ, Confessions, Book ix. chap. 12. Hymns of Ambrose. 19 We must only refer to one or two others, of which we find translations in our hynm books. The Morning hymn, Splendor Paternae glorias, "O Jesu, Lord of heavenly grace." {Ancient & Mod. 2 ; Church Hymns 10 ; Hymnal Comp. 2) Translated by J. Chandler. O Lux beata, Trinitas, "O Trinity, most blessed Light" (Ancient & Mod. 14) Translated by J. M. Neale. The fine Ascensiontide hymn, ^Eterne Rex, Altissime, "O Lord most High, Eternal King." (Ancient & Mod. 144) Translated by J. M. Neale, but altered. And, most probably, Jam lucis orto sidere, "Now that the daylight fills the sky." (Ancient & Mod. 1; Church Hymns 9) Translated by J. M. Neale. There is another, a grand Advent hymn, of Ambrose, quoted by Augustine 1 as having been sung in the Church at that time — 1 Sermon. 372. The two others, quoted by Augustine and not mentioned in the text, are — "iEterne rerum conditor," Retracted. i. 21, and "Jam surgit hora tertia," De naturd, cap. 63. 2—2 20 Ancient Hymns and Translations. Veni, Redemptor gentium, "Redeemer of the nations, come." 1 Of hymns ascribed to Ambrose, or Ambrosian, there are besides translations of several in our hymn books*. All these hymns were written in metre, but not in rhyme, like the later Latin hymns. We learn from Ambrose himself, that the singing of the psalms, and probably of these hymns, was antiphonal or responsive. All were congregational ; the harmony, he says, rolling along like the noise of the waves of the sea. One word on that grandest unmetrical hymn, the Te Deum. We know that Ambrose has, on no good grounds, been said to be its author. The earliest notice of it yet discovered is some 150 years afterwards, in the 1 Or, as translated, in Ilymns Ancient and Modem, 55, by D. T. Morgan, "O come, Kedeemer of mankind, appear." 2 Such as these are familiar — ^Eterna Christi munera, "The eternal gifts of Christ the King." (Ancient & Mod. 430 \ Church Hymns 193) Aurora lucis rutilat, "Light's glittering morn bedecks tho sky." (Ancient & Mod. 126) Te lucis ante terminum, "Before the ending of tho day." (Ancient & Mod. 15 ; Church Hymns 19) These translations are mainly by J. If. Nealc. Prudentms. 2 1 Rule of Caesarius, bishop of Aries, about A. D. 527 ; but portions of it, undoubtedly, belong to a much earlier date than this, and may be traced to the writings of the Eastern Church even in the 3rd or 4th century. Some years before the time of Ambrose, hymns appear to have been written in the Western Church ; and Hilary, bishop of Poitiers in France, A. D. 354, is spoken of as "the first Latin hymn writer 1 ." Our materials now become so abundant, that hence- ■ forth we must, in the main, confine ourselves to those hymns and their.authors which are most familiar to us. Content with having traced the rise of Christian hymnody in the East and West, and marked its entry into Divine Service, we must not tarry to follow its course in the daily and other Offices of the Church, a subject itself of no small interest. At the beginning of the next, the 5th century, but towards the end of his life, a number of very sweet hymns were written by Prudentius. He was a native of Spain, a lawyer and a judge. Two are well known by translations. The Christmas hymn, 1 By Isidore of Seville about a.d. 630. His Morning hymn Lucis largitor splendide, is perhaps, the best known. It was sent in a letter, together with an Evening hymn, to his daughter Abra, by Hilary when he was in exile. 22 Ancient Hymns and Translations. Corde natus, ex Parentis, "Of the Father's love begotten." {Ancient tC* Mod. 56 ; Church Hymns 84; Hymnal Comp. 74) Translated by J. M. Neale and Sir H. Baker. The Epiphany hymn, O sola magnarum urbium, 11 Earth has many a noble city." {Ancient & Mod. 76) Translated by Edward Caswall 1 . There is a beautiful Greek hymn, written about the middle of that 5th century, and known to all. Its author is Anatolius — "The day is past and over; All thanks, O Lord, to Thee." {Ancient / t Book iv. chap. 7. John Dcwnascene. 27 While we do our duty, Struggling through the tide, Whisper Thou of beauty On the other side. What though sad the story Of this life's distress : Oh, the future glory ! Oh, the loveliness. {Church Hymns 524; Hymnal Comp. 234) Translated by J. M. Neale. Dean Stanley in his work on the Eastern Church gives a vivid description of Easter Day morning at Athens, the joyous congratulations, the exulting shouts H Christ is risen," " Christ is risen," and the chanting of what he calls "the glorious old hymn of victory." That "old hymn of victory" is by this same John Damascene : — " The Day of Resurrection, Earth, tell it out abroad." (Ancient & Mod. 132; Church Hymns 137; Hymnal Comp. 186) He also wrote the hymn for Low Sunday, or Easter- tide, beginning, " Come, ye faithful, raise the strain Of triumphant gladness." (Ancient & Mod. 133 ; Church Hymns 135) The translations are both by J. M. Neale. Another hymn, now also deservedly popular, was 28 Ancient Hymns and Translations. written by his nephew, Stephen the Sabaite, an inmate of the same monastery of S. Sabas — "Art thou weary, art thou languid?" (Ancient & Mod. 254; Church Hymns 333; Hymnal Comp. 142) translated by J. M. Neale 1 . An interesting legend is given concerning a hymn written at the beginning of the 9th century — the hymn for Palm Sunday — Gloria, laus et honor Tibi, " All glory, laud, and honour, To Thee, Redeemer, King," (Ancient d- Mod. 98; Church Hymns 113; Hymnal Comp. 160) translated by J. M. Neale. 1 Another of these Greek hymn poets should be mentioned here, S. Joseph of the Studium in the early part of the 9th century. He was a Sicilian who, after many adventures, retired to the great abbey of the Studium at Constantinople : see Neale's Hymns of the Eastern Church, p. 125. To him and to Dr Neale, we owe : — "Let our choir new anthems raise." (Ancient . ■ Augustine, Enarr. in Ps. lxxii. Lat. Thomas Aquinas. 47 The " Reformation period " covers a wide field. It is hard to say when the Reformation began. It grew from small beginnings, a necessity in men's minds. Hymns played a by no means unimportant part in bringing it about. Some of the hymns of the later Roman Church had asserted her peculiar doctrines with equal boldness and power. We may instance the hymns of Thomas Aquinas, of Aquino in Naples, in the 13th century, the "Angelic Doctor" as he was called, the greatest of the Schoolmen. Five of these hymns set out the Roman doctrine of Transubstantiation with great force and accuracy, and are said to have done no little to secure its after prevalence. The}' were written for the festival of Corpus Christi, which Aquinas in- duced Pope Urban IV. to institute in 1264. Trans- lations of some of these, of course very much altered, are given in our Hymnals : — Pange lingua gloriosi Corporis mysterium, "Now, my tongue, the mystery telling." {Ancient & Mod. 309) translated by the Compilers of Hymns Ancient and Modern ; Adoro Te devote, latens Deitas, "Thee we adore, hidden Saviour, Thee." {Ancient & Mod. 312 ; Church Hymns 216) translated by Bishop Woodford. This was never, says 48 The Reformation Period. Dr Neale, in public use in the mediaeval Church 1 . It is fairly open to question whether these, although, as I said, much altered and adapted, are wisely in- serted in our Church Hymnals. It would seem to be unnecessary with so many hundreds of beautiful hymns of all kinds at our disposal. We may, perhaps, echo the hope expressed by Bishop Alexander, "that our hymn writers will not sail too near the wind, whether towards the coast of Italy, or in the opposite direction of Plymouth Sound." But what can we say, when we find a translation of that first Sacramental hymn in 1 The others are — Verbum supernum prodiens, "The heavenly Word proceeding forth." (Ancient & Mod. 311) translated by J. M. Neale, but altered. Ecce panis angelorum, "Lo, the angels' Food is given." (Ancient & Mod. 310) a translation by Sir H. Baker of the hist two verses of, perhaps the most famous, beginning — Lauda Sion salvatorem. This it would be impossible to adapt to a Church of England version. The fifth hymn for the Festival of Corpus Christi, which was held on the Thursday after the Octave of Pentecost, was — Sacris solemniis juncta sint gaudia, "Let this our solemn Feast With holy joys be crowned." a translation by J. D. Chambera given in his Sarwn Psalter. The Latin hymns are in Daniel, Tkesaurut Ilymnol. i. 251 ; ii. i)7. The Sarum Breviary. 49 the New Congregational Hymn Book, and in that of the Religious Tract Society ? We must not run away with the too common opinion, that the unreformed Service Books in England contained only hymns which were doctrinally objectionable. The great majority were not so. It is capable of clear proof that in this Cathedral of Carlisle, just before the Reformation, the Sarum Psalter and Missal were used ; and not those of York, or Hereford, or any other Use. Among the hymns of the Sarum Breviary, which were sung at the daily Hours of prayer, were many of those beautiful ancient hymns which we considered in our last Lecture. There are two, not indeed in the ordinary Sarum Breviary, but very common, and, there is little doubt, once sung here — Alleluia, dulce carmen, " Alleluia, song of sweetness, Voice of joy that cannot die." {Ancient & Mod. 82; Church Hymns 102 ; Hymnal Comp. 530) This is from a hymn of the 9th century, whose author is unknown; it is founded on the translation made by J.M.Neale 1 . 1 This is placed by Dr Neale not earlier than the 13th cen- tury ; but both this and the Alleluia Perenne are found in Bre- viaries and Hymnaries of the 10th and 11th centuries. See the references in Chambers translation of the Sarum Psalter, pp, 76, 78. These hymns were sung " in Septuagesima on the Lord's Day." P. 4 50 TJic Reformation Period. The other, the Alleluia Perenne, so called from its refrain — "An endless Alleluia" — is also by an unknown author : "Sing Alleluia forth in duteous praise." {And«U that they could scarcely be recognized. This work was completed under Pope Urban VJLLL. in 1631, before the last revision of our Prayer Book in 16G2. Thus the Hymnary was produced which is in general use in Roman Catholic Churches throughout the world 1 . It is strange that the compilers of our Prayer Book did not at the first retail) the equally beautiful hymns. as well as so many of the prayers, of the old Service books? It was the wish of Archbishop Cranmer, that, as had beeD done in Germany, they should in England keep the besl of tin- hymns of tin- ancient Church. In King Benry VIII/s Primer, ordered in li>45 i" be throughout the kingdom, there are English metrical 1 I- Roman Catholic churches, other hymnariafl also in a-.'. On the hymns introduced at a later period into the Paris Breviary, Bee below, p. l<»7. Martin Luther. 51 translations of some of the more noted ancient hymns. But with the first Prayer Book of Edward VI. in 1549, there fell a darkness upon the hymnody of the public worship of the Church of England which lasted for nigh 300 years. The causes which brought this about, we shall note later on. We must now go to Germany, and, see what had been done there. A great name at once meets us, not simply of a reformer, but of a musician and a poet, Martin Luther, born in 1483 at the village of Eisleben in Saxony. " In the history of the Reformation," says Hallam, " incom- parably the greatest name." We cannot enter on the details of his life, but must just sketch the incidents which bear upon his hymns. His father was a poor miner. The young boy, as children often did in those times, sang for alms in the public streets. At the age of eighteen, he entered the University of Erfurt. There intended for the law, he greatly distinguished himself. He devoted himself much to literature and music. But soon he began to be troubled with religious doubts and scrup'es. Despite the dissuasions of his father and others, he entered the Augustine Convent at Erfurt. " Of a truth, I was a pious monk," he says..." If ever a monk got to heaven by monkery, I was determined to get there." Still, it was an aged monk who comforted his distress of mind, who taught him that Christ was the atonement for all sins, and that this was declared 4—2 52 The Reformation Period. in the Apostles' Creed. It was in the Convent Library that he found the copy of the Scriptures, not seen by him before, which had such an effect on him and on the Christian world. Familiar to all must be his appointment as professor at the new University of Wittenberg, his visit to Rome and the shock it gave him, his long contest with the emissaries of the Papal power, and then his bold act of defiance, the burning of the Papal bull of condemnation, in November 1520, at the Elster gate of Wittenberg. The great concourse of people looked on and shouted. " The Pope," says Thomas Carlyle, "should not have provoked that shout. It was the shout of the awakening of nations 1 ." All through his life, Luther was intensely fond of music and of poetry. The time had come when they were to be mighty powers in his hand. The most celebrated of Luther's hymns was his paraphrase of the 4Gth Psalm— Kin' feste Burg ist unser Gott, "A sure stronghold our God is He, A trusty shield and weapon." It is believed to have been written by Luther when he was on his way to the Diet of Worms in 1521. Thither he had been summoned, by the Emperor 1 Carlyle, Lectures on Heroes, " The Hero as Priest" Eiri Feste Burg. 53 Charles V. and the other Princes of the Empire, to appear and answer for himself, whether he would recant or not. His friends tried to dissuade him from going. They reminded him that John Huss was burned to death. To one of them, Spalatin, he wrote thus — " If there were as many devils in Worms as there are tiles on the roofs, I would on, and would not be afraid. If Huss was burned to ashes, the truth was not burned with him 1 ." As he went to the Hall of the Diet, the vast crowds called upon him to be firm. He passed on singing this hymn : — A sure stronghold our God is He, . A trusty shield and weapon; Our help He'll be and set us free From every ill can happen. That old malicious foe Intends us deadly woe; Arm'd with the strength of hell And deepest craft as well, On earth is not his fellow. Through our own force we nothing can, Straight were we lost for ever ; But for us fights the proper Man, By God sent to deliver. 1 See Miss Winkworth's Christian Singers of Germany. 54 The Reformation Period. Ask ye who this may be? Christ Jesus named is He, Of Sabaoth the Lord; Sole God to be adored; 'Tis He must win the battle. And were the world with devils fill'd, All eager to devour us, Our souls to fear should little yield, They cannot overpower us. Their dreaded Prince no more Can harm us as of yore; Look grim as e'er he may, Doom'd is his ancient sway ; A word can overthrow him. Still shall they leave that Word its might, And yet no thanks shall merit ; Still is He with us in the tight By His good gifts and Spirit. E'en should they take our life, Goods, honour, children, wife, Though all of these be gone, Yet aothing have they won — God's kingdom ours abide th 1 ! 1 Lyra G \ Series L pp. L75, sviii, a translation by Rev. \V. ( laakelL It is said by some to haw been oomposed after •i.ixl Dirt of Spires in L529, when the protes t was made and the name Protestant given; hut this can scarcely be the ca it appears in a Collection dated L529. Lutheran Hymn Singing. 55 It was part of Luther's faith that there were devils about continually besetting men. Perhaps, he was right, Luther also composed the grand tune or chorale to this hymn 1 , and sang it often afterwards. The hymn was soon a favourite with the people, and went by his name. It became, as Heine called it, " the Marseillaise of the Reformation." It has cheered on armies to the battle. It has lived in the hearts of the German nation. Its first line is cut on Luther's tomb at Wittenberg; " and by it, he, being dead, yet speaketh." From this time of trial onward, Luther worked earnestly at Church music and hymns. He knew what a powerful instrument they would prove. He gathered his musical friends together, his " house-choir," as he called them, to help him in the selection of suitable and popular tunes. He himself wrote thirty-seven hymns, some of them translations from the old Latin originals, which he counted as among the good things which God's power had kept alive. Successive hymn books were compiled and put forth 2 . Luther himself 1 It is the tune to which is taken Sir Henry Baker's hymn — "Rejoice to-day with one accord." 2 The first published was the Erfurter Enchiridion or Hand- book in 1524 ; but Luther had put out a small volume of eight hymns in 1522. 56 The Reformation Period. taught the people to sing from them. The result was astounding. Hymns printed too on single sheets, with tunes, were carried over Germany by wandering students and pedlars. They were sung everywhere — in the fields, the streets, the workshops, the cottages, as well as in the Churches. " The whole people," wrote a Romanist at the time, "is singing itself into this Lutheran doctrine." " Luther did as much," said Coleridge, " for the Refor- mation by his hymns as by his translation of the Bible." Anyhow, they had a marvellous effect upon Christian worship in the land, and gave it that noble congregational character which it has never lost. Two more of his hymns must be noticed, though scarcely well adapted to our Services. One, perhaps the most popular at that day, is a remarkable epitome of the doctrine of salvation through Chrild Hundredth, " All people that on earth do dwell." {Ancient »«* 331; Hymnal Oomp. 490) playe upon the Lute, wry accessary for Studentee after theyr Btudye to fyle theyr \v sites, and also for all Christians that cannot, Bjnge to read the good and godlie storses of the Lines of Christ Hya Apostles.' 1553. Luther's Hymn, so called. 63 After much controversy, it seems to have been nearly settled that this was written, not by Sternhold or Hopkins, but by William Kethe, one of the refugees with Knox at Geneva. He was chaplain to the British forces at Havre in 1563, and afterwards a clergyman in Dorset 1 . Henceforth, for many years, as might have been expected, the number of good and congregational English hymn writers is but scanty, though it includes some great names. At this period, we owe much to the great hymn poets of Germany. The Advent hymn, known so well under the incorrect title of " Luther's hymn," has a complicated history : " Great God, what do I see and hear : The end of things created." (Ancient <& Mod. 52; Church Hymns 375; Hymnal Comp. 6G) It is founded upon one written in 1581, by Bartholomew Eingwaldt, a village pastor in Prussia, born at Frank- furt on the Oder. He produced many other hymns which w r ere elicited by the sufferings of that troubled 1 This version of the 100th Psalm first appeared in the Psalter published at Geneva. The initials \V. K. are appended to it in the Scotch Psalter, published in 1564. Some of the earlier editions have no initials, or they are very uncertain. There is good information as to these Psalters in Major G. A. Crawford's notes to the Irish Church Hymnal. 64 The Reformation Period. period. Dr Collyer, a popular dissenting minister in London at the beginning of this century, saw a transla- tion of the first verse, made by some unknown person. He composed three additional verses; and this, with various alterations, is the hymn which we possess. The tune generally used is, as I have said 1 , almost certainly by Luther. It will not be out of place to speak here of two tine hymns written by Philip Nicolai, the pastor of the tows of Unna in Westphalia. They do not appear in most of our hymn books, but one is well known to all. In 1597, a dreadful pestilence was raging there, and more than 1400 persons were carried off. Nicolai, from his window, could see the funerals passing to the graveyard close by. He was led to dwell much on death and the future life ; and, soon after, he published a book of religious meditation. To it were appended the hymns which became so remarkably popular; and lie wrote for them two fine chorales. The words and the tune of one of them have given pleasure t<> thousands as introduced by Mendelssohn into his oratorio of S. Pauli- 1 See i». •"»<>. Ringwaldt's hymn is in seven verses, beginning — Be tat gewisslich an dec Zcit, and bears traces of the Latin hymn, "Dies irs, dies ilia." -lltluTVuXwvl V^'UmW, »< Sleepers Wake. " Sleepers wake, a voice is calling, It is the watchman on the walls 1 . 