Part 3
It is a very difficult task to translate these old Latin hymns; much is lost by the translation. It is not an easy matter to construct a bridge between the great glow of St. Bernard’s mysticism and the powerful, yet cold faith of the seventeenth century. If “Jesu dulcis memoria” was not written by St. Bernard, it must have been written by one of his devout pupils. We are here at the very fountain-head of Christian poetry, so closely related to the Song of Solomon, i. e., it presents the relation of the faithful to Christ—the love of the bride to the bridegroom. From this circle came the great hymn “O Sacred Head, now wounded,” translated and perfected by Paul Gerhardt.
No wonder that the schools and cathedrals clung so tenaciously to the old Latin hymnody. It exerted great influence. Too bad, indeed, that we have permitted this Latin song to become extinct. Perhaps our taste in things religious would not have declined so low, and religious song would not have come to be despised so generally, had our good leaders realized that there are better things than American jazz.
MEDIAEVAL GERMAN HYMNS
Along with this Latin-clerical church song there existed in the Germanic mediaeval Church a religious popular poetry or congregational song. Under the hierarchic autocracy of the Gregorian song it had gone so far that the active participation of the congregation in public worship was reduced to a joining only in the response Kyrie Eleison (Lord have mercy upon us), repeated one hundred or more times at any one church service. But in the sad tones of this Kyrie Eleison, this cry for compassion from a people spiritually oppressed and enslaved, there emerged in the Germanic mediaeval Church the first attempts at congregational song in the vernacular. At the close of the ninth century they began to supply the tune of the mechanically repeated Kyrie Eleison with religious verses in the language of the people. Every verse of these songs ended with the refrain Kyrie Eleison. Thus arose the first German church hymns called Kirleison or Leisen, as they had grown out of and ended with the Kyrie Eleison.
In the twelfth and thirteenth centuries, when significant religious awakenings and the Crusades (1096-1273) stirred up great enthusiasm among the people, these German hymns took on new life and gained great favor among the people. These religious songs of the people were used more and more freely both in public worship and at other religious and secular festive occasions. Some of these mediaeval German hymns or Leisen are: Also heilig ist der Tag; Mitten wir im Leben sind; Christ ist erstanden; Nun bitten wir den heiligen Geist. One of the best of these Leisen is,
Christ ist erstanden Von der Marter Banden, Des sollen wir alle froh sein, Christ will unser Trost sein, Kyrie Eleison.
But even though the people sang these hymns in the church services, such singing was merely tolerated and had no set place. These German hymns of the people were different from the Latin hymns of the cloisters. They possess a more simple, popular and hearty key-note, though their form may be poor and their style rugged. But these hymns, with their singable tunes, were greatly loved by the people, and so they lived and thrived in the hearts of the common people during the deplorable times and conditions of the mediaeval Church. The secular Minnesingers (thirteenth century) and the Meistersingers (fourteenth century) exerted considerable influence upon German hymnody, especially with respect to poetic form and music. In the fourteenth and fifteenth centuries the “Brethren of the Common Life” (Netherlands) and the significant religious movements associated with John Wycliffe and John Huss gave to hymnody in the vernacular a powerful revival and a purer evangelical content. Desirable Latin hymns were translated and new hymns in the vernacular were written. The Germans and the Bohemians possessed, before 1500, about five hundred church hymns in the vernacular. In the fifteenth century the Bohemians sang these hymns in the regular church services.
