Evangelical Lutheran Hymnary Handbook

— Hymn Texts and Tunes —

(TUNES ARE IN ITALIC CAPITAL LETTERS.)

 

SAINT … (SEE: ST. …)

 

SALVATION  434

 

 

Salvation unto us is come  227

Es ist das Heil uns kommen her

Von Gnad’ und lauter Güte,

Die Werke helfen nimmermehr,

Sie mögen nicht behüten,

Der Glaub’ sieht Jesum Christum an

Der hat g’nug für uns all’ getan,

Er ist der Mittler worden.

 

Was Gott im G’setz geboten hat,

Da man es nicht konnt’ halten,

Erhub sich Zorn und grosse Not

Vor Gott so mannigfalten;

Vom Fleisch wollt’ nicht heraus der Geist,

Vom G’setz erfordert allermeist,

Es war mit uns verloren.

 

Es war ein falscher Wahn dabei,

Gott hätt’ sein G’setz drum geben,

Als ob wir möchten selber frei

Nach seinem Willen leben;

So ist es nur ein Spiegel zart,

Der uns zeigt an die sünd’ge Art,

In unserm Fleisch verborgen.

 

Nicht möglich war es, diese Art

Aus eignen Kräften lassen.

Wiewohl es oft versuchet ward,

Doch mehrt’ sich Sünd’ ohn Massen;

Denn Gleisnerswerk Gott hoch verdammt,

Und je dem Fleisch der Sünde Schand’

Allzeit war angeboren.

 

Doch musst’ das G’setz erfüllet sein,

Sonst wär’n wir all’ verdorben;

Darum schickt’ Gott sein’n Sohn herein,

Der selber Mensch ist worden;

Das ganz’ Gesetz hat er erfüllt,

Damit sein’s Vaters Zorn gestillt,

Der über uns ging alle.

 

Und wenn es num erfüllet ist

Durch den, der es konnt’ halten,

So lerne jetzt ein frommer Christ

Des Glaubens recht’ Gestalte.

Nicht mehr, denn: Lieber Herre mein,

Dein Tod wird mir das Leben sein,

Du hast für mich bezahlet!

 

Daran ich keinen Zweifel trag’,

Dein Wort kann nicht betrügen.

Nun sagst du, dass kein Mensch verzag’,

Das wirst du nimmer lügen:

Wer glaubt an mich und wird getauft,

Demselben ist der Himm’l erkauft,

Dass er nicht wird verloren.

 

Es wird die Sünd’ durchs G’setz erkannt

Und schlägt das G’wissen nieder,

Das Evangelium kommt zuhand

Und stärkt den Sünder wieder

Und spricht: Nur kreuch zum Kreuz herzu,

Im G’setz ist weder Rast noch Ruh’

Mit allen seinen Werken!

 

Die Werk’, die kommen g’wisslich her

Aus einem rechten Glauben;

Denn das nicht rechter Glaube wär’,

Wollt’st ihn der Werk’ berauben.

Doch macht allein der Glaub’ gerecht,

Die Werke sind des Nächsten Knecht’.

Dabei wir’n Glauben merken.

 

Sei Lob und Ehr’ mit hohem Preis

Um dieser Gutheit willen

Gott Vater, Sohn, Heiligem Geist!

Der woll’ mit Gnad’ erfüllen,

Was er in uns ang’fangen hat

Zu Ehren seiner Majestät,

Dass heilig werd sein Name.

 

This is the most famous hymn of Paul Speratus and also one of the oldest and best known of Lutheran hymns. It was probably written in the fall of 1523 and then included in the first Lutheran hymnal, the so-called Achtliederbuch, entitled Etlich christlich lider, 1524. It was headed “A Hymn of Law and Faith, Powerfully Furnished with God’s Word,” and was in fourteen stanzas. It has been called “the true confessional hymn of the Reformation” and the “poetical connterpart of Luther’s preface to the Epistle to the Romans.” Miles Coverdale translated it for his Goostly Psalmes and Spiritualle Songes, c. 1539. The cento omits Stanzas 8,11,12, and 14.

The translation is composite. [Handbook to The Lutheran Hymnal]

THEREFORE we conclude that a man is justified by faith without the deeds of the Law” (Rom. 3:28). This hymn by Speratus has been called the poetic parallel to Luther’s preface to the Epistle to the Romans. One hymnologist has called it the great confessional hymn of the Reformation. Luther shed tears of joy when he heard it sung by a street-singer outside his window in Wittenberg. “By means of this hymn the precious truth concerning righteousness by faith through the grace of God was sung into the congregations.” In the town of Waiblingen near Stuttgart the Catholic priests vigorously opposed the Reformation, while the people favored it. The preacher, Werner, delivered the first evangelical sermon in the city in the year 1535. The Catholic priests tried to contradict him, but the congregation struck up the hymn of Speratus, and Werner’s enemies gave up the fight. In the Palatinate, also, the people desired to introduce the Reformation, but the duke dared not for fear that he would incur the emperor’s displeasure. Then, once while mass was being celebrated in the principal church in Heidelberg, the people began singing this hymn “as with one mouth.” The duke realized that it was high time that the people were granted their desire in the matter, and the Reformation was inaugurated. Similar incidents took place in Magdeburg and other cities. The hymn was rendered into Danish for Een ny Haandbog, 1529. It is thought that either Claus Mortensen or Arvid Pedersen prepared this translation. [Dahle, Library of Christians Hymns]

 

SALVE FESTA DIES  398

 

 

SALZBURG (ALLE MENSCHEN MÜSSEN STERBEN*)  172

The melody (Salzburg) is by Jacob Hintze (1622-1700), “stadt-musikus” of Berlin. After Johann Crüger’s death, Hintze undertook to superintend further issues of the Praxis Pietatis Melica, and added a number of new tunes. [Dahle, Library of Christians Hymns]

The tune “Alle Menschen müssen sterben” is attributed to Johann Rosenmüller, who is said to have composed it for Albinus’s text, to which the hymn was sung at von Henssberg’s funeral. The melody first appeared in Johann Cruger’s Praxis Pietatis Melica, Berlin, 1678. [Handbook to The Lutheran Hymnal]

 

Savior of the nations come  90

1. Veni, Redemptor gentium;

Ostende partum virginis;

Miretur omne saeculum.

Talis decet partus Deo.

 

2. Non ex virili semine,

Sed mystico spiramine

Verbum Dei tactum est caro,

Fructusque ventris floruit.

 

3. Alvus tumescit virginis.

Claustrum pudoris permanet;

Vexilla virtutum micant,

Versatur in templo Deus.

 

4. Procedit e thalamo suo,

Pudoris aulo regia,

Geminae gigans substantiae

Alacris ut currat viam.

 

5. Egressus eius a Patre,

Regressus eius ad Patrem ;

Excursus usque ad inferos

Recursus ad sedem Dei.

