Evangelical Lutheran Hymnary Handbook
— Hymn Texts and Tunes —
(TUNES ARE IN ITALIC CAPITAL LETTERS.)
A Boy is born in Bethlehem ◊ 112
\\(Latin and German text)
1. Et Barn er født i Bethlehem,
Thi glæde sig Jerusalem!
Halleluja! Halleluja!
2. En fattig Jomfru sad i Løn,
Og fødte Himlens Konge-Søn!
3. Han lagdes i et Krybbe-Rum,
Guds Engle sang med Fryd derom:
4. Og Østens Vise offred der,
Guld, Røgelse og Myrrha skiær!
5. Forsvundet er nu al vor Nød,
Os er i Dag en Frelser fød!
6. I Kiød og Blod blev Han os lig,
Og giør os til Guds Børn med sig!
7. Guds kiære Børn vi blev paany,
Skal lege Jul i Himmel-By!
8. Paa Stjerne-Tepper lyseblaae,
Skal glade vi til Kirke gaae!
9. Guds Engle der os lære brat,
At sjunge, som de sang inat:
10. Da vorde Engle vi som de,
Gud-Faders Ansigt vi skal see,
11. For Frelser bold og Broder blid,
Vi synge da til evig Tid:
This Christmas hymn was especially popular during the ancient period. Its author is unknown. The oldest Latin text found so far is contained in a Benedictine book dating from the beginning of the fourteenth century. This copy belonged to the Cloister of St. George, near Olmütz, but is now kept in the university library of Prague. It was printed in 1886, in G. M. Dreves’ Cantiones Bohemicae. It contains nine stanzas with an added doxology from a 1420 Cantionale. This text with ten stanzas is also found in a Hereford Breviary of 1505. The Latin text, which is found in many different redactions ranging from six to twelve stanzas, has, very likely, been composed by several authors. Consequently, it has undergone many changes due to omissions, revisions, and additions. “Puer natus” was translated into German in 1439 by Heinrich von Laufenberg. Later on a number of German versions appeared. In the old German, Danish, and Swedish hymnals a translation in the vernacular was inserted immediately after each Latin stanza. It has been surmised that the choir sang the Latin and the congregation sang translations of the same. The German rendering most extensively used was that found in Val. Babst’s Gesangbuch, 1545: “Ein Kind geboren zu Bethlehem.” This contains ten stanzas with the German translation inserted after each stanza except the second. Other Protestant and Catholic hymnals published the hymn in various forms, but all have the same beginning. The first Danish translation appeared in the Supplement to Hans Tausen’s Hymn Book, circa 1553. This is written in four-lined stanzas without the “Hallelujah,” and it has not been included in the later Danish hymnals. The first Danish version which follows the old form, ten two-lined stanzas with the “Hallelujah,” is found in Thomissøn’s Hymn Book of 1569. This version has also been used in Kingo’s and Pontoppidan’s editions. Grundtvig revised the hymn, and his beautiful rendering is used now in Denmark. Landstad has followed Thomissøn’s edition, but has to some extent modernized the language. The English version included in The Lutheran Hymnary was made by Philip Schaff and was printed in his Christ in Song, 1869. There areat least eleven other English translations.
In regard to the third stanza, Skaar quotes from the hymnological works of Daniel: “On many early medieval paintings representing the nativity of Christ, as well as in Christmas hymns, are found an ox and an ass. This practice has been ascribed to a faulty rendering of the passage, Hab. 3:2: ‘In the midst of beasts make known’; for ‘In the midst of the years make it known.’ They concluded from Is. 1:3 that the two ‘beasts’ referred to were the ox and the ass: ‘The ox knoweth his owner and the ass his master’s crib.’ These passages are taken to be the Biblical basis for the old Christmas stanza: ‘Cognovit bos et asinus, quod puer erat Dominus, Halleluja’ (The ox and the ass knew that the Child was the Lord).” Nutzhorn claims that the expression is rather. an “innocent desire for free poetic representation of the circumstances surrounding the nativity of Christ.” [Dahle, Library of Christians Hymns]
A great and mighty wonder ◊ 113
\\Greek text
This hymn is a translation from the Greek, Mega kai paradoxon qauma, of St. Germanus, 634-734. The translation by John Mason Neale first appeared in his Hymns of the Eastern Church (1862), where the hymn was erroneously ascribed to St. Anatolius. Neale’s first stanza has been altered; it read:
A great and mighty wonder,
A full and blessed cure!
The Virgin bears the Infant
In holiness secure.
The other alterations are only slight, changing Neale’s four-line stanzas to six-line stanzas. The editors of the English Hymnal, 1906, first coupled this hymn with the tune “Es ist ein’ Ros’,” also called “Rosa Mystica,” a traditional carol melody of Germany (Alte Catholische Geistliche Kirchengesäng, Cologne, 1599, published by A. Quental). This union was made possible by using Neale’s third stanza (omitting its first line, “And we with them triumphant”) as a refrain. The result is very effective. The present setting of the tune is from Michael Prätorius’s Musae Sioniae, 1609. [Handbook to The Lutheran Hymnal]
A hymn of glory let us sing ◊ 389
\\
This Latin hymn is attributed to the Venerable Bede. It is found in no manuscripts earlier than the eleventh century. The original is in eleven four-line stanzas, and its opening line is “Hymnum canamus Domino.” One manuscript has “Hymnum canamus gloriae.” It is the latter text upon which the translation is based.
The translation is by Benjamin Webb and first appeared in the Hymnal Noted, 1854. [Handbook to The Lutheran Hymnal]
A Lamb goes uncomplaining forth ◊ 331
Ein Lämmlein geht und trägt die Schuld
Der Welt und ihrer Kinder;
Es geht und träget in Geduld
Die Sünden aller Sünder;
Es geht dahin, wird matt und krank,
Ergibt sich auf die Würgebank,
Verzeiht sich aller Freuden;
Es nimmet an Schmach, Hohn und Spott,
Angst, Wunden, Striemen, Kreuz und Tod
Und spricht: Ich will’s gern leiden.
Das Lämmlein ist der grosse Freund
Und Heiland meiner Seelen;
Den, den hat Gott zum Sündenfeind
Und Sühner wollen wählen.
Geh hin, mein Kind, und nimm dich an
Der Kinder, die ich ausgetan
Zur Straf’ und Zornesruten.
Die Straf’ ist schwer, der Zorn ist gross,
Du kannst und sollst sie machen los
Durch Sterben und durch Bluten.
Ja, Vater, ja, von Herzensgrund,
Leg’ auf, ich will dir’s tragen;
Mein Wollen hängt an deinem Mund,
Mein Wirken ist dein Sagen.
O Wunderlieb’, o Liebesmacht,
Du kannst, was nie kein Mensch gedacht,
Gott seinen Sohn abzwingen!
O Liebe, Liebe du bist stark,
Du streckest den ins Grab und Sarg,
Vor dem die Felsen springen!
Ich will von deiner Lieblichkeit
Bei Nacht und Tage singen,
Mich selbst auch dir zu aller Zeit
Zum Freudenopfer bringen.