MEDIAEVAL SCANDINAVIAN HYMNODY
Because of the close connection which existed in mediaeval times between Germanic countries and peoples,—a natural outcome of their racial affinity,—it was quite natural that the movements of mediaeval hymnody in Germany would become known among the people of the North. The Swedish mediaeval Church possessed a hymnody both in Latin and in Swedish. Only a very few of the Swedish mediaeval religious songs remain to-day. These popular religious songs, like secular folk songs and ballads, were transmitted not in writing but as a living tradition on the lips of the people from generation to generation. Thus only very few of these old Swedish religious songs have survived the century of the Reformation. By way of example we may note the old mediaeval song, “The blessed day which we behold”—this is found in all Swedish Lutheran hymn books. It existed in the fourteenth century. In its present form it has been greatly improved by the greatest of Swedish hymnologists, J. O. Wallin. Ericus Olai is the only known Swedish hymn writer of mediaeval times. One of his hymns, “The Rich Man,” a metrical paraphrase of the Gospel lesson which deals with the rich man and Lazarus, Olaus Petri, the great Swedish reformer, included in the first Swedish Lutheran hymn book. It was also included in the Swedish Lutheran hymn book of 1695. An interesting and valuable testimony concerning the fact that also in the Swedish mediaeval Church the people were allowed to sing in public worship, is found in the answer that King Gustavus I gave to the complaint of the Dalecarlians, in 1527. Among other things, the king says that “it is an old custom in our country, in our churches, to sing in Swedish and praise God, and it is well that this is done in our own language, which we understand, and not in Latin, which we do not understand.”
THE SEQUENCES
The Sequences were religious liturgical songs, which developed from the florid vocalizations upon the last syllable of the Hallelujah. At first only a melody or tune with words, but later on it became an art form both in music and in sacred poetry. Musically often of finer quality than the hymn. The Sequences usually consisted of two verses, three lines to each verse, with the same melody for each of the two verses. The form seems to have originated at the convent of St. Gall in Switzerland, about 875 A. D. During the later part of the mediaeval era the Sequences became very popular, and the number of Sequences that were sung in the Catholic Church reached nearly one thousand. The church music decisions of the Council of Trent (1545-1563) operated very strongly against the Sequences, and so they practically disappeared about 1570. Only five Sequences were retained, namely, Victime paschali laudes, Veni Sancte Spiritus, Lauda Sion salvatorem, Stabat Mater dolorosa, and Dies Irae.
ST. GALL
We close our study of mediaeval hymnody with a story about St. Gall. St. Gall is a very remarkable old monastery. Men of quite different minds and dispositions got along very amicably under the Benedictine rule at St. Gall. Among its one hundred monks there were in the ninth century four monks whose names were well known throughout the Western Church, namely, the learned Ratpert, the enthusiastic Notker, the highly gifted and greatly admired artist Tutilo, and the unrivalled hand-printer of books, Sintram, whose very beautiful handwriting was greatly admired throughout Europe. Ratpert, a stern educator, never sparing the rod, and not deeply interested in his devotional exercises—a great scholar. Notker Balbulus (stammerer), the saint-like, ascetic tune-writer and plant specialist, who had strange visions and lived in another world—a dreamer. Then there was also the ingenious, humorous Tutilo. These three monks were as different as three highly gifted persons could be, and yet they were always as one soul. Ratpert respected Tutilo’s fine scholarship; at night they were often found with Notker Balbulus in the writing-room, comparing and improving the works that Sintram was about to copy. Notker who wrote many fine hymn tunes, wanted them sung by Tutilo who was a good singer and clever performer upon several musical instruments. Tutilo wrote several excellent hymn tunes, and he also produced several noble hymns of which the most popular are Hodie cantandus, Viri Galilei, and Gaudete et cantate.
Notker’s genuine affection for Tutilo was not disturbed by Tutilo’s good-natured submission to unreasonable monastic regulations, which Notker regarded as symbolically significant. The Benedictine regulations were meant for the monasteries of southern Italy, and did not suit the convent of St. Gall very well. A midday nap was one of the Benedictine regulations, and so the monks of St. Gall had to retire and sleep two or three hours at midday every day. The Benedictine rule prescribed a diet of fish, fruit and vegetables—the usual diet of southern Italy. But fish and fruit were difficult to secure at St. Gall; meat, which was plentiful, was forbidden. And so the diet of St. Gall consisted mainly of pulse and pap. Notker who was the guardian of the discipline of the monastery, never had an occasion to bring up any reproach against Tutilo. Tutilo observed the midday nap, and flavoured with merriment the monotonous diet which maintained his splendid mortal clay.