 

6. Aequalis aeterno Patri,

Carnis tropaeo accingere,

Infirma nostri corporis

Virtute firmans perpeti.

 

7. Praesepe iam fulget tuum,

Lumenque nox spirat novum,

Quad nulla nox interpolet

Fideque iugi luceat.

 

8. Gloria tibi, Domine,

Qui natus es de virgine,

Cum Patre et saneto Spiritu,

In sempiterna saecula.

 

It will be noted that the fourth stanza of the Latin text has been omitted in our version. Julian informs us that the Latin hymn, though included in older breviaries, is not in the Roman Breviary “and can hardly be said to be in use at the present day, a somewhat unfortunate ecclesiastical prudery having set aside this noble composition.” The same authority, however, adds: “It must be confessed that a strictly literal English version is hardly desirable for modern congregational use.”

Luther’s German version appeared with the tune in both editions of Eyn Enchiridion, Erfurt, 1524, and in Johann Walther’s Geystliche gesangk Buchleyn, Wittenberg, 1524.

The translation is a slightly altered form of the version by William M. Reynolds and first appeared in 1860. [Handbook to The Lutheran Hymnal]

AUGUSTINE says: “I feel that I am moved much more by the testimony of the word which is voiced in song than by that which is not sung: There is, therefore, a sort of mysterious relationship between the movements of the spirit and song.” This is one of the twelve hymns which the Benedictine writers ascribed to Ambrose. Augustine refers to this as one of the hymns of Ambrose, and Pope Coelestine expressly mentions the name of Ambrose at the Synod of Rome, 430. Likewise, Faustus in his Epistola ad gratium diaconum, ca. 450, and also Cassiodorus (d. ca. 575) in his Commentary on the Psalms. The hymn is found in two Vatican manuscripts of the eighth century, besides in manuscripts as follows: Trier (ninth century); Bern and München (tenth century); Cambridge and British Museum (eleventh century). It is also found in many hymnological works and in the breviaries of many nations. It is not found, however, in the Roman Breviary, due possibly to an exaggerated ecclesiastic critical sense—snobbishness, which took offense at certain figurative expressions. “The fourth stanza is based upon Psalm 19:6. David’s figure of the sun is applied by Ambrose to Christ” (Skaar). The hymnologist Dreves relates that the hymn originally began as follows: “Intende qui regis Israel”; thus in manuscripts of the Vatican, Milan, and other old Italian editions. Outside of Italy this stanza is commonly omitted. The German version of this hymn was rendered by Henrik von Laufenberg, a minister of Freiburg (d. 1445): “Kum har, erlöser volkes schar.” A version by another author of the fifteenth century reads as follows: “Kom, erlöser aller leute,” and one from the beginning of the sixteenth century: “Erlediger der völckher khum”; and finally Luther’s version of 1524: “Nun komm, der Heiden Heiland,” with the title, Der hymnus: Veni Redemptor gentium etc. verdeutscht. Luther’s translation was printed in two editions of the Erfurt Enchiridion and was taken up by other German hymnals and for a long time employed as an Advent hymn, but chiefly used as a Christmas hymn. Among the English translations we have eighteen renderings from the Latin text and ten translations from Luther’s German version. Of the latter, only one seems to be in common use, the version found in our Lutheran Hymnary rendered by W. M. Reynolds (1850) for the Church Book with Music of the General Synod. The fourth and sixth stanzas of the original are here omitted.

Latin revision of Ambrose’s hymn was made b Johann Campanus (1565-1622), rector of the University of Prague. His version became popular an was rendered into German by Johann Franck: “Komm Heiden Heiland, Lösegeld,” which was included in many German hymnals, among which may be mentioned Bunsen’s (somewhat changed). Of this version there are three English translations, of which one is by Miss Winkworth: “Redeemer of the nations, come.” Luther’s “Nun komm der Heiden Heiland” was translated into Danish in 1569, by Hans Thomissøn: “Kom, Hedningernes Frelser sand.” This was a very defective translation, and Kingo in his first draft of the Winterpart rendered a new version: “Kom nu alle Folkes Trøst”; in later editions changed to “Kom, o Hedning-Frelser sand.” But in spite of the fact that these translations were a great improvement upon Thomissøn’s version, none of them were accepted by the committee which was given authority to compile Kingo’s Hymn Book. The old version by Thomissøn was preferred. Landstad prepared a new translation consisting of four stanzas for his hymnary.

Ambrose’s hymn has been translated also into French, Portuguese, Low-German, Swedish, Icelandic, and other languages. “‘Veni Redemptor gentium’ was possibly one of these hymns sung by the congregation in the church of Milan during the night vigils of the year 386. While the Arians denied the divinity of Christ, we have in this hymn a direct statement confessing Christ to be true God, born of the Father from eternity” (Skaar). It has not been definitely established that the melody for this hymn dates from the fourth century. It is possibly a German tune from the Middle Ages and was used by Johann Walther for Luther’s version of the Latin text. It was printed together with this hymn in the Geystliche Gesangk-Buchleyn and in the Erfurt Enchiridion, 1524. [Dahle, Library of Christians Hymns]

 

 

Savior, again to Thy dear name we raise  597

THIS hymn was written in 1866 for a meeting of the Malpas, Middelwich, and Nantwich Choral Association. Originally it had 6 stanzas. Later it was revised and abbreviated and was thus printed in a supplement to Hymns Ancient and Modern, 1868. It is very commonly used as the closing hymn of the evening service. [Dahle, Library of Christians Hymns]

 

Savior, when in dust to Thee  296

UNDER the title: Litany, this hymn of five stanzas appeared first in The Christian Observer, 1815. Grant’s hymns were published, 1839, in a new edition under the title: Sacred Poems. This was edited by his brother, Lord Glenelg. The hymn text differs somewhat from that of the first edition, but Lord Glenelg designates the later form as “more correct and authentic.” The third stanza of the original is omitted in this second edition. The hymn has undergone many changes in several hymn books and the first line especially appears in many different forms, as follows: “By Thy birth and early years”; “By Thy birth and by Thy tears”; “Father, when in dust to Thee”; “Jesus, when in prayer to Thee.” The hymn is extensively used in all these various forms and it has been translated into many languages. R. gingham has rendered it into Latin with the first line as follows: “Quando genua flectentes.” [Dahle, Library of Christians Hymns]

 

SCHMÜCKE DICH  328

THE first stanza of this hymn was published 1649, in J. Crüger’s Kirchenmelodien. It was there set to Crüger’s melody. [Dahle, Library of Christians Hymns]

The first stanza of this hymn by Johann Franck appeared in Johann Crüger’s Geistliche Kirchen Melodien, 1649, set to the beautiful tune “Schmücke dich,” which Crüger himself had composed for it. Whether the entire hymn was written in that year or earlier is not certain. Franck published it in his Geistliches Sion, etc., Guben, 1674, headed “Preparation for the Holy Communion.” Both text and tune are truly great. Julian states:

 

This hymn is perhaps the finest of all German hymns for the Holy Communion. It is an exhortation to the soul to arise and draw near to partake of the Heavenly Food and to meditate on the wonders of Heavenly Love, ending with a prayer for final reception at the Eternal Feast. It soon attained, and still retains, popularity in Germany (in many German churches it is still the unvarying hymn at the celebration), was one of the first hymns translated into Malabar, and passed into English in 1754. [Handbook to The Lutheran Hymnal]

 

SCHÖNSTER HERR JESU  54

Its modern form together with the beautiful melody was noted down from oral recitation in the province of Glaz, Silesia, and was printed in Schlesische Volkslieder, Leipzig, 1842. This version became the basis for our present English translation, which was rendered by Dr. Joseph Augustus Seiss, an American Lutheran pastor born in Maryland, 1823 (d. 1904). It was this hymn with its beautiful melody which inspired the poet B. S. Ingemann to write his famous Crusaders’ Hymn in the Danish, “Deilig er Jorden,” which ought to take the place of this hymn in our English hymnals. [Dahle, Library of Christians Hymns]

The tune “Schönster Herr Jesu” is first found in a book of Silesian folksongs, Schlesische Volkslieder, Leipzig, 1842. The carol is not an ancient “Crusaders’ Hymn,” as often stated. Both text and tune are modern. [Handbook to The Lutheran Hymnal]

 

SCHUMANN  445

The melody (Schumann or Heath) has been arranged from one of Robert Schumann’s melodies (1810-56). [Dahle, Library of Christians Hymns]

The tune “Schumann” is from Mason and Webb’s Cantica Laudis, Boston, 1850. In that volume the tune is called “White.” It is supposed to be an arrangement from Robert Schumann, but authorities have been unable to find anything among his writings from which it could have been derived. [Handbook to The Lutheran Hymnal]

 

 

 

Seek where ye may to find a way  207

Such’, wer da will, Ein ander Ziel,

Die Seligkeit zu finden;

Mein Herz allein Bedacht soll sein,

Auf Christum sich zu gründen.

Sein Wort ist wahr, Sein Werk ist klar,

Sein heil’ger Mund Hat Kraft und Grund,

All’ Feind’ zu überwinden.

 

Such’, wer da will, Nothelfer viel,

Die uns doch nichts erworben;

Hier ist der Mann, Der helfen kann,

Bei dem nie was verdorben!

Uns wird das Heil Durch ihn zuteil,

Uns macht gerecht Der treue Knecht,

Der für uns ist gestorben.

 

Ach sucht doch den, Lasst alles stehn,

Die ihr das Heil begehret!

Er ist der Herr Und keiner mehr,

Der euch das Heil gewähret.

Sucht ihn all’ Stund’ Von Herzensgrund,

Sucht ihn allein, Denn wohl wird sein

Dem, der ihn herzlich ehret.

 

Mein’s Herzens Kron’, Mein’ Freudensonn’

Sollst du, Herr Jesu, bleiben;

Lass mich doch nicht Von deinem Licht

Durch Eitelkeit vertreiben!

Bleib du mein Preis, Dein Wort mich speis;

Bleib du mein’ Ehr’, Dein Wort mich lehr’,

An dich stets fest zu gläuben!

 

Wend von mir nicht Dein Angesicht,

Lass mich im Kreuz nicht zagen;

Weich nicht von mir, Mein’ höchste Zier,

Hilf mir mein Leiden tragen

Hilf mir zur Freud’ Nach diesem Leid,

Hilf, dass ich mag Nach dieser Klag’

Dir ewig dort lobsagen!

 

Georg Weissel first published this hymn in Preussische Fest Lieder durchs gantze Jahr, Part I, Elbing, 1642. It had been written by him in 1623. When he became pastor in Königsberg in that year, in conjunction with his entrance into office there, he dedicated the newly built church (Alt-Rossgärtsche Kirche) on the Third Sunday in Advent. He had composed the hymn for this occasion.

The translation by Arthur Voss was prepared for The Lutheran Hymnal in 1938. [Handbook to The Lutheran Hymnal]

 

SEELENBRÄUTIGAM  587

The melody (Seelenbräutigam) was composed by Adam Drese, 1698. [Dahle, Library of Christians Hymns]

The tune “Seelenbräutigam” is by Adam Drese and was written for his own hymn “Seelenbräutigam, Jesu, Gotteslamm” and published in the Halle Gesang-Buch (Schütze), 1697. [Handbook to The Lutheran Hymnal]

 

Send, O Lord, Thy Holy Spirit  507

Segne, Herr, mit deinem Geiste

Deinen Diener immerdar,

Dass den rechten Dienst er leiste

Dir an deiner Lämmerschar.

Deines Wortes reine Lehr’,

Deines heil’gen Namens Ehr’,

Deiner Lämmlein Seligkeit

Sei sein Ziel zu aller Zeit.

 

Du, o Herr hast ihn erwählet

Zu dem Amt, so schön, doch schwer;

Ohne deinen Geist ihm fehlet

Alle Hilfe, Kraft und Wehr.

Schenk ihm Weisheit und Verstand,

Stärk ihm Herz und Mund und Hand.

Hör uns, o Herr Jesu Christ,

Der du Hirt und Helfer bist!

 

Hilf, Herr Christ, ihm treulich weiden

Unsre Kindlein auf den Au’n

Deines Worts, hilf ihm sie leiten,

Dass sie selig einst dich schaun.

Hilf ihm tragen all’ Beschwer,

Die sein Amt bringt mit sich her;

Krön ihn auch mit Herrlichkeit

Einst in sel’ger Ewigkeit.

 

We have been unable to determine the author of this 19th-century hymn. It became known in certain circles through the old German Lieder-Perlen, a Concordia Publishing House publication for use in our schools. It is to be used at the installation of a teacher. The translator is Frederick W. Herzberger. [Handbook to The Lutheran Hymnal]

 

Shepherd of tender youth*  183

(See: Master of eager youth)

 

SICILIAN MARINERS  588

 

 

SIEH, HIER BIN ICH  89, 159

The melody is taken from Geistreiches Gesangbuch, Darmstadt, 1698. [Dahle, Library of Christians Hymns]

The tune “Sieh, hier bin ich” is from the Darmstadt hymnal Geistreiche Gesangbuch, 1698, set to Joachim Neander’s hymn “Sieh, hier bin ich Ehrenkönig.” [Handbook to The Lutheran Hymnal]

 

 

Silent night!  140

Stille Nacht, heilige Nacht!

Alles schläft, einsam wacht

Nur das heilige hochheilige Paar,

Holder Knabe in lockigem Haar,

Schlaf in himmlischer Ruh’,

Schlaf in himmlischer Ruh’.