1 The other is — " O Morning Star, how fair and bright Thou beamest forth in truth and light." c It speaks of the heavenly Marriage Feast. It has been constantly used at marriages in Germany ; and in that land the tune rings out from many a city's chimes 2 . 1 Wachet auf ! ruft uns die Stimme Der Wachter sehr hoch auf der Zinne; Wach auf, du Stadt Jerusalem! A translation is given in Lyra Germanica (ii. p. 225), be- ginning— 11 Wake, awake for night is flying." See also Church Hymns 538. This, as well' as many of the German hymns mentioned in the text, is to be found in Bunsen's well-known Allgemeines evangelisches Gesang- und Gebetbuch. No. 431. The title of Nicolai's work was Freudenspiegel des ewigen Lebens. 2 Wie schon leuchtet der Morgenstern. The following is what may be called the wedding verse of the hymn, from Miss Winkworths translation — "Then touch the chords of harp and lute, Let no sweet music now be mute, But joyously resounding, Tell of the Marriage- feast, the Bride, The heavenly Bridegroom at her side, 'Mid love and joy abounding ; [Shout for triumph, 66 The Reformation Period. The terrible Thirty Years' War, which ravaged Germany from 1618 to 1648, gave birth to many hymns. It was, in the main, a war of the Protestant against the Roman Catholic religion. It is impossible for us to conceive the awful suffering and desolation produced during that period, when in many districts four-fifths of the population and more than four-fifths of the pro- perty were destroyed. A religious war is ever a cruel war. The Emperor Ferdinand II., with his famous generals, Wallenstein and the atrocious Marshal Tilly, was not behindhand in the cruelties inflicted on the States of the Protestant Confederacy. Then, these secured the aid of the renowned Gustavus Adolphus of Sweden, the Lion of the North. At the battle of Leipsic, in 1631, he swept back the tide of victory. He had given out to his army the watchword, ' God with us.' Just after the combat, the hero king wrote down his celebrated battle hymn : — "Fear not, O little flock, the foe." Shout for triumph, loudly sing ye, Praises bring ye, Fall before Him, King of kings, let all adore Him." There is a very free translation in the Hymnal Companion 527 ''How bright appears the Morning Star." Gustavus Adolphus. 6j to which Altenburg composed the music 1 . These are the last lines — God is with us, we are His own, Our victory cannot fail. Amen, Lord Jesus, grant our prayer ! Great Captain, now Thine arm make bare ; Fight for us once again ! So shall Thy saints and martyrs raise A mighty chorus to Thy praise, World without end. Amen. Gustavus himself had done much to lessen the evils of war. He was esteemed even by his enemies. The king pressed forward in his course of conquest. Now Tilly was defeated. The next year, Gustavus had to meet Wallen- stein on the fatal field of Lutzen. He advanced at the head of his soldiers, singing his battle song, and Luther's hymn — " A sure stronghold our God is He," — while his whole army joined in chorus. The great Christian warrior perished in the fight ; but it was in the hour of victory, and he knew that, as he had just sung — The Lord of hosts was with him, the God of Jacob was his refuge. 1 Verzage nicht, du Hauflein klein. The translation is given in Lyra Germanica i. 17. Altenburg was a pastor in Thuringia who composed the chorale to this battle song, and to whom the song has been often attributed. It is now allowed, that the hymn was written down roughly by Gustavus immediately after the battle, and improved by his chaplain Fabricius. 5—2 68 The Reformation Period. For long years more, the miseries of war went on. But all things have an end. And just as the dawn of peace began to break over the land, there was produced what has been called the " Te Deum " of Germany — "Now thank we all our God AVith hearts and hands and voices 1 ." (Ancient & Mod. 379; Church Hymns 439; Hymnal Comp. 46) The hymn and the fine chorale to which it was sung were written by Martin Rinkart, the pastor of his native town of Eilenburg in Saxony. All the losses and troubles which he had experienced in the war only gave point to his grateful expressions toward God — Oh may this bounteous God Through all our life be near us, With ever joyful hearts And blessed peace to cheer us ; And keep us in His grace. And guide us when perplexed, And free us from all ills In this world and the next. It is introduced by Mendelssohn into his " Lobcjesang " or " Hymn of Praise." 1 Nun danket alle Gott Mit Ilcrzcii, liund and EInden, translated l>y Miss Wiiikwortli {Lyra <>'< r,n. ii. 1 16). The tuiM generally given in our BymnaLa is byJohann Crttger, who died in 1G(;l'. Lutheran Hymn Tunes. 69 In regard to these chorales or tunes, we have already noted how anxious Luther and those who followed him were, that the music to which they set their hymns should be such that the mass of the people could join. Here lay one secret of much of their success. The skill shewed in the composition and adaptation of tunes to the hymns with which they were associated at once ren- dered the hymns popular. Luther, speaking with enthu- siasm of the subject, put it, as usual, somewhat strongly — "Music is a fair gift of God, and near allied to Divinity." And again — "Whosoever is not moved by such art as this, must of a truth be a coarse clod, not worthy to hear such lovely music, but only the waste wild bray of the ancient chanting, and the songs and music of the dogs and the pigs 1 ." 1 Quoted in Christian Singers of Germany, p. 164. Want of time alone prevented a reference in the Lecture to two German hymn poets of great distinction who also belong to the latter half of the 17th century — Louisa Henrietta, Electress of Branden- burg, and Paul Gerhardt. The Electress Louisa was the daugh- ter of the Prince of Orange, and grand-daughter of the famous Huguenot Admiral Coligny. She endeared herself much to the Prussian people. Her third son was afterwards the first King of Prussia. She did much to encourage hymn writing and singing. She herself wrote four hymns, of which the Easter hymn is very well known — "Jesus, my Redeemer lives." Jesus, meine Zuversicht. Paul Gerhardt was a Lutheran pastor in Berlin, where his hymns and preaching gave him an immense popularity. He The Reformation Period. The scattered hymns, produced by writers even of great name in England about this period, are rather beautiful lyric poems than adapted for public singing. Such are the efforts of the saintly George Herbert, at the commencement of the 17th century. Even his well- known lines on Sunday, beginning, " day, most calm, most bright,'' are no exception 1 . They are said to have been com- posed by him, and sung to his lute, on the last Sunday of his life. This, however, can scarcely have been the < deprived of his living by the Elector, notwithstanding the friendship of the Electress Louisa. He had besides many troubles, as may be gathered from his hymns. II ■ is the finest and mosi poetical of German hymn writers. Many good examples are given in Lyra Germamoa. The familiar hymn by John Wesley, larait thou all thy griefB And ways into His hands," is a translation from his Befiehl du dcine Wege (Bunson, No. all). There is not, perhaps, a more touching hymn in any lan_ than the one lie wrote on the death of his son, the last hut one of seven children — " Thou'rt mine, yes, still thou art mine own." i Lyra Gf< m, ii. p. 128.) Du hist /.war nicin nnd bleibe8l nn in. ISO I'. •'! 1. 1 They must not he confounded with his exquisite little pi on " Virtue," beginning .. dm, so bright, bridal of tie earth i George Herbert. yi but on that day, it appears, he sang to his lute the verse in which occurs the line — " On Sunday heaven's gate stands ope." He is the author too of the quotation so applicable here — " A Verse may find him who a Sermon flies, And turn delight into a sacrifice 1 ." In his poem "The Temple," there is what he entitles " A True Hymn." It is his idea of what a hymn should be. At all events, there could scarcely be truer lines than these which occur in it : — " The fineness which a Hymn or Psalm affords, Is, when the soul unto the lines accords." One beautiful hymn, and linked with others of great beauty, must really have been composed somewhere about this time — "Jerusalem, my happy home, Name ever dear to me." {Ancient & Mod. 236 ; Church Hymns 393; Hymnal Comp. 230) It has been the source of much discussion, and has a strange history. As it stands, its author is unknown ; and it cannot be referred back earlier than 1801 2 . It 1 The Church Porch. Compare Isaak Walton's Life of George Herbert. 2 Lord Selborne in The Book of Praise traces it back to the Collection of Dr Williams and Mr Boden (1801), where it is stated to be from the " Eckinton Collection.'" /- The Reformation Period. had, generally, been connected with the name of David Dickson, the Scotch Covenanter, and with a very similar hymn of his, about the year 1650, beginning — " O mother dear, Jerusalem." But this hymn, as well as Dickson's, turns out to be only an altered and shortened form of another hymn with the same heading — " Jerusalem, my happy home, When shall I come to thee?" {Church Hymns 392) There is a force and a fire about this which places it as the first of, what are called, the "New Jerusalem" hymns. It has been found in a manuscript, in the British Museum 1 , which is prior to the year 1016. The hymn is entitled, "A Song made by F. B. P. to the tune of Diana." It is ascribed by a great authority, Mr Sedgwick, supported apparently by Lord Selberne, to Francis Baker, Presbyter or Priest — F. B. P. — a Roman Catholic priest who Buffered persecution in Queen Elizabeth's time. A few verses will bear quotation here for their quaint beauty and vigour — Jerusalem, my happy home, When shall I come to thee? When shall my Borrows have an end. Thy joys when shall I see ' 1 A quarto volume of religious songs, No. 15,225. The hymn consist of 22 verses. Bee The Book of /VaiM, oviii note Jerusalem, my Happy Home. JO happy harbour of the saints ! sweet and pleasant soil ! In thee no sorrow may be found, No grief, no care, no toil. Thy saints are crowned with glory great, They see God face to face ; They triumph still, they still rejoice, Most happy is their case. Thy gardens and thy gallant walks Continually are green, They grow such sweet and pleasant flo-ver.s As nowhere else are seen. Quite through the streets, with silver sound The flood of Life doth flow ; Upon whose banks on every side The wood of Life doth grow*. There trees do evermore bear fruit, And evermore do spring ; There evermore the angels sit, And evermore do sing. Jerusalem, my happy home, Would God I were in thee ! Would God my woes were at an end, Thy joys that I might see. 74 The Reformation Period. But moreover, the hymn appears to be a very free translation from part of a well-known Latin hymn, by an unknown author, probably, of the 8th or 9th century, whieh I have purposely deferred until now — "Urbs beata, Jerusalem, dicta pacis vi.sio 1 ." It may at once be recognized, as to the same Latin source, and more directly, we owe the beautiful dedication hymn — " Blessed city, heavenly Salem, n dear of peace and love." {Ancient A Mod. 396; Church Hymns 338; Hymnal Comp. 542, which combines two hymns) a translation by Dr Neale ; and — " Christ is made the sure foundation." {Ancient <£ Mud. 396, Part i) by the same translator. We must not pass by the famous name of John Milton, though he contributed but little to English hymnody. Milton, at different times made translations of many of the Psalms, especially about the year 1648. The question of a National Psalter, which should supersede the "Old Version" of Sternhold and Bopkins, was then being much discussed, even in the Long Parliament 2 . But 1 This was changed in the reformed Roman Breviary p. 50] into the, perhaps, better known but yery inferior — Csb1< -tis orbs, J< rasalem, 1 1 ate pack \ The two are compared in Daniel, 7 • below p, . John Milton. 75 the matter remained unsettled. One Psalm, written by Milton long before, in 1624, when he was fifteen years old, has found its way into most of our hymn books — " Let us with a gladsome mind Praise the Lord for he is kind." {Cliurch Hymns 414; Hymnal Comp. 514) The refrain is deliberately taken by Sir Henry Baker in his hymn, " Praise, praise our God and King," (Ancient & Jfod. 381) changing the word "aye" into "still" — " For his mercies aye endure, Ever faithful, ever sure." Milton's grand " Hymn on the Nativity " was com- posed when he was a Bachelor of Arts at Cambridge ; and, as we learn from himself, it was begun on the morning of Christinas Day, 1629 a : — - " It was the winter wild, While the heaven -born Child, All meanly wrapt in the rude manger lies." Hallam, the historian, calls it " perhaps the finest ode in the English language 2 ." During this stormy period of English history, there 1 In the sixth of his Latin Elegiacs, addressed to Charles Diodati. There are translations of these in Cowper's Poems. . 2 Literary History, Part iii. chap. 5. J 6 TJic Reformation Period. came to the front a name by far the greatest in the roll of Nonconformist Divines, Richard Baxter. The im- portant part which he played in the Conferences at the last revision of our Prayer Book brings him into still further connection with our subject. Baxter was born at a small village, Rowton, in Shropshire in 1615. He early shewed a serious disposition. He was anxious to go to one of the Universities, but got only a desultory education from private tutors, and from his own intense love for books. He obtained a post at the court of Charles I. This was no place for such a man. He soon returned to his studies. At the age of twenty- three, he was ordained and became master of the < Irammar School at Dudley, and later Curate at Kidderminster. Here his influence on men and his power of preaching brought him into public notice. Meanwhile, the Civil War broke out. Baxter occupied a curious position. He was deeply attached to the Almiarchy. His religious feelings threw him into Bympathy with the Parliamentarians. He gradually drifted to the side of the latter. He became chaplain to one of the regiments in ( Jromwell's army. It was during an illness at this time, that he wrote his famous work, ■ The Saints' Everlasting Rest" This was the first- fruits of his wonderfully prolific pen. Its success encouraged him "to !><• guilty," as lie said, "of all those writings which afterwards followed." These were in Richard Baxter. 77 number above 160, large and small. "Read any of them/' said Dr Johnson in his downright way, " they are all good 1 ." Among them, were two books of poetry, and of course a metrical version of the Psalms. His "Poetical Fragments" were published late in his life, in 1681. Almost every hymn book contains one of his hymns — " Lord (original, " Now "), it belongs not to my care Whether I die or live." {Church Hymns 421; Hymnal Comp. 473) It is part of a poem called "The Covenant and Confidence of Faith," and is evidently written by one in trouble 2 . We learn, that the late Professor Clerk Maxwell of Cambridge frequently quoted this hymn during his last illness. Few philosophers equalled him in reason- ing power or have gone so far in the more mysterious paths of Natural Science. On his lips, there is an added force in the words— u My knowledge of that life is small; The eye of faith is dim ; But it's enough that Christ knows all, And I shall be with Him." 1 Boswell's Life of Johnson (ed. Croker), p. 733. 2 The poem begins — "My whole, though broken, heart, Lord, From henceforth shall be Thine." The Reformation Period. Another hymn of Baxter's, a beautiful "Psalm of praise," is often sung — 11 Ye holy angels bright, "Who wait at God's right hand." {Church Hymns 560) A word or two more on this remarkable man. At the Restoration, Baxter was made a chaplain to the King, and was offered the bishopric of Hereford. This he refused. In fact, he was now the practical leader of the Presbyterian party. They clamoured for a startling reformation of the Prayer Book. A conference of the two parties was held at the Savoy, in April 1C61. It shews the unbounded confidence which his party had in him, and which he had in himself, that Baxter produced " The Reformed Liturgy," as he styled it, of his own, to supplant the Prayer Book. It was the outcome of fourteen days' labour. "I came among them no more," he says, "till I had finished my task, which was in a fortnight's time." This was to be a substitute for the Prayer Book, the work and the heritage of centuries, We must allow he was a bold man. The result of that Conference was our Prayer Book as we now have it. Our present "Act of Uniformity " was passed The penalties and the execution of tin- Act were outrageous and severe. The reaction had (•Mine. The other party was uow in power. Baxter Buffered much and oft. Once he came under the The New Version. 79 notorious Judge Jeffreys, and was cast into prison. But he lived to see the milder and better day that dawned with the quiet Revolution of 1688. In December 1691 " his many sinful days ended/' he went, as he himself wrote — " To join with the triumphant saints, That sing Jehovah's praise 1 ." It will be well at this point to speak of the " New Version " of the Psalms, which was at length published, after many efforts by many persons. By an Order in Council in 1696, this Version was allowed and permitted to be used in Churches and Chapels, and so came to be annexed to our Prayer Books 2 . It was the work of two men, Nahum Tate and Nicholas Brady, both Irish by birth, both somewhat impecunious, and both but feeble poets. In 1703, they added a Supplement, containing certain hymns and metrical versions accompanied by tunes, under the same sanction. These were altered from time to time, without any sanction. Tate, a literary man, removed to London from Ireland ; and, through interest, got made Poet Laureate. He 1 Compare Life and Times of Riehard Baxter by Kev. William Orme. The " Reformed Liturgy " is given in full at the end of Vol. 1. of Calamy's Life of Baxter, 1713. 