SECTION V LUTHERAN HYMNOLOGY 1520—
The Reformation of the sixteenth century put life into congregational hymn singing. Before this time it had been heard only in strains, broken, timid, and vague. The Reformation endowed congregational hymn singing with a sonorousness and power, as never before in the history of the Church. One of the main principles of the Reformation was that all Christians, as a spiritual priesthood (Rev. 1:6 and 1 Pet. 2:5), are privileged and obliged to approach God and bring Him their offering, without human mediators and deputies, only because of the merits of Christ, the one true mediator; and this not only individually in private life but also in public worship. The Reformation brought into play all serviceable forces and means to promote and make possible the realization of this principle in the cultus. The reformers sought to make the liturgy intelligible and accessible to the common people—for the Latin they substituted the language of the people, and the congregation was given an opportunity to take an active part in public worship. It was perfectly natural that church song could not remain in its mediaeval form, an exclusive privilege of the clergy, but be transferred to the people. And so popular church hymns were produced. Luther became the leader also in this great work. What kind of hymns he wanted, is quite clearly seen in one of his letters to the electoral court chaplain, Spalatin, whom he called upon to assist in this hymnological work: “I am willing to make German psalms for the people, after the example of the prophets and the ancient fathers; that is, spiritual hymns whereby the Word of God, through singing, may conserve itself among the people.” Later on in the same letter, he makes the following suggestion: “I desire, however, that new-fangled words, and courtly expressions, be omitted, in order that the language may be the simplest and most familiar to the people, and yet, at the same time, pure, and well suited to the clear sense of the psalm.” Such church hymns, thoroughly Biblical and at the same time popular, the great reformer wanted for the people. And Luther produced several church hymns, which have never been surpassed and rarely equaled. He translated and versified Davidic Psalms; he translated and revised old Latin hymns; he revised several old religious folk songs; and he wrote several original hymns. He was not alone in this hymnological work; many able assistants came forward. Thus the great Lutheran hymnody began.[1]
The outstanding merit of these church hymns is that they proclaim and extol God’s great works of love, in words and strains that burst forth from the very soul of the people—immediately they became the property of the people. As silent and yet as most eloquent witnesses of evangelical truth, these hymns made their way even to distant lands and awakened the languishing hearts of the people to new life, to joy and praise. The annals of the Reformation are rich in the most remarkable testimonies concerning these things, how the Lutheran hymns powerfully conquered the love of the people and how the people heartily sang them in the churches and in the homes, in weal and woe. And this great legacy from the Reformation era, the Lutheran Church has preserved, used well, and richly increased. The church hymn is the special glory of the Lutheran Church. No church communion can be compared to the Lutheran Church in this respect. Not without reason has the Lutheran Church been called the singing church.
MARTIN LUTHER
When we think of the Lutheran hymnody from the historical point of view, we must dwell, if but briefly, on its classical formation in the motherland of the Lutheran Church, Germany. Something permanent and peculiarly typical is present in the hymnody of the Reformation days.
With respect to Luther himself, his best hymns are our most precious possession. “Ein’ feste Burg” is known the world over. Christians everywhere are familiar with it.
At first Luther did not seem to be aware of his poetical gifts. It was not until in July, 1523, when two Belgian martyrs of the Lutheran Church had been burnt at the stake, that Luther’s first poetical product came into existence—in the folk song style. This song, “Ein neues Lied wir heben an,” spread very rapidly throughout Germany. Soon thereafter came two hymns, one about penance, and one about faith: “Out of the depths I cry to Thee” and “Dear Christians one and all rejoice.” They were supplied with tunes and spread very rapidly throughout the land.