Mein Bach des Lebens soll sich dir
Und deinem Namen für und für
In Dankbarkeit ergiessen,
Und was du mir zugut getan,
Das will ich stets, so tief ich kann,
In mein Gedächtnis schliessen.
Was schadet mir des Todes Gift?
Dein Blut, das ist mein Leben;
Wenn mich der Sonne Hitze trifft,
So kann mir’s Schatten geben.
Setzt mir der Wehmut Schmerzen zu,
So find’ ich bei dir meine Ruh’
Als auf dem Bett ein Kranker;
Und wenn des Kreuzes Ungestüm
Mein Schifflein treibet um und um,
So bist du dann mein Anker.
Wenn endlich ich soll treten ein
In deines Reiches Freuden,
So soll dies Blut mein Purpur sein,
Ich will mich darein kleiden.
Es soll sein meines Hauptes Kron’,
In welcher ich will vor dem Thron
Des höchsten Vaters gehen
Und dir, dem er mich anvertraut,
Als eine wohlgeschmückte Braut
An deiner Seite stehen.
Str.1 Ein Lämmlein geht und trägt die Schuld der Welt und ihrer Kinder; es geht und büßet in Geduld die Sünden aller Sünder; es geht dahin, wird matt und krank, ergibt sich auf die Würgebank, entsaget allen Freuden; es nimmet an Schmach, Hohn und Spott, Angst, Wunden, Striemen, Kreuz und Tod und spricht: "Ich will's gern leiden."
Str.2 Das Lämmlein ist der große Freund und Heiland meiner Seelen; den, den hat Gott zum Sündenfeind und Sühner wollen wählen: "Geh hin, mein Kind, und nimm dich an der Kinder, die ich ausgetan zur Straf und Zornesruten; die Straf ist schwer, der Zorn ist groß, du kannst und sollst sie machen los durch Sterben und durch Bluten."
Str.3 "Ja, Vater, ja von Herzensgrund, leg auf, ich will dir's tragen; mein Wollen hängt an deinem Mund, mein Wirken ist dein Sagen." O Wunderlieb, o Liebesmacht, du kannst - was nie kein Mensch gedacht - Gott seinen Sohn abzwingen. O Liebe, Liebe, du bist stark, du streckest den in Grab und Sarg, vor dem die Felsen springen.
Str.4 Mein Lebetage will ich dich aus meinem Sinn nicht lassen, dich will ich stets, gleich wie du mich, mit Liebesarmen fassen. Du sollst sein meines Herzens Licht, und wenn mein Herz in Stücke bricht, sollst du mein Herze bleiben; ich will mich dir, mein höchster Ruhm, hiermit zu deinem Eigentum beständiglich verschreiben.
Str.5 Ich will von deiner Lieblichkeit bei Nacht und Tage singen, mich selbst auch dir nach Möglichkeit zum Freudenopfer bringen. Mein Bach des Lebens soll sich dir und deinem Namen für und für in Dankbarkeit ergießen; und was du mir zugut getan, das will ich stets, so tief ich kann, in mein Gedächtnis schließen.
Str.6 Das soll und will ich mir zunutz zu allen Zeiten machen; im Streite soll es sein mein Schutz, in Traurigkeit mein Lachen, in Fröhlichkeit mein Saitenspiel; und wenn mir nichts mehr schmecken will, soll mich dies Manna speisen; im Durst soll's sein mein Wasserquell, in Einsamkeit mein Sprachgesell zu Haus und auch auf Reisen.
Str.7 Wenn endlich ich soll treten ein in deines Reiches Freuden, so soll dein Blut mein Purpur sein, ich will mich darein kleiden; es soll sein meines Hauptes Kron, in welcher ich will vor den Thron des höchsten Vaters gehen und dir, dem er mich anvertraut, als eine wohlgeschmückte Braut an deiner Seite stehen.
“On the morrow he seeth Jesus coming unto him, and saith, Behold, the Lamb of God, that taketh away the sin of the world!” (John 1:29).
“Surely He hath borne our griefs, and carried our sorrows; yet we did esteem Him stricken, smitten of God, and afflicted. But He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him; and with His stripes we are healed. All we like sheep have gone astray; we have turned every one to his own way; and Jehovah hath laid on Him the iniquity of us all.”
“He was oppressed, yet when He was afflicted He opened not His mouth; as a lamb that is led to the slaughter, and as a sheep that before its shearers is dumb, so He opened not His mouth” (Is. 53:4-7).
The above passages furnish the basis for this hymn. It was first published in Crüger’s Praxis Pietatis Melica, 3rd edition, 1648. It contained 10 stanzas. Lauxmann has called this the most beautiful of Passion hymns. There are at least eleven English translations. It was translated into Danish in 1693, by Søren Jonæsen, and later by Brorson. It was published 1735, in NoglePassions- Psalmer. [Dahle, Library of Christians Hymns]
The translation is a composite prepared for The Lutheran Hymnal, except for stanzas 4 and 7 which were prepared for the Evangelical Lutheran Hymnary by Harry K. Bartels.
A mighty Fortress is our God ◊ 250-251
Ein’ feste Burg ist unser Gott,
Ein’ gute Wehr und Waffen;
Er hilft uns frei aus aller Not,
Die uns jetzt hat betroffen.
Der alt’ böse Feind,
Mit Ernst er’s jetzt meint,
Gross’ Macht und viel List
Sein’ grausam’ Rüstung ist,
Auf Erd’ ist nicht seinsgleichen.
Mit unsrer Macht ist nichts getan,
Wir sind gar bald verloren;
Es streit’t fur uns der rechte Mann,
Den Gott hat selbst erkoren.
Fragst du, wer der ist?
Er heisst Jesus Christ,
Der Herr Zebaoth,
Und ist kein andrer Gott,
Das Feld muss er behalten.
Und wenn die Welt voll Teufel wär’
Und wollt’ uns gar verschlingen,
So fürchten wir uns nicht so sehr,
Es soll uns doch gelingen.
Der Fürst dieser Welt,
Wie sau’r er sich stellt,
Tut er uns doch nicht,
Das macht, er ist gericht’t,
Ein’ Wörtlein kann ihn fällen.
Das Wort sie sollen lassen stahn
Und kein’n Dank dazu haben;
Er ist bei uns wohl auf dem Plan
Mit seinem Geist und Gaben.
Nehmen sie den Leib,
Gut, Ehr’, Kind und Weib:
Lass fahren dahin,
Sie haben’s kein’n Gewinn,
Das Reich muss uns doch bleiben.