2 In 1695, there had been published, "An Essay of a New Version of the Psalms of David, consisting of the first Twenty, by N. Brady and N. Tate." 8vo. So The Reformation Period. wrote a good deal, especially for the stage ; and among other things, " Panacea, a Poem on- Tea." He was not a satisfactory character, latterly improvident and in- temperate, and dying at last in 1715 in a privileged part of Southwark, where his creditors could not arrest him. It is a sad page in the history of hymnologists. Let us turn it over. Brady, chiefly educated at Westminster and Oxford, became a prebend of the Cathedral at Cork. A strong supporter of William III. and the new dynasty, he came to London, and was made chaplain to the King. Often m debt, he took to keeping a school at Richmond, and died in 1720. His literary reputation rests upon the part he had in the "New Version" of the Psalms, whatever that part may have been. This Version had little poetic beauty. It was simple and correct. It was, by authority, "allowed to be used," and now it is allowed to die. But portions of it will always live in our hymn books. Among these, will probably be the Christmas Hymn, the best hymn in the Supplement — "While shepherds watched their flocks by night, All seated on the ground." {AmeimU A Mod 62; Chunk Hymns 86; Hymnal Comp. 73) and BUch psalms as — r, Ixwiv. "<) God of hosts, the mighty Lord." {Andeni ± Mod, 237; Church Hymns ^AA) The New Version. Ps. lxvii. " To bless Thy chosen race, In mercy, Lord, incline." {Hymnal Comp. 98) Ps. li. " Have mercy, Lord, on me, As Thou wert ever kind." (Ancient & Mod. 249) Ps. xxxiv. " Through all the changing scenes of life." (Ancient & Mod. 290 ; Church Hymns 530 ; Hymnal Comp. 503) Ps. cxlviii. "Ye boundless realms of joy." (Hymnal Comp. 519) and — Ps. xlii. " As pants the hart for cooling streams." (Ancient & Mod. 238; Church Hymns 334; Hymnal Comp. 126) especially as long as it is wedded to the music of Spohr's lovely anthem. Two more hymn poets of this period cannot be passed by ; but as I wish to reserve Bishop Ken to the last, we must somewhat invert their chronological order, and speak first of Joseph Addison. Addison is best known to us as the master of English prose. It was for his poetry that he was distinguished among his contemporaries; and to poetry he owed much of the promotion which he obtained. His father was a clergy- man, who went up from Westmorland a poor scholar to Queen's College, Oxford, and became Dean of p. 6 82 The Reformation Period. Lichfield. The son, bom in lb'7- at Milston in Wilt- shire, also went to Queen's College, and migrated to Magdalen College. There he resided ten years; and there is still " shewn his favourite walk under the elms which fringe the meadow on the banks of the CherwellV He addressed a poem to Lord Somers on one of the campaigns of William III. This at once brought him into political notice, and got him a pension of £300 a year. He now started for a prolonged tour on the continent. After some stay in Paris, he embarked at Marseilles in December 1700 ; and while sailing along the coast of Italy, encountered one of the dangerous storms of the Mediterranean. To this storm, we are mainly indebted for the beautiful hymn called the "Traveller's hymn," and published long afterwards in the Spectator* — "How are thy servants blest, O Lord, How sure is their defence." {Hymnal Comp. 531) "The captain of the ship," says Maraulay, "gave up all for lost, and confessed himself to a Capuchin who happened to be on board. The English heretic, in the mean time, fortified himself against the perils of death with devotions of a very different kind:" — 1 Macaulay, Essays, vol. iii. p. :r> ( .). - No. I s .*. Sept. 20, 1 7 1 2, where ten stanzas are given. Joseph Addison. &$ Confusion dwelt in ev'ry face, And fear in ev'ry heart; When waves on waves, and gulfs in gulfs, O'ercame the pilot's art. Yet then from all my griefs, O Lord, Thy mercy set me free, Whilst, in the confidence of prayer, My soul took hold on Thee. For though in dreadful whirls we hung High on the broken wave, I knew Thou wert not slow to hear, Nor impotent to save. The storm was laid, the winds retir'd Obedient to Thy will; The sea that roar'd at Thy command, At Thy command was still. Addison again got promotion by composing a fine poem on the battle of Blenheim, written at the request of the heads of the Government. Other poems on the subject had been hopelessly bad, and had not exalted either the victory or the Government. This we may well believe from three lines, quoted by Macaulay, which can scarcely be called heroic : — ''Think of two thousand gentlemen at least, And each man mounted on a capering beast ; Into the Danube, they were pushed by shoals. " C— 2 84 The Reformation Period. Besides the hymn above quoted, Addison wrote four other hymns which appeared in some of his exquisite devout papers in the Spectator, in 1712. The beautiful paraphrase of his favourite xxiii. Psalm — ■ " The Lord my pasture shall prepare, And feed me with a shepherd's care." {Hymnal Comp. 331) The paper in the Spectator is On Reliance upon God 1 . Then— " When all thy mercies, O my God, My rising soul surveys 2 ." (Ili/tnnal Comp. 497) There is one which does not generally appear in hymn-books and is inferior to the others — "When, rising from the bed of death. O'erwhelmed with guilt and fear*." and one which Lord Selborne places "among the best hymns in the English language" — " The spacious firmament on high, With all the blue ethereal sky." {Hymnal Comp. 496) 1 No. 441. The last verse in the Hymnal Companion is not Addison's. 2 Of this hymn there are thirteen stanzas in the Spectator, No. 453. Sped tfor, No. 513. The Death of Addison, It is a rendering of the xixth Psalm, and occurs in a paper in the Spectator, On the means of strengthening faith 1 . These two last hymns have been claimed for Andrew Marvell, the contemporary and friend of Milton. Though revived from time to time, the claim has never for a moment been made good; and their characteristics point unmistakeably to Addison 2 . We all know how Addison rose in the world, married the Countess Dowager of Warwick, and became Secre- tary of State, an office he had soon to resign from ill- health. Of him, it might emphatically be said, " He was a good man — a man who trusted in God and so was full of gratitude to God." On his death-bed in 1719, he sent for the poet Gay, and asked his forgiveness, for some supposed injury of which Gay knew nothing. He also sent for the dissipated young Earl of Warwick, his stepson, hoping to produce some effect on the young man. Lord Warwick said to his dying friend, "I believe and hope you have some commands for me, I shall hold them most sacred." Addison grasped the young man's hand, said softly to him, " See, in what peace a Christian can die," and soon after he passed away. 1 Spectator, No. 465. 2 Marvell died in 1678. The claim was first put forward by Captain Edward Thompson, in the Life prefixed to his edition of MarvelFs Works, 1776. 86 The Reformation Period. To this incident, his friend and fellow-worker, Thomas Tickell, referred in his poem addressed to this same Lord Warwick " On the death of Mr Addison " — " Then, taught us how to live ; and (oh too high The price for knowledge) taught us how to die." We turn, before we conclude, from a good layman to a good priest and bishop, Bishop Ken. He was born in Hertfordshire in 1637, and went to Winchester School, a fact of peculiar interest. After passing through Oxford, he was ordained, became a rector in Essex, and was afterwards elected to a fellowship at Win- chester. It was for the use of the Winchester scholars, that he wrote, in 1674, his Manual of Prayers, a little book still in use, and well worthy to be the companion of any young man. To this Manual, he appended some years after, in 1697, his Morning, Midnight and Evening Hymns, which have made their author famous. The Morning and Evening Hymns appear in abridged forms in all hymn-books 1 . The Midnight hymn beginning — "My God, now I from sleep awake." is quite equal to them. It is, comparatively, so seldom 1 The three hymns, and the OOXTOOl test, arc glV6B in The Book of Prai$e t S<>>. ooxlvi, oclvii, oclxr. These are taken from the edition of L7O0, giving Bishop Cen'i latest oamotions. The earlier versions may be found in Andeition'a Life of Kin. Bishop Ken, 87 seen that it may be well to quote two or three of the stanzas : — My soul, when I shake off this dust, Lord, in Thy arms I will entrust : O make me Thy peculiar care ; Some mansion for my soul prepare ! Give me a place at Thy saints' feet, Or some fall'ii angel's vacant seat ! I'll strive to sing as loud as they, Who sit above in brighter day. Shine on me, Lord, new life impart ! Fresh ardours kindle in my heart ! One ray of Thy all-quickening light Dispels the sloth and clouds of night. Lord, lest the tempter me surprise, Watch over Thine own sacrifice ! All loose, all idle thoughts cast out, And make my very dreams devout ! The Morning hymn — " Awake, my soul, and with the sun Thy daily stage of duty run." {Ancient & Mod. 3 ; Church Hymns 1 ; Hymnal Comp. 1) was a great favourite with its author. He used often $8 The Reformation Period. to sing it in the early morning, accompanying himself with his lute. His Evening hymn — "All praise to Thee, my God, this night." {Hymnal Comp. 15) is often written — "Glory to Thee, my God, this night." {Ancient & Mod. 23 ; Church Hymns 21) It has now been proved that the former is Bishop Ken's latest correction and improvement. So, he him- self changed the words in the Doxology, "ye angelic host" into "ye heavenly host 1 ." It has been well said that "there is probably no other verse in the world that is sung so often as that Doxology, itself a masterpiece," beginning — " Praise God, from whom all blessings flow." Ken was made chaplain to the King, Charles II., and then Bishop of Bath and Wells in 1G84, and he minis- ter, d to the dying monarch in his last illness. When James II. came to the throne, Bishop Ken was com- 1 Another change made in the third Ferae of the Evening I lyniii was — "To die, that this vile body may Rise glorious at the awful day." originally written — 11 Teach DM t" die, that so I may Triumphing rise at the last day." Awake, my Sou/. 89 mitted to the Tower, because he would not sign the Declaration of Indulgence. He was deprived of his see, and went into retirement at Longleate in Wiltshire, where he died in 1711. They buried him in the early morning at Frome, in accordance with his own desire — "under the east window of the chancel just at sun-rising." And as the sun rose, his friends involuntarily burst out into the beautiful words of his own Morning Hymn — " Awake, my soul, and with the sun." He wrote much, including many hymns, but nothing which could be compared with that matchless Three. " Had he endowed three hospitals," says James Mont- gomery, " he might have been less a benefactor t< > posterity 1 ." 1 Compare The Life of Thomas Ken by a Layman, 1854. LECTURE III. THE EIGHTEENTH CENTURY LECTURE III. With the 18th century, we meet the full stream of English hymnody. So far there had been in this land but drops from the fountain of Christian poetry. The Protestants of Germany, the Roman Catholics of France and of Italy had enriched and ennobled, with many a hymn, their public and private services of God. Those terrible metrical psalms held their own in England against all comers. They threw a chill over public worship. They bound, as in fetters of iron, those devout minds which would soar in song toward their God. It is remarkable that freedom came, though slowly, from the same quarter whence slavery had proceeded. The Puritan element brought in these metrical psalms. To sing aught beyond the immediate range of Scripture was considered little short of heresy. But it was the Puritan element which laid the foundation of hymn singing in the later English Church. It is to the Non- conformists, and more especially the Independents, Watts and Doddridge, that we owe the first kindling of 94 The Eighteenth Century the flame, the first vigorous effort to supply a great and pressing spiritual need 1 . The name of Isaac Watts has not always been held in the high estimation which it deserves, and especially by those who have been unacquainted with his ability and his writings. This has, no doubt, partly arisen from his name being ever associated with his quaint but most popular Songs for Children. Isaac Watts was born at Southampton, in 1674. His father there kept a boarding school, and was a rigid Nonconformist, who had been imprisoned for his religious opinions. The son was a most precocious child, beginning Latin at four years old in the Grammar School of the town. At sixteen, he went to study at an "academy" in London, taught by an Independent minister, Thomas Rowe. His proficiency in classics and logic, even Dr Johnson allows to have been remarkable. In his leisure hours. he made many poetical attempts. As he himself says. '• 1 was a maker of verses from fifteen to fifty." But it was at the age of twenty, when he returned to his father's house at Southampton for two years' private study, that the true poetic fervour came upon him. Watts complained to his father of the compositions 1 It has been pointed out that in a catalogue <>f I no British hymn writers, which was made by Mi - I >. Sedgwick in 1869^ there irere as many as L213of a later date than L707 : and the differ- ence is far larger dow. Encyc&op, Briton. Isaac Watts. 95 sung in their chapel. " Give us something better, young man," was the reply. And many hymns were written by him at this period. Two of them, well-known, have a strong local interest — " There is a land of pure delight, Where saints immortal reign." {Church Hymns 519 ; Hymnal Comp. 232) and — " When I can read my title clear To mansions in the skies." (Hymnal Comp. 276) Portions of these hymns, especially of the first, are said to have been suggested by the beautiful views in the neighbourhood, across Southampton Water. Be- yond the " narrow sea," beyond the " swelling flood " of the river and harbour lie the green fields and woods of the New Forest, as of another land : — There everlasting spring abides, And never withering flowers ; Death, like a narrow sea, divides This heavenly land from ours. Sweet fields beyond the swelling flood Stand dress'd in living green : So to the Jews old Canaan stood, While Jordan roll'd between. The figure, here given to death, of " a narrow sea," 96 The Eighteenth Century. has often been noted, and was apparently imitated by Charles Wesley 1 . In 1696, Watts went to be tutor in the family of Sir John Hartopp, near London. Here he wrote the chief part of a Treatise on Logic, published some time after, which in Dr Johnson's day was a text-book at Oxford. On his twenty-fourth birthday, he preached his first sermon, and then became assistant to Dr Chauncy, the minister of the Independent Church in Mark Lane, whom he soon after succeeded. But his health, never strong, a few years later broke down. He went, in 1712, for change of air on a visit to Sir Thomas Abney at Theobalds in Hertfordshire. He went for a week, and he stayed thirty-six years, until his death. Sir Thomas Abney had been knighted as Lord Mayor, and was, of course, a staunch dissenter. Long after he was gone, Lady Abney and her family still welcomed their distinguished guest. It was in the summer-house of their garden, that he wrote most of his works. And 1 See below, p. 128. The reference in the Beoond hymn -(•cms also probable — " There shall I "bathe my weary soul In seas of heavenly rest." But the first vers- contains one of those unfortunate common- places which alt not ruin Borne of the besi li\ mns of Watts •• I liid farewell to every fear, Ami wipe my weeping eyes/' Isaac Watts. 9 7 it was in their presence that he expressed himself towards the last, as " waiting God's leave to die." Watts obtained the unsolicited honour of a degree as Doctor in Divinity from the Universities of Edin- burgh and Aberdeen. He wrote, among other things, a Treatise on Astronomy, an Essay on Charity Schools, and some theological works, giving no small evidence of his general ability. But the first published of his poetical works was his Horo3 Lyricce, Lyric Poems sacred to Devotion, in 1705. Undoubtedly, they are not good. A modern critic says of them — " The sentimentalities of Roman Catholic writers towards our Lord and His Mother are not half so offensive as the courtier-like flatteries Dr Watts offers to the Most High... In him, the thought is true, the form of its utterance false ; the feeling lovely, the word, often to a degree, repulsive 1 ." And this criticism applies, in many cases, to his hymns published in 1707 2 , though they are " immeasurably better." His "Psalms 3 " which are really hymns founded on the Psalms, not translations, came out in 1719. There are lines in those hymns which offend against all good taste. Yet there are wonderful j ewels in that oft rubbishy mass of some six hundred religious poems. The man who 1 George Macclonald, England's Antiphon, p. 280. 2 Hymns and Spiritual Songs ; an enlarged edition was pub- lished in 1709. 3 The Psalms of David imitated. p. 7 gS The Eighteenth Century. could write them "ought not to have written as he has written." They "will be sung, I fancy," says the same critic, "so long as men praise God together." And indeed, they are wonderful, wonderful in their firm clear English, their noble sentences, in that true ring which touches every Christian heart. Let us note a few more of his hymns with which we are all familiar. " Our (not "O") God, our help in ages past, Our hope for years to come." {Ancient & Mod. 165; Church Hymns 446; Jlymnal Comp. 264~> founded on Psalm xc. " When I survey the wondrous Cross, On which the Prince of glory died." (Ancient & Mod. 108 '; Church Hymns 547; Hymned Comp. 167) perhaps the best of all. "Before Jehovah's awful throne Ye nations how, with sacred joy." {Hymnal ('<>mp. 45) founded on Psalm c. This verse as written by Watts commenced thus — "Nations attend before His throne With solemn fear, with sacred joy.'" ' in Hymns Ancient and Modem, the lasl jreree is added bj the Compilers. Watts Hymns. 99 It was altered by one of the Wesleys 1 . The last verse is a very fine one — " Wide as the world is Thy command, Vast as eternity Thy love; Firm as a rock Thy truth must stand, When rolling years shall cease to move." Then we have — " 111 praise my Maker, while I've breath ; And when my voice is lost in death, Praise shall employ my nobler powers." (Ilymnal Comp. 495) These lines have a peculiar interest as having been sung by John Wesley on the day before he died, and murmured by him among his last words 2 . "Jesus shall reign wher'er the sun Does his successive journeys run." {Ancient d- Mod. 220; Church Hymns 407 ; Ilymnal Comp. 106) founded on Psalm lxxii. 1 It appears in the first edition (1741) of the Wesleys' Col- lection of Psalms and Hymns. The first and fourth verses of Watts' psalm were omitted. The first was " Sing to the Lord with cheerful voice, Let every land His Name adore. The British isles shall send the noise Across the ocean to the shore." 2 Tyerman, Life and Times of John Wesley. oo The Eighteenth Century. The grand song of praise — " Come, let us join our cheerful songs With angels round the throne." {Ancient <£ Mod. 299; Church Hymns 348: Hymnal Comp. 498) and — "From all that dwell below the skies." (Church Hymns 366; Hymnal Comp. 493) so well known with the music of Walmisley's anthem. Many another might be quoted which, with faults here and there, are simply admirable 1 . 1 Among those more often sung may be noted — "Come Holy Spirit, heavenly Dove." (Hymnal Comp. 247) "Joy to the world! The Lord is come." (Hymnal Comp. 55) "Lord of the worlds above." (Church Hymns 423; Hymnal Comp. 204) "My God, the spring of all my joys." (Hymnal Comp. 294) "Not all the blood of beasts." (Hymnal Comp. 134) "0 bless the Lord, my soul." (Hymnal Comj>. 508) "Salvation, the joyful sound." (Hymnal Cmip. 500) '•Sweet is the work, my God, my King." (Church Hymns 50; Hymnal Camp. 195) " This is the day the Lord hath made." (I'hurch Hymns 48; Hymnal Comp. 193) [It affords Watts Songs for Children. 101 Dr Watts was fond of children, though he never married. It was for the little family of the Abneys, and out of gratitude to their parents, that he wrote his " Divine Songs" and his other books for children 1 . The popularity of these children's hymns was enormous. Certainly, some verses would seem calculated to drive sleep and happiness away from every child who heard them. For instance, Song xviii. " On Scoffing and Calling Names " — "When children in their wanton play Served old Elisha so, God quickly stopped their wicked breath, And sent two raging bears, That tore them limb from limb to death, With blood, and groans and tears." That is not cheerful for children. Still those Songs lived. Lines have become very household words : — " Let dogs delight to bark and bite." " How doth the little busy bee." "For Satan finds some mischief still, For idle hands to do." "'Tis the voice of the sluggard, I It affords some idea of the estimation in which the hymns of Watts have been held, that Lord Selborne in his Book of Praise selects more from Watts and Charles Wesley than from any other authors ; from the former he gives 43, from the latter 28 hymns. 