Evangelical Lutheran Hymnary Handbook
— Hymn Texts and Tunes —
(TUNES ARE IN ITALIC CAPITAL LETTERS.)
Day of wrath ◊ 537
Dies irae, dies illa,
solvet saeclum in favilla
teste David cum Sibylla.
quantus tremor est futurus,
quando iudex est venturus,
cuncta stricte discussurus.
tuba mirum spargens sonum
per sepulcra regionum
coget omnes ante thronum.
mors stupebit et natura,
cum resurget creatura
iudicanti responsura.
liber scriptus proferetur,
in quo totum continetur,
unde mundus iudicetur.
iudex ergo cum sedebit,
quidquid latet, apparebit;
nil inultum remanebit.
quid sum miser tunc dicturus,
quem patronum rogaturus,
cum vix iustus sit securus?
rex tremendae maiestatis,
qui salvandos salvas gratis,
salva me, fons pietatis.
recordare, Iesu pie,
quod sum causa tuae viae;
ne me perdas illa die.
quaerens me sedisti lassus,
redemisti crucem passus;
tantus labor non sit cassus.
iuste iudex ultionis,
donum fac remissionis
ante diem rationis.
ingemisco tamquam reus,
culpa rubet vultus meus;
supplicanti parce, Deus.
qui Mariam absolvisti
et latronem exaudisti,
mihi quoque spem dedisti.
preces meae non sunt dignae;
sed tu bonus fac benigne
ne perenni cremer igne.
inter oves locum praesta,
et ab haedis me sequestra,
statuens in parte dextra.
confutatis maledictis,
flammis acribus addictis,
voca ma cum benedictis.
oro supplex et acclinis:
cor contritum quasi cinis;
gere curam mei finis.
lacrimosa dies illa,
qua resurget ex favilla
iudicandus homo reus, huic ergo parce, Deus.
pie Iesu Domine, dona eis requiem. Amen.
Dies irae dies illa!
Solvet faeclum in favillâ,
Teste David cum Sibyllâ.
Quantus tremor est futurus,
Quando Iudex est venturus,
Cuncta stricte discussurus.
Tuba mirum spargens sonum
Per sepulcra regionum,
Coget omnes ante thronum.
Mors stupebit, et natura,
Quum resurget creatura,
Iudicanti responsura.
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus iudicetur.
Iudex ergo cum sedebit,
Quidquid latet, apparebit:
Nil inultum remanebit.
Quid sum, miser! tunc dicturus,
Quem patronum rogaturus,
Quum vix iustus sit securus?
Rex tremendae maiestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis!
Recordare, Iesu pie,
Quod sum causa tuae viae;
Ne me perdas illâ die!
Quaerens me, sedisti lassus,
Redemisti, crucem passus:
Tantus labor non sit cassus.
Iuste Iudex ultionis,
Donum fac remissionis
Ante diem rationis.
Ingemisco tanquam reus,
Culpâ rubet vultus meus;
Supplicanti parce, Deus!
Qui Mariam absolvisti,
Et latronem exauditi,
Mihi quoque spem dedisti.
Preces meae non sunt dignae,
Sed Tu bonus fac benigne
Ne perenni cremer igne!
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parb dextrâ.
Confutatis maledictis,
Flammis acribus addiatis,
Voca me cum benedictis!
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
Lacrimosa dies illa!
Qua resurget ex favillâ
Iudicandus homo reus;
Huic ergo parce, Deus!
Thomas de Celano, friend and biographer of Francis of Assisi, is generally credited with the authorship of this great medievel sequence, the opening lines of which are taken verbatim from the Vulgate version of Zeph. 1:15. Julian, writing of the general acceptance of this hymn, declares:
The hold which this sequence has had upon the minds of men of various nations and creeds has been very great. Goethe uses it, as is well known, in his Faust with great effect. It also furnishes a grand climax to Canto VI in Sir Walter Scott’s Lag of the Last Minstrel. It has been translated into many languages, in some of which the renderings are very numerous, those in German numbering about ninety and those in English about one hundred and sixty. In Great Britain and America no hymn-book of any note has appeared during the past hundred years without the “Dies Irae” being directly or in directly represented therein. Daniel, writing from a German standpoint, says:
“Even those to whom the hymns of the Latin Church are almost entirely unknown, certainly know this one; and if any one can be found so alien from human nature that they have no appreciation of sacred poetry, yet, as a matter of certainty, even they would give their minds to this hymn, of which every word is weighty, yes, even a thunderclap.”
From another standpoint, Archbishop Trench says:
“Nor is it hard to account for its popularity. The meter so grandly devised, of which I remember no other example, fitted though it has here shown itself for bringing out some of the noblest powers of the Latin language—the solemn effect of the triple rime, which has been likened to blow following blow of the hammer on the anvil, the confidence of the poet in the universal interest of his theme, a confidence which has made him set out his matter with so majestic and unadorned a plainness as at once to be intelligible to all,—these merits, with many more, have given the Dies Irae a foremost place among the masterpieces of sacred song.”—Sac. Lat. Poetry, 1874, p. 302.