At the Diet of Spires, 1529, the enemies of the Reformation attempted with all their craft and power to hinder the further spread of the evangelical doctrine. They passed resolutions with the expressed intention of destroying even the beginning that had been made toward evangelical freedom. The evangelical princes entered a formal protest and letter of defense, but it did not help. The resolution was adopted as the decree of the diet, and the evangelical princes were commanded to sign this decree. These princes, on the 19th of April, declared that they would not consent to any resolution adopted in this, or in any other matter contrary to God and His holy Word. It was because of this protest that the evangelical party was nicknamed “Protestants.” It is believed by most authorities on the subject that Luther wrote his famous hymn at this time. Luther himself gave it the title: Der 46ste Psalm. But it is clearly evident that he did not intend his version to be a translation of the Psalm, but that he wished to restate its thought and sentiment in hymn form. “Ein’ feste Burg” is throughout a free rendering. The oldest extant copy of the hymn is found in Form und Ordnung Gaystlicher Gesang und Psalmen, Augsburg, 1529 (Skaar, 1879; Nutzhorn, 1911). “It was also printed a few months earlier in Joseph Klug’s Geistliche Lieder auffs new gebessert zu Wittenberg, 1529. This edition is now lost.” The hymn and the melody (copied by Johann Walther) is found also in a manuscript of the Luther Codex of 1530, (O. Kade, Luther Codex, 1871). It seems, therefore, to be an established fact that the hymn was printed for the first time in 1529. Leading authorities are also well agreed now that the hymn was written during that year. There is, however, no valid reason for discounting the supposition that it may have been put in manuscript form during the latter part of the year 1528. For a long time it was thought that this hymn was written by Luther during the famous Diet of Augsburg in 1530. While this is now no longer believed, the fact remains that the hymn was sung during that important church meeting. It was used also by Luther himself. During the Diet of Augsburg he had to remain as a fugitive in Coburg. Here, as was his daily custom, “he would stand by the window, with his gaze turned toward the heavens and sing this hymn to the accompaniment played by himself upon his lute.”—Many writers have tried to prove that the hymn was composed at an earlier date. The poet Heinrich Heine mentions the Diet of Worms as the time and occasion for the origin of this hymn: “With this battle hymn filled with holy defiance, Luther and his friends entered Worms. The old cathedral trembled at these new tones, and the ravens were frightened out of their dark nests in the tower. This ‘Marseillaise of the Reformation’ still exerts its powerful influence, and it will be used again during new conflicts.”—Dr. J. Linke of Altenburg, 1886, published an exhaustive and well written treatise, in which he attempts to show that the hymn was written during the fall of 1525. Among his proofs he quotes a number of expressions found in this hymn which correspond closely with sentences used by Luther in speeches and writings of that same year. In spite of the fact that there are many things of great interest in Linke’s treatise, it cannot be accepted as definite proof. It is exceedingly unlikely that such a hymn should remain unpublished from 1521 or 1525 until 1529. This alone is sufficient reason for rejecting Linke’s theory. Others have thought that the hymn was composed in 1527, when Luther’s friend, Leonard Keyser, was burned at the stake, or that the occasion should have been the tenth anniversary of Luther’s nailing of the famous 95 theses upon the door of the Castle Church of Wittenberg. Landstad says in this connection: “It is not necessary for the glory of the hymn or its author to show any specific occasion for its origin. All those years were a period of strife, tribulation, and worry, and while many began to tremble, to hesitate, and to yield, Luther lifted his eyes to the mountains, from whence help cometh; he spoke and sang and strengthened himself and others with true Christian courage.”—Skaar says: “Christian courage has found wonderfully clear expression in this hymn. The helpless flock, facing an enemy, who in craft and power has no equal here on earth, does not fail in courage, but holds fast to God and His Word and sings in tones triumphant with the assurance of victory. We are, therefore, not surprised to find that this hymn, during that period of violent struggle, won its way into many hearts in a short time. It was wafted abroad, as though by angel messengers, until it was heard in all places where the evangelical spirit had gained an entrance.”
We have a great number of testimonies to the powerful influence of this hymn in furthering the work of the Reformation. “With overwhelming force it interpreted the defiant courage of faith, which could break all bands asunder and spur the will to action” (Söderberg). From the very beginning and onward, this hymn showed its wonderful power to inspire despondent hearts to new hope and courage. It constantly reminded of the fact that though we stand “alone in our own might,” yet we have a Lord, who has given us the promise and assurance that the gates of hell shall not prevail against us—“He wins the victory in every field of battle.” The hymn has not only brought new strength and comfort to individual Christians, but has also on innumerable occasions exerted a powerful influence upon the trend of events during the critical periods of church history. During the bloody persecutions in France, 1562-72, this hymn proved a remarkable source of comfort to the sufferers in keeping up their courage, and martyrs sang it as they were brought to the place of execution. Its comforting words accompanied the exiles upon their long journeys into unknown regions and became a slogan which united the many thousands who sought homes in foreign lands where they might establish an evangelical church.—The hymn was sung by the army of Gustavus Adolphus immediately before the battle of Leipzig, 1631. When the battle was won, the king knelt among the dead and dying upon the battlefield, thanked God for the victory and closed with the words of the hymn: “‘Tis He who wins the victory in every field of battle.” It was also sung before the battle of Lützen, 1632, where Gustavus Adolphus was mortally wounded. It was often used for the same purpose as “Es wollt uns Gott genädig seyn” (“May God bestow on us His grace”); “Lord, keep us steadfast in Thy Word”; “Ach Gott, vom Himmel” (“O Lord, look down, from heaven behold”); and “Nun freut each, lieben Christen G’mein” (“Dear Christians, one and all, rejoice”);—which were all used as battle hymns against the Papists. In a city of Germany the Reformation was established in spite of Catholic opposition because the worshippers always sang it during the services and the children sang it upon the streets during the night. During the persecutions in Germany, about 1780, the Protestant inhabitants of Linz, in the Rhine province, were expelled from their homes to be brought to Hungary and other places, while the children were taken away from their mothers “in order that their souls might be saved.” The grief stricken parents were now given the choice of either parting from their children and going into exile, or returning to the Catholic Church and retaining their children. The mothers embraced their little children and wept over them, but they could not be prevailed upon to renounce their faith. Thus they were carried away, trusting in the gracious help to God, and they found comfort in singing:
And should they, in the strife, Take kindred, goods, and life, We freely let them go, They profit not the foe; With us remains the kingdom.
They suffered for a time, but the reaction came with the Tolerance Edict of 1781, issued by Emperor Joseph. This permitted the exiles to return home. They were not disappointed in their faith.
Also more recently, during the stress and trial of World War I, this great hymn of the Reformation served to furnish the unifying slogan to the German people who were, confessionally, split up into many groups. “A mighty fortress” by the “heretic” Luther was sung along the war front by Protestants and Catholics alike.