1 Divine Songs attempted in Easy Language for the Use of Children, was published in 1715. 102 The Eighteenth Century. heard him complain." They may provoke a smile now. They may be very easy to parody. But it is a striking evidence of the power of the man, that even when he " spake as a child " his words seemed to be " graven " on men's minds, as it were " with an iron pen and lead in the rock for ever." We must not quite pass by a great poet, though not to be called strictly a hymn writer, Alexander Pope, — one whose words are more frequent as quotations in men's mouths than the words of any other poet except the great Master, Shakespeare. His celebrated ode, " The Dying Christian to his soul," which begins — "Vital spark, of heavenly flame," La very fine. But the little history attached to it alone proves that it is unfit for public worship, though found in many hymn-books. Pope wrote a letter to Richard Steele, one of the contributors to the Spectator, with two verses upon the famous lines addressed by the heathen Emperor Hadrian to his soul, when on his death-bed, commencing — "Animula vagula, blandula 1 ." 1 The following are the Lines with the Spectator* t bee transla- tion : " Animula vagula, blandula, Hospea oom< sque corporis, Qua nunc abibifl in loca? Psllidnla, rigida, tradola, Nee, ut soles, dubis jocos." ["Alas Alexander Pope. 103 The letter appears in the Spectator for November 10, 1712. Steele asked Pope to make upon the words an ode of two or three stanzas for music. Pope at once sent back, " Vital spark." Pope's " Universal Prayer' 1 — "Father of all, in every age,"' is beautiful ; and yet it has given rise to much unfair objection, because he applies the title " Jove " to God. The word is really used as a Name of the Unknown God in the mouth of the " savage " — 11 Father of all ! in every age, In every clime adored, By saint, by savage, and by sage, Jehovah, Jove, or Lord." This verse is also»well worth quoting — " Teach me to feel another's woe, To hide the fault I see ; That mercy I to others shew, That mercy shew to me." We now turn naturally to another of the fathers of English hymn writers, another Independent minister, the friend of Watts — Philip Doddridge. He was born " Alas, my soul ! thou pleasing companion of this body, thou rleetiug thing that art now deserting it, whither art thou flying / To what unknown region ? Thou art all trembling, fearful and pensive. Now what is become of thy former wit and humour ] Thou shalt jest and be gay no more." No. 532. 104 The Eighteenth Century. in London in 1702, his father a tradesman, his mother a daughter of one of the Bohemian, or Moravian, clergy. He was regularly brought up for the dissenting ministry, and became for some years a minister in Leicestershire. At the age of twenty-seven, under the strong advice of Watts and others, he opened what was called an " academy " at Market Harborough for the training of young men. Shortly after, he removed it to Northampton, where he had a great success both as a teacher and as a preacher. There he remained for the rest of his life. He died just after his arrival at Lisbon, whither he had gone for his health, at the early age of forty-nine. Two books, among others, were written by him, of which little is known now beyond the names, but which had a very wide influence during the last cen- tury, and not in England alone — his Family Expositor of the New Testament and The Rise and Progress of Religion in the Soul. " He was the author," according to Dr Johnson 1 , " of one of the finest epigrams in the English language." It was upon his family motto, Dum vivimus vivamus; not a very Christian motto, but one which he thus paraphrased — Livr while you live, the Epicure would say, And Beize tin- pleasure of the present day. 1 Boswell'fl Lifi of Johnson (ed. Croker), i>. .T>7. Philip Doddridge. 105 Live while you live, the sacred Preacher cries, And give to God each moment as it flies. Lord, in my view let both united be; I live in pleasure when I live in Thee. The pursuits of his life gave a strong colouring to the hymns of Doddridge. Many of them were written to be given out and sung at the close of his sermons. They were not published until 1755, after his death. Out of the 364 which he wrote, some are of the highest excellence ; and some we should hardly expect under his name. The grand Advent hymns — " Hark the glad sound, the Saviour comes, The Saviour promised long." (Ancient & Mod. 53 ; Church Hymns 68 ; Hymnal Corny. 54) and — " Ye servants of the Lord, Each in his office wait." (Ancient & Mod. 268; Church Hymns 562; Hymnal Comp. 57) The Sacramental hymn — " My God, and is Thy table spread, And doth Thy cup with love o'erflow?" (Ancient & Mod. 317; Church Hymns 212; Hymnal Comp. 375) This hymn was added to the Supplement of the "New Version" at the end of the Prayer Book, with some others, by a dissenting University printer; of course without authority, and there it remained. 106 TJic Eighteenth Century. Curiously enough, this hymn has been found too pronounced in doctrine by some Church of England compilers, and has been discreetly improved. Then we have — "To-morrow, Lord, is Thine, Lodged in Thy sovereign hand." {Hymnal Comp. 343) And, one of his best, slightly altered and improved by John Logan in 1775, or by Michael Bruce — " God of Bethel, by whose hand Thy people still are fed 1 ." {Church Hymns 4A1; Hymnal Comp. 89) 1 To these may be added the following : — "Eternal source of every joy." {Book of Praise, p. 286) "Fountain of good, to own Thy love." {Church II ym ns 283 ; Hymnal Comp. 371) altered from — "Jesus, my Lord, how rich Thy grace." "High let us swell our tuneful notes.'' {Church Hymns 81) "Lord of the Sabbath, hear our vows." Bometimee altered to — "Lord of the Sabbath, hear us pray." (Church Hymns 44) "0 happy day that fixed my oho* {Hymnal Comp. 449) The Paris Breviary. 107 We must speak, though very briefly, of the hymns adopted at this period by two very different bodies, the Roman Catholics of France and the Presbyterians of Scotland. It will be remembered, from our last Lecture 1 , that the Roman Church under Pope Urban VIII. put forth a Hymnary with the revised Roman Breviary in 1631. The French Romanists, who have always been very independent, made two revisions after that date of the Paris Breviary, and of its hymns. The last revision was finished in 1735. Most of the fine old hymns were omitted ; and a very large number of modern hymns, of course in Latin, were added. Some few of these, it cannot be denied, are very good, and were chiefly the work of two men — Charles Coffin and Jean Baptiste de Santeuil. Jean de Santeuil, called generally Santolius Victorinus, was a Canon of the famous Abbey of St Victor at Paris 2 , and died in 1697. Charles Coffin was the distinguished Rector of the University of Paris for nearly forty years. To him was entrusted the final revision of the Breviary in 1735. In France, this has now been generally superseded by the Roman Service Books. Translations of some hymns from the Paris Breviary have found their way into many of our hymn- books. The following are well known — 1 See above p. 50. 2 The Abbey of Adam of St Victor, see p. 37. 108 The Eighteenth Century. " The Advent of our King Our prayers must now employ." (Ancient cO Mod. 48; Church Ilijmns 72, altered) by Charles Coffin ; translated by J. Chandler. " On Jordan's banks, the Baptist's cry." {Ancient cC* Mod. 50; Church Hymns 71) by the same. "Disposer Supreme, And judge of the earth." (Ancient ct Mod. 431 ; Church Hymns 356) by J. B. de Santeuil ; translated by Isaac Williams. And— " Now, my soul, thy voice upraising.'' (Ancient & Mod. 103) the Passion hymn by Claude de Santeuil (Santolius Maglorianus), brother of Jean ; translated by Sir H. Baker 1 . 1 These, translated from the Paris Breviary, may also be named — "As now the sun's declining rays." (Ancient & Mod. 13; Church Hymns 14) by Charles Coffin ; translated by J. Chandler. "0 Christ, who hast prepared a place." (Church Hymns 146) bj .1. de Santeuil ; translated by J. Chandler. "0 Lord, how joyful 'tis to 1 (Ancunt a- Mod 273; Church Hymns 453) by the same. ["0 Saviour, The Scotch Psalter. 109 In Scotland, everything was done that could be done to discourage hymn writing, in consequence of the fanatical adherence to the National Psalter. Sir Walter Scott might address his country as — " O Caledonia, stern and wild, Meet nurse of a poetic child." but even he dissuaded them from any attempt to alter their Psalter. In 1564, two years after the publication of Sternhold and Hopkins' Version, the General As- sembly of the Kirk ordered the use of the Psalms in metre. This was, in the main, that Old Version, with certain additions. The next century, at the Revolution, the Long Parliament recommended to the General As- sembly at Edinburgh the Psalter which had been com- piled by one of the members of the House of Commons, Francis House. A Committee of the Kirk Assembly produced, in 1649, on this basis, the ''Paraphrase of the Psalms" which was ordered to be used throughout "0 Saviour, who for man hast trod." {Ancient & Mod. 146) by Charles Coffin; translated by J. Chandler and Compilers of I I, and was therefore contemporary with Wesley. Wesley s Translations. 1 1 9 And— " Thou, to Whose all- searching sight The darkness shineth as the light." {Church Hymns 460; Hymnal Comp. 130) from Zinzendorf \ Of the hymns of Charles Wesley, we shall speak presently. John does not appear to have composed any hymns himself. He prided himself on the singing in the meeting houses. He made it an essential part of the service, and contrasted the result with the practice of the parish churches. This is what he says of his own people : — " Their solemn addresses to God are not interrupted, either by the formal drawl of a parish clerk, the screaming of boys who bawl out what they neither feel nor understand, or the unseasonable and unmeaning impertinence of a voluntary on the organ." Southey notes here, that Wesley himself declared, he had once found at Church an uncommon blessing, when he least 1 Seelen Brautigam, du Gotteslamm, Often said, incorrectly, to be by Tersteegen. Other trans- lations by John Wesley are : — '•Now I have found the ground wherein." {Hymnal Comp. 269) Ich habe nun den Grund gefunden. by J. A. Kothe (ob. 1758), a friend of Zinzendorf; "Thou hidden love of God whose height." {Hymnal Comp. 314) Verborgne Gottes Liebe, Du. by Tersteegen. See also the translations referred to at pp. 70, 114. i 20 The Eighteenth Century. expected it, namely, while the organ was playing a voluntary. Perhaps, others have found the same. But Wesley goes on — " When it is seasonable to sing praise to God, they do it with the spirit and the understand- ing also ; not in the miserable scandalous doggerel of Sternhold and Hopkins, but in psalms and hymns which are both sense and poetry."... They are ''sung in well composed and well adapted tunes, not by a handful of wild unawakened striplings, but by a whole serious congregation; and these, not lolling at ease, or in the indecent posture of sitting, but all standing before God, and praising Him lustily and with a good courage 1 ." Some good, if somewhat broad, hints may be found here. It may be interesting to know what was thought of these services of Wesley's by some of the people of his own day. Here are a few lines from an account of a visit to one of the chapels by a man of the world, a witty but not a very satisfactory man, Horace Walpole. — "I have been," he says, "at one opera, Mr Wesley's. They have boys and girls with charming voices, that s i 1 1 lc hymns, in parts, to Scotch ballad tunes; but indeed so Long, that one would think they were already in eternity, and knew how much time they had before them. The chapel is very neat... Wesley is a Lean 1 Southey, /. . I bap. \\i. John Wesley. 1 2 1 elderly man, fresh coloured, his hair smoothly combed, but with a soapcon of curl at the ends. Wondrous clean, but as evidently an actor as Garrick. He spoke his sermon, but so fast, and with so little accent, that I am sure he has often uttered it, for it was like a lesson. There were parts and eloquence in it ; but towards the end, he exalted his voice, and acted very vulgar enthu- siasm.... Except a few from curiosity, and some honour- able women, the congregation was very mean 1 ." As we may conclude, John Wesley was a man of strong opinions. He would not brook opposition. Hence, probably, the success of his organization. He soon differed from the Moravians, who became his bitter enemies. He parted from Zinzendorf, who had come to England, and, as he said, parted " without the least hope of reconciliation." Soon after, he separated from Whiten eld, whose Calvinistic doctrines were far too extreme for him. The two fathers of Methodism remained friends. " You and I preach a different Gospel," said Whitefield. Henceforth, there were two distinct parties among the Methodists. John Wesley's relations with women do not appear to have been fortunate ; with his wife, the most unfor- tunate of all. He married a widow, Mrs Vazeille, in 1751. The marriage was an unhappy one. He was 1 Private Correspondence of Horace Walpole. 122 The Eighteenth Cent my. always busy. She thought herself neglected. She ran away several times, and was induced to come back. She tried the experiment once too often, and was not asked to return. " I did not forsake her," he wrote in his journal, " I did not dismiss her. I will not recall her 1 ." For many years after this, John Wesley went on ruling and organizing his great system. He tra- velled and preached incessantly, and yet found time to write much. He died, earnest to the last, on March 2nd, 1791, at the age of eighty-eight 2 . Meanwhile, his brother Charles had led a quieter life, and was a much more domestic character. He continued to preach among the Methodists, especially in London and Bristol, and died three years before his brother. But it is as a hymn writer that the name of Charles Wesley will live, and live for long. It is said that he composed altogether above six thousand hymns. He was writing and publishing them almost to the day of his death. They are of all kinds, and for all occasions. He contributed the great majority of the hymns in the Wesleyan Collection, already mentioned. From the 1 "Non earn reliqui — non dimisi— non revocabo" It has been doubted whether after he wrote this, his wife did nut, but only for a time, rejoin him. - Compare Southey, Life of Wesley; The Churchman's Life of Wesley, by II. Denny CTrbin (S. P. C. K. ; and, for further details, Life and T ipf I: ■. J '• W< '.. by Rev, I.. Tyer- maii, 1871. Charles Wesley year 1741 onwards, he published very many volumes of hymns 1 . "Some are of remarkable excellence, and are justly popular with nearly all bodies of Christians. It is said that some were written on cards, as he rode on horseback. At times, he would hasten home, and rush for pen and ink, that he might put down the words which were burning within him. Very familiar to us are the following : — " Hark, the herald angels sing Glory to the new-born King." {Ancient & Mod. 60; Cliurch Hymns 80; Hymnal Comp. 78) Charles Wesley wrote — "Hark, how all the welkin rings Glory to the Kh)g of Kings." but this was altered as above by his brother John, or by Martin Madan, in 1760. The hymn consisted of five stanzas; portions of the two last are now often combined 2 . "Jesu, Lover of my soul, Let me to thy bosom fly." (Ancient & Mod. 193 ; Cliurcli Hymns 396 ; Hymnal Comp. 140) This, in the original form, has also five stanzas. 1 A curious list is given in Miller, Singers and Songs of the Church, p. 185 ; the first is — Hymns on God's Everlasting Love, 1741." 2 The hymn appeared in 1739. The two last lines of the first n altered, were — " Universal nature say, Christ, the Lord, is born to-day!" 124 The Eighteenth Century. " O Love divine, how sweet thou art ! When shall I find iny willing heart All taken up by thee?" (Ancient & Mod. 195; Church Hymns 455; Hymnal Comp. 296) Few personal hymns are equal to this. The magnificent Advent hymn — " Lo, He comes, with clouds descending, Once for favour'd sinners slain." (Ancient cO Mod. 51; Church Hymns 69; Hymnal Comp. 64) This is often said to be by Martin Madan, because it is found in the Collection of hymns published by him in 17 CO 1 . It is really a cento, or selection, of six verses compiled by Madan from two hymns by Charles Wesley and one by John Cennick, who for a time was a friend of the Wesley s 8 . Cennick's hymn commenced — " Lo, He cometh, countless trumpets." From it are taken the third and fourth verses, which begin respectively — 1 Madan was Chaplain to the Lock Hospital, and cousin and friend of William Cowper. He himself wrote no hymns. 2 Cennick was first a preacher under John Wesley, then under Whitefield ; ho afterwards joined the Moravians. The above hymn appeared in 17.">2. He was also the author of — "Brethren, let us join to hit (Hymnal Comp. 512) and "Children of the heavenly King." (Church Hymns 342; Hymnal Coup. 340) Charles Wesley s Hymns. 125 "Every island, sea, and mountain." and — "Now Redemption long expected." The other four verses are from Wesley's two hymns, which were written in 1758 \ when there were "wars and rumours of wars" throughout Europe and much trouble in England. This hymn has also been often ascribed wrongly to Thomas Olivers, he having written a hymn or ode in the same metre and with the same first line- — " Lo, He comes, with clouds descending ! Hark! the trump of God is blown." 1 These are Numbers 38 and 39 in his Hymns of Intercession for all Mankind, 1758. In the concluding verse, beginning — "Yea, -Amen! let all adore Thee/' Charles Wesley wrote — " Jah Jehovah, Everlasting God come down!" Madan made the change to — " 0, come quickly," from a line of Cennick's. The verse often inserted, beginning — " Those dear tokens of His Passion,*' was also Wesley's. To avoid confusion, it may be stated that — in Ancient and Modern all the four verses are by C. Wesley ; in Church Hymns verse 3 is by Cennick, the rest by C. Wesley ; in Hymnal Comp. verse 4 is by Cennick, the rest by C. Wesley. Compare Tlie Book of PraUe, Xo. xc. note. 126 The Eighteenth Century. Moreover he composed the tune " Helmsley " to which it is generally sung. It is said that Olivers took the tune from a street song which he accidentally heard 1 . Then we have the Easter hymn — " Christ, the Lord, is risen to-day, Sons of men and angels say 2 ." (Church Hymns 134; Hymnal Comp. 182) It may be noted here, that the popular Easter hymn in the same metre — " Jesus Christ is risen to-day, Hallelujah ! Our triumphant holy day, Hallelujah!" (Ancient & Mod. 134; Church Hymns 136; Hymnal Comp. 183) is by an unknown author. It was appended to the edition of the "New Version" of the Psalms which was put out in 1796; but it had appeared before in The Compleat Psalmodist by John Arnold in 1749. The Gloria to it, often appended as a fourth verse, is by Charles Wesley 3 . 1 This is quite compatible with the statement, thai " Uelmsley" is the tune to a once popular song — "Guardian angels now protect me," and afterwards a dance tunc in a play called the 'Golden Pippin,' Sec Major Crawford's .account in the aotes to the Irish Church Hymnal and Grove's Dictionary of Music and Musicians. 2 To be carefully distinguished from the hymn by Miss Leeson, with the same tirst line (Ancient and Mod. 131). 3 In a slightly different form the hymn has been found in a Collection of Divine Song* and lit/mux entitled Lyra Davidica, \ London and- Charles Wesley s Hymns. 127 Then, his other Advent hymn — "Thou Judge of quick and dead, Before Whose bar severe." {Ancient & Mod. 205 ; Hymnal Comp. 59) The beautiful Morning hymns — " Christ, Whose glory fills the skies, Christ the true, the only Light." (Ancient & Mod. 7 ; Cfmrch Hymns 4 ; Hymnal Comp. 6) " Forth in Thy Name, O Lord, I go, My daily labour to pursue." (Ancient & Mod. 8 ; Hymnal Comp. 12) Also, perhaps, the most touching of his hymns — " Come, let us join our friends above, Who have obtained the prize." (Hymnal Comp. 369) How admirable are these verses — One family, we dwell in Him, One Church, above, beneath ; Though now divided by the stream, The narrow stream of death. London, 1708, and appears to be a translation of a Latin hymn, probably of the 14th century — Surrexit Christus hodie, which is given in Daniel, Thesaurus Hymnol. i. p. 341. See also The Book of Praise and Crawford's Index to the Irish Church Hymnal. 