The translation, one of many excellent ones, is by William J. Irons, slightly altered. It was first issued in the privately printed Introits and Hymns for Advent, issued, without date, very likely 1848, for the use of Margaret Street Chapel, London. Julian has this to say about the origin of the translation:
It is well known that the Revolution in Paris in 1848 led to many scenes of terror and shame. Foremost was the death of Monsigneur D. A. Affre, the Archbishop of Paris, who was shot on June 25 on the barricades of the Place de la Bastille whilst endeavoring to persuade the insurgents to cease firing, and was buried on July 7. As soon as it was safe to do so, his funeral sermon was preached in Notre Dame, accompanied by a religious service of the most solemn and impressive kind. Throughout the service the archbishop’s heart was exposed in a glass case in the choir, and at the appointed place the Dies Irae was sung by an immense body of priests. The terror of the times, the painful sense of bereavement which rested upon the minds of the people through the death of their archbishop, the exposed heart in the choir, the imposing ritual of the service, and the grand rendering of the Dies Irae by the priests gave to the occasion an unusual degree of impressiveness. Dr. Irons was present and was deeply moved by what he saw and heard. On retiring from the Church, he wrote out this tr. [translation] of the Dies Irae.
[Handbook to The Lutheran Hymnal]
AMONG all the hymns from the Middle Ages, this Doomsday hymn, “Dies irae, dies illa,” wielded a most unique and extraordinary influence. It has stirred the souls of Christians throughout the world, and many authors have busied themselves with this hymn. A large number of translations have been made into German, English, and other languages.
Thomas of Celano lived during the first half of the thirteenth century. He was intimately associated with St. Francis of Assisi, the most remarkable personality of his time, whom he describes with an enthusiasm inspired by the deepest admiration and devotion. Among the prominent men of this century may be mentioned the theologians and hymn writers, Thomas Aquinas and Bonaventura, Pope Innocent III, and the founders of the Dominican and Franciscan Orders. The cultural development of the period really culminated in Dante’s Divine Comedy, which was begun during the last year of the 13th century.
Celano was located in the northern part of the kingdom of Naples. The city was burned, and the inhabitants were compelled to flee during the violent controversies between the pope and the emperor. Only the church remained intact among the ruins. This was one of the childhood memories of Thomas. It was during that period, possibly, that the young man found his way to St. Francis of Assisi, who was to exert such an influence upon his life and whose co-laborer and biographer he became. Thomas of Celano was later chosen to go to Germany to take charge of the work at the cloisters of Maintz, Worms, and Cologne, and later throughout the whole province.
It is not known under what circumstances or at what time “Dies irae” was written—some think about 1220. The authorship has been variously ascribed to several: Gregory the Great, Bernard of Clairvaux, Bonaventura, and others. Most authorities, however, are now agreed that Thomas of Celano is its author. The hymn was originally intended for use at the private devotions in the cloisters. During the latter part of the 13th century it was used in connection with the mass for the dead, and was regularly incorporated in the Catholic liturgy of the 14th century. The hymn was also used during the season of Lent. There is nothing in this hymn offensive to Lutheran Christians. It is truly Biblical throughout. It is the poor sinner seeking grace and mercy with God. It is Evangelical, emphasizing the free access to God’s throne of grace without the mediation of pope, church, or saint. It is recognized as the most sublime hymn of the Middle Ages. One hymnologist says: “The reason for its great power and influence over the minds of people which it has exerted also in literature and music may first of all be sought in the theme itself; its overwhelming grandeur; the holy sincerity and pathos of the author; and its lofty sentiment is further enhanced by the majestic meter with the triple rime.” Fr. von Meyer writes: “This strange poem, rather lacking in imagery, but profuse in feelings, strikes like a hammer with its mysterious triple rime upon the heart of man. I would not dwell under the same roof with the person who was so devoid of feelings that he could read and hear this hymn without fear and trembling.”
Among the authors who have employed parts of this hymn, “Dies irae,” in their works may be mentioned Walter Scott in The Lay of the Last Minstrel (see No. 606). It also plays a part in the scenes of Goethe’s Faust, where the poet lets Gretchen faint from fear and anguish, as she hears this hymn sung in the cathedral church, and from that hour her personality is completely changed. Meinhold and Carlyle have also employed parts of this hymn in their works. It is self-evident that prominent musicians should have composed music for this hymn. “Dies irae” furnished the inspiration for Mozart’s immortal Requiem. It likewise prompted the two compositions by Palestrina for polyphonic choir steadily used in the great cathedrals of the Catholic church. Cherubini’s production based upon this hymn is also extensively used. The musical setting employed in The Lutheran Hymnary was rendered by Ludvig M. Lindeman, organist in Oslo, Norway, in 1883, upon the request of John Dahle, the author of the present history.