 

Stille Nacht, heilige Nacht!

Hirten erst kundgemacht;

Durch der Engel Halleluja

Tönt es laut von fern und nah:

Christ, der Retter, ist da!

Christ, der Retter, ist da!

 

Stille Nacht, heilige Nacht!

Gottes Sohn, o wie lacht

Lieb’ aus deinem göttlichen Mund,

Da uns schläget die rettende Stund’,

Christ, in deiner Geburt!

Christ, in deiner Geburt!

 

This is one of the most popular Christmas carols in America. It was written by Joseph Mohr, in 1818, for the Christmas celebration in his church that year. The tune “Stille Nacht” was composed by Franz Gruber, organist, who was schoolmaster at Arnsdorf, a village not far from Oberndorf, where Mohr had his parish.

A brochure on “Silent Night” was prepared several years ago by Frederick H. Jänicken in which the circumstances of its origin are told. According to Mr. Jänicken it was first played on a guitar in the church study of Joseph Mohr at Oberndorf, where Pastor Mohr, who wrote the text and, in a sense, provided the poetic impulse for the music, was the vicar. Pastor Mohr and Gruber had been friends for a long time. Gruber was the organist and choirmaster in the neighboring village of Arnsdorf, and they often visited each other, usually for the purpose of singing hymns and sometimes, when other singers could be brought in, the more difficult motets. On one of these occasions, just a week or two before Christmas of 1818, Gruber had said to Mohr, “Do you know, Pastor, the true Christmas song is yet to be written?” Gruber was looking out into the deep, serene, snow-clad Alpine reaches when he spoke, and Mohr, following his gaze, agreed. Pastor Mohr, pondering the thought of a perfect Christmas song, was called on Christmas Eve to the hut of a woodchopper whose wife had just borne a child. Face to face with the mystery of life, Pastor Mohr, after performing appropriate offices for the family, returned through the snow-drifts to his house and almost automatically began to write since that was the most effective way he could think of to give expression to his mood and his sensibilities. According to the story he stopped writing at 4 o’clock on Christmas morning—and the poem of “Silent Night” had been written. After a few hours’ sleep he arose at 9, hurried to the home of his friend Gruber in Arnsdorf, presented him with the text, and returned to his own home. Later in the day Gruber came to Oberndorf with the notes sketched in. The organ in the pastor’s study was broken, so Gruber took a guitar from the wall, played the music through once, and then the two sang it together in thirds. It was then not more than half an hour before the Christmas services were to begin; but Pastor Mohr quickly assembled his choir, Herr Gruber sang the tune, they followed, and by the time the congregation had filled the church, they were ready to give it to the world. In 1897 a memorial tablet was placed on the schoolhouse in Arnsdorf with this inscription:

 

Silent night! Holy night!

Who composed thee, hymn divine?

Mohr it was who wrote each line,

Gruber found my tune sublime,—

Teacher together with priest.

 

The translation is by an unknown writer. According to Julian it first appeared in C. L. Hutchins’s Sunday School Hymnal, 1871. Our copy, which is Edition A, 1889, has a different translation. The Sunday School Hymn Book of the General Council, 1873, carried this translation, and thus it came into common use among American Lutherans. [Handbook to The Lutheran Hymnal]

“Silent night, holy night,” one of our most popular Christmas hymns, was written for the Christmas festival 1818, while Mohr was assistant pastor of Laufen, near Salzburg. The music was composed by Franz Gruber, a teacher in the neighboring town of Arnsdorf. The hymn has been translated into many languages and is extensively used in all Christian lands. There are twelve English translations. [Dahle, Library of Christians Hymns]

 

SINE NOMINE  554

The tune “Sine nomine” was written for this hymn by R. Vaughan Williams. It appeared in the English Hymnal, 1906. It is a powerful tune, one of the finest hymn tunes by a modern composer, and the congregation that has mastered it will sing it with an ever-deepening appreciation. [Handbook to The Lutheran Hymnal]

 

 

Sing praise to the God of Israel  46

 

 

Sing to the Lord of harvest  464

 

 

Sing, my tongue, how glorious battle  298

\\

 

SIROË  232

 

 

SLANE  59

 

SO NIMM DENN MEINE HÄNDE  210

 

 

SO WAHR ICH LEB  417

 

 

 

So rest, my Rest  338

\\

 

So truly as I live, God saith  417

So wahr ich leb’, spricht Gott der Herr,

Des Sünders Tod ich nicht begehr’,

Sondern dass er bekehre sich

Tu’ Buss’ und lebe ewigilch.

 

Drum Christ, der Herr, sein’ Jünger sandt’:

Geht hin, predigt in allem Land

Vergebung der Sünd’ jedermann,

Dem’s leid ist, glaubt und will ablan.

 

Wem ihr die Sünd’ vergeben werd’t,

Soll ihr’r los sein auf dieser Erd’.

Wem ihr sie b’halt’t im Namen mein,

Dem sollen sie behalten sein.

 

Was ihr bind’t, soll gebunden sein;

Was ihr auflöst, das soll los sein.

Die Schlüssel zu dem Himmelreich

Hiermit ich euch geb’ allen gleich.

 

Wenn uns der Beicht’ger absolviert,

Sein Amt der Herr Christ durch ihn führt

Und spricht uns selbst von Sünden rein;

Sein Werkzeug ist der Dien’r allein.

 

Wem der Beicht’ger auflegt sein’ Hand,

Dem löst Christ auf der Sünden Band

Und absolviert ihn durch sein Blut:

Wer’s glaubt, aus Gnad’ hat solches Gut.

 

Wen nun sein G’wissen beisst und nagt,

Die Sünd’ quält, dass er schier verzagt,

Der halt’ sich zu dem Gnadenthron,

Zum Wort der Absolution.

 

Lob sei dir, wahrer Gottessohn,

Für die heil’g’ Absolution,

Darin du zeigst dein’ Gnad’ und Güt’:

Vor falschem Ablass uns behüt!

 

Nikolaus Herman first published this hymn, in eleven stanzas, in his Die Sontags Euangelia, etc., Wittenberg, 1560. The title was “A hymn on the power of the keys and the virtue of holy absolution; for the children in Joachimsthal.” It probably suggested the better-known hymn by Johann Heermann “So wahr ich lebe.” [Handbook to The Lutheran Hymnal]

 

Soldiers of Christ, arise  520

PUT on the whole armor of God, that ye may be able to stand against the wiles of the devil” (Ephesians 6:11).