The following incident is related by the Swedish writer, Söderberg: “A hymn writer sings in a hymn to the Savior; (“If we forget Thee, O Christ, our Savior, in times of good fortune, we seek Thee again in the time of need”). The world-events of late years have substantiated this; upon the battlefields and in the trenches, the Christian hymn has come again to new life—even among many who have lived totally apart from it. Numberless incidents from the World War testify how the weighty words and melody of a hymn became “a washing of regeneration” to many souls; how the hymn singing often became a means of gathering the scattered troops into one large congregation; and how the singing of hymns in a remarkable manner restored the spiritual ties between the soldiers in the fields and their dear ones at home. It is significant in this connection what an officer relates from his experience on the Day of Humiliation and Prayer, when he with a small group of soldiers, during their third week, stood guard in a trench scarcely one hundred meters from the enemy’s lines. The officer relates as follows: “After a long night the dawn announced the break of day, and as we spied at a distance the entrenchments of the enemy like a dark line, one of my men, who possibly never had taken part in Holy Day festivities in the Christian sense of the word, said to me: ‘This is a day of prayer. Should not also we celebrate this day here in the trench?’ I agreed,—and thus we began to sing ‘A mighty fortress is our God.’ At the outset, only a few took part in the singing, but gradually more and more joined us until at last the whole trench resounded with the song. Then followed a long, deep silence. I thought of those at home, my dear ones. It seemed to me that I could hear the church bells calling the people together for worship and that I saw the kindly countenance of our beloved pastor and heard his appealing sermon on humiliation and prayer. My whole life passed before my mind’s eye, and I made confession before my heavenly Father, before my God, who is love and who gave His Son to die for me.—These and similar thoughts were forcibly brought home to me and my companions in that trench.”
Melanchthon, Jonas, and Creutziger, during their banishment from Wittenberg in 1547, were greatly comforted by hearing “A mighty fortress” sung by a little maiden on their entrance into Weimar.—It was sung September 15, 1882, by the assembled thousands on the field of Lützen, at the services held in commemoration of the jubilee of the Gustavus Adolphus Society, which seeks to aid Protestant churches in Roman Catholic countries.—This hymn was adopted by the Salzburg emigrants of 1732, as their hymn of pilgrimage.—It was sung at Herrmannsburg at the farewell services, when Ludwig Harms was sending forth his band of missionaries. —During the Luther celebration, September 12-14, and November 10-12, 1883, it was sung in the Castle Church at Wittenberg (September 12); at Eisleben for the unveiling of the Luther Memorial in the market place (November 10); and at countless celebrations in Germany, the Scandinavian countries, Great Britain, and America. Similar festivities were held in 1921.—During a grand music festival in Boston, 1869, “A mighty fortress” was sung by many thousand people in five different languages. A large orchestra accompanied the singing. This hymn is most extensively used throughout the world. The prominent hymnologist, Carl Døving, has through a unique and intense research work been able to gather translations of this hymn in 163 different languages and dialects from almost every country in the world. In Lutheran Church Herald for Oct. 27, 1925, 162 of these languages and dialects are given.—There are over seventy translations into English only. The first translation into English was rendered by Bishop Miles Coverdale in 1539: “Oure God is a defence and towre.” There are several translations into each of the Nordic tongues: Danish, Swedish, Norwegian, and Icelandic. The first Danish translation was evidently included in a hymn book published in 1531, now lost. The present English translation (ELH 251), here somewhat changed, was taken from a Book of Praise, used in Canada.
“The melody (Ein’ feste Burg) is by Luther. Even though there may be found one or more snatches of melody somewhat similar in Graduale Romanum, this does not rob Luther of the honor of having produced this thoroughly classical composition, “which fits the text just like the coat of mail fits the knight.” The text and the melody are inseparable. The melody has accompanied this hymn on its march to victory throughout the world. “That Luther’s hymns are immortal is proved by the fact that so many of them still are found among the most beloved of our Church. They will always stand as ideal patterns for congregational hymns by reason of their popular directness, their intense devotional spirit, and their inspirational power. Everyone who has experienced the refreshing inspiration which hymn singing affords, has truly felt himself gripped by the childlike simplicity of faith, which in its purity shines forth in the Christmas hymn ‘From heaven above to earth I come’ , or the fervent desire for holiness and power from God resounding in the famous Pentecost hymn ‘Come, Holy Ghost, God and Lord.’. Again we see how sincere confession of sin is brought to the solid rock of consolation in the hymn ‘Out of the depths I cry to Thee,’ based upon the 130th Psalm. And, finally, we see the mighty power of faith and the unflinching confidence, triumphant in hope, which characterizes the most glorious hymn of them all, ‘A mighty fortress is our God’” (Söderberg, Swedish writer).
Luther’s epoch making work as a hymn writer has been briefly summarized as follows by the German hymnologist W. Nelle: “Luther was at the same time a lyric poet and a liturgist. The two are beautifully harmonized in him. With him the prime consideration was the hymn content put in singable form. He gave not only the Bible, but also the Hymn Book into the hands of the Christians. The number of his hymns is not very great, only 37, and yet from these there may be arranged an almost complete cycle of hymns for a hymn book. To most of the church seasons have been given their appropriate hymns. And these are fine patterns of church hymns. These Luther-hymns are characterized by marked objectivity. For that very reason they were at once incorporated into a large number of hymn books. Many other hymn poets had to wait several decades—Tersteegen, 100 years—before their hymns were accepted into general use. Luther’s hymns, on the other hand, seemed to flow directly from his pen into the very midst of the congregations, and everywhere they prepared the ground for Christian church song and developed it into an integral and essential part of the divine service. His hymns are in a special sense popular models for church hymns. They give expression to the emotions that move naturally in the hearts of worshipers. They are also patterns in respect of their length. Luther’s hymns are as a rule very short. Many of them comprise only three, at the most four stanzas, and yet they present in succession the elements of confession, witness for Christ, and adoration. His short hymns of three or four stanzas are the most popular and the most far reaching in their influence. They are short in sentence structure, but rich in contents, very often each line expressing a complete thought. But even where the sentence requires several lines the close of each line presents a natural pause in the development of the thought. Also in this respect Luther was a man who could phrase his thoughts in the language of the ordinary people. His hymns may be characterized throughout as spiritual folk-songs.” [Dahle, Library of Christians Hymns]
It would lead us too far afield to discuss the various views as to the time and place of the origin of this great hymn by Martin Luther—the Battle Hymn of the Reformation. Suffice it to say that the weight of evidence points to 1529 as the year of its origin. The hymn was probably written for the Diet of Spires, which convened on April 20, 1529, when the German princes made their formal “protest” against the revocation of their liberties, and thus received the name ‘‘Protestants.”, Lauxmann, in Koch, writes: “Luther with this hymn entered a protest before all the German people against any endeavor to obstruct the Gospel.”
“Ein’ feste Burg” first appeared in Klug’s Gesangbuch, Wittenberg, 1529, entitled “Der XXXXVI Psalm, Deus noster refugium et virtus.” The hymn is more than a metrical paraphrase of Ps. 46. It is really an original production on the theme of David’s psalm, with some phrases reminiscent of the Biblical text.
The tune “Ein’ feste Burg” is also Luther’s composition. It appeared in Klug’s Geistliche Lieder, Wittenberg, 1529, first edition (not extant), and in Kirchen Gesenge, Nürnberg, 1531.