“Dies irae” has been rendered into the English language upwards of 160 times. Of these, about 100 have been rendered in America. There are about 100 translations into the German language. There are three versions in the Norwegian, namely, by W. A. Wexels; U. V. Koren, president of the Norwegian Lutheran Synod of America; and an excerpt containing 12 stanzas, based upon various translations, by Gustav Jensen for Ny Salmebok for den Norske Kirke (Vredens Dag ved Tidens Ende).
In the Swedish we have a very good rendering, possibly the latest; “Dagen kommer, Vredesdagen.” Concerning the English rendering found in The Lutheran Hymnary we submit the following information: William Josiah Irons, born 1812, died 1884, minister in England and doctor of theology, translated “Dies irae” in 1848. During this year of the revolution Dr. Irons resided in Paris. The archbishop, D. A. Affre, was shot and killed upon the barricade at the Bastille, while trying to persuade the rebels to cease firing. This took place on the 25th of June. On the 7th of July Irons was present at the memorial service conducted in the Notre Dame Cathedral. It was a most impressive service. The heart of the bishop was exhibited in a vessel in the chancel. The ritual, and especially “Dies irae,” sung by a large choir of priests, made a profound impression upon Irons. When he came back to his residence he wrote his translation of this hymn based upon the Latin text of the Paris Missal, and this is the most popular English version of this famous hymn. [Dahle, Library of Christians Hymns]
Dayspring of eternity* ◊ 75
(See: Come, Thou bright and Morning-Star)
Dear Christians, one and all, rejoice ◊ 378
Nun freut euch, liebe Christen g’mein,
Und lasst uns fröhlich springen,
Dass wir getrost und all’ in ein
Mit Lust und Liebe singen,
Was Gott an uns gewendet hat,
Und seine süsse Wundertat;
Gar teu’r hat er’s erworben.
Dem Teufel ich gefangen lag,
Im Tod war ich verloren,
Mein’ Sünd’ mich quälte Nacht und Tag,
Darin ich war geboren.
Ich fiel auch immer tiefer drein,
Es war kein Gut’s am Leben mein,
Die Sünd’ hatt’ mich besessen.
Mein’ gute Werk’, die galten nicht,
Es war mit ihn’n verdorben;
Der frei’ Will’ hasste Gott’s Gericht,
Er war zum Gut’n erstorben.
Die Angst mich zu verzweifeln trieb,
Dass nichts denn Sterben bei mir blieb,
Zur Hölle musst’ ich sinken.
Da jammert’ Gott in Ewigkeit
Mein Elend übermassen,
Er dacht’ an sein’ Barmherzigkeit,
Er wollt’ mir helfen lassen;
Er wandt’ zu mir das Vaterherz,
Es war bei ihm fürwahr kein Scherz,
Er liess’s sein Bestes kosten.
Er sprach zu seinem lieben Sohn:
Die Zeit ist hier zu ‘rbarmen;
Fahr hin, mein’s Herzens werte Kron’,
Und sei das Heil dem Armen
Und hilf ihm aus der Sündennot,
Erwürg’ für ihn den bittern Tod
Und lass ihn mit dir leben!
Der Sohn dem Vater g’horsam ward,
Er kam zu mir auf Erden
Von einer Jungfrau rein und zart,
Er sollt’ mein Bruder werden.
Gar heimlich führt’ er sein’ Gewalt,
Er ging in meiner armen G’stalt,
Den Teufel wollt’ er fangen.
Er sprach zu mir: Halt dich an mich,
Es soll dir jetzt gelingen;
Ich geb’ mich selber ganz für dich,
Da will ich für dich ringen;
Denn ich bin dein, und du bist mein,
Und wo ich bleib’, da sollst du sein,
Uns soll der Feind nicht scheiden.
Vergiessen wird er mir mein Blut,
Dazu mein Leben rauben;
Das leid’ ich alles dir zugut.
Das halt mit festem Glauben!
Den Tod verschlingt das Leben mein,
Mein’ Unschuld trägt die Sünde dein:
Da bist du selig worden.
Gen Himmel zu dem Vater mein
Fahr’ ich von diesem Leben,
Da will ich sein der Meister dein,
Den Geist will ich dir geben.
Der dich in Trübnis trösten soll
Und lehren mich erkennen wohl
Und in der Wahrheit leiten.
Was ich getan hab’ und gelehrt,
Das sollst du tun und lehren,
Damit das Reich Gott’s werd’ gemehrt
Zu Lob und seinen Ehren,
Und hüt’ dich vor der Menschen G’satz.
Davon verdirbt der edle Schatz!
Das lass’ ich dir zur Letze.