This hymn is given in Wesley’s Hymns and Sacred Poems, 1749, in 16 eight-line stanzas. In W. S. Hymnbook, 1780, 12 stanzas were given as three separate hymns: 1. Soldiers of Christ, arise, 2. But above all lay hold, 3. In fellowship alone. Our cento is found in several hymn books in England and America. [Dahle, Library of Christians Hymns]

 

SOLLT’ ICH MEINEM GOTT  448

The tune “Sollt’ ich meinem Gott nicht singen” was composed by Johann Schop for Johann Rist’s Easter hymn “Lasset uns den Herren preisen, o ihr Christen, überall,” published with that text in Rist’s Himmlzsche Lieder Liineburg, 1641. In the course of time, however, this tune became wedded to this hymn of Gerhardts and is the most widely used in spite of the fact that at least twenty tunes have been composed for Gerhardt’s text. The congregation that masters this tune possesses a treasure of which it will never grow weary. [Handbook to The Lutheran Hymnal]

 

SOM TØRSTIGE HJORT  462

The melody was composed by L. M. Lindeman especially for this hymn [Dahle, Library of Christians Hymns]

 

SONG 13 (LIGHT DIVINE*)  402

The tune “Song 13” or “Light Divine” by Orlando Gibbons is also called “Song 13.” It appeared in The Hymnes and Songs of the Church by George Wither, in 1623, where it was set to a metrical paraphrase of a part of the Song of Solomon. [Handbook to The Lutheran Hymnal]

 

Songs of thankfulness and praise  172

Christopher Wordsworth published this hymn in his Holy Year, 1862, with the heading:

“Sixth Sunday after the Epiphany.—Recapitulation of the Subjects presented in the Services of former weeks throughout the season of Epiphany; and Anticipation of the future great and glorious Epiphany, at which Christ wil1 appear again to judge the World.” [Handbook to The Lutheran Hymnal]

 

SONNE DER GERECHTIGKEIT  310

 

 

 

Soul, adorn thyself with gladness  328

Schmücke dich, o liebe Seele,

Lass die dunkle Sündenhöhle,

Komm ans heile Licht gegangen,

Fange herrlich an zu prangen!

Denn der Herr, voll Heil und Gnaden,

Will dich jetzt zu Gaste laden;

Der den Himmel kann verwalten,

Will jetzt Herberg’ in dir halten.

 

Eile, wie Verlobte pflegen,

Deinem Bräutigam entgegen,

Der da mit dem Gnadenhammer

Klopft an deine Herzenskammer!

Öffn’ ihm bald des Geistes Pforten,

Red ihn an mit schönen Worten:

Komm, mein Liebster, lass dich küssen.

Lass mich deiner nicht mehr missen!

 

Zwar in Kaufung teurer Waren

Megt man sonst kein Geld zu sparen;

Aber du willst für die Gaben

Deiner Huld kein Geld nicht haben,

Weil in allen Bergwerksgründen

Kein solch Kleinod ist zu finden.

Das die blutgefüllten Schalen

Und dies Manna kann bezahlen.

 

Ach, wie hungert mein Gemüte,

Menschenfreund, nach deiner Güte!

Ach, wie pfleg’ ich oft mit Tränen

Mich nach dieser Kost zu sehnen!

Ach, wie pfleget mich zu dürsten

Nach dem Trank des Lebensfürsten!

Wünsche stets, dass mein Gebeine

Sieh durch Gott mit Gott vereine.

 

Beides Lachen und auch Zittern

Lässet sich in mir jetzt wittern;

Das Geheimnis dieser Speise

Und die unerforschte Weise

Machet, dass ich früh vermerke,

Herr, die Grösse deiner Werke.

Ist auch wohl ein Menseh zu finden,

Der dein’ Allmacht sollt’ ergründen?

 

Nein, Vernunft, die muss hier weichen,

Kann dies Wunder nicht erreichen,

Dass dies Brot nie wird verzehret,

Ob es gleich viel Tausend’ nähret,

Und dass mit dem Saft der Reben

Uns wird Christi Blut gegeben.

O der grossen Heimlichkeiten,

Die nur Gottes Geist kann deuten!

 

Jesu, meines Lebens Sonne,

Jesu, meine Freud’ und Wonne,

Jesu, du mein ganz Beginnen,

Lebensquell und Licht der Sinnen,

Hier fall’ ich zu deinen Füssen;

Lass mich würdiglich geniessen

Dieser deiner Himmelsspeise

Mir zum Heil und dir zum Preise!

 

Herr, es hat dein treues Lieben

Dich vom Himmel hergetrieben,

Dass du willig hast dein Leben

In den Tod für uns gegeben

Und dazu ganz unverdrossen,

Herr, dein Blut für uns vergossen,

Das uns jetzt kann kräftig tränken,

Deiner Liebe zu gedenken.

 

Jesu, wahres Brot des Lebens,

Hilf, dass ich doch nicht vergebens

Oder mir vielleieht zum Schaden

Sei zu deinem Tisch geladen!

Lass mich durch dies Seelenessen

Deine Liebe recht ermessen,

Dass ich auch, wie jetzt auf Erden,

Mög’ dein Gast im Himmel werden!

 

The first stanza of this hymn by Johann Franck appeared in Johann Crüger’s Geistliche Kirchen Melodien, 1649, set to the beautiful tune “Schmücke dich,” which Crüger himself had composed for it. Whether the entire hymn was written in that year or earlier is not certain. Franck published it in his Geistliches Sion, etc., Guben, 1674, headed “Preparation for the Holy Communion.” Both text and tune are truly great. Julian states:

 

This hymn is perhaps the finest of all German hymns for the Holy Communion. It is an exhortation to the soul to arise and draw near to partake of the Heavenly Food and to meditate on the wonders of Heavenly Love, ending with a prayer for final reception at the Eternal Feast. It soon attained, and still retains, popularity in Germany (in many German churches it is still the unvarying hymn at the celebration), was one of the first hymns translated into Malabar, and passed into English in 1754.

 

The composite translation is an altered form of that by Catherine Winkworth in her Lyra Germanica, second series, 1858, and in her Chorale Book for England, 1863, with the addition of Stanzas 3, 6, and 8, which she omitted. [Handbook to The Lutheran Hymnal]

THE first stanza of this hymn was published 1649, in J. Crüger’s Kirchenmelodien. It was there set to Crüger’s melody. The whole hymn of nine stanzas appeared in the Crüger-Runge Gesangbuch, published in 1653 under the title, A Preparation for the Lord’s Supper. It was also given a place in Crüger’s Praxis Pietatis, 1656; in Franck’s Geistliches Zion, 1674, and soon found a place in all the leading German hymnals, where it has since been retained. It belongs to the immortal hymns of the Lutheran Church and in a large number of congregations in Germany and America this hymn is sung regularly before communion. The former president of the Norwegian Synod, Dr. V. Koren, employed this hymn in his church on Washington Prairie, Iowa, every Maundy Thursday during the course of his ministry, which extended over fifty years in that one congregation. The hymnologist, James Mearns, says that this hymn is possibly the most beautiful of all the German communion hymns.