This hymn of Luther’s is not only used by Lutherans the world over. It is the Hymn of Protestantism. It would be hard to find a Protestant hymnal worthy of that name in which this hymn is not. It has been rightly called “the greatest hymn of the greatest man in the greatest period of German history.” Its wide appeal is best illustrated by the fact that no Christian hymn has been translated into more languages than “Ein’ feste Burg.” Many great writers have essayed to put the hymn into English. There must be some seventy or eighty English versions at present. Thomas Carlyle, in his version “A safe stronghold our God is still” has given us one of the most excellent translations. It first appeared in Fraser’s Magazine, 1831. Another outstanding version is that by F. H. Hedge, beginning, “A mighty fortress is our God, a bulwark,” which appeared in Gems of German Verse, 1852. The translation above is composite and appeared in the Pennsylvania Lutheran Church Book, 1868. It was prepared by the editorial committee for that collection, which based its translation on Carlyle’s version and the version, also based on Carlyle’s, by W. M. Reynolds, which appeared in the General Synod’s Collection of 1850.
The translation(ELH 250) is the one that is most widely used by American Lutherans at the present time. Its value lies chiefly in its reproduction of the sturdy ruggedness of Luther’s original.
This hymn is truly written out of the fulness of Luther’s heart. There were moments in his life when even Luther felt something akin to despair. And in such hours he would say to Melanchthon, his faithful coworker, “Come, Philip, let us sing the 46th Psalm.” And the two friends would sing lustily in Luther’s own version—”Ein’ feste Burg ist unser Gott.” Uncounted wavering, doubting, fearful hearts have been strengthened by this hymn of faith, have been filled with new courage and power to battle for the right to remain true to the faith once delivered to the saints.
Dr. Benson therefore says rightly: “Such a hymn, with such a tune, spreads quickly, as may well be believed; quickly, as if the angels had been the carriers. But they were men who spread Luther’s hymn of faith and courage from heart to heart and from lip to lip.”
James Huneker, musical critic, wrote: “This hymn thunders at the very gate of heaven in its magnificent affirmation of belief.”
We might go on recording the tributes of great men to this wonderful hyrnn, which Frederick the Great called “God Almighty’s Grenadier March.” We shall, however, confine ourselves to a quotation from Carlyle, who wrote:
“There is something in it like the sound of Alpine avalanches or the first murmur of earthquakes, in the very vastness of which dissonance a higher unison is revealed to us…. It is evident that to this man all popes, cardinals, emperors, devils, all hosts and nations, were but weak, weak as the forest with all its strong trees might be to the smallest spark of electric fire.”
The good this hymn has done, the faith it has inspired, the hearts it has comforted, the influence it has exerted, cannot be measured and will first be revealed to us in eternity, where the saints of God will praise their Lord and Redeemer for many blessings, not the least of which will be the privilege of having known and sung this hymn here on earth. [Handbook to The Lutheran Hymnal]
A wondrous mystery is here ◊ 309
This hymn for Holy Communion is by Matthias Loy, It appeared in the Ohio Lutheran Hymnal, 1880. It emphasizes the Lutheran doctrine of the Real Presence in the Sacrament of the Altar. [Handbook to The Lutheran Hymnal]
Abide in grace, Lord Jesus ◊ 579 Abide, O dearest Jesus* ◊ 579
Ach bleib mit deiner Gnade
Bei uns, Herr Jesu Christ,
Dass uns hinfort nicht schade
Des basen Feindes List!
Ach bleib mit deinem Worte
Bei uns, Erlöser wert,
Dass uns beid’ hier und dorte
Sei Güt und Heil beschert!
Ach bleib mit deinem Glanze
Bei uns, du wertes Licht;
Dein Wahrheit uns umschanze,
Damit wir irren nicht!
Ach bleib mit deinem Segen
Bei uns, du reicher Herr!
Dein’ Gnad’ und all’s Vermögen
In uns reichlich vermehr!
Ach bleib mit deinem Schutze
Bei uns, du starker Held,
Dass uns der Feind nicht trutze,
Noch fäll’ die böse Welt!
Ach bleib mit deiner Treue
Bei uns, mein Herr und Gott!
Beständigkeit verleihe,
Hilf uns aus aller Not!
“Abide in grace, Lord Jesus” was first published in Stegmann’s Suspiria Temporum, 1628. In J. Clauder’s Psalmodia Nova, Stegmann is said to be the author of this hymn. It has found a place in a large number of hymnbooks of many churches. It was one of the favorite hymns of Friedrich Wilhelm IV of Prussia. Many English translations have been made. [Dahle, Library of Christians Hymns]
This is one of our most popular hymns from the German. Josua Stegmann, according to James Mearnes, included this hymn in his Suspiria Temporum, Rinteln, 1628. A. F. W. Fischer, however, claims that it did not appear until 1630 in Stegmann’s Ernewerter Hertzen Seufftzer, etc. Lüneburg. It has as its key-note the prayer of the two disciples at Emmaus, Luke 24:29.
It has often been translated into English and other languages. A French translation begins with the line: “Demeure dans ta grace.” [Handbook to The Lutheran Hymnal]
Abide with me! Fast falls the eventide ◊ 561
The history of this hymn ought to begin with the words of Lyte’s daughter, Anna Maria Maxwell Hoggs, written by her in the preface to Lyte’s Remains, published after his death (London, 1850): “The summer was passing away, and the month of September (the month in which he was once to quit his native land) arrived, and each day seemed to have a special value as being one day nearer his departure. His family was surprised and almost alarmed at his announcing his intention of preaching once more to his people. His weakness, and the possible danger attending the effort, were urged to prevent it, but in vain. ‘It was better,’ as he often said playfully when in comparative health, ‘to wear out than to rust out.’ He felt that he should be enabled to fulfil his wish, and feared not for the result. His expectation was well founded. He did preach, and amid the breathless attention of his hearers, gave them the sermon on the Holy Communion, which is inserted last in this volume (the Remains). He afterwards assisted in the celebration of the Holy Eucharist, and though necessarily much exhausted by the exertion and excitement of his effort, yet his friends had no reason to believe that it had been hurtful to him. In the evening of the same day he placed in the hands of a near and dear relative the little hymn, ‘Abide with me’ with an air of his own composing, adapted to the words.” There is not much to add to this story. In a note attached to the above mentioned farewell sermon we read: “Preached at Lower Brixham, September 4, 1847.” Lyte died in Nice, France, November, 1847.
We need not dwell upon the slight changes made in the text used in The Lutheran Hymnary. But it might be of interest to give Rev. Ellerton’s notes, published in Church Hymns, 1881: “This hymn is sometimes (nearly always) classed among evening hymns, apparently on the ground of the first two lines in Keble’s ‘Sun of my soul.’ This is a curious instance of the misapprehension of the true meaning of a hymn by those among whom it is popular; for a very little consideration will suffice to show that there is not throughout the hymn the slightest allusion to the close of the natural day. The words of St. Luke 24:29 are obviously used in a sense wholly metaphorical. It is far better adapted to be sung at funerals, as it was beside the grave of Professor Maurice; but it is almost too intense and personal for ordinary congregational use.” That this latter opinion is not the common conception is seen from the fact that it has long been one of the most popular evening hymns in the English language. It has been rendered into many languages, among these, into Latin. Gustav Jensen translated it into Norwegian for his Forslag til revidert salmebok for den norske kirke, 1915, as follows:
O bliv hos mig! nu er det aftentid Og mørket stiger,—dvæl, O Herre blid! Naar anden hjælp blir støv og duger ei, Du hjælpeløses hjælper, bliv hos mig!