THE year 1523 has been claimed to be the earliest publication date of this hymn, when it is said to have appeared on a leaflet together with the hymn “Es ist ein Heil uns kommen her,” by Speratus. In 1524 it was published in the Achtliederbuch, bearing the mark “Luther, 1523.” This reference, however, is not reliable, and no certain evidence has been found of its publication at an earlier date than that of the Erfurter Enchiridion, 1524. (Truttebul’s). Later on the hymn appeared in almost all the German hymn books. The hymnologist, Fr. Spitta, is evidently correct when he states that originally the hymn was not intended for a common song, but purely a lyric poem—a poetic expression of Luther’s personal joy and happiness after having passed through violent inner struggles and realizing that, while his penance and fasting and good works were of no avail, he could now, on the other hand, see himself fully justified by faith in the crucified and risen Jesus Christ. It is therefore most likely that this poem was written during the period previous to the year 1517, while Luther still was filled with the first joy occasioned by the experience of release from the great burden of sin resting upon him. From this period we also have, in Luther’s sermons and letters, many expressions m this same vein, couched in the most intense and fervent terms. Thus, for instance, in the letter to his friend Spenlein, dated April, 1516: “Therefore, my dear brother, learn to know Jesus Christ as the Crucified One! Learn to sing praises unto Him! and as you despair concerning yourself, say unto the Lord: ‘Thou, O Lord Jesus, art my righteousness, but I am Thy sin. Thou hast taken my condition upon Thyself and given me Thine Thou hast taken upon Thyself what I was, and given me that which I was not’.” It is for the purpose of emphasizing his own personal happiness that he repeatedly employs the first person singular, “Ich,” “mich,” “mein,” except in the first stanza: “wir,” “uns,” “Christen G’mein.” It appears likely that this stanza was added or at least varied, when in 1523-24 he began the work of supplying German hymns for the congregations, and found that this hymn also might be suitable for that purpose. But the following stanzas were permitted to retain the more personal and intensive expressions “Ich,” “mich,” and “mein.” (Nutzhorn.) Luther calls this “A hymn of praise for the greatest blessings which God hath shown us in Christ Jesus.” Olearius calls this hymn an exceptionally comforting summary of the Evangelical faith; it includes all that the Holy Scriptures teach concerning God, concerning Christ, concerning our lost condition, and salvation by grace through the merits of Jesus Christ, as well as a firm assurance of a part in the Kingdom of Glory.
“Stanza 1 praises God for the victory vouchsafed through His Son; stanzas 2 and 3 describe man in his lost and sinful estate; stanzas 4 and 5 picture God’s wonderful compassion for the fallen, and the gift of His Son, as Redeemer; stanzas 6 to 8 describe the work of redemption; and 9-10 the sending of the Holy Ghost, whose influence is attended with benefit.” (Lambert, Luther’s Hymns.)
“I have no doubt,” says Tileman Hesshusius, “that by this one hymn of Luther’s: ‘Nun freut euch lieben Christen g’mein,’ many hundred souls have been brought to a saving faith, who at an earlier date would not even hear Luther’s name mentioned. These spiritual songs have, in my opinion, exerted a powerful influence in spreading the Gospel.” Even as this hymn was a precious gem for the Evangelical congregation, it became a “thorn in the eye” of the Catholics. As an example of the latter may be mentioned that on Mid-Summer’s Day, 1557, some of the rulers gathered in Frankfurt am Main and wished to take part in an Evangelical service to be conducted in the church of St. Bartholomew. But as soon as the service opened a Catholic priest ascended the pulpit and began to interpret the Gospel according to his form of doctrine. The congregation became highly incensed and interrupted him by uniting in singing Luther’s famous hymn. The priest sought the help of the assembled rulers, but was refused, whereupon he left the church, and the service was continued.
The English translation of this hymn employed in The Lutheran Hymnary was rendered by R. Massie in his book, Martin Luther’s Spiritual Songs, 1854. It was first printed in Danish in Claus Mortensen’s hymnal of 1528. [Dahle, Library of Christians Hymns]
Dearest Jesus! We are here ◊ 244
Liebster Jesu, wir sind hier,
Deinem Worte nachzuleben.
Dieses Kindlein kommt zu dir,
Weil du den Befehl gegeben,
Dass man sie zu Christo führe,
Denn das Himmelreich ist ihre.
Ja es schallet allermeist
Dieses Wort in unsern Ohren:
Wer durch Wasser und durch Geist
Nicht zuvor ist neugeboren,
Wird von dir nicht aufgenommen
Und in Gottes Reich nicht kommen.
Darum eilen wir zu dir.
Nimm das Pfand von unsern Armen,
Tritt mit deinem Glanz herfür
Und erzeige dein Erbarmen,
Dass es dein Kind hier auf Erden
Und im Himmel möge werden!
Hirte, nimm dein Schäflein an;
Haupt, mach es zu deinem Gliede;
Himmelsweg, zeig ihm die Bahn;
Friedefürst, schenk ihm den Frieden:
Weinstock, hilf, dass diese Rebe
Auch im Glauben dich umgebe!
Nun, wir legen an dein Herz,
Was vom Herzen ist gegangen;
Führ die Seufzer himmelwärts
Und efülle das Verlangen;
Ja, den Namen, den wir geben,
Schreib ins Lebensbuch zum Leben!