128 The Eighteenth Century. One army of the living God, To His command we bow ; Part of His host hath cross'd the flood, And part is crossing now. Our spirits too shall quickly join, Like theirs with glory crown'd ; And shout to see our Captain's sign, To hear His trumpet sound. The figure of "the narrow stream" is perhaps due to the line of Watts, already mentioned — " Death, like a narrow sea, divides." And there is mary another hymn which want of space alone forbids us to quote 1 . 1 The following arc so well known that they must be added "Blow ye the trumpet, blow." {Hymnal Com p. 181) "Come, Thou long-expected Jesus." {Hymnal Comp. 96) "Gentle Jesu, meek and mild." {Hymnal Comp. 408) "Hail the day that sees Him rise." {Ancient d- Mod. 147; Church Hymn* 143; Hym na l Comp, 217) "Head of the Church triumphant." {Church Hymns Ml; Hymnal Oomp. 368) "Love Divine, all love exoelling." {Church 11 " When my eye-strings break in death," into " When my eyelids close in death." This hymn has been considered by many the finest hymn in the English language. I confess, that it docs not "find me," as Coleridge put it, so much as some others. It appears to be open to serious literary criti- cism. And yet, not for a moment would I attempt to detract one iota from the power of a hymn, which has been the source of comfort on so many a sick bed, from that of the Prince Consort of England to that of the humblest believer in his need. Three other hymns of Toplady are well known, especially to those in sorrow or sickness, and possess great power : — "Your harps, ye trembling saints, Down from the willows ta hi-." (Hymnal Comp. 511) William Cowper. 133 " When languor and disease invade This trembling house of clay." {Hymnal Comp. 459) written late, and, as he says, " in illness." And— " Deathless principle, arise ! Soar, thou native of the skies 1 ." which he entitled, " The dying believer to his soul." Only a little time is left in which to speak of the once famous Olney Hymns. And yet they bring before us the name of one of the best, best in every sense of the word, of the poets of England — William Cowper. With it, we must link that of his friend, John Newton. William Cowper, who had some high legal connections, was born, in 1731, at Great Berkhampstead in Hertfordshire. After leaving Westminster School, he was trained for the bar, and resided for eleven years in the Middle Temple 2 . Unhappily, he had a constitu- tional tendency to insanity, which, under excitement, took the form of religious delusion. From time to time, the darkness fell upon him. A comfortable office had been found for him — Clerk of the Journals of the House of Lords. Some question as to the right of nomination arose, and he was called to appear publicly at the bar 1 The Book of Praise, No. clvi. 2 Latterly, he was in the Inner Temple. 134 The Eighteenth Century. of the House. This, working upon his extreme ner- vousness, upset his reason. He attempted suicide, and for some eighteen months, until 17(35, was under re- straint. We now draw near the point of special interest to us. On his recovery, in order to be within reach of his brother, a Fellow of Corpus College, Cambridge, he went to live at Huntingdon. There he made the acquaint- ance of a clergyman's family, named Unwin, who were to be his life-long friends and comfort. For two years he lived in their house. The sudden death of Mr Unwin necessitated a change. At the instance of their friend, John Newton, they removed to Olney in Buckinghamshire, of which Newton was the curate. Cowper was now thirty-six years of age. His literary efforts had only been of the most trifling character. He was still haunted at times by the delusion that he was cut off from salvation, that God had turned away His face from him 1 . John Newton was a man of remarkable zeal and vigour, who had taken up rather free Calvinistic views. He held religious meetings at a vacant house in Olney, called the Great House. In these, somewhat 1 Borne idea of hie feelinga may be gathered from the ghastly poem written by bim about the time of his first Berioua attack "Hatred and vengeance,— my eternal portion." The Olney Hymns. 135 excited gatherings, he persuaded Cowper to take a leading part 1 . He himself had written many hymns to be used at the meetings. He wished to publish a volume of hymns, and got Cowper to assist in its com- position. This was the origin of the Olney Hymns, published in 1779 2 . Of this Collection, Cowper wrote sixty-eight hymns, Newton two hundred and eighty. Among the best known of Cowper's are : — "God of my life, to Thee I call, Afflicted at Thy feet I fall." (Ancient & Mod. 374; Church Hymns 258; Hymnal Comp. 457) entitled " Looking upwards in a storm." "There is a fountain filled with blood, Drawn from Emmanuel's veins.'" (Hymnal Comp. 275) The beautiful and cheering hymn of confidence, entitled " Joy and peace in believing" — " Sometimes a light surprises Christian while (Hymnal Comp. 525) The Christian while he sings." 1 Compare the good Memoir by Rev. W. Benham prefixed to the Globe edition of Cowper's Poems, also Southey's Life of Cowper. 2 The volume of Olney Hymns was in three Books — I. On Select Texts of Scripture ; II. On Occasional Subjects ; III. On the Spiritual Life. 136 The Eighteenth Century. And— " Hark ! my soul, it is the Lord ; "lis thy Saviour, hear His word." {Ancient db Mod. 260; Hymnal Comp. 297) There are two which tell, in pathetic words, of his own melancholy experience — " O for a closer walk with God, A calm and heavenly frame." (Hymnal Comp. 147) And the finest of all — " God moves in a mysterious way His wonders to perform." (Ancient <(• Moil. 373; Church Hymns 257; Hymnal Comp. 278) This was the last Cowper wrote for the Olncy Col- lection. It was in January, 1773. The shadows were again falling over him thick and fast. The hymn is entitled " Light shining out of darkness." It is said, he got possessed with the idea, that it was the will of God he should go to a particular spot on the river, and drown himself. He started in a post-chaise ; but the driver missed his way. The cloud lifted for a season from hi-; mind; and on his return home, he wrote this hymn. At all events those lines tell their own story — Ye fearful Baints, fresh courage take; The clouds ye so much (head Ate big with mercy, and shall break In blessings on your head. John Newton. 137 Judge not the Lord by feeble sense, But trust Him for His grace ; Behind a frowning Providence, He hides a smilins: face. 'a His purposes will ripen fast, Unfolding every hour ; The bud may have a bitter taste, But sweet will be the flower. Blind unbelief is sure to err, And scan His work in vain; God is His own interpreter, And He will make it plain 1 . John Newton, in his early days, had lived a wild 1 Some of the Olncy Hymns were written before this period. Thus— " Far from the world, Lord, I flee," when, recovering from his first attack of madness, he determined to retire from London into the country. And just previous to this determination — "How blessed Thy creature is, God." Also — "Jesus, where'er Thy people meet, There they behold Thy mercy- seat." {Church Hymns 312; Hymnal Comp. 207) This was written for the opening meeting at the " Great House " at Olney. Another good hymn is — "What various hindrances we meet." (Ancient & Mod. 246 ; Hymnal Comp. 213) 138 The Eighteenth Century. strange life. He had been in the navy. He had de- serted ; had been a slaver, and commanded a slave ship — for years a hardened sinner, and yet a diligent student. When he was twenty-four, he experienced a religious change, and, though in the slave trade, led a new life 1 . At the age of thirty, in 1764, he was ordained. To him, we owe such noble hymns as — " How sweet the Name of Jesus sounds In a believer's ear." (Ancient & Mod. 176; Church Hymns 387 ; Hymnal Comp. 290) " Glorious things of Thee are spoken, Zion, city of our God." (Church Hymns 368 ; Hymnal Comp. 284) And- " Approach, my soul, the mercy-seat, Where Jesus answers prayer 2 ." (Hymnal Comp. 119) 1 To his past life he seems to refer in his fine hymn — " In evil long I took delight, Unmoved by shame or fear." (Book of Praisi , NO. OOGQXiV.) See also Memoirs of Rev. John \< wton by Josiah Hull, 18G8. 2 In addition, among the best known are — "Begone unbelief, my Saviour is near." (I/ymnul Comp. 279) "Come, my soul, thy suit pit pare." (Hymn il Oomp. 203) [" Day of William Cowper. 139 Newton's great object, he said, was to have hymns which should be clear and simple, and in which poor as well as rich could join. Such he undoubtedly produced. Newton was afterwards the well-known rector of a Church in London, S. Mary's, Woolnoth, and died in 1807, at the age of eighty-two. We must not conclude without a few parting words, if somewhat sad words, about William Cowper. No doubt, the injudicious religious excitement, fostered by Newton, was most injurious to him. Six years after he reached Olney, he was again insane. Gradually, his recovery came about, aided not a little by the three tame hares whom he has made famous. It was in 1780, when he was nearly fifty years old, that he was urged by Mrs Unwin and other friends to engage in poetry, "Day of judgment, day of wonders." {Hymnal Comp. 65) compare p. 39. " Great Shepherd of Thy people, hear." {Church Hymns 313 ; Hymnal Comp. 200) The original hymn has seven verses and begins, "0 Lord, our languid souls inspire." It was written, with the one of Cowper's, for the opening meeting at the " Great House." "May the grace of Christ our Saviour." {Hymnal Comp. 216) "Now, gracious Lord, Thine arm reveal." ^{Church Hymns 92; Hymnal Comp. 90) And— "Why should I fear the darkest hour?" {Church Hymns 557 ; Hymnal Comp. 333) 140 The Eighteenth Century. in order to distract his mind. Then, and not till then, he began those works which have placed him among the first of England's poets. Who has not been glad- dened by the purity and beauty of " The Task," or of one of his smaller pieces ? Who has not wondered at his translations from Homer ? Who has not had to learn by heart — 11 1 am monarch of all I survey, I am lord of the fowl and the brute"? Who has not laughed at his "History of John Gilpin" \ A true poet of nature, who felt that, as he said — "God made the country, and man made the town." 1 Four years before his own death, died his devoted friend of thirty years, Mary Unwin, to whom, but for his ter- rible malady, he would have been married long before. The blow fell heavily upon him. It deepened the grow- ing gloom. The gleams became fewer and fewer, though ever, when they shone, there was the same high trust in ( tod In the first year of the century, the end came ; and William Cowper passed away to "where the wean- are at rest," to where there broke over his darkened mind, the light of the Eternal Day. The Task.— Book 1. "The Sofe.* LECTUKE IV. MODERN HYMNOLOGY. LECTURE IV. The 18th century was a dark period in the history of the Church of England. Apathy and indifference characterized too many of Her priests and people. Men of fervent religious views were estranged from Her. In all ages of the Christian Church, as we have seen, the production of hymns has been an invariable evidence of religious earnestness at the time. The hymnody of the 18th century was due, in the main, to Nonconformists or to men who disagreed with much in the Established Church. In the 19th century, this has been changed. With few exceptions, the noblest and the most nume- rous of the hymns of the last sixty to eighty years have come from the heart of the Church of England. And it cannot be denied, that there has been an astonishing development of religious earnestness, an upheaval of the old sedimentary rocks, a shaking among the dry bones, a breathing upon Her of the Spirit of the living God. The materials before us are now overwhelming. 144 Modem Hymnology. Many of our hymn writers have produced, perhaps, only one hymn that has acquired much popularity. It has, therefore, become difficult to avoid presenting what would be little more than a mere catalogue of names. The first name that we shall consider is that of Thomas Kelly, who lived up to our own time, 1855, although the first edition of his hymns was published in 1804. He was the son of an Irish Judge. After passing through the University of Dublin, he entered at the Temple, in London, with a view of being called to the bar. An earnest study of the Bible and of theo- logical works made him take up very serious religious views. He was ordained in 1792, and preached in Dublin with great success. From this date onward for many years, his hymns were from time to time com- posed; until at last he had published seven hundred and sixty-five. Among them are — " We sing the praise of Him Who died, Of Him Who died upon the Cross." (Ancient cfc Mod. 200; Church Hymns 542; Hymnal Comp. 168) This hymn is, indeed, all but unequalled, simple and v. t true poetry. For example, hew exquisite arc these verses — ,l Tlie cross — it takes our guilt away ; It holds the fainting spirit up : It cheers with hope tli<' gloomy day, And sweetens every bitter cup. Thomas Kelly. 145 It makes the coward spirit brave, And nerves the feeble arm for fight; It takes its terror from the grave, And gilds the bed of death with light." The Missionary hymn, — " Speed Thy servants, Saviour, speed them ; Thou art Lord of winds and waves." {Hymnal Comp. Ill) and the beautiful Evening hymn — "Through the day Thy love has spared us, Now we lay us down to rest 1 ." (Ancient & Mod. 25; Church Hymns 34; Hymnal Comp. 27) Kelly tooli up such strong opinions against the Church of England in his sermons in Dublin, that the 1 These also are often sung : — "Come, see the place where Jesus lay." (Ancient & Mod. 139) altered from Kelly's hymn which begins — "He's gone. See where His body lay.*' "From Egypt lately come." (Church Hymns 367 ; Hymnal Comp. 324) "On the mountain's top appearing." (Hymnal Comp. 104) " The Head that once was crowned with thorns." (Ancient & Mod. 301 ; Hymnal Comp. 219) "We've no abiding city here." (Hymnal Comp. 334) p. 10 146 Modern Hymnology. Archbishop had to interfere, and forbid his preaching. He joined no sect, but, being wealthy, he built chapels in several places, and preached there. He lived to the age of eighty-six, a learned, religious and charitable, if somewhat fanatical man. Few hymn writers have attained the popularity of James Montgomery. Few have produced so many hymns, which, if not of the highest order, are deservedly loved and admired. He had a curious history. His father was a Moravian preacher at Irvine, in Ayrshire ; and there Montgomery was born. He was educated at the Moravian School of Fulneck, in Yorkshire, so called after the settlement in Moravia, of which we have already spoken in our last lecture 1 . His parents were sent out as missionaries to the West Indies, and they shortly died. He was designed for a preacher. But he had determined to be a poet, and poetry was utterly for- bidden at the school. I say determined, for before he was fourteen, he had written a heroic poem, a thousand lines in length. The following note was placed on the school records: — "James Montgomery, notwithstanding repeated admonitions, has not been more attentive; it was resolved to put him to a business, at least for a time." At the age of sixteen, in 1787, he was place.] with a shopkeeper at Mirfield in Yorkshire. During 1 Bee Above p. 112. James Montgomery. 147 the next four years, he was in various similar positions ; but ever leading a secluded life ; ever engaged in poetry and music, or in general writing, rather than in business. Even when shopman to a bookseller in London, he could get nothing published. At last a tale in prose found its way into The Bee, an Edinburgh periodical. A novel which he wrote, and in which he had too well imitated Smollett and Fielding, was refused, because the charac- ters swore too much. But the boy was becoming a man. When twenty-one, he went to be clerk to Mr Joseph Gales, a Sheffield bookseller and editor of The Sheffield Reporter, a paper of very advanced political views. Within two years, Mr Gales fled to America to avoid a warrant of arrest for treason. Montgomery, who had contributed articles, became editor of the same paper under the name of The Sheffield Iris. This he edited for thirty-one years, ^wice in its early days, he was fined and imprisoned for things which appeared in the paper, things not very serious, but which the Government of the day thought dangerous. A strange training this for a hymn writer. A strange position for one who was naturally mild and retiring, and devoted to poetry. From that time, however, matters went well with him, and he won the esteem of all. His first large poem, The Wanderer in Switzerland, he published in 1807. Many others were written from time to time, the most noted being The Pelican Island. 10—2 148 Modern Hymnology. It was not until 1822 that he published any of his hymns. Some appeared first in Songs of Zion, others in The Christian Psalmist 1 . His book called Original Hymns did not come out until 1853, and it concluded his many poetical works. After he gave up his news- paper, he was much engaged in delivering lectures on literature, and in speaking at religious meetings. His literary efforts were rewarded with a Govern- ment pension of £200 a year. He had formally joined the Moravian Church when he was forty-three, and remained closely connected with them until his death at the age of eighty- two 2 . All he said or wrote has to be taken with the reservation, that it is by a man of restricted education, who was a danger- ously fluent poet. Still, how much we are indebted to him. It is hard to surpass his — 11 Hail, to the Lord's Anointed, Great David's greater Son." (Ancient & Mod. 219 ; Church Hymns 379; Hymnal Comp. 113) founded on Psalm Ixxii. It was repeated by him at the end of a speech at a missionary inert Jul;- in Liver- pool 1 Or Hymns S- !>>■?, i w bile wt dw< H, Thy meroiei we'll review, Til] Love di\ ine transported t< 11 Our (Jo l'i our Father too." Henry Kirke White. 155 poems written during his Eastern 'tour, and published after his death. It was long connected with the name of Lady Flora Hastings, in whose handwriting it was found when she died. The other writer, the poet Henry Kirke White, fell like a beam of light upon the earth, then passed away. His father was a butcher in Nottingham, and by him Kirke White w r as destined for that very unpoetical trade. Through the influence of his mother, who was a woman of superior education, he was placed in an attorney's office. His earliest poem was written at thirteen. Be- sides making great progress in law, he learned Latin and Greek, together with French, Italian and Spanish. He acquired a knowledge of chemistry and astronomy, and contributed prose and verse to various periodicals. At the age of seventeen, he published a volume of poems, which made him known to his future biographer, the poet Sou they 1 . He now became intensely anxious to go to Cambridge, and prepare for taking Holy Orders. His wishes were with difficulty accomplished. He en- tered at St John's College. Never very strong in health, he worked with great energy and under great excitement. Twice in his annual College examination, he was placed the first man in his year. The third year, the tight- strung cord snapped; the frail vessel broke in pieces, Kirke White died one Sunday in October, 1806, at the 1 See Remains of He my Kirke White. 