Danish versions were made by Brorson and Fr. Rostgaard. The latter’s translation was given a place in Pontoppidan’s Hymnal. There are in all eight or more English versions. Of these, Miss Winkworth’s is the most popular. There are two versions by Miss Winkworth. The first one appeared in her Lyra Germanica, 1858, and is not in the meter of the original; the other, dating from 1863, is in the same meter as the original. In both versions, however, stanzas 3, 6, and 8 are omitted. The Evangelical Lutheran Hymn Book of the Missouri Synod includes all nine stanzas. Johann Crüger’s melody from 1649 has always been used with this hymn. [Dahle, Library of Christians Hymns]

 

SOUTHWELL  453

The tune “Southwell” is from William Daman’s Psalmes of David, 1579, where it is set to a metrical version of Ps. 45. [Handbook to The Lutheran Hymnal]

 

SPANISH CHANT  510

The tune “Spanish Chant” is from an old seventeenth-century melody, arranged by Benjamin Carr, 1824. [Handbook to The Lutheran Hymnal]

 

Speak, O Lord, Thy servant heareth  230

Rede, liebster Jesu, rede,

Denn dein Kind gibt acht darauf;

Stärke mich, denn ich bin blöde,

Dass ich meinen Lebenslauf

Dir zur Ehre setze fort.

Ach, lass stets dein heilig Wort

In mein Herz sein eingeschlossen,

Dir zu folgen unverdrossen!

 

Ach wer wollte dich nicht hören,

Dich, du liebster Menschenfreund?

Sind doch deine Wort’ und Lehren

Alle herzlich wohl gemeint.

Sie vertreiben alles Leid,

Selbst des Todes Bitterkeit

Muss vor deinen Worten weichen,

Nichts ist ihnen zu vergleichen.

 

Jesu, dein Wort soll mich laben;

Deine trosterfüllte Lehr’

Will ich in mein Herz eingraben.

Ach, nimm sie doch nimmermehr

Von mir weg in dieser Zeit,

Bis ich in der Ewigkeit

Werde kommen zu den Ehren,

Dich, o Jesu, selbst zu hören.

 

Unterdes vernimm meh Flehen;

Liebster Jesu, höre mich!

Lass bei dir mich feste stehen;

So will ich dich ewiglich

Preisen mit Herz, Sinn und Mund,

Ich will dir zu Jeder Stund’

Ehr’ und Dank in Demut bringen

Und deh hohes Lob besingen.

 

This hymn by Anna Sophia, countess of Hesse-Darmstadt, first appeared in her Der treue Seelenfreund Christus Jesus, etc., Jena, 1658, in five stanzas. The omitted Stanza 3 reads:

 

Deine Worte sind der Stecken,

Woran ich mich halten kann,

Wenn der Teufel mich will schrecken

Auf der schmalen Lebensbahn;

Sie, sie führen ohne Qual

Mich selbst durch des Todes Tal,

Sind mein Schirm und mehe Stütze

Unter aller Kreuzeshitze.

 

The translation is by George T. Rygh, 1909. It appeared in The Lutheran Hymnary, 1913. [Handbook to The Lutheran Hymnal]

THIS hymn was printed in 1658, in Der Treue Seelen-Freund. It was translated into Norwegian by M. B. Landstad, and Landstad’s version was rendered into English by the Rev. Geo. T. Rygh, 1909. [Dahle, Library of Christians Hymns]

 

Spread, O spread, thou mighty Word  201

Walte, walte nah und fern,

Allgewaltig Wort des Herrn,

Wo nur seiner Allmacht Ruf

Menschen für den Himmel schuf;

 

Wort vom Vater der die Welt

Schuf und in den Armen hält

Und aus seinem Schoss herab

Seinen Sohn zum Heil ihr gab;

 

Wort von des Erlösers Huld,

Der der Erde schwere Schuld

Durch des heil’gen Todes Tat

Ewig weggenommen hat;

 

Kräftig Wort von Gottes Geist,

Der den Weg zum Himmel weist

Und durch seine heil’ge Kraft

Wollen und Vollbringen schafft.

 

Auf zur Ernt’ in alle Welt!

Weithin wogt das weisse Feld;

Klein ist noch der Schnitter Zahl,

Viel der Garben überall.

 

Herr der Ernte gross und gut,

Wirk zum Werke Lust und Mut;

Lass die Völker allzumal

Schauen deines Lichtes Strahl!

 

According to Koch, Jonathan Friedrich Bahnmeier first published this hymn in seven stanzas in 1827, with the first line reading, “Walte, fürder, nah und fern.” This was later altered as we have it above.

The translation is by Catherine Winkworth, Lyra Germanica, second series, 1858, slightly altered.

The omitted stanza, Bahumeier’s fifth, reads in Miss Winkworth’s translation:

 

Word of Life, most pure and strong,

Lo, for thee the nations long;

Spread till from its dreary night

All the world awakes to light.

[Handbook to The Lutheran Hymnal]

THIS hymn was first published in a special edition in 1827. In 1828 it was entered in the collection, Kern des deutschen Liederschatzes, Nürnberg. In 1833 it appeared with the first line, Walte, walte, nah und fern, published in Bunsen’s Versuch. It is considered one of the best missionary hymns of the Church. Our English rendering is by Miss Winkworth. It was published in Lyra Germanica, 1858. It passed over into many Lutheran and other hymnals. [Dahle, Library of Christians Hymns]

 

ST. AGNES  278

The melody (St. Agnes), by J. B. Dykes, was composed especially for this hymn. [Dahle, Library of Christians Hymns]

The tune “St. Agnes” is by John B. Dykes. It first appeared in the Hymnal for Use in the English Church, 1866, where it was set to the hymn “O Jesus, King most wonderful”. [Handbook to The Lutheran Hymnal]

 

ST. ANNE  160

The melody (St. Anne) was composed by William Croft (b. ca. 1677), organist of St. Anne’s, Westminster, later organist of Chapel Royal and Westminster Abbey. He was a prominent composer of church music. Croft died in 1727 and was buried in Westminster Abbey. [Dahle, Library of Christians Hymns]

The tune “St. Anne,” now inseparably associated with this hymn, first appeared in Brady and Tate’s Supplement to the New Version of Psalms, sixth edition, 1708, where it was set to the new version of Ps. 42. It is generally ascribed to William Croft. Within the last few years Croft’s authorship of “St. Anne” has been called in question, that tune being found in the seventh edition of Abraham Barber’s Book of Psalms, 1715, where it is called “Leeds Tune” and ascribed to a Mr. Denby. An earlier copy of the above work has been discovered, published probably in 1696 or 1697, but it does not contain “Leeds Tune.” Whether it was added to Barber’s collection before the appearance of “St. Anne” in the Supplement of 1708 is still uncertain. (J. Love, Scottish Church Music.) [Handbook to The Lutheran Hymnal]

 