THIS baptismal hymn was first printed 1709, in Schmolck’s Heilige Flammen der himmlischgesinnten Seele, in andächtigem Gebet und Liedern angezündet. It was ordered to be sung by the sponsors as they brought the child to the church. The English version, by Miss Winkworth, was published in her Lyra Germanica in 1858, and in the Chorale Book for England, in 1863. It was sung at Windsor Castle in 1863 for the baptism of Princess Victoria of Hessen. There are eight English translations. Of the seven stanzas in the original, the fourth and fifth have generally been omitted. [Dahle, Library of Christians Hymns]
Dearest Jesus, draw Thou near me ◊ 13
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THIS hymn in The Lutheran Hymnary contains the last three stanzas of the famous Danish hymn, “Hører, Verdens Øer, hører.” The complete hymn contained 10 stanzas. It is based upon Is. 49: 1-6, the epistle lesson for St. John the Baptist’s Day. Since this holiday was abolished by a special ordinance October 26, 1770, the last three stanzas have been used at the beginning of the service. The English translation used in the Hymnary is by C. K. Solberg, 1908. [Dahle, Library of Christians Hymns]
Death is dead, the true Life liveth! ◊ 346
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Deck thyself, my soul, with gladness* ◊ 328
(See: Soul, adorn thyself with gladness)
Draw nigh and take the body of the Lord ◊ 314
Sancti, venite, corpus Christi sumite,
Sanctum bibentes, quo redempti sanguine.
Pro universis immolatus Dominus,
Ipse sacerdos exstitit et hostia.
Sanctorum eustos, rector quoque, Dominus,
Vibe perennis, largitur credentibus.
Caelestem panem dat esurientibus,
De fonte vivo praebet sitientibus.
Accedant omnes pura, mente creduli,
Sumant aeternam salutis custodiam.
Alpha et Omega, ipse Christus Dominus,
Venit venturus iudicare homines. Amen.
THE original of this communion hymn was found in an antiphonarium, written 680-691 in Bangor cloister, Down County, Ireland. It is now kept in the Ambrosian library of Milan, Italy. The printed text is found in Rambach’s and O. A. Daniel’s editions. It is thought that the hymn was sung especially when the priests partook of the communion. Dr. Neale, who has translated this hymn into English, says that it is characterized by marked piety and simplicity. It is one of the very oldest of our communion hymns. [Dahle, Library of Christians Hymns]
Draw us to Thee ◊ 581
Zeuch uns nach dir,
So laufen wir
Mit herzlichem Verlangen
Hin, da du bist,
O Jesu Christ,
Aus dieser Welt gegangen.
Zeuch uns nach dir
In Liebsbegier
Ach reiss uns doch von hinnen,
So dürfen wir
Nicht länger hier
Den Kummerfaden spinnen.
Zeuch uns nach dir,
Herr Christ, ach führ
Uns deine Himmelsstege!
Wir irr’n sonst leicht
Und sind verscheucht
Vom rechten Lebenswege.
Zeuch uns nach dir,
So folgen wir
Dir nach in deinen Himmel,
Dass uns nicht mehr
Allhier beschwer’
Das böse Weltgetümmel.
Zeuch uns nach dir
Nur für und für
Und gib, dass wir nachfahren
Dir in dein Reich,
Und mach uns gleich
Den auserwählten Scharen!
Friedrich Funcke first published this hymn in the Lüneburg Stadt Gesang Buch, 1686. It is based on Solomon’s Song 1:4.
The translation is by August Crull. [Handbook to The Lutheran Hymnal]
LANDSTAD and Skaar have erroneously ascribed this hymn to F. Fabricius. [The hymn had also previously been ascribed to Angelus Silesius (Scheffler), and to Ludomilia Elisabet, who have written hymns with a somewhat similar beginning.] “The words of the bride, in the Song of Solomon 1:4: ‘Draw me, we will run after thee’ are beautifully rendered in this hymn” (Skaar). It appeared first in the Lüneburg Stadt-Gesangbuch, 1686; was taken up by Freylinghausen in his Gesangbuch, 1705, and later in many Lutheran hymnals. The version which appeared in J. H. Schrader’s Vollständiges Gesangbuch, Töndern, 1731, was translated into Danish by H. A. Brorson and printed in Nogle Himmelfarts- og Pindse-Psalmer, Tøndern, 1734. It was taken up unchanged in Pontoppidan’s Hymnary, and later somewhat altered in Hauge’s and Landstad’s editions. … The Danish-Norwegian translation has been given a different meter and is sung to the melody, “O Hjertens Ve, og Sorg at se” (Landst. 336). Our English version is a free rendering by A. T. Russell (See No. 26). [Dahle, Library of Christians Hymns]
Eternal Son of God ◊ 68
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The author of this hymn is unknown. The hymn is found is a Vatican manuscript from the eighth century, also in a ninth century manuscript in the library of Bern. It appears in three manuscripts and in one breviary from the eleventh century, kept in the British Museum. The hymn was translated into German by J. Rambach, and his version was again rendered into English by an unknown hand. The English version appeared first in The Evangelical Lutheran Hymnal, Columbus, Ohio, 1880. [Dahle, Library of Christians Hymns]
Evening and morning ◊ 57
Die güldne Sonne,
Voll Freud und Wonne
Bringt unsern Grenzen
Mit ihrem Glänzen
Ein herzerquickendes,
Liebliches Licht.