1 56 Modern Hymnology. age of twenty-two. After his death, on the back of one of his mathematical papers, was found that most de- servedly popular hymn — " Much in sorrow, oft in woe, Onward Christians, onward go." (Ancient & Mod. 291; Church Hymns 464; Hymnal Comp. 327) It was in an incomplete form ; and, as usually sung, was completed by Frances Fuller Maitland in 1827. The first line is almost universally altered to — " Oft in danger, oft in woe." Kirke White wrote a few other hymns, among them the beautiful Evening hymn — " O Lord, another day is flown, And we, a lonely band 1 ." Bishop Mant seems to belong to a day long passed, and yet he only died in 1848. His Commentary on the Bible and his edition of the Book of Common Prayer are already old-fashioned; but some of his hymns are as fresh and as popular as ever. Richard Mant was born at Southampton, the native town of Isaac Watts. From Winchester School he went to Oxford and became Fellow of Oriel College. After holding various livings be was promoted to the Irish bishopric of Killaloe, then translated to that of Down and ( kranor. He was early a pool , and Like other poets made a metrical version of the 1 Tht Ba h of Praise, No. odviil Richard Mant. 157 Psalms. He published many works in prose and verse. The most interesting to us is a volume of hymns, in 1837. Many of them were founded on ancient Latin hymns 1 . His translation of the Stabat Mater Dolorosa — " By the Cross, sad vigil keeping, Stood the Mother, doleful, weeping." has been already mentioned in our first Lecture 2 . An- ther, well known, of the same character, is the Good Friday hymn — "See the destined day arise, See a willing Sacrifice." (Ancient & Jfod. 113; Hymnal Comp. 166) From the Latin of the Roman Breviary — Lustra sex qui jam peregit, tempus implens corporis 3 . Also his beautiful Trinity hymn— ( u *^ "Bright the vision that delighted Once the sight of Judah's seer. 4 " (Ancient <£• Jlod. 161; Hymnal Comp. 34) 1 Ancient Hymns from the Roman Breviary, with Original Hymns, ]837. 2 See above p. 38. 3 This is part of the Latin hymn — Pange lingua gloriosi lauream certaminis. a Breviary imitation of the hymn by Venantius Fortunatus— Pange lingua gloriosi proelium certaminis. See above p. 24. 4 This hymn begins in some Hymnals {Church Hymns 491) with the verse — ["Eound 158 Modern Hymnology. Another bishop, Bishop Heber, initiated a new era in our Church hymnody. He not only wrote many hymns which had in them a peculiar beauty, but he wrote many that were well adapted to the Services of the Church. Reginald Heber was born in 1783 at Mai pas, in Cheshire, of which place his father was rector. He went to Oxford, and became a Fellow of All Souls. While at Oxford, he gained several University prizes, one of them by his beautiful poem Palestine. In that poem occur the lines, in regard to the Temple at Jerusalem, which we see so often quoted — " No hammers fell, no ponderous axes rung, Like some tall palm, the mystic fabric sprung. Majestic silence!" It is not generally known that these lines are due to the sucrofestion of Sir Walter Scott. !!<• was break- fasting at Oxford with Heber's brother. The poem was brought out and read. Sir Walter Scott noted the omission of that remarkable circumstance connected with the erection of the Temple, that no tool of iron "Round the Lord, in glory seated." These arc also Bishop Mant's — "For all Thy saints, Lord." {Church Ihjmns 197; Hiimnn! Cnnp. 351) " Son of Man, to Thee I cry." (Church HymnsbQl) Reginald Heber. 159 was heard while it was in building (1 Kings vi. 7). Heber then and there added those lines 1 . At the age of twenty-four, Heber got the family living of Hodnet in Shropshire, Few men have dis- charged better the duties of a parish priest. He was a good deal engaged in literature. Among other works, he published, in 1812, Poems and Translations for Weekly Church Service 2 . This was the germ of his later Hymn-book. One of his most cherished desires was that the hymn singing and hymnody of our Churches might be improved. It is said, that he was only dis- suaded by the Bishop of London from seeking license or authority for a general Church Hymn-book. One of his hymns has, perhaps, been more often sung in public than any other hymn — "From Greenland's icy mountains." (Ancient & Mod. 358; Church Hymns 290; Hymnal Comp. 112) The interesting story of its birth is related in Heber's Life. He was staying at Wrexham with his father-in- law, Dr Shipley, Dean of S. Asaph, who was also Yicar of Wrexham. On Whitsunday, 1819, the Dean was going to preach on behalf of the Society for the Propa- 1 In later editions the lines were altered to the form — "No workman steel, no ponderous axes rung, Like some tall palm, the noiseless fabric sprung." 2 Some of his hymns appeared first in The Christian Observer, 1811. 160 Modern Hymnology. gation of the Gospel. On the Saturday before, while some friends were present, he asked Heber to write something for them to sing in the morning. Heber went to a side-table ; and shortly the Dean asked him what he had done. He read over three verses. " There that will do very well," said the Dean. "No, no," he replied, "the sense is not complete." And he added the beautiful fourth verse — "Waft, waft ye winds His story, And you, ye waters, roll, Till like a sea of glory It spreads from pole to pole ; Till o'er our ransomed nature The Lamb for sinners slain, Redeemer, King, Creator, In bliss returns to reign 1 ." This was but a small sign of the interest in mission- ary work which led Heber, with certain prospects of high promotion at home, after twice declining the offer, to accept the bishopric of Calcutta in 1823. Calcutta is a vast diocese now. What must it have been at that time, when it included the whole <»i" fndia, Ceylon, tin' Mauritius and Australia, lb' entered on his episcopal 1 The autograph of the hymn was shewn al the Great Exhibi- tion in l 851 . 'I' he only erasure which had been made was in the change <>f "savage" to "heat lien" in the second verse. Sutcs and (JticrtcSy 4th. Series, vol. ii. p. 87. Reginald Heber. 1 6 1 work with amazing zeal. The Journal which he kept during his visitation of that diocese is a most interesting work. Within three years after his arrival in India, he had gone to Trichinopoly. Early in the morning of Monday, April 3, in that hot climate, he had held a confirmation. The bishop went to have a cold bath before breakfast. His attendant wondered at his long delay. He went in, and saw the lifeless body in the water. A true servant of God had been called away. Amid the universal sorrow which arose in India, many a one thought in the lines of his own beautiful hymn — " Thou art gone to the grave ; but we will not deplore thee, Whose God was thy ransom, thy guardian, and guide. He gave thee, He took thee, and He will restore thee ; And death has no sting, for the Saviour has died." Heber had intended to put out a collection of hymns, chiefly his own, for general use and as being connected with the Church Service. They were published in 1827, after his death 1 . So many are popular and well known that it is difficult to select. What poetry there is in the noble Trinity hymn — "Holy, holy, holy, Lord God Almighty! Early in the morning our song shall rise to Thee." {Ancient & Mod. 160; Church Hymns 7 ; Hymnal Comp. 33) 1 Hymns written and adapted to the Weekly Church Service of the Year, 1827. This contained many by Milman and others. P. 11 162 Modern Hymnology. And the Epiphany hymn — "Brightest and best of the sons of the morning, Dawn on our darkness, and lend us Thine aid." [Church Hymns 95; Hymnal Camp. 94) And the Eastertide hymn — " Hosanna, to the living Lord ! Hosanna to the Incarnate Word." (Ancient & Mod. 241; Church Hymns 383; Hymnal Comp. 190) Then there is the glorious roll of the Saints' Day tri- umph song — " The Son of God goes forth to war, A kingly crown to gain." (Ancient & Mod. 439 ; Cliurch Hymns 201 ; Hymnal Comp. 352) written for S. Stephen's Day. The first verse only of the sweet Evening hymn — "God, that madest earth and heaven. Darkness and light." (Ancient & Mod. 26; Church Hymns 22: Hymnal Comp. 26) is by Ileber. The second is by Archbishop Whately, and is apparently founded to some extent on one of the numerous antiphons of the ancienl Church for the Hour of Compline 1 . Lastly, we have the beautiful paraphrase of "Thy kingdom conic," lor Advent — "0 Saviour, is Thy promise fledT i Compline \i. Sarum Psalter "Save us, () Lord, whilsl waking, guard us sleeping, that we may watch in Christ ami ni;iy repose in pi Hebers Hymns. 163 which ends thus — " Come, Jesus, come ! and as of yore The prophet went to clear Thy way, A harbinger Thy feet before, A dawning to Thy brighter day; So now may grace, with heavenly shower, Our stony hearts for truth prepare; Sow in our souls the seed of power, Then come, and reap Thy harvest there 1 ." We have lingered long on this hymn poet. Critics may call some of these hymns too rhetorical ; but they 1 The following are also favourites, written by Heber — " Bread of the world, in mercy broken." {Church Hymns 204 ; Hymnal Comp. 387) "By cool Siloam's shady rill." (Hymnal Comp. 433) "I praised the earth in beauty seen." (Book of Praise, ccclxi.) The touching Litany — "Lord of mercy and of might." (Church Hymns 422 ; Hymnal Comp. 37) " Spirit of truth, on this Thy day." (Hymnal Comp. 242) " The Lord of Might from Sinai's brow." (Hymnal Comp. 67) "Thou art gone to the grave; but we will not deplore Thee." (Hymnal Comp. 479) And "When through the torn sail the wild tempest is streaming." 11—2 164 Modern Hymnology. have a wonderful charm in them ; they cling to the mind ; and the)' are thoroughly congregational. About this time, during the first quarter of the century, hymn-books began to come into common use in our Churches. We have seen Heber's design. Soon in many little centres, compilations were made, more or less valuable, for local use. It is no exaggeration to say that, since Heber's day, they may be numbered by thousands. It would appear that now, perhaps by the survival of the fittest, three or four good Hymnals are almost driving the others out of the field. There were, at the University of Cambridge, two brothers, named Grant, at the same College, and in the same year. They both took distinguished places in the examinations in 1801 \ The elder brother, Charles, be- came Lord Glenelg, Secretary of State for the Colonies. The younger, Robert, was knighted, and went out to India as Governor of Bombay. Sir Robert wrote and published several good hymns at different times of his life. A volume of these, entitled Sacred Poems, was put out by Lord Glenelg after his brother's death. 1 Curiously enough in the class lists they were together, Robert the younger being third wrangler and Charles being fourth; and again they were together in the classical examina- tion, the elder being now the first Chancellor's medallist) Robert being the second Henry Hart Milman, 165 Three of them should certainly be named. The well- known Litany — " Saviour, when in dust to Thee, Low we bow the adoring knee." {Ancient & Mod. 251; Church Hymns 494; Hymnal Comp. 35) The touching lines — " When gathering clouds around I view, And days are dark, and friends are few." {Church Hymns 546 ; Hymnal Comp. 463) and the bold hymn of praise — u worship the King, All glorious above." {Ancient & Mod. 167; Cliurch Hymns 477 ': Hymnal Comp. 520) Dean Milman's best known hyinns appeared in the hymn-book by Bishop Heber, of which we have spoken 1 . Having come now to a hymn writer who only died in 1868, much historical matter would be superfluous. The incidents upon which we shall henceforth dwell will, therefore, be comparatively few. Henry Hart Milman was the son of Sir Francis Milman, physician to George III. He went to Oxford, became Fellow of Brazennose College ; and in 1821 Professor of Poetry in that Univer- sity. The year before, he had published his fine poem, The Fall of Jerusalem. Milman was afterwards made 1 Milman himself also published a Selection of Psalms and Hymns in 1837. 1 66 Modern Hymnology. Canon of Westminster, and died Dean of S. Paul's. Among his very numerous works, both in poetry and prose, his most valuable Histories of Christianity and of the Jews hold the first place. The beautiful and, at the same time, scholarly language in which they were written would lead us to expect the same in his hymns. And we are not disappointed. Few hymns are finer than that for Palm Sunday — " Ride on ! ride on in majesty ! Hark ! all the tribes Hosanna cry." (Ancient & Mod. 99; Church Hymns 114; Hymnal Comp. 161) The third line was written — "Thine humble beast pursues his road." This is almost invariably changed into — "O Saviour meek, pursue Thy road 1 . Three others are well worthy of note : — That for the Second Sunday in Lent — ' ' O help us, Lord ; each hour of need Thy heavenly succour give." (Anvunl db Mini. 279; Church Jlymns 470) The Burial hymn — " Brother, thou art gone before us, And thy saintly soul is flown." (Hymnal Comp. 481) 1 The alteration of the fine words in the third verse — "The winged Miuiulrons of the sky," into "The angel armies," is wry weak. John Keble. 167 and the solemn hymn, unequalled of its kind, — " When our heads are bowed with woe, When our bitter tears o'erflow." {Ancient & Mod. 399 ; Church Hymns 548 ; Hymnal Comp. 36) This was written for the Sixteenth Sunday after Trinity, the Gospel being that of the widow of Nain. This connection explains the refrain — " Gracious Son of Mary, hear." to which so much objection has been taken. Mil- man, a writer certainly with anything but papistical leanings, only wished to express the bearing on the human nature of our Blessed Lord. Of course, the line is frequently altered; the reference and the sense not un frequently destroyed 1 . A great and honoured name, honoured not alone in the world of hymns, now meets us — John Keble. A quiet, a very quiet life, and yet a life of vast influence. We must only touch upon it, just where it especially concerns us. Keble was born at Fairford in Gloucester- shire in 1792, his father being a clergyman. At the early age of eighteen, he took a distinguished degree at Oxford — a double first — and became a Fellow of Oriel College. He at once entered upon literary work. After 1 Milmau's hymn for Good Friday is also very fine — "Bound upon the accursed tree, Faint and bleeding, who is He?" (Hymnal Comp. 173) i68 Modern Hymnology. a few years' residence at Oxford, being devoted to his aged father, he removed to Fairford and served some neighbouring curacies. He went in 1825, to be for a short time curate of Hursley in Hampshire ; of which place he later became the Vicar. Here and at Fairford, amid the calm unostentatious duties of the country parish priest, Keble lived. Visits there were to Oxford from time to time in discharge of his duties as Professor of Poetry, to which office he was appointed in 1831. Of his part in the great religious movement of that day, of the band of illustrious men by whom he was surrounded, such as Newman, Whately, Arnold, Pusey and others — some of whom he may in a sense be said to have inspired — of these I have nothing now to say. Of his prose writings, some, for example his edition of the Works of Richard Hooker 1 and his Life of Bishop Wilson 2 , are of remarkable excellence. But the world has seized upon the Christian Year. What hymn-book does not contain "Sun of my soul"? In the Christian Year, most of his well-known hymns are found. It has guided the thought and the tone of many of the hymn poets of these later days. It was published in 1827, under 1 This was published in L836, and is dow the standard edition. - The Life of Thomas WUton^ Bishop of Sodor and Man, came out in 1803. Keble also edited a portion of his Work** The Christian Year. 169 strong pressure from his friends 1 . Most of the poems had been written from time to time in previous years. His idea had been, as he said, to go on improving the series all his life, and leave it to come out, if judged useful, only when he should be fairly out of the way. But friends, such as Coleridge and Arnold, to whom he had read or given some of his poems, would not allow this. Arnold said — "Nothing equal to them exists in our language;" and he was right. During 1827, Keble wrote many additions to complete the series for the Church's year. He states his object to be "to de- velope a sober standard of feeling in matters of practical religion," and this by a work in close harmony with the Book of Common Prayer. No doubt, this writing for special days and subjects hampered the flight of his poetic genius. " He was," said Archbishop Whately, " like an eagle in chains." But he struck the key-note of all true religion in the motto which he put on the title page — " In quietness and confidence shall be your strength" (Isaiah xxx. 15). I myself know no body of uninspired poetry, where purity and power, where knowledge of Holy Scripture and knowledge of the 1 See Memoir of the Rev. John Keble by Sir J. T. Coleridge, p. 117 seq., to which I am indebted for many of the above facts, as well as to a friend who was acquainted both with John Keble and his brother. To the same friend, I owe most of the informa- tion given below concerning Joseph Anstice. i jo Modern Hymnology. human heart, whore the love of nature and the love of Christ are so wonderfully combined. The Christian Year was published anonymously, though Keble always owned the work. He had little idea of its importance. He used to speak of it as " that book." Its remarkable acceptance by the whole Christian world, by thousands who differed from him in his re- ligious views, has proved its power over the minds of men. In twenty-five years, 108,000 copies had been issued, in 43 editions. In April 1873, when the copy- right expired, 305,500 copies had been sold 1 . Since then the circulation has enormously increased, both in England and America. Keble himself lived to make some alterations in the 96th edition, published in 1866, the year of his death. Such a success is quite without a parallel in religious poetry. As we read the book, we are not surprised. " It is a book which leads the soul up to God, not through one, but through all, of the various faculties which He lias implanted in it 2 ." The poems are not all, from their nature or their nut re, adapted for congregational singing. Such as these have now been well proved — 1 In the nine months immediately following his death, Beven editions were issued <>i' 11,000 copies Memoir by Sir J. T. ( Soleridge, ]>. 155. - Sf<- Canon Barry's admirable Lecture on 'The Christian Year' in Companions for the Devout Life. Kebles Hymns. 