Snart svinder livets dag, det kvelder fort, Og jordens lys alt mørkner og gaar bort; Forandrings skygge følger tro min vei,— O du som ei forandres, bliv hos mig!
Hver time trrenger jeg din sterke vakt, Kun for din naade viker mørkets magt; Hvor skal jeg vandre trygt foruten dig? I mulm og solskin, Herre, bliv hos mig!
Naar du velsigner, ei av frygt jeg vet, Saar gjør ei ondt, graat har ei bitterhet; Hvor er din brod, du sidste fiende? Nei,— Ved dig jeg seirer; Herre, bliv hos mig!
O, lad mig se dit kors i dødens gys, Driv mørket bort, og vær mig livets lys; Da skinner morgenrøden paa min vei! I liv og død, o Herre, bliv hos mig! [Dahle, Library of Christians Hymns]
Julian records the account of the origin of this hymn by Henry Francis Lyte as given by Lyte’s daughter in the prefatory memoir to his Remains, London, 1850:
The summer (1847) was passing away, and the month of September (that month in which he was once more to quit his native land) arrived, and each day seemed to have a special value as being one day nearer his departure. His family were surprised and almost alarmed at his announcing his intention of preaching once more to his people. His weakness and the possible danger attending the effort were urged to prevent it, but in vain. “It is better,” as he used often playfully to say when in comparative health, “to wear out than to rust out.” He felt that he should be enabled to fulfil his wish and feared not for the result. His expectation was well founded. He did preach and amid the breathless attention of his hearers gave them the sermon on the Holy Communion, which is inserted last in this volume. He afterwards assisted at the administration of the Holy Eucharist, and though necessarily much exhausted by the exertion and excitement of this effort, yet his friends had no reason to believe it had been hurtful to him. In the evening of the same day he placed in the hands of a near and dear relative the little hymn “Abide with Me,” with an air of his own composing, adapted to the words.
However, the Handbook to the Church Hymnary gives a statement by T. H. Bindley, Spectator, 1925, which sets an earlier date of composition:
In that year (1820) Lyte, as a young clergyman, was staying with the Hores at Pole Hore near Wexford. He went to see an old friend, William Augustus LeHunte, who lay dying and who kept repeating the phrase “Abide with me.” After leaving the bedside, Lyte wrote the hymn and gave a copy of it to Sir Francis LeHunte, William’s brother, amongst whose papers it remained when they passed to his nephew, the Rev. Francis LeHunte. No doubt, when Lyte felt his own end approaching, his mind reverted to the lines he had written so many years before, and then it was that they became first popularly known. These details were given to me some years ago by Sir George Ruthven LeHunte, grandson of William Augustus, and I have recently had them confirmed by members of his family.
Whatever the actual date of its origin may be, this is clear from both accounts that the hymn was not meant to be an evening hymn, as John Ellerton in his Notes and lllustrations of Church Hymns, 1881, rightly says:
It is sometimes classed among evening hymns, apparently on the ground of the first two lines, and their similarity in sound to two lines in Keble’s “Sun of My soul.” This is a curious instance of the misapprehension of the true meaning of a hymn by those among whom it is popular; for a very little consideration will suffice to show that there is not throughout the hymn the slightest allusion to the close of the natural day; the words of St. Luke 24:29 are obviously used in a sense wholly metaphorical. It is far better adapted to be sung at funerals, as it was beside the grave of Professor Maurice; but it is almost too intense and personal for ordinary congregational use.
The hymn refers more to the evening of life than to the daily eventide. Our text, though not in every detail like the author’s original, is the generally accepted one. [Handbook to The Lutheran Hymnal]
Abide with us, the day is waning ◊ 563
Bliv hos os, Mester, Dagen helder!
Saa bad i Emmaus de To.
O Trøst, som Skriften mig fortæller.
Du blev, du gav dem Hjertero!
Hør ogsaa os, o du Guds Søn!
Vi bede jwt den samme Bøn.
Bliv hos os, Mester, Dagen helder!
O Mester, hver en Aftenstund!
At vi den rette Bøn maa bede,
Før Øiet lukker sig til Blund,
Med ydmygt Suk for Hjertets Brøst,
Med haab om Naadens Himmeltrøst.
Bliv hos os, Mester, med din Glæde,
Naar Lykkens Aftensol gaar ned.
Naar Smertens Dugg vil Rinden væde.
Da styrk os i Taalmodighed!
Fortæl os om den egen Ve,
At du lod Herrens Vilje ste!
Bliv hos os du, naar Dagen helder,
Den sidste Livets tunge Dag,
Naar dödens Nat med Magt udvælder,
Og Frygt og Sorg gjør fælles Sag,
Med Troens Skjold undruste du
Den bange Sjæl mod Dodens Gru!
Mens Verdens Trøst da intet kræger,
Du holder Nadverd her med os,
Vi drikke Kraft af Naadens Bøger,
Og byde Morkets Magter Traads.
Med brustet Blik, med freidigt Sind,
Vi skue klart i Himlen ind.
Based upon the Gospel lesson for Easter Monday, Luke 24:13-35. It was published in Aandelige Digte og Sange by C. J. Boye, Copenhagen, 1834. [Dahle, Library of Christians Hymns]
Caspar J. Boye first published this hymn in his collection Aandelige Digte og Sange, Copenhagen, 1834, basing it on the Gospel for Easter Monday, Luke 24: 13-35. The translation by Oluf H. Smeby, 1909, appeared in The Lutheran Hymnary, 1913. [Handbook to The Lutheran Hymnal]
Ah, holy Jesus* ◊ 292
(See: O dearest Jesus)
Alas! and did my Savior bleed ◊ 282
Hymns and Spiritual Songs, 1707 (also the edition of 1709), contained this hymn under the heading Godly Sorrow Arising from the Sufferings of Christ. The hymn was taken into use at once and is still a favored hymn in many churches, especially in America. Originally it contained six stanzas, but the second stanza is commonly omitted. It was translated into Latin by Gingham. [Dahle, Library of Christians Hymns]
Isaac Watts first published this famous hymn in six stanzas in his Hymns and Spiritual Songs, 1707, entitled “Godly Sorrow Arising from the Sufferings of Christ.” The second stanza, marked in the original text to be left out if desired, reads:
Thy body slain, sweet Jesus, Thine,
And bathed in its own blood,
While all exposed to wrath divine,
The glorious Sufferer stood!
In some quarters there has been objection to the last line of Stanza 1, and some hymnals have the line as altered thus:
For sinners such as I
and at least one hymnal has the line changed to:
For such an one as I.
The editorial committee for The Lutheran Hymnal felt justified in retaining the line as Watts had written it originally, as unobjectionable in the context, while generally sharing the negative attitude toward the so-called ‘‘vermicular hymns” or “worm hymns.” It is true that the Bible calls a man a worm in order to show his utter abasement before God, as in Job 25:6, “Man, that is a worm,” and in Ps. 22: 6, the expression is placed into the mouth of the suffering Redeemer: “But I am a worm and no man.” Nevertheless, the fact that a matter may be true does not always justify its use in poetry, and “worm hymns” such as the following have been rightly objected to:
Oh, may Thy powerful Word
Inspire this feeble worm
To rush into Thy kingdom, Lord,
And take it as by storm,
and:
Worms, strike your harps, your voices tune
And warble forth your lays;
Leap from the earth with pious mirth
To trumpet forth your praise.