Mein Haupt und Glieder,
Die lagen darnieder;
Aber nun steh ich,
Bin munter und fröhlich,
Schaue den Himmel
Mit meinem Gesicht.
2. Mein Auge schauet,
Was Gott gebauet
Zu seinen Ehren
Und uns zu lehren,
Wie sein Vermögen
Sei mächtig und groß
Und wo die Frommen
Dann sollen hinkommen,
Wann sie mit Frieden
Von hinnen geschieden
Aus dieser Erde
Vergänglichem Schoß.
3. Lasset uns singen,
Dem Schöpfer bringen
Güter und Gaben;
Was wir nur haben,
Alles sei Gottes
Zum Opfer gesetzt!
Die besten Güter
Sind unsre Gemüter;
Lieder der Frommen,
Von Herzen gekommen,
Sind Weihrauch, der ihn
Am meisten ergötzt.
4. Abend und Morgen
Sind seine Sorgen;
Segnen und mehren,
Unglück verwehren
Sind seine Werke
Und Taten allein.
Wann wir uns legen,
So ist er zugegen;
Wann wir aufstehen,
So läßt er aufgehen
Über uns seiner
Barmherzigkeit Schein.
5. Ich hab erhoben
Zu dir hoch droben
All meine Sinnen;
Laß mein Beginnen
Ohn allen Anstoß
Und glücklich ergehn.
Laster und Schande,
Des Seelenfeinds Bande,
Fallen und Tücke
Treib ferne zurücke;
Laß mich auf deinen
Geboten bestehn.
6. Laß mich mit Freuden
Ohn alles Neiden
Sehen den Segen,
Den Du wirst legen
In meines Bruders
Und Nächsten Haus.
Geiziges Brennen,
Unchristliches Rennen
Nach Gut mit Sünde,
Das tilge geschwinde
Aus meinem Herzen
Und wirf es hinaus.
7. Menschliches Wesen,
Was ist's? Gewesen!
In einer Stunde
Geht es zu Grunde,
Sobald die Lüfte
Des Todes dreinwehn.
Alles in allen
Muß brechen und fallen;
Himmel und Erden,
Die müssen das werden,
Was sie gewesen
Vor ihrem Bestehn.
8. Alles vergehet.
Gott aber stehet
Ohn alles Wanken;
Seine Gedanken,
Sein Wort und Wille
Hat ewigen Grund.
Sein Heil und Gnaden,
Die nehmen nicht Schaden,
Heilen im Herzen
Die tödlichen Schmerzen,
Halten uns zeitlich
Und ewig gesund.
9. Gott, meine Krone,
Vergib und schone!
Laß meine Schulden
In Gnad' und Hulden
Aus deinen Augen
Sein abgewandt.
Sonst, Herr, regiere
Mich, lenke und führe,
Wie dir's gefället;
Ich habe gestellet
Alles in deine
Beliebung und Hand.
10. Willst du mir geben,
Womit mein Leben
Ich kann ernähren,
So laß mich höhren
Allzeit im Herzen
Dies heilige Wort:
Gott ist das Größte,
Das Schönste und Beste;
Gott ist das Süßte
Und Allergewißte,
Aus allen Schätzen
Der edelste Hort.
11. Willst Du mich kränken,
Mit Galle tränken,
Und soll von Plagen
Ich auch was tragen,
Wohlan, so mach es,
Wie dir es beliebt.
Was gut und tüchtig,
Was schädlich und nichtig
Meinem Gebeine,
Das weißt du alleine,
Hast niemals einen
Zu bitter betrübt.
12. Kreuz und Elende,
Das nimmt ein Ende;
Nach Meeresbrausen
Und Windessausen
Leuchtet der Sonne
Erwünschtes Gesicht.
Freude die Fülle
Und selige Stille
Darf ich erwarten
Im himmlischen Garten;
Dahin sind meine
Gedanken gericht't.
Str.1 Die güldene Sonne bringt Leben und Wonne, die Finsternis weicht. Der Morgen sich zeiget, die Röte aufsteiget, der Monde verbleicht.
Str.2 Nun sollen wir loben den Höchsten dort oben, daß er uns die Nacht hat wollen behüten vor Schrecken und Wüten der höllischen Macht.
Str.3 Kommt, lasset uns singen, die Stimmen erschwingen, zu danken dem Herrn. Ei bittet und flehet, daß er uns beistehet und weiche nicht fern.
Str.4 Es sei ihm gegeben mein Leben und Streben, mein Gehen und Stehn. Er gebe mir Gaben zu meinem Vorhaben, laß richtig mich gehn.