171 " New every morning is the love, Our wakening and uprising prove." {.Ancient & Mod. 4; Church Hymns 8; Hymnal Comp. 3) taken from his Morning hymn of sixteen stanzas, be- ginning — • "Hues of the rich unfolding morn." Then— "There is a book, who runs may read, Which heavenly truth imparts." (Ancient & Mod. 168 ; Church Hymns 518 ; Hymnal Comp. 262) part of the poem for Septuagesima Sunday. " When God of old came down from heaven, In power and wrath He came." (Ancient & Jfod. 154; Church Hymns 153; Hymnal Comp. 243) part of the hymn for Whitsunday 1 . And, the most popular of all — " Sun of my soul, Thou Saviour dear." (Ancient & Mod. 24; Church Hymns 29 ; Hymnal Comp. 16) 1 The beautiful little hymn — " Blest are the pure in heart, For they shall see our God." (Ancient & Mod. 261 ; Church Hymns 339 ; Hymnal Comp. 349) should be mentioned here. It consists of two verses, the first and third, taken from the poem on The Purification, and two verses by the Compilers of Hymns Ancient and Modern. /- Modern Hymnology. In this hymn much of the beauty of the first verse is lost by not having the two preceding stanzas which Keble wrote. The change from the natural to the spiritual world is exquisitely carried out — 'Tis gone, that bright and orbed blaze, Fast fading from our wistful gaze ; Yon mantling cloud has hid from sight The last faint pulse of quivering light. In darkness and in weariness The traveller on his way must press, No gleam to watch on tree or tower, Whiling away the lonesome hour. Sun of my soul ! Thou Saviour dear, It is not night if Thou be near : Oh ! may no earth-born cloud arise To hide Thee from Thy servant's eyes. In common with so many other poets, Keble tried his hand at a metrical version of the Psalms, which was published in 1839 \ He only added another to the list of failures. He himself had the wisdom to write, that it was "undertaken with a serious apprehension that the thing attempted is, strictly speaking, impossible." Ever fond of children, though withoul any of his own, he published, in 1846, Lyra Innocentium, Thoughts in 1 The PscUter or Psalms of David in E/nglish Vent* Keble s Hymns. i j$ verse on Christian Children, some of which are very beautiful. A few hymns by Keble appeared subse- quently in 1857 l ; such as the lovely Springtide hymn — " Lord, in Thy Name Thy servants plead, And Thou hast sworn to hear." (Ancient & Mod. 143 ; Church Hymns 141) and the well-known Marriage hymn — " The voice that breathed o'er Eden, That earliest wedding-day." (Ancient & Mod. 350; Church Hymns 241 ; Hymnal Comp. 454) 2 1 These came out in the Salisbury Hymnal. He also con- tributed some of the poems in Lyra Apostolica, under the signature y. Other hymns of his, often sung, are — " A living stream, as crystal clear." (Ancient & Mod. 213) altered from one of John Mason's Spiritual Songs (1683) be- ginning— " My soul doth magnify the Lord." "Hail, gladdening Light." (Ancient <& Mod. 18, see p. 10) " The year begins with Thee." (Hymnal Comp. 86) from the Christian Year, on The Circumcision. "Word supreme, before creation." (Ancient & Mod. 67 ; Church Hymns 164) 2 It may be well to note here that the hymns of Joseph Anstice have often been ascribed to Keble. Among them are — u Father, by Thy love and power." (Church Hymns 20; Hymnal Comp. 31) [•'Lord of 174 Modern Hymnology. A year later than John Keble, in 1793, was born a poet, whose Evening hymn has perhaps surpassed even his in popularity — the author of " Abide with me," Henry Francis Lyte. He was a native of Kelso, and was educated at Trinity College, Dublin, where he distinguished himself by writing several prize poems. He was ordained to a curacy in Ireland, and about four years after removed to Lymington in Hampshire, where some of his hymns were written. His health was always weak, yet he devoted himself to his parish duties and to his books. He had often to travel abroad. It was the same story when, in 1823, he went to the living of Lower Brixham in Devonshire, which he held until his death. His well-known hymns are mainly taken from his book, "Poems chiefly religious" 1833, and from another entitled, " The Spirit of the Psalms" 1834. Among them, are many of acknow- ledged beauty — "Lord of the harvest, once again." {Ancient db Mod. 387) "0 Lord, how happy should we be." (Ancient <>k a wry high degree at Oxford, and became Student of Christ Church. After gaining seYera] prises, he was made Professor of Classics in Kind's College, London; but died before he was thirty yean of age in i s 3i;. His hymns were pub- lished after his death. Henry Francis Lyte. 175 " Far from my heavenly home, Far from my Father's breast." {Ancient & Mod. 284; Church Hymns 358 ; Hymnal Comp. 135) The hymn for public worship — " Pleasant are Thy courts above, In the land of light and love." {Ancient & 3Iod. 240; Church Hymns 483; Hymnal Comp. 202) And— "Praise, my soul, the King of heaven, To His feet, thy tribute bring." {Ancient & Mod. 298; Church Hymns 484; Hymnal Comp. 522) 1 His daughter tells the story of the favourite of all — " Abide with me, fast falls the eventide." {Ancient & Mod. 27 ; Church Hymns 329 ; Hymnal Comp. 13) He returned from abroad to his parish, in 1847, weak and ill. In September, to the surprise of his family, he would preach once more. He was utterly unfit for it. The sermon was a very touching one on the Holy Com- 1 To these must be added — " God of mercy, God of grace." {Ancient & Mod. 218 ; Church Hymns 373) and "Jesus, I my cross have taken." {Hymnal Comp. 311) the latter often wrongly ascribed to Montgomery, as it appeared in the Christian Psalmist, and elsewhere. i/6 Modern Hymnology. amnion. He was evidently in the last stage of ex- haustion. The people listened breathlessly, as to a dying man. In the evening of the same day, he placed in the hand of a near relative that lovely hymn, with a tune of his own composing adapted to the words 1 . The second and last verses seem to receive a special force when we know this incident. Soon afterwards, he was taken south, and died at Nice, where he was buried. The prayer was granted to him w r hich he so beautifully expresses in the last verse of one of his later poems, called " Declining Days"— " Thou, whose touch can lend Life to the dead, Thy quickening grace supply; And grant me, swan-like, my last breath to spend In song that may not die 2 ." Perhaps no hymns of these later days have obtained a wider acceptance than the hymns of Charlotte Elliott. For some years she appears to have lived a very quiet and devoted life at Torquay. Many of her hymns were written in an arbour overlooking the beautiful bay. She had much practical sympathy with those who were in sickness or sorrow. Hence, the strong expression of 1 Mi mow*, by A. M. M. II. p. lii. 1 MuoeUaneoui Poems, 1SG8. Charlotte Elliott. 177 personal religion which characterises most of her hymns. She never married, and died, an aged woman, some few years ago, at Brighton 1 . How many have found comfort in their trouble from the hymn — "My God and (not 'my') Father, while I stray, Far from my home in life's rough way." {Ancient & Mod. 264; Church Hymns 432 ; Hymnal Comp. 337) with the refrain — "Thy will he. done." It appeared first in the Appendix to The Invalid's Hymn-book, 1835 2 . She published Hours of Sorrow cheered and comforted, in 1836, and Poems by C. E. in 1863. In these books are her well-known hymns — "Just as I am, without one plea, But that Thy blood was shed for me." {Ancient & Mod. 255 ; Church Hymns 408 ; Hymnal Comp. 138) and — a hymn of considerable power and beauty — " Christian, seek not yet repose ; Hear thy guardian Angel say." {Ancient & Mod. 269 ; Church Hymns 345; Hymnal Comp. 321) 1 The particulars about Charlotte Elliott were furnished me by one of her relatives. 2 She was the editor of the later edition (1854) of this book. P. 12 i yS Modern Hymnology. with the refrain "Watch and pray 1 ." There is one hymn writer to whom we owe much, and who went out from among us, with so many others, now nearly forty years ago — Frederick William Faber. Some of his beautiful hymns are spoiled by a strange sentimentalism ; some are good and noble poetry. Faber was one of a family distinguished in literature. He took his degree at Oxford in 1836, and very soon established his reputation as a poet. Ten years later, he went over to the Roman Catholic Church. He was well known for many years in London, especially at the Brompton Oratory, until his death in 1863. He also wrote many prose religious works, all of them somewhat mystical but strikingly poetical. The first edition of his Hymns was published at Derby, in 1848 ; and he afterwards added largely to their number. The two which have caught the popular ear are not by any means his best : — 1 These are also constantly sung — "Let me be with Thee where Thou art." {Cliurch Hymns 412; Hymnal Comp. 227) " My God, is any hour so sweet." (Ihnnnal Com]). 11) " Holy Saviour, Friend unseen." (Hymnal Comp. 326) "0 Thon, the contrite sinner's Friend." (Hymnal Comp. 139) Frederick William Fader. 179 " Paradise, O Paradise, Who doth not crave for rest?" {Ancient & Mod. 234 ; Church Hymns 473 ; Hymnal Comp. 475) and — "The pilgrims of the night" — "Hark, hark, my soul! Angelic songs are swelling." (Ancient & Mod. 223; Hymnal Comp. 366) This last, as Bishop Alexander quaintly puts it, " com- bines every conceivable violation of every conceivable rule with every conceivable beauty." But whatever its faults, it somehow finds its way to the hearts of Chris- tian people. Another favourite is the lovely Evening hymn — "Sweet Saviour, bless us ere we go; Thy Word into our minds instil." (Ancient & Mod. 28 ; Cliurch Hymns 30 ; Hymnal Comp. 25) We will only add that most solemn hymn for Good Friday— " come, and mourn with me a while, O come ye to the Saviour's side 1 ." (Ancient & Mod. 114; Church Hymns 122 ; Hymnal Comp. 170) 1 The refrain of this hymn — " Jesus, our Love, is crucified," should not, as in some Hymnals, be altered to " Jesus our Lord.'' It was founded on the saying of Ignatius in his letter to the Komans on his way to martyrdom—" I am full of desire to die for the sake of Christ. My Love has been crucified "—chap, vi i. These by Faber are also familiar — ["Have 12—2 i So Modern Hymnology. a hymn which, as Bickersteth well says, " can only be rightly sung when kneeling in thought by the Cross of Jesus." One name has already been very frequently men- tioned in these Lectures, that of John Mason Neale. He has probably had a greater influence on English hymnody than any other man in this century. He was born in London, in 1818, the son of a clergyman, and went to Trinity College, Cambridge. Ten times he gained the Seatonian prize poem, a feat without a parallel. After his ordination, he devoted himself unceasingly to ministerial and literary work. His power both as a poet and a linguist were remarkable. Besides his general works, his publications on the Eastern Church are of great value. He had unequalled power in translating hymns from other languages, retaining the force and fire of the original, and often the metre in which they were written 1 . We need only "Have mercy on us, God most high. 1 ' (Ancient db Mod. 162) "My God, how wonderful Thou art." {Amoimt a- Mod 169; Church Hymns ^33) 1 Most of these are found in Mediaeval HymtuemdSeqw 1st edition, L851) and Hynrnt of the Eastern church (1st edition, 18G3). The following, U being often Bung, may also he noted — "Christ is gone op; v. t ere He passed." Unci, nt a- Mod. 352; Church llymm 170) ["Draw John Mason Neale. 181 add two to the many already named. The popular hymn — " To the Name that brings Salvation Honour, worship, laud, we pay." (Ancient & Mod. 179 ; Cliurcli Hymns 536 ; Hymnal Comp. 523) which is a translation from a Latin hymn — Gloriosi Salvatoris nominis. of German origin in the 15th century. And a delightful little Evening hymn — " The day, O Lord, is spent, Abide with us, and rest." (Hymnal Comp. 21) from his Hymns for Children. Soon after his marriage, Neale became Warden of Sackville College, East Grinstead, where he remained and laboured for above twenty years, until his death in 1866. No mediaeval ''Draw nigh, draw nigh, Emmanuel." (Hymnal Comp. 56) {Ancient <£ Mod. 49 begins — "0 come, O come, Emmanuel.") from the Latin, probably, of the 12th century. " sons and daughters, let us sing." (Ancient & Mod. 130) also from the Latin of the 12th century. "Oh, what the joy and the glory must be." -n^^-^ (Ancient & Mod. 235 ; Church Hymns 476) O 4^* ** i^qJJU^ "Ye choirs of New Jerusalem." (Ancient & Mod. 125) from the Latin of S. Fulbert of Chartres, about 1000 a.d. 1 82 Modern Hymnology. research, no wandering among the strange ordinances and phantasies of the Eastern Church, ever drew John Mason Neale away from the pure simple faith in his Saviour, Jesus Christ. Doubtless, when we have concluded, some may well say — " We have heard nothing of such a well-known hymn, or of that great hymn-writer." We ought, as I pointed out, to avoid the risk of a mere list of names or a bare catalogue of hymns. And yet, before we turn to our two last hymn-poets, I will run that risk by simply mentioning six or seven of the best known hymns of this century and their authors. " Our blest Redeemer, ere He breathed His tender last farewell." (Ancient & Mod. 207 ; Church Ilymns 481 ; Hymnal Comp. 253) was written by Harriet Auber, who was born in London. It occurs in her work, The Spirit of the Psalms, 1829. The Missionary hymn — " Thou Whose almighty word Chaos and darkness heard. - ' (Ancient & Mod. 360; Church Hymns 528 ; Hymnal Comp. 118) was written in 1813 by Rev. John Marriott, a clergy- man in Warwickshire. The will-known Litany hymn — "Lord, in this Thy mercy's (lay, Ere it pass for aye away." (Ancant .1- Mod, 94; Church Hymns 419; Hymnal Comp. 488) Isaac Williams. 183 is by Rev. Isaac Williams of Oxford, the author of so many beautiful sacred pieces. This is a portion of his long poem, The Baptistery 1 . "The roseate hues of early dawn The brightness of the day." {Ancient & Mod. 229 ; Church Hymns 514 ; Hymnal Comp. 313) by Cecil Frances Alexander, wife of the bishop of Deny, and the composer of so many delightful children's hymns 2 . 1 The Baptistery was published in 1842. Isaac Williams was born in 1802 ; he became Fellow of Trinity College, Oxford, and afterwards Rector of Bisley. He died in 1865. Mention has already been made (see p. 108) of — "Disposer Supreme." He also wrote — " heavenly Jerusalem, Of everlasting halls." (Ancient & Mod. 429) founded on the Latin hymn in the Paris Breviary — Caelestis Jerusalem. "Morn of morns and day of days." (Ancient & Mod. 33) and " Great Mover of all hearts, Whose hand." (Ancient & Mod. 262) also both on Latin hymns in the Paris Breviary. 2 Especially in her excellent Hymns for Little Children, pub- lished in 1848. Very familiar also are these — "Jesus calls us, o'er the tumult." (Ancient & Mod. 403; Church Hymns 404; Hymnal Comp. 318) ["When 184 Modern Hymnology. " 1 heard the voice of Jesus say. Come unto Me and rest." {Ancient <£• Mod. 257; Church Hymns 388 ; Ilymnal Comp. 267) by Dr Horatius Bonar of the Free Church of Scotland. It is in his first Series of Hymns of Faith and Hope under the heading, " The Voice from Galilee 1 ." Lastly — " Onward, Christian soldiers, Marching as to war." (Ancient & Mod. 391 ; Church Hymns 480; Hymnal Comp. 322) "When wounded sore the stricken soul." (Ancient dc Mod. 183; Ilymnal Comp. 121) and these for children — "Once in royal David's city." (Ancient d: Mod. 329; Church Hymns 576; Hymnal Comp. 414) "There is a green hill far away." (Ancient & Mod. 332; Church Ilymns 577; Hymnal Comp. 420) "We are but little children weak." (Ancient & Mod. 331 ; Church Hymns 579) 1 The 1st Series came out in 1857; a 2nd and 3rd Series have since appeared. In them are also the following — "A few more years shall roll." (Ancient & Mod. 288; Church Ilymns 328; Ilymnal Comp. 82) " I lay my sins on Jesus." (Ilymnal Comp. 144) "I was a wandering sheep." (Ann., it dt Mod. 258; Ilymnal Comp. 141) " The Church has waited long." (Church Ilymns 508; Uymind Cmip. 61) "Thy way, not mine, O Lord." (Anchnt ± M>d. 265; Church Ilymns 533; Ilymnal Comp. 467) John Henry Newman. 185 a hymn, which Arthur Sullivan's spirited tune has done much to make popular. It is by Rev. Sabine Baring- Gould, and first appeared in I860 1 . The two hymn-poets, whom I have reserved to the last, are John Henry Newman and Frances Ridley Havergal. Cardinal Newman has made his mark upon his generation. The time has not yet come to form the story of his life. He has himself supplied consider- able material in his Apologia, which he put out some years ago 2 . He was born in the city of London in 1801, the son of a banker. From his very school-boy days, he was a poet and a musician. In the examinations at Oxford, he did not take the high position expected of him ; while his brother Francis was a double first. But in 1823, he was elected a Fellow, and, the year after, a Tutor of Oriel College, and was thrown into that society whose members made such a stir in the religious world. With these and their movement, we have here nothing to do. For years, Newman's influence at Oxford was immense. In 1832, a change was coming over him as well as over the religious world around. Doubt and gloom hung before him. He gave up his college duties, 1 To him is also due — "Through the night of doubt and sorrow." {Ancient & Mod. 274; Church Hymns 532 ; Hymnal Comp. 341) from the Danish of Bernhardt S. Ingemann. 2 Apologia pro vita sua, 1864. 1 86 Modem Hymnology. he tells us, and went abroad with his friend, Hurrell Froude. During that expedition, were written the Verses which afterwards appeared in Lyra Apostolica. They were begun in Eome. The next year, Newman caught a fever while travelling in the interior of Sicily. Dangerously ill, and often despondent, he yet felt, he says, that he should not die. He told his servant — " I have a work to do in England." He was kept a week at Palermo waiting for a vessel. At length, he got off in an orange boat going to Marseilles. They were be- calmed a whole week in the Straits of Bonifacio. There it was he wrote the hymn — "Lead, kindly Light, amid the encircling gloom." {Ancient & Mod. 266; Church II i/mns 409; Hymnal Camp. 18) with which we are all so familiar. No one can read the lines, and not see how much the writer was affected by all the circumstances in which he was placed. " Lead, kindly Light" was first published in the British Magazine, and in 183G in Lyra Apostolica, under the heading "The Pillar of the Cloud," and with the note "At sea, June 1G, 1833 1 ." Another favourite hymn, by Newman, is — "Praise to the Holiest in the height, And in the depth be praise." (Ancunt db Moil. 172; Church Hymns 487) 1 Also in a Collection entitled Veraet on Various Ocoationty 1 86a Frances Ridley Havergal. 187 It occurs in a mystical, but in parts very beautiful, poem, called The Bream of Gerontius, published in 1856. It purposes to be the experience of the soul of Gerontius after death. The hymn is a selection from many stanzas, which are sung by five successive choirs of angels or " angelicals." On his return from Italy, Newman threw himself into the troublous waves of that great religious move- ment. Other storms, borne by other winds, have arisen since then. It was not till 1845, that he joined the Roman Catholic Church. It was evident to some that he had been long drifting away. At length the strain became too great. The cables broke and he went. The hymns of few writers have come so rapidly and deservedly into use and notice as those of Frances Ridley Havergal. She was born in 1836, at Astley in Worcestershire, of which place her father was the rector. It was from her father, the well-known author of Havergal's Psalmody, that she inherited her remark- able poetical and musical talents. She wrote verses at the early age of seven. Her memory was astonishing. She knew by heart the New Testament, the Psalms, and much of the Old Testament. It is said, that she could play through Handel and much of Beethoven and Mendelssohn, without notes. Her poetical inspira- tion was singular. At times, she could scarcely produce verses at all. At others, they sprang up, as it were, 1 88 Modern Hymnology. unbidden and unsought. "I have not had a single poem come to me for some time," she writes in 1868, " till last night, when one shot into my mind. All my best have come in that way." The details of her private life are scarcely adapted to our subject. Her life was the outcome of a singularly beautiful character; a character animated by a great love for those around her and above all for her Divine Master 1 . Some of her expressions, both in prose and verse, might seem too high-flown, too emotional for this plain work-day life ; but they have the true Christian tone about them. Concerning her hymns, we note the curious fact, that there are more of them in Hymns Ancient and Modern than in the two other Hymnals to which we refer. Though they have points of weakness here and there, some of these hymns are very beautiful, and doubtless they will live. Such are the Advent hymn — " Thou art coming, my Saviour, Thou art coming, O my King." (Anci&nt a- Mod, 203; Hymnal Comp. 71) " Lord, speak to me, that I may speak In living echoes of Thy tone." ami — tf&Mod. 356; Hy mn al Comp. 316) "I could not do without Thee, O Saviour of tin; lost." I I US Mod 18G. // i •■' >.'»