This hymn is still a very general favorite in the English-speaking Christian world, even though a number of modern hymnals omit it altogether. It is said to have been the means of conversion of former Governor A. H. Colquitt of Georgia. The following incident is related of this conversion by the Methodist Bishop Warren A. Candler:
Just before he arose to address the meeting, the choir sang one of the sweetest hymns of Watts. It seemed to fill him with holy rapture. When he rose to speak, his handsome face shone with supernatural brightness, his lustrous eyes were filled with tears, and his utterance was choked with emotion as he said impulsively: “Oh, how I love that song! It was my mother’s song. And today, if I could hear her sing it again, I should have greater joy than if I had heard all the choirs of heaven.”
“Alas! and did my Savior bleed!”—that was the song they sang. Because his Savior bled and died that men might live, this noble man has found at last the eternal home and the “vanished hand” for which he sighed. [Handbook to The Lutheran Hymnal]
All depends on our possessing ◊ 468
Alles ist an Gottes Segen
Und an seiner Gnad’ gelegen,
Über alles Geld und Gut.
Wer auf Gott sin’ Hoffnung setzet,
Der behält ganz unverletzet
Einen freien Heldenmut.
Der mich hat bisher ernähret
Und mir manches Glück bescheret,
Ist und bleibet ewig mein.
Der mich wunderlich geführet
Und noch leltet und regieret,
Wird forthin mein Helfer sein.
Viel’ bemühen sich um Sachen,
Die nur Sorg’ und Unruh’ machen
Und ganz unbeständig sind.
Ich begehr’ nach dem zu ringen,
Was mir kann Vergnügen bringen
Und man Jetzt gar selten find’t.
Hoffnung kann das Herz erquicken;
Was ich wünsche, wird sich schicken,
So es anders Gott gefällt.
Meine Seele, Leib und Leben
Hab’ ich seiner Gnad’ ergeben
Und ihm alles heimgestellt.
Er weiss schon nach seinem Willen
Mein Verlangen zu erfüllen,
Es hat alles seine Zeit.
Ich hab’ ihm nichts vorzuschreiben;
Wie Gott will, so muss es bleiben,
Wenn Gott wlll, bin ich bereit.
Soll ich länger allhier leben,
Will ich ihm nicht widerstreben,
Ich verlasse mich auf ihn.
Ist doch nichts, das lang bestehet,
Alles Irdische vergehet
Und fährt wie ein Strom dahin.
This popular hymn of trust in God is by an unknown author and is dated c. 1673 by Koch. It was included in the Nürnberg Gesang-Buch, 1676.
The translation is an altered form of that by Catherine Winkworth in her Lyra Germanica, second series, 1858. [Handbook to The Lutheran Hymnal]
All glory be to God alone ◊ 36
All’ Ehr’ und Lob soll Gottes sein,
Er ist und heisst der Höchst’ allein,
Sein Zorn auf Erden hab’ ein End’;
Sein’ Fried’ und Gnad’ sich zu uns wend’.
Den Menschen das gefalle wohl,
Dafür man herzlich danken soll.
Ach lieber Gott, dich loben wir
Und preisen dich mit ganzer B’gier.
Auch kniend wir anbeten dich
Dein’ Ehr’ wir rühmen stetiglich;
Wir danken dir zu aller Zeit
Um deine grosse Herrlichkeit.
Herr Gott im Himmel Kön’g du bist,
Ein Vater der allmächtig ist.
Du Gottes Sohn vom Vater bist
Einig gebor’n, Herr Jesu Christ.
Herr Gott, du zartes Gotteslamm,
Ein Sohn aus Gott des Vaters Stamm,
Der du der Welt Sünd’ trägst allein,
Woll’st uns gnädig, barmherzig sein!
Der du der Welt Sünd’ trägst allein,
Lass dir unsre Bitt’ g’fällig sein!
Woll’st uns gnädig, barmherzig sein!
Du bist und bleibst heilig allein,
Über alles der Herr allein.
Der Allerhöchst’ allein du bist,
Du lieber Heiland, Jesu Christ,
Samt dem Vater und Heil’gen Geist
In göttlicher Majestät gleich.
Amen, das ist gewisslich wahr,
Das bekennt al er Engel Schar
Und alle Welt, so weit und breit,
Dich lobt und ehret allezeit.
Dich rühmt die ganze Christenheit
Von Anfang bis in Ewigkeit.
This seems to have been Martin Luther’s favorite metrical version of the “Gloria in Excelsis.” It follows the Latin text much more closely than does Decius’ “Allein Gott in der Höh’ sei Ehr’.” (“All glory be to God on high”) It first appeared in Joseph Klug’s Gesangbuch, Wittenberg, 1543. The author is unknown, although some authorities ascribe both text and tune to Martin Luther, as, for example, Dr. Konrad Ameln, one of the editors of the second edition of Schöberlein’s Schatz des liturgischen Chor- und Gemeindegesangs, which appeared under the title Handbuch der deutschen evangelischen Kirchenmusik
Our translation was prepared for The Lutheran Hymnal in 1940. [Handbook to the Lutheran Hymnal]
All glory be to God on high ◊ 35
Allein Gott in der Höh’ sei Ehr’
Und Dank für seine Gnade,
Darum dass nun und nimmermehr
Uns rühren kann kein Schade.
Ein Wohlgefall’n Gott an uns hat,
Nun ist gross’ Fried’ ohn’ Unterlass,
All’ Fehd’ hat nun ein Ende.
Wir loben, preis’n, anbeten dich
Für deine Ehr’; wir danken,
Dass du, Gott Vater, ewiglich
Regierst ohn’ alles Wanken.
Ganz ungemess’n ist deine Macht,
Fort g’schieht, was dein Will’ hat bedacht;
Wohl uns des feinen Herren!
O Jesu Christ, Sohn eingebor’n
Deines himmlischen Vaters,
Versöhner der’r, die war’n verlor’n,
Du Stiller unsers Haders.
Lamm Gottes, heil’ger Herr und Gott,
Nimm an die Bitt’ von unsrer Not, -
Erbarm’ dich unser aller!
O Heil’ger Gelst, du höchstes Gut,
Du allerheilsamst’ Tröster,
Vor’s Teufels G’walt fortan bhüt’,
Die Jesus Christ erlöset
Durch grosse Mart’r und bittern Tod,
Abwend all unsern Jamm’r und Not!
Darauf wir uns verlassen.