ST. CATHERINE  395

The melody is by Henri F. Hemy, England, 1818-1888, altered by James G. Walton, England, 1821-1905. [Dahle, Library of Christians Hymns]

 

 

ST. CHRISTOPHER  330

The melody (St. Christopher) is by F. C. Maker, composer of songs, born 1844, in England. [Dahle, Library of Christians Hymns]

 

ST. COLUMBA  370

 

 

ST. CRISPIN  403

The tune “St. Crispin” was composed in 1862 by George J. Elvey. It appeared in A Selection of Psalm and Hymn Tunes, edited by E. H. Thorne, 1863. It was composed for the hymn “Just as I Am.” [Handbook to The Lutheran Hymnal]

 

ST. GEORGE’S, WINDSOR  461

The tune “St. George,” which is not to be confused with other tunes by the same name, was composed by George J. Elvey and was written for Thorne’s musical counterpart of Selection of Psalm and Hymn Tunes, i858, by Morrell and How. It was there set to James Montgomery’s mission hymn “Hark, the Song of Jubilee.” In the original edition of Hymns Ancient and Modern this tune was set to Henry Alford’s hymn “Come, Ye Thankful People, Come” and is virtually wedded to that hymn. However, the tune seems to fit the spirit of Bowring’s hymn very nicely. [Handbook to The Lutheran Hymnal]

 

ST. LOUIS  137

The tune for the carol, “St. Louis,” was composed, in 1868, by Lewis H. Redner, who was Brooks’ organist at the Church of the Advent in Philadelphia. [Handbook to The Lutheran Hymnal]

 

ST. LUKE  455

The tune “St. Luke,” by Jeremiah Clarke, was first published in Playford’s The Divine Companion, 1701. It seems to have been written for Venantius Fortunatus’s hymn “The Royal Banners Forward Go.” It is one of Clarke’s finest tunes, smooth, vocal, and expressive. [Handbook to The Lutheran Hymnal]

 

 

ST. MAGNUS  393

The melody (St. Magnus or Nottingham) was written by Jeremiah Clarke, an English musician (1669?-1707). He was for some time organist of St. Paul’s Cathedral, London, and collaborated with William Croft and Daniel Purcell. [Dahle, Library of Christians Hymns]

The tune “St. Magnus,” also called “Nottingham,” is by Jeremiah Clark. It first appeared in The Divine Companion, etc., second edition, 1709. [Handbook to The Lutheran Hymnal]

 

ST. PETER  155

The melody (St. Peter, or Christ Church) is by A. R. Reinagle and is first found in his Psalm Tunes for the Voice and Pianoforte, circa 1836, set to Psalm 118. In his later collection of Psalm and Hymn Tunes, 1840, it was named “St. Peter,” after the church in Oxford, where the composer was organist. It was rearranged by the composer for Hymns Ancient and Modern. [Dahle, Library of Christians Hymns]

The tune “St. Peter” is from Alexander R. Reinagle’s Psalm Tunes for the Voice and Pianoforte, c. 1836, where it is set to Ps. 118. Reinagle was organist in St Peter’s-in-the-East at Oxford, and thence the name of the tune. The tune has also been called “St. Peter’s, Oxford” and “Christchurch.” [Handbook to The Lutheran Hymnal]

 

ST. PETER’S, MANCHESTER  289

 

 

ST. PETERSBURG  505

The melody was written by D(e)mitri Stepanowich Bortnianski (1751-1825). He studied music under Galuppi of St. Petersburg. Later he continued his studies in Venice. He served as conductor of the imperial choir of St. Petersburg and exerted a powerful influence upon church music in Russia. [Dahle, Library of Christians Hymns]

The tune “St. Petersburg” is also known by such titles as “Wells,” “Wellspring,~, and “Shangana.” According to Kümmerle it is adapted from a portion of a mass by Dimitri S. Bortniansky, 1822. It was set to Gerhard Tersteegen’s “Ich bete an die Macht der Liebe” in a number of German collections and has in recent years become very popular in our own country. [Handbook to The Lutheran Hymnal]

 

ST. THOMAS ◊ 60

The tune “St. Thomas,” also called “William’s,” is found in Aaron William’s New Universal Psalmodist, 1770, and is the first tune in Book III, Psalmody in Miniature of 1778, by the same composer. In the Psalmodist the tune is called “St. Thomas’s” and is set to Ps. 48, “Great is the Lord, our God.” The tune is a great favorite in England and America. [Handbook to The Lutheran Hymnal]

 

STEPHANOS ◊ 206

The tune “Stephanos” was composed for the hymn “Art thou weary, art thou troubled” by Henry W. Baker and was first published in the appendix to the original edition of Hymns Ancient and Modern, 1868. [Handbook to The Lutheran Hymnal]

 

STILLE NACHT ◊ 140

The music was composed by Franz Gruber, a teacher in the neighboring town of Arnsdorf. [Dahle, Library of Christians Hymns]

The tune “Stille Nacht” was composed by Franz Gruber, organist, who was schoolmaster at Arnsdorf, a village not far from Oberndorf, where Mohr had his parish. [Handbook to The Lutheran Hymnal]

 

 

Stars of the morning  548

\\

Julian states that in John M. Neale’s Hymns of the Eastern Church, 1862, this hymn appeared with the following title and note: “Stars of the Morning. A cento from the Canon of the ‘Bodiless Ones.’ Tuesday in the Week of the Fourth Tone.” The Greek original, by St. Joseph the Hymnographer, begins FwsthreV thV aulou ousiaV. Neale’s translation is in five stanzas. It can hardly be called a translation, as Neale “followed the spirit rather than the letter of the original.” The omitted Stanza 3 reads:

 

These keep the guard amid Salem’s dear bowers,

Thrones, principalities, virtues, and powers,

Where, with the living ones mystical four,

Cherubim, seraphim, bow and adore. [Handbook to The Lutheran Hymnal]

 

STRAF MICH NICHT ◊ 253, 454, 509

The melody was composed by Johann Rosenmüller, a director of music in Leipzig and Wolfenbüttel in the 17th century. [Dahle, Library of Christians Hymns]

The tune “Straf mich nicht” is from the Hundert ahnmüthig- und sonderbahr geistlichen Arien, published as an appendix to the Dresden Gesang-Buch 1694, where it was set to the hymn by Johann G. Albinus “Straf mich nicht in deinem Zorn.” According to Zahn the melody had appeared in a collection of dance music in 1681. The question whether the tune was first a dance tune or a church tune corrupted to dance use has not been answered. [Handbook to The Lutheran Hymnal]

 

STRATFORD ◊ 555

 

 

 

Stricken, smitten, and afflicted  297

PUBLISHED first in Kelly’s Hymns on Various Passages of Scripture, first edition, 1804, Dublin. [Dahle, Library of Christians Hymns]