/> 137) 1 Compare Memorial* cf Franca Ridley //■><■. ryol,by M. V. G. H. "I gave My Life for thee:' 189 The last verse is worth quoting — " I could not do without Thee, For years are fleeting fast, And soon in solemn loneness The river must be passed; But Thou wilt never leave me, And though the waves roll high, I know Thou wilt be near me, And whisper, 'It is I'. 1 " I have a little theory about this one of her hymns — " I gave My Life for thee, My precious blood I shed 2 ?" (Ancient & Mod. 259; Church Hymns IBS; Hymnal Comp. 304) It will be remembered 3 , that Count von Zinzendorf, the head of the Moravian body, said that he was led to devote himself to God by the sight of a picture in the 1 Besides those in the text, the two following are very popular — " Saviour, precious Saviour, Whom yet unseen we love." (Ancient & Mod. 307) "To Thee, Comforter Divine." (Ancient _4: he was a physician who afterwards became a Jesuit priest. Some of his hymns were translated by John Wesley. This translation is by Miss Winkworth {Lyra Germanica, ii. 96). "Jerusalem on high My Bong and city is." ( Ancient d Mod 233-, Church Hymns 394; Hymnal Comp 363) part of a poem beginning — "Sweet place, sweet place alone, The court of God most Sigh." Appendix. 195 written by Samuel Crossman, a Canon of Bristol Cathe- dral, born in 1624 : this first appeared in The Young Mans Calling, with Divine Poems, 1664. " Come, gracious Spirit, heavenly Dove, With light and comfort from above." (Ancient & Mod. 209 ; Hymnal Comp. 245) an altered form of a hymn of seven verses — "Come, Holy Spirit, heavenly Dove." written by Simon Browne in Hymns and Spiritual Songs, 1720. He was born at Shepton Mallet in 1680, and became minister of the Independent Chapel in Old Jewry, London. "Christians, awake, salute the happy morn." (Ancient & Mod. 61; Church Hymns 77; Hymnal Comp. 76) by John Byrom, born near Manchester in 1691. He be- came Fellow of Trinity College, Cambridge, and F.R.S. He wrote many poems, one of which was inserted in The Spectator for October 6, 1714. "Who are these, like stars appearing, These, before God's Throne who stand?" (Ancient & Mod. 427; Church Hymns 554; Hymnal Comp. 360) from the German of Heinrich Theobald Schenk — Wer sind die vor Gottes Throne. 13—2 1 96 Appendix. He was master of a school, at Giessen in Hesse, and died in 1727. The translation is by Miss Frances E. Cox, Sacred Hymns from the German, 1841. " Jesus lives ; no longer now Can thy terrors, Death, appal us." (Ancient f Jubilee. . Hark ! the sound of holy voices . Save mercy, Lord, <>n me . I [ave mercy on as, I led mosi 1 1 i,L, r h ll- gone. See \\ here 1 [is body lay . I [ead of the Church triumphant High let us swell our tuneful notes 148, ellim 20; si ISO I i:» L28 106 Index of Hymns. 2 '3 Holy, Holy, Holy, Lord God Almighty Hosanna to the living Lord How are thy servants blest, Lord . How blessed Thy creature is, God . How bright appears the Morning Star How bright these glorious spirits shine How sweet the Name of Jesus sounds Hues of the rich unfolding morn I could not do without Thee I gave My Life for thee I heard the voice of Jesus say I lay my sins on Jesus I praised the earth in beauty seen I was a wandering sheep I'll praise my Maker while I've breath In evil long I took delight . In the hour of trial . In the Lord's atoning grief . In the midst of life we are in death In token that thou shalt not fear It came upon the midnight clear It was the winter wild Jerusalem, my happy home Jerusalem, my happy home Jerusalem on high Jerusalem the golden . Jesu, Lover of my soul Jesu, meek and gentle Jesu, still lead on Jesu, the very thought is sweet Jesu, the very thought of Thee Jesu, Thou joy of loving hearts Jesu, Thy blood and righteousness Jesu, Thy mercies are untold 2I 4 Index of Hymns. Jesus calls us, o'er the tumult Jesus Christ is risen to-day Jesus, I my cross have taken Jesus, I will trust Thee Jesus lives ! no longer now . Jesus, my Lord, how rich Thy grace Jesus my Redeemer lives Jesus shall reign where'er the sun Jesus, where'er Thy people meet Joy to the world, the Lord is come Just as I am, without one plea . PAGE 183 126 175 190 196 106 69 99 137 100 177 King of Saints, Almighty Word W.£.0il*4c^Axs*'Mi 8 Lead, kindly Light .... Lead us, heavenly Father, lead us Let me be with Thee where Thou art . Let our choir new anthems raise Let this our solemn Feast . Let us with a gladsome mind Light's glittering morn bedecks the sky Lo ! God is here ; let us adore Lo ! He comes with clouds descending Lo ! He cometh, countless trumpets . Lo ! the angels' Food is given Lord, as to Thy dear Cross we flee Lord, her watch Thy Church is keeping Lord in this Thy mercy's day Lord, in Thy Name Thy servants plead Lord, it belongs not to my care . Lord Jesus, think on mo Lord of mercy and of might Lord of the harvest, once again Lord of the Sabbath, hear us pray Lord of the worlds above Lord, pour Thy Spirit from on high 4-W.cl^f*6L> 186 199 178 28 48 7o 20 118 124 124 48 201 205 1 82 173 77 14 163 174 106 L00 149 Index of Hymns, 215 Lord speak to me that I may speak Lord, teach us how to pray aright Lord, Thy word abideth Lord, when we bend before Thy Throne Love Divine, all love excelling Maker of all things, God most High May the grace of Christ our Saviour Morn of morns and day of days . Much in sorrow, oft in woe My God and Father while I stray My God, and is Thy table spread My God, how wonderful Thou art My God, is any hour so sweet My God, I love Thee, not because My God, now I from sleep awake My God, the spring of all my joys My soul doth magnify the Lord . Nearer, my God, to Thee New every morning is the love . Not all the blood of beasts . Now, gracious Lord, Thine arm reveal Now I have found the ground wherein Now it belongs not to my care . Now, my soul, thy voice upraising Now, my tongue, the mystery telling Now thank we all our God Now that the daylight tills the sky Q***- &>.<*"/ Now the labourer's task is o'er . O bless the Lord, my soul . O Brightness of the Eternal Father's face O Christ who hast prepared a place . O come, all ye faithful O come and mourn with me a while . • .:. :/ . 2l6 Index of Hymns. PACK O come, come, Emmanuel 181 O come, Redeemer of mankind, appear . . . .20 day, most calm, most bright .70 day of rest and gladness 203 O for a closer walk with God 13<"> O for a heart to praise my God 128 O for a thousand tongues to sing 129 God of Bethel by whose hand 106 O God of hosts, the mighty Lord 80 O God of Jacob, by whose hand 100 O God, our help in ages past 98 O happy band of pilgrims 28 O happy day that fixed my choice 10(5 O heavenly Jerusalem 183 O help us Lord ; each hour of need 166 O Holy Saviour, Friend unseen 178 O Jesu, King most wonderful ,34 O Jesu, Lord of heavenly grace (. SjliW^ $^***\\ .OfW^vlO O Jesu, Thou art standing . ( ) Jesu Thou the Beauty art O let him whose sorrow O Lord, another day is flown O Lord, how happy should we be O Lord, how joyful 'tis to see O Lord of heaven and earth and Be* O Lord most High, Eternal King^ft&.->nA 1$4 O Lord, our languid souls inspire O Lord turn not Thy face away . () Love divine, how sweet thou art o Love, Who formedat me to wear O -Morning Star, how fair and bright O Paradise, O Paradise () sacred Head, surrounded . () Saviour, is Thy promise lied . ( ) Saviour, precious Saviour () Saviour, who for man hast trod )hvtU^, 200 34 198 L56 174 108 203 ID 1 39 194 1-21 104 65 170 84 tea 1 89 109 Index of Hymns. 217 O sons and daughters, let us sing Spirit of the living God . Thou, from Whom all goodness flows Thou, the contrite sinner's Friend . Thou, to Whose all-searching sight . Trinity, most blessed Light / 6/** ^e*^W, O, what the joy and the glory must be where shall rest be found Word of God Incarnate . worship the King Of the Father's love begotten Oft in danger, oft in woe On Jordan's bank the Baptist's cry On the mountain's top appearing Once in royal David's city . Onward, Christian soldiers . Our blest Redeemer, ere He breathed Our day of praise is done . Our God, our help in ages past . Out of the depths I cry to Thee . ^vk>W«- PAGE 181 150 197 178 119 19 181 150 206 165 22 156 108 145 184 184 182 208 98 57 Palms of glory, raiment bright . Pleasant are Thy courts above . Pour out thy Spirit from on high Praise, my soul, the King of heaven Praise, O praise our God and King Praise the Lord through every nation Praise to the Holiest in the height Prayer is the soul's sincere desire 150 175 149 175 75 150 186 151 Redeemer of the nations, come 20 Rejoice to-day with one accord 55 Ride on ! ride on in majesty 166 Rock of ages, cleft for me 132 Round the Lord in glory seated 158 2l8 Index of Hymns. Safe home, safe home in port Salvation, the joyful sound Saviour, again to Thy dear Name we raise Saviour, Blessed Saviour Saviour, breathe an evening blessing Saviour, when in dust to Thee See the Conqueror mounts in triumpl See the destined day arise . Servant of God, well done . Shepherd Divine, our wants relieve Sing Alleluia forth in duteous praise Sing, my tongue, the glorious battle Sing, my tongue, the Saviour's glory Sing we triumphant songs of praise Soldiers of Christ, arise Sleepers wake, a voice is calling . Sometimes a light surprises Son of Man, to Thee I cry . Songs of praise the Angels sang . Speed Thy servants, Saviour, speed th Spirit of truth on this Thy day . Stand up and bless the Lord Stars of the morning, so gloriously bright Sun of my soul, Thou Saviour dear Sweet day, so cool, so calm, so bright Sweet flowerets of the martyr band Sweet is the work, my God, my King Sweet Saviour, bless us ere we go Sweet the moments rich in blessing Ten thousand times ten thousand That day of wrath, that dreadful day The Advent of our King The < Ihurob has waited Long The Church's one foundation The day is past and over Index of Hymns. 219 The day, O Lord, is spent . The day of Resurrection The eternal gifts of Christ the King The God of Abraham praise The God, Whom earth and sea and sky The great forerunner of the morn The Head that once was crowned with thorns The heavenly Child in stature grows The heavenly Word proceeding forth The King of love my Shepherd is The Lord my pasture shall prepare The Lord of might from Sinai's brow The people that in darkness sat . The radiant morn hath passed away The roseate hues of early dawn . The Royal banners forward go . The Royal banner is unfurled The Son of God goes forth to war The spacious firmament on high . The strain upraise of joy and praise The strife is o'er, the battle done The sun is sinking fast The voice that breathed o'er Eden The world is very evil . The year begins with Thee . The year is gone beyond recall . Thee we adore, hidden Saviour, Thee There is a blessed home There is a book, who runs may read There is a fountain filled with blood There is a green hill far away There is a land of pure delight . Thine for ever ! God of love This is the day the Lord hath made Those eternal bowers . Thou art coming, my Saviour . 220 Index of Hymns. Thou art gone to the grave . Thou art gone up on high . Thou'rt mine, yes, still thou art mine own Thou art the way ; to Thee alone Thou hidden love of God, whose height Thou Judge of quick and dead . Thou, Whose Almighty word Through all the changing scenes of life Through the day Thy love has spared us Through the night of doubt and sorrow Thy life was given for me . Thy way, not mine, O Lord 'Tis gone, that bright and orbed blaze To bless Thy chosen race To-morrow Lord is Thine . To the Name that brings salvation To Thee, Comforter Divine To Thy temple I repair Vital spark of heavenly flame Wake, awake, for night is flying . We are but little children weak . We give Thee but Thine own We love the place, God . We saw Thee not when Thou didst come We sing the praise of Him Who died . Weary of earth and laden with my sin We've ii" abiding city here . What are these in bright array . What star is this, with beams BO bright What various hindrances we meet When all Thy mercies, () my God When gathering clouds around 1 view When God of old came down from heaven When I can read lny title clear . Index of Hymns. 221 When I survey the wondrous Cross When languor and disease invade When our heads are bowed with woe . When rising from the bed of death When wounded sore the stricken soul When through the torn sail Where high the heavenly temple stands While shepherds watched their flocks by night Who are these like stars appearing Why should I fear the darkest hour . Word Supreme, before creation . Ye boundless realms of joy . Ye choirs of Xew Jerusalem Ye holy angels bright . Ye servants of the Lord Yesterday, with exultation . Your harps, ye trembling saints PAGE 98 133 167 84 184 163 111 80 195 139 173 81 181 78 105 37 132 LATIN HYMNS Adeste fideles 201 Adoro Te devote, latens Deitas . . . 47 ^Eterna Christi munera 20 iEterne rerum conditor 19 .Eterne Rex, Altissime 19 Alleluia, dulce carmen 49 Alleluia perenne 50 Aurora lucis rutilat . 20 Cantemus cuncti melodum 29 Coelestis urbs, Jerusalem . . . . % . 74 183 Corde natus, ex Parentis 22 222 Index of Hymns. PAGE Dies irrc, dies ilia 39, 64 Ecce panis angelorum 48 Finita jam sunt prcelia 207 Gloria, laus et honor Tibi 28 Gloriosi Salvatoris nominis 181 Hie breve vivitur 36 Heri mundus exultavit 37 Hora novissima 36 Hymnum canamus gloriae 25 Hymnura canentes martyrum 25 Jam lucis orto sidere 19 Jam surgit hora tertia 19 Jesu, dulcis memoria .34 Lauda Sion salvatorem 48 Lucis largitor splendide 21 Lustra sex qui jam peregit 157 O bona patria 36 O Deus ego amo Te 193 O Lux beata, Trinitas 1!) O sola magnarum urbium . . . . . . .22 Pange lingua gloriosi lauieam certaininia .... 157 Pange lingua gloriosi prcelium certaminifi . . . 84, L57 Pange lingua gloriosi Corporis in vstrrium .... 47 Precursor altus luminis i'"> Quam dispectus, quam dejectus 38 Quern terra, pontus, sethera 24 Bacrifl Bolemniis junota sint gaudia ..... 48 Index of Hymns. 223 Salve Caput cruentatum Salvete flores martyrum Splendor Paternee glorias Stabat Mater dolorosa Surrexit Christus hodie Te lucis ante terminum Urbs beata, Jerusalem Urbs Syon aurea Veni, Creator Spiritus Veni, Eedemptor gentiiun Veni, Sancte Spiritus . Verbum supernum prodiens Vexilla Kegis prodeunt GERMAN HYMNS Aller Glaubigen Sammelplatz Aus tiefer Noth schrei ich zu Dir Befiehl du deine Wege Christi Blut und Gerechtigkeit . Du bist zwar mein und bleibest mein Ein' feste Burg ist unser Gott Es ist gewisslich an der Zeit Gott ist gegenwartig ! lasset uns anbeten Jesu, geh voran Jesus lebt mit Ihm auch ich Jesus, meine Zuversicht Ich habe nun der Grund gefunden 224 Index of Hymns. Liebe die du mich zum Bilde Nun danket alle Gott .... Xun freut euch, lieben Christen gemein Haupt voll blut und wunden . Seelen Briiutigam, du Gotteslamm . Verborgne Gottes Liebe, Du Verzage nicht, du Hiiuflein klein Wai liet auf, ruft uns die Stimme We nn in Leidenstagen W( r sind die von Gottes Throne Wie Bchon leuchtet der Morgenstem . PAGE 194 68 56 34 119 119 67 65 198 196 65 GENERAL INDEX. Adam of S. Victor, 37, 107 Adams, Sarah, 201 Addison, Joseph, 81 Alexander, Bishop, 48, 179 Alexander, C. F. 183 Alford, Dean H. 202 Alleluiatic Sequence, 29 Allen, James, 198 Alteration of hymns, via, L52 Ambrose, 16 Ambrosian hymns, 20 Anatolius, 22 Andrew of Crete, 193 Angelus Silesius, 194 Anstice, Joseph, 173 Aquinas, Thomas, 47 Aratus, 45 Arians, 13, 15 Arnold's Compleat Psahnodi&t, 126 Athenogenes, 10 Auber, Harriet, 182 Augustine, 17, 19, 46 Baker, Francis P. 72 Baker, Sir H. W. 75, 204 Bardesanes, 11 P. Baring-Gould, S. 185 Basil of Ccesarea, 9 Baxter, Richard, 76 Bede, Venerable, 24 Bernard of Clairvaux, 33 Bernard of Clugny, 36 Bohemian Brethren, 112 Bonar, Horatius, 184 Bonaventura, 37 Brady, Nicholas, 80 Breviary, Paris, 40, 107 Breviary, Boman, 50, 74, 107, 157 Breviary, Sarum, 32, 49 Bridges Matthew, 202 Browne, Simon, 195 Bruce, Michael, 111 Bullock, Dean W. 200 Bunsen's Gesangbuck, 65, 114, 198 Byrom, John, 195 Cameron, William, 111 Carlyle, J. D. 153 Caswall, Edward, 204 Cennick, John, 124 Charlemagne, 32 15 226 General Index. Christian year, 168 Chrysostoni, 13 deanthes, 45 Codex Alexandrians, 10 Coffin, Charles, 107 Collyer, W. B. 64 Conder, Josiah, 199 Cooper, Edward, 200 Corpus Christi, Festival of, 47, 48 Cosin, Bishop, 32 Cowper, William, 133 Crossman, Samuel, 194 Dickson, David, 72 Dies Ira?, 39, 64 Dix, W. C. 208 Doane, Bishop, G. W. 200 Doddridge, Philip, 103 Downton, Henry, 205 Dryden, John, 33 Eber, Paul, 114 Eddis, E. W. 10 Edmeston, John, 199 Ellerton, John, 208 Elliott, Charlotte, 176 Ephrem the Syrian, 11 Faber, F. W. 178 Feith, Khijnvis, 150 Flowerdew, Alice, 198 Fortonatus, Venantius, -j:;, L57 Fulbert of ( Shartn b, 181 Fuller-Maitland, F. L56 Gaskell, William, 5 I Gellert, C. F. 196 Gerhardt, Paul, 34, 69 Godescalcu Goethe, 40 Gould, S. Baring, l s "> Grant, sir EL 164 Gregory Xazianzen, 14 Gregory the Great, 32 Gurney, J. H. 201 bavus Adolphus, 66 Hadrian, Emperor, 102 Hallam, 51, 75 Hallel, Great, 4 Harmonius, 11 Havergal, F. R. 1S7 Haweis, Thomas, 197 p, Bishop, L58 Herbert, George, 70 Hilary, 21 Hopkins. John, 60 How, Bishop Walsham, 2 Hupton, J oh, i Hymn, definition of, 46 Hymnals, 1(54 Hymnary, Roman, 50, 107 Hymnody, English, Jewish, 5 Hymns, alteration of, L59 ; Arian, 13, 15; Ambrosian, 20; distinguished from • 6, 16 ; earliest christian, 7 ; ()hn;..i:::,;\\ 99,118 Ignatius, L79 mi. B. S. 185 Iron-, W. .1. 39 General Index. 227 Jacobus de Benedictis, 38 Jacopone da Todi, 38 John Damascene, 25 Johnson, Dr, 77, 94, 104 Joseph of the Studium, 28 Keble, John, 10, 167 Kelly, Thomas, 144 Ken, Bishop, 86 Kethe, William, 63 Kingsley, Charles, 14 Moravians, 112, 121, 146 Morrison, John, 111 Neale, J. M. 180 Newman, Cardinal, 185 Newton, John, 39, 135 Nicolai, Philip, 64 Notker, 30 Oakeley, Frederick, 38, 201 Olivers, Thomas, 125, 129 Oswald, H. S. 198 Legenda 3/onastica, 41 Logan, John, 111 Louisa Henrietta, 69 Luther, Martin, 51, 69 Lyra Apostolica, 10, 173, 186 Lyra Lniwcentiicm, 172 Lyte, H. F. 174 Macaulay, 82 Madan, Martin, 124 Maitland, F. Fuller, 156 Mant, Bishop, 38, 156 Marckant, John, 194 Marot, Clement, 58 Marriott, John, 182 Marvell, Andrew, 85 Maude, M. F. 208 Maxwell, Clerk, 77 Methodius, 14 Methodists, 116 Milman, Dean, 161, 165 Milton, John, 74 Montgomery, James, 146, 152, 175 Palmer, Bay, 34 Paraphrases, 110 Paris Breviary, 40, 107 * Perronet, Edward, 197 Pliny the younger, 6 Pope, Alexander, 102 Pott, Francis, 207 Prayer Book, 32, 50 Prose, 30, 39 Prudentius, 21 Prynne, G. B. 205 Psalm, definition of, 46 Psalms, Marot's, 59 ; New Ver- sion of, 79, 105 ; Old Version of, 60, 74, 109, 194 Psalter, Daye's, 60 ; Sarum, 49, 162; Scotch, 62, 109 Bingwaldt, Bartholomew, 63 Binkart, Martin, 68 Bobert II. of France, 31 Roman Breviary, 50, 74, 107, 157 Rothe, J. A. 119 228 General Index. Santeuil de, Claude, 108 Santeuil de, J. 13. 107 Santolius Maglorianus, 108 Santolius Victorinus, 107 Sarum Breviary, 32, 49 Sarum Missal, 29, 39, 49 Sarum Psalter, 49, 162 Scheffler, Johann, 194 Schenk, II. T. 195 Scotch Psalter, 62, 109 Scott, Sir Walter, 39, 109, 110, 158 Scars, E. H. 202 Selborne, Lord, x. 3, 71, 72 Septuagint, 45 Sequence, 30, Alleluiatic, 29, Golden, 30 Shirley, Walter, 198 Songs, spiritual, G, 46 Southey, 155 Spectator, The, 82, 84, 195 Stabat Mater, 38, 157 Steele, Anne, 196 Steele, Richard, 102 Stephen the Sabaite, 28 Sternhold, Thomas, 60 Synagogue worship, 5 Synusius, 14 Tate, Nahum, 79 Te Deum, 20 Telesphorus, L0 Tersteegen, ( lerhard, 1 18 Theodulph, 29 Thirty rears 5 War, 66 Thomas Aquinas, 47 Thomas of Celano, 39 Thring, Godfrey . Toke, Emma, 206 Toplady, A. M. 131 Trajan, Emperor, 6 Twells, Henry, 208 Venantius Fortunatus, 23, 157 Yeni Creator, 33 Version, New, 79, 105 ; Old, 61, 74, 109, 194 Watts, [saac, 94 Wesley, Charles. 96, 116, 122 Wesley, John B. 70, 99, 115, 131, 152 Wesleys' Collection of Hymns, 99, 118 Whateley, Archbishop, L62, 169 White, 11. K. 155 Whitefield, George, 1 L6, 121,129 Whiting, William, 206 Williams, [saac, 183 Williams, William, L97 Woodford, Bishop, 47 Wordsworth, Bishop, 203 Xavicr, Francis, L93 Zinzendorf, ( louni \ron, 1 12, 1 17, 121, L89 i am inn in, i.: FBIHTID BT C. J. CLAY, M.A. 4 OK, AT THJ I RI1 BBB11 I