Str.5 In meinem Studieren wird er mich wohl führen und bleiben bei mir, wird schärfen die Sinnen zu meinem Beginnen und öffnen die Tür.
Faith is a living power from heaven ◊ 361
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O Christenmensch, merk wie sich’s hält.” Thus began the original hymn of 18 verses, published by Wackernagel. A cento of this hymn is found in Versuch, written by the hymnologist Bunsen. Here the hymn begins with the third stanza, which has been changed to “Der Glaub’ ist ein lebend’ge Kraft.” This cento contains stanzas 3, 8, 11, 12, 16, and 18 of the original. This was translated by Miss Winkworth for her Lyra Germanica, 1858, and later published also in her Chorale Book for England, 1863. Bunsen characterizes this hymn as “a beautiful confession of true faith.” [Dahle, Library of Christians Hymns]
Farewell I gladly bid thee ◊ 535
Valet will ich dir geben,
Du arge, falsche Welt
Dein sündlich, böses Leben
Durchaus mir nicht gefällt.
Im Himmel ist gut wohnen,
Hinauf steht mein’ Begier,
Da wird Gott ewig lohnen
Dem, der ihm dient allhier.
Rat mir nach deinem Herzen,
O Jesu, Gottes Sohn!
Soll ich hier dulden Schmerzen,
Hilf mir, Herr Christ, davon!
Verkürz mir alles Leiden,
Stärk meinen blöden Mut,
Lass mich selig abscheiden,
Setz mich in dein Erbgut!
In meines Herzens Grunde
Dein Nam’ und Kreuz allein
Funkelt all’ Zeit und Stunde,
Drauf kann ich fröhlich sein.
Erschein mir in dem Bilde
Zu Trost in meiner Not,
Wie du, Herr Christ, so milde
Dich hast geblut’t zu Tod!
Verbirg mein’ Seel’ aus Gnaden
In deiner offnen Seit’
Rück sie aus allem Schaden
Zu deiner Herzlichkeit!
Der ist wohl hier gewesen
Der kommt ins Himmelsschloss;
Der ist ewig genesen,
Der bleibt in deinem Schoss.
Schreib meinen Nam’n aufs beste
Ins Buch des Lebens ein
Und bind mein’ Seel’ fein feste
Ins schöne Bündelein
Der’r, die im Himmel grünen
Und vor dir leben frei,
So will ich ewig rühmen,
Dass dein Herz treue sei.
Valerius Herberger first published this hymn on a broadsheet, entitled “A devout prayer with which the Evangelical citizens of Frawenstadt in the autumn of the year 1613 moved the heart of God the Lord so that He mercifully laid down His sharp rod of wrath under which nearly two thousand fell on sleep. And also a hymn of consolation in which a pious heart bids farewell (Valet) to this world. Both composed by Valerius Herberger, preacher at Kripplein Christi.” Leipzig, 1614.
The title of the hymn itself is: “The Farewell (Valet) of Valerius Herberger that he gave to this world in the autumn of the year 1613, when he every hour saw death before his eyes, but mercifully and also as wonderfully as the three men in the furnace at Babylon was nevertheless spared.”
The hymn in its original form is an acrostic on his name as follows: VALE (1) R (2) I (3) U (4) S (5). It is a favorite hymn in many circles.
The translation is an altered form of that by Catherine Winkworth in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]
Father most holy, merciful, and tender ◊ 436
O Pater sancte, mitis atque pie,
O Iesu Christe, Fili venerande,
Paracliteque Spiritus o alme,
Deus aeterne,
Trinitas sancta unitasque firma,
Deitas vera, bonitas immensa,
Lux angelorum, salus orphanorum,
Spesque cunctorum,
Serviunt tibi cunta, quae creasti;
Te tuae cunctae laudant creaturae;
Nos quoque tibi psallimus devoti;
Tu nos exaudi.
Gloria tibi, omnipotens Deus,
Trinus et unus, magnus et excelcus;
Te decet hymnus, honor, laus, et decus
Nunc et in aevum. Amen.
This Trinity hymn of unknown authorship is dated c. 900. It was an office hymn for that feast in the Sarum, York, Aberdeen, Old Roman (Venice, 1478), and other breviaries. In its external form it is a sapphic, but its rhythm is not the classical one.