1524 was the hymn-year of the Reformation. 24 of Luther’s 37 hymns appeared in various publications. “Ein’ feste Burg” seems to belong to the year 1527. Luther’s musical assistants were Conrad Rupf and Johann Walther. It is said that while these two musicians sat at the table, busy with the writing of the music, Luther walked about the large room and tried the tunes, singing them, or playing them on his flute. When we stop to consider what was then formed and created, we see clearly that this is a historical situation of epoch-making significance. Luther at the church door in Wittenberg, Luther at Worms, at Wartburg, in his home; so also Luther with his musical friends, creating or remodelling poetry and music for the new Church—a central figure in the history of the Church.
To characterize Luther’s hymns is no easy task, because of their richness. Luther’s soul possessed an enormous span of faith and spiritual life. It experienced the mediaeval thunder-tones of judgment as well as the brightness of the Gospel. Compare, for example, the two hymns, “Though in midst of life we be” and “Dear Christians one and all rejoice.” Compare the following stanza from “Ein feste Burg,”
The Word they still shall let remain, Nor any thanks have for it; He’s by our side upon the plain With His good gifts and Spirit. Take they then our life, Goods, fame, child, and wife, When their worst is done, They yet have nothing won: The Kingdom ours remaineth.
with one of the stanzas from “Vom Himmel hoch da komm ich her”,
Ah, dearest Jesus, Holy Child, Make Thee a bed, soft, undefiled, Here in my poor heart’s inmost shrine, That I may evermore be Thine.
It is obvious that in “Dear Christians one and all rejoice”—Nun freut euch, lieben Christen g’mein—we have the outline of Luther’s entire experience of faith, from the moment he felt himself condemned by God till he could triumph in songs of praise. This hymn forms a very clear parallel to his exposition of the Second Article.
Most of Luther’s hymns ought to be found in our English Lutheran hymn books. They are noble church hymns—all Lutherans should know them. The Church Militant is one of Luther’s chief subjects. Note his great heroic hymn “Ein feste Burg.” Note also one of his last hymns:
Erhalt uns, Herr, bei deinem Wort Und steure deiner Feinde Mord, (Original: und steur des Pabsts und Tuerken Mord). Die Jesum Christum, deinen Sohn, Stuerzen wollen von deinem Thron.
Lord, keep us steadfast in Thy Word; Curb those who fain by craft or sword Would wrest the kingdom from Thy Son, And set at naught all He hath done.
Powerful and courageous Lutheran hymns! Ach Gott, vom Himmel sieh darein—Look down, O Lord, from heaven behold—seems to be as valid against the disintegrating subjectivism and super-culture of our time as against the age in which it was born, which dissolved God’s kingdom and divine will at pleasure and put uncontrolled human will in their place. Whether this refers to clericalism and papism or modern culture and mass dominion, makes little or no difference; the result in both cases is destruction.
Nearly all of Luther’s hymns close with words of praise—note this consciousness of communion with Christ. Take for example the last stanza of “Christ lag in Todesbanden”:
Then let us feast this Easter day On the true Bread of heaven; The Word of grace hath purged away The old and wicked leaven: Christ alone our souls will feed; He is our meat and drink indeed; Faith lives upon no other! Alleluia!
We recommend a careful study of “Luther’s Hymns” by James F. Lambert.
GERMAN HYMNODY
The history of German hymnody after 1500 may be divided into five periods: 1) the foundation period, including the time of the Reformation and down to the close of the sixteenth century; 2) the period of prosperity, from about 1600 to about 1700; 3) the period of subjectivism, embracing the time from 1700 to 1750; 4) the period of decline, from 1750 to about 1820; 5) a time of renovation and general development, from about 1820 to about 1900.
To present a clear, yet reasonably complete, survey of the history of the church hymn in Germany during the century of the Reformation, is not an easy task. The period is rich in victories and reverses. It embraces not only the first victories of the new Church but also the Counter-Reformation with its regaining of lost ground. It includes the sad story of the internal struggles of the early Lutheran Church, which resulted in dissension and weakness, bitterness and discouragement. All this is reflected in the hymnody of the Church. The sixteenth century produced many great hymnists, to whom we are greatly indebted. Luther’s hymns alone would form a valuable little hymn book. But it would be still more valuable, if we included in it the best Lutheran church hymns of the entire century. A hymn book containing all the great Lutheran church hymns of the sixteenth century—a remarkable Lutheran hymn book.