The song of the angels: “Glory be to God in the highest, peace on earth, good-will toward men” (Luke 2:14), was used for the public worship at an early date. It is found in the Liturgy of St. James of the 2nd century. The earliest enlarged Greek version is found in Codex alexandrinus, where it has been placed immediately after the Psalms and the Song of Solomon. This manuscript dates from the close of the 5th century. The oldest Latin version of this hymn is found in a manuscript dating from the 8th century and which is now kept in the British Museum. The same text is also found in Missale Romanum. Bishop Skaar and likewise H. Nutzhorn hold that the enlarged Greek version dates from the 2nd century, while the Latin translation was prepared by Bishop Hilarius of Poitiers (d. 368). Translations into German, English, Danish, and other languages were partly rendered in prose, later on they appear in metrical adaptations. The German metrical version, “Allein Gott in der höhe sey Ehr,” is composed of four verses of seven lines each and was prepared by Nicolaus Decius. The first edition of this version appeared in Low-German in Eyn ganz schöne unde nutte Gesangh Bock, 1526, and was re-edited in High-German in V. Schumann’s Geistliche Lieder, 1539: “Allein Gott in der Höhe sei Ehr.”
A Danish translation of the Latin prose text was made in 1528. At the same time there appeared two metrical versions, both of which were included in Een ny handbog, Rostock, 1529. One of these has four stanzas and is a translation of Decius’ Latin version. According to Nutzhorn the other is written by the pastor, Arvid Pedersøn, who studied in Wittenberg, 1524, and the following year. Later he was appointed dean of Bornholm. His translation contains five stanzas. Between the third and fourth there appears a new stanza, to which there is no corresponding part in the German original. Therefore it is thought that Arvid Pedersøn composed this additional stanza. This version has been included in the greater number of later hymnaries. The English translation of Decius’ hymn is by Miss Winkworth. There are at least 13 other English translations extant. The melody was first published in the above mentioned edition of Geistliche Lieder, by V. Schumann, Leipzig, 1539, but it is claimed to be much older. It is very probable that Decius himself composed the melody. He is referred to both as an eminent performer upon the harp, and as a composer.
…
“As you sing this beautiful hymn on Sunday morning,” says one writer, “then bear in mind that this hymn has been the power of God unto salvation for thousands of believing hearts. And as you sing it with true devotion, you sing it together with the saints and the angels of heaven. Thus this hymn will become also for you a power of God to overcome the world, death, and hell.” Bishop Skaar, in his mention of this hymn, quotes the following from Christian Scriver’s The Soul’s Treasury, which is applicable also in our day: “Observe the devotional gatherings; how people take part in the worship; the manner in which they pray, sing, and praise God; you will soon notice that many certainly are not sincere in their worship. O thou ungodly, ungrateful, perverted heart of man! Ought not the face of the Christian to beam with delight, as you proclaim unto him the wonderful deeds of mercy and the merits of Christ, the grace of God, and the forgiveness of sin. And, when the congregation sings a hymn of praise like ‘Thee God we praise,’ ‘All glory be to God on high,’ ‘Now thank we all our God,’ ‘My soul, now bless thy Maker,’ should not the devout Christian then praise God with all his heart, with all his soul, and with all his strength! Should not these hymns awaken all that is in us to sing praise and to rejoice in the spirit, to sing and to play unto Him in our hearts! Ought not our hearts then to melt like incense powder in the glowing heat of devotion!”
“This time-honored and glorious hymn, ‘All glory be to God on high,’ has in times of temptation and in the anguish of death often shown its power to bring light, comfort, and cheer to the struggling soul” (Skaar). [Dahle, Library of Christians Hymns]
This version of the “Gloria in excelsis,” very likely by Nikolaus Decius, first appeared, in Low German, in the Rostock Gesang Buch, 1525. In High German, together with the tune, it first appeared in Valten Schumann’s Gesangbuch, Leipzig, 1539. It became very popular, although Fischer calls attention to the fact that Martin Luther received neither this nor any other Hymns by Decius into his collections.
The tranalation is an altered form of that by Catherine Winkworth in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]
All glory, laud, and honor ◊ 277
Gloria, laus et honor tibi sit, rex Christe redemptor,
cui puerile decus prompsit hosanna pium.
Israel tu rex, Davidis et inclyta proles,
nomine qui in Domini, rex benedicte, venis.
Coetus in excelsis te laudat caelicus omnis
et mortalis homo, cuncta creata simul.
Plebs Hebraea tibi cum palmis obvia venit;
cum prece, voto, hymnis adsumus ecce tibi.
Hi tibi passuro solvebant munia laudis;
nos tibi regnanti pangimus ecce melos.
Hi placuere tibi; placeat devotio nostra,
rex pie, rex clemens, cui bona cuncta placent. Amen.
This hymn of praise is frequently called the hymn of St. Theodulph, who was born in Italy about the year 770. He entered a monastery, and because of his outstanding scholarship he eventually became an abbot. During the stormy days of the turbulent times in which he lived he was frequently sought as a mediator by opposing factions. He attracted the attention of the great Charlemagne, who took Theodulph with him on his return to France and made him Bishop of Orleans. After the death of Charlemagne enemies conspired against the bishop, and he was finally arrested and imprisoned in a monastery at Angers, where he languished in close confinement for three long years until he died, September 18, 821.
The following story regarding the origin of the hymn is told by Clichtoveus, A. D. 1516. In his prison-cell Bishop Theodulph composed a long poem for the procession of the people on Palm Sunday. It so happened that on Palm Sunday of the year 821 Emperor Louis the Pious and his retinue passed by the prison on their way to church and heard St. Theodulph singing joyfully the hymn which he had composed for that day. When the emperor asked for the name of the singer and was told that it was Bishop Theodulph, he declared, “The bishop is no traitor,” and ordered his release at once and his restoration to office.
It seems to be fairly well established that the hymn was composed while St. Theodulph was in confinement, even though we cannot be so sure about the veracity of the rest of the account and his liberation from prison on account of it.
The translation is an altered form of that by John M. Neale in his Hymnal Noted, 1854. [Handbook to The Lutheran Hymnal]
All hail the power of Jesus’ name ◊ 49
THIS hymn was first printed in Gospel Magazine, London, 1780. It contained eight verses with the title, On the Resurrection, the Lord is King. It was written the year before. In 1779 the first stanza appeared in the Gospel Magazine, set to Wm. Shrubsole’s melody. The hymn was also printed in Occasional Verses, Moral and Sacred, London, 1785. The author’s name was not given even here, but it was now generally known to be Perronet’s hymn. Later on it was revised and reedited. The edition as it now appears in the greater number of hymn books is by Dr. J. Rippon. Hymn No. 6 in The Lutheran Hymnary contains stanzas 1 and 5-8. The last stanza was added by Dr. Rippon (Baptist minister and publisher of hymn books, London, 1751-1836). Perronet’s hymn is one of the most extensively used and most popular in the English speaking world. It is mentioned among the ten best hymns of English hymnody. It has been translated into many languages, among others into Latin by Dr. H. M. McGill, “Salve, Jesu, forte nomen.” Another Latin version is “Salve nomen potestatis.”
The famous Methodist preacher, Wm. Dawson, “Billy Dawson,” caused a great sensation in London by his original and stirring sermons, which drew thousands of hearers. Thus at a large gathering he preached on Christ the Prophet, Highpriest,