The translation is by Percy Dearmer and was made for the English Hymnal, 1906. [Handbook to The Lutheran Hymnal]
IN the British Museum there are two manuscripts which contain this hymn to the Trinity, from the 11th century. It was printed in many breviaries (Sarum, York, Aberdeen, Venice, and others). The printed text is also found in the works of Mone, Daniel, and Cardinal Newman’s Hymni Ecclesiae. G. M. Dreves found it in a manuscript from the 10th century. There are 8 English translations. The one of the latest date is by Rev. Percy Dearmer, 1906—the version used in The Lutheran Hymnary. [Dahle, Library of Christians Hymns]
Father, Son, and Holy Ghost ◊ 509
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THIS confirmation hymn was first printed in the Döring’s Christliches Haus-Gesangbuch, Elberfeld, 1821. “Vater, Sohn, und Heilger Geist,” has fifteen stanzas in groups, in different meters, arranged as follows: 1-3, hymn of prayer for the children, to be sung by the congregation; 4-7, to be sung by the parents and teachers; 8-13, prayer to be sung by the children; 14-15 to be sung by the congregation. Our present translation of stanzas 1-3 is by J. S. Stallybrass, 1859. [Dahle, Library of Christians Hymns]
Father, we praise Thee ◊ 76
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Father, we thank Thee who hast planted* ◊ 312
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Father, who the light this day ◊ 14
The author of this cento is Julia Anne Elliott. In 1835 her husband published Psalms and Hymns for Public, Private, and Social Worship, to which she contributed eleven hymns, at first anonymously; her initials were added in 1839. This hymn was among them. Originally it was published in seven stanzas. Our hymn is made up of Stanzas 3, 4, and 5. Mrs. Elliott strangely confused the seventh day on which the Creator rested and the first day of the week, the Christian Sunday. This error was altered by an unknown hand. We give the original version for the sake of comparison:
1. Hall, thou bright and sacred morn,
Risen with gladness in thy beams!
Light, which not of earth is born,
From thy dawn in glory streams:
Airs of heaven are breathed around.
And each place is holy ground.
2. Sad and weary were our way.
Fainting oft beneath our load,
But for thee thou blessed day,
Resting-place on life’s rough road!
Here flow forth the streams of grace;
Strengthened hence, we run our race.
3. Great Creator! who this day
From Thy perfect work didst rest;
By the souls that own Thy sway
Hallowed be its hours and blest;
Cares of earth aside be thrown,
This day given to heaven alone!
4. Savior! who this day didst break
The dark prison of the tomb,
Bid my slumbering soul awake,
Shine through all its sin and gloom;
Let me, from my bonds set free,
Rise from sin and live to thee!
5. Blessed Spirit! Comforter!
Sent this day from Christ on high;
Lord, on me Thy gifts confer,
Cleanse, illumine, sanctify!
All Thine influence shed abroad,
Lead me to the truth of God!
6. Soon, too soon, the sweet repose
Of this day of God will cease;
Soon this glimpse of heaven will close,
Vanish soon the hours of peace;
Soon return the toil, the strife,
All the weariness of life.
7. But the rest which yet remains
For Thy people, Lord, above
Knows nor change nor fears nor pains,
Endless as their Savior’s love.
Oh, may every Sabbath here
Bring us to that rest more near! [Handbook to The Lutheran Hymnal]
Fear and love thy God and Lord ◊ 510
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THIS hymn was originally printed together with another spiritual song, about the year 1608, under the following title: “Tvende aandelige andægtige Sange, Odense Byes, mine gunstige gode geistlige og verdslige Øvrigheder med deres Menigheder til et ydmygt Taknemmeligheds Tegn, udi denne Forms Bekostning dediceret af B. Pedersen, K. ibidem” (Kannik sammesteds). The author served as canon or minister in Odense or in some city in the district of Fyen. According to a resolution of the church, the fourth stanza of this hymn was to be sung after Baptism, and the fifth stanza before Communion. It has been extensively used in the parochial schools of the church and as a closing hymn on confirmation day. [Dahle, Library of Christians Hymns]
Feed Thy children, God most holy ◊ 599
Speis uns, o Gott, deine Kinder,
Tröste die betrübten Sünder,
Sprich den Segen zu den Gaben,
Die wir jetzund vor uns haben,
Dass sie uns zu diesem Leben
Stärke, Kraft und Nahrung geben,
Bis wir endlich mtt den Frommen
Zu der Himmelsmehlzeit kommen!
This grace for before meals, by Johann Heermann, first appeared in his prayer-book Geistlisher Poetischer Erquikstunden, etc., Nürnberg, 1656, without Lines 7 and 8. These were added later by an unknown hand and appeared in the Halberstadter Gesangbuch, 1712. This table-prayer became a general favorite in German circles. It was frequently sung before the meal.
The composite translation was prepared for The Lutheran Hymnal and is based largely on the translation in the Australian Lutheran Hymn-Book, 1925. [Handbook to The Lutheran Hymnal]
Fight the good fight ◊ 249
Fight the good fight of faith, lay hold on eternal life, where-unto thou art also called, and hast professed a good profession before many witnesses” (1 Tim. 6: 12). This hymn, which is very extensively used, was first published in Monsell’s Hymns of Love and Praise, 1863. [Dahle, Library of Christians Hymns]
Fling out the banner ◊ 504
Flung to the heedless winds ◊ 556
Die Asche will nicht lassen ab,
Sie stäubt in allen Landen;
Hier hilft kein Bach, Loch, Grub’ noch Grab;
Sie macht den Feind zuschanden.
Die er im Leben durch den Mord