Thomas Kelly first published this hymn in his Hymns on Various Passage of Scripture, Dublin, 1804. It is a very popular Lenten hymn in Lutheran circles. [Handbook to The Lutheran Hymnal]

 

STUTTGART ◊ 87

The melody (Stuttgart) was first published in Psalmodia Sacra, edited by A. C. Ludwig and C. F. Witt, Gotha, 1715. It is there employed for the hymn “Sollt es gleich bisweilen scheinen.” It is used in many leading English hymnals. [Dahle, Library of Christians Hymns]

The tune “Stuttgart,” also called “Sollt’ es gleich bisweilen scheinen,” appeared in Christian Friedrich Witt’s Psalmodia Sacra, Gotha, 1715, where it was set to Christoph Tietze’s (Titius) hymn beginning with that line. The tune is very much like Witt’s own composition. [Handbook to The Lutheran Hymnal]

 

SUCH’ WER DA WILL ◊ 207

The tune “Such’, wer da will” is by Johann Stobäus, adapted. Weissel intended this tune for his hymn. Stobäus, a good friend of Weissel’s, had composed the tune for the wedding of a friend for the words “Wie’s Gott bestellt, mir’s wohl gefällt.” [Handbook to The Lutheran Hymnal]

 

Sun of my soul  577

THIS hymn is a cento made from Keble’s evening hymn written for The Christian Year: “‘Tis gone, that bright and orbed blaze,” dated November 25, 1820, and printed in The Christian Year, 1827, having 14 stanzas under the tile: Abide with us; for it is toward evening, and the day is now far spent (Luke 24:29). The version in The Lutheran Hymnary contains stanzas 3, 7, 8, 9, 12, and 13 of the original. Shorter or longer excerpts of this hymn are found in almost all hymnals in the English language. There are many translations into various languages, one into Latin by R. Bingham, and another Latin version by H. M. Macgill, beginning: “Sol meus! O mi Salvator!” Other English versions may be mentioned with the first line thus: “The rulers of this Christian land”; “Thou Framer of the light and dark”; “When the soft dews of kindly sleep.” [Dahle, Library of Christians Hymns]

 

SURREY ◊ 372

The tune “Surrey” was composed for this hymn by Henry Carey. It is found in Introduction to Psalmody, c. 1723. It is also called “Yarmouth,” “Addison’s,” etc. [Handbook to The Lutheran Hymnal]

 

SWABIA ◊ 552

The tune “Swabia” is from Davids Harpffenspiel, etc., by Johann Martin Spiess, Heidelberg, 1745, where it is set to the hymn “Ach wachet! wachet auf!” by Joachim Neander. [Handbook to The Lutheran Hymnal]

 

Sweet is the work  469

 

 

Sweet the moments, rich in blessing  300

A GOOD Friday hymn with the first line, “While my Jesus I’m possessing,” was published 1757 in The Kendal Hymn Book, edited by J. Allen. The original hymn did not gain great favor, but twenty-four of the lines were rewritten by W. Shirley and passed into the Countess of Huntingdon’s Collection of Hymns, 1770, under the heading Sweet the Moments, rich in Blessing. With a few changes this hymn has found a place in many leading hymn books, as The Hymnary, Hymns Ancient and Modern, and many others. It has been translated into many languages. There are three Latin versions. [Dahle, Library of Christians Hymns]

 

Take my life and let it be  444

Frances R. Havergal wrote this hymn on February 4, 1874, in eleven two-line stanzas. She states:

 

Perhaps you will be interested to know the origin of the consecration hymn “Take My Life.” I went for a little visit of five days (to Areley House). There were ten persons in the house, some unconverted and long prayed for, some converted, but not rejoicing Christians. He gave me the prayer “Lord, give me all in this house!” And He just did! Before I left the house, every one had got a blessing. The last night of my visit after I had retired, the governess asked me to go to the two daughters. They were crying, etc.; then and there both of them trusted and rejoiced; it was nearly midnight. I was too happy to sleep and passed most of the night in praise and renewal of my own consecration; and these little couplets formed themselves and chimed in my heart one after another till they finished with “Ever, only, all, for Thee!”

 

The hymn was first published in her Royal Responses, 1878. It has been translated into many languages. [Handbook to The Lutheran Hymnal]

 

TALLIS’ CANON ◊ 384, 488

The melody (Tallis Canon) is composed by Thomas Tallis (ca. 1515-1585), one of the foremost English musicians of the 16th century. [Dahle, Library of Christians Hymns]

The tune, “Tallis’ Canon,” also called “Canon,” “Evening Hymn,” and “Brentwood,” is the eighth of nine tunes by Thomas Tallis (Tallys) in Parker’s The Whole Psalter, c. 1567, where it is set to Ps. 67. It seems to have been first printed with the words of Ken’s evening hymn in Harmonious Companion, Smith and Prelleur, 1732.

Care should be taken in singing it to bring out the tenor part, which forms a perfect canon in the octave with the treble. For this reason the usual pauses at the ends of lines must be omitted. [Handbook to The Lutheran Hymnal]

 

 

Ten thousand times ten thousand  557

BASED on Revelation 5:11; 14:1-2; 21:3-4.

This hymn appeared first in Alford’s Year of Praise, 1867. On January 17, 1871, it was sung at Alford’s funeral. This hymn is found in all the leading hymn books. It has been called a “fruit of holy inspiration.” [Dahle, Library of Christians Hymns]

 

TENDER THOUGHT  186

 

 

TERRA PATRIS  433

 

 

TESHINIENS  285

The tune “Teshiniens” is from a 16th-century Polish melody. It was given this name in The Lutheran Hymnal in order to commemorate the birthplace (Tesin) of Juraj Tranovsky, who included both hymn and tune in his Tranoscius. [Handbook to The Lutheran Hymnal]

 

That man a godly life might live*  490

(See: These are the holy ten commands)

 

The advent of our King  99

Instantis adventum Dei

Poscamus ardenti prece,

Festique munus inclytum

Praeoccupemus canticis.

 

Aeterna proles feminae

Non horret includi sinu;

Fit ipse servus, ut iugo

Nos servitutis eximat.

 

Mansuetus et clemens venit;

Occurre, festina, Sion:

Ultro tibi quam porrigit,

Ne dura pacem respuas.

 

Mox nube clara fulgurans

Mundi redibit arbiter,

Suique membra corporis

Caelo triumphator vehet.

 

Fetus tenebrarum, die

Cedant propinquo crimina;

Adam reformetur vetus,

Imego succedat novi.

 

Qui liberator advenis,

Fili, tibi laus maxima

Cum Patre et almo Spiritu

In sempiterna saecula.

 

This hymn is by Charles Coffin and was included in the Paris Breviary, 1736, as a hymn for “Sundays and Ferialdays in Advent.” Our translation is an altered form of John Chandler’s, which first appeared in his Hymns of the Primitive Church, 1837