The Reformation hymnody possesses a preponderatingly objective character. Definite and true evangelical faith is its keynote. Christ’s redemption and the sinner’s justification by faith are the outstanding expressions in this hymnody. The human and the individual, the subjective, receives a secondary place. In fact there is hardly any indication in this hymnody of a proper coalescence of the subjective and the objective. A great many of the hymns are translations of old Greek and Latin hymns. But the thoughts are hearty, vigorous, powerful, and serious. The outward form is simple, even faulty at times. Yet it is the song of earnest and sincere Christians.
The foremost hymnist of this period is, of course, Martin Luther. Other great hymnists of this period are Justus Jonas, Paul Eber, Paul Speratus, Nikolaus Decius, Lazarus Spengler, Nikolaus Hermann, Barthol. Ringwaldt, and Nikolaus Selnecker. Michael Weiss of Bohemia belongs to this period, because he produced a number of excellent German translations of church hymns which had been in use among the followers of John Huss.
The second period of German hymnody, the seventeenth century, may be regarded as one of great prosperity. In it the objective and the subjective seem to attain a fine balance. The church hymn now comes more directly from the soul of the communion of the faithful. In form and expression there is healthy progress. A very fine type of lyrical poetry develops. During the first years of this period we note such excellent hymnists as L. Helmbold, Martin Schalling, Valerius Herberger, and Philipp Nicolai. Among hymn writers during the hard times of the Thirty Years War, who produced excellent hymns of consolation, powerful hymns, we note especially John Heermann, Paul Fleming, J. M. Meyfart, Martin Rinkart, John Rist, and Simon Dach. The objective-subjective hymnody of the seventeenth century, in its purest and noblest form, is to be found in the hymns of Paul Gerhardt, writer of more than one hundred hymns, in which the ardor and fervor of Christian subjectivity attained a most happy union with the firm evangelical faith and the noble popular elements of the Reformation period. He is one of the greatest German hymn writers, if not the greatest. With him we note Georg Neumark, J. Franck, and M. Schirmer.
The third period, from the end of the seventeenth century to about 1750, may be called the age of subjective hymnody. To this period belong such great hymn writers as Johann Scheffler (Angelus Silesius) and Countess Ludemilia Elisabeth of Schwartzburg-Rudolstadt. Both of these hymn writers are quite strongly inclined towards sound Mysticism. At the opening of the eighteenth century, Pietism brought about a great awakening in hymn writing. Several of the followers of Spener and Francke produced a large number of devotional hymns which are full of sound and sincere piety in simple and noble form. To this group of hymn writers belong Samuel Rodigast, Gottfried Arnold, Johann Freylinghausen, Herrnschmidt, Richter, Countess Emilie Juliane of Schwartzburg, J. J. Rambach, and Woltersdorf. In this connection we must also mention Gerhard Tersteegen, a preacher without a church, and a leader among “awakened souls.” The followers of J. A. Bengel, or the so-called Bible Theologians, produced a number of fine devotional hymns. Leading hymn writers in this group are Johann Mentzer and Phillip Friedrich Hiller. Count Zinzendorf, the great leader among the Herrnhuters, or Moravian Brethren, wrote a number of excellent hymns. Besides these hymnological fruits of Pietism, the orthodox tendency did not remain unproductive. Pietism exerted considerable influence upon the orthodox hymnody. To this group of orthodox hymn writers belong Erdmann Neumeister, Benjamin Schmolck, and Salomo Franck. Towards the middle of the eighteenth century a dull and degraded Pietism began to react upon sacred poetry. A sound and vigorous tone was superseded by the subjective and lyrical effusions of the individual. The hymns began to treat more and more of personal feelings and soul experiences, of events and situations in private life. A number of poor hymn books appeared. Public taste for the right kind of church song was spoiled. This paved the way for a hymnological revolution, brought about mainly by Rationalism, during the last half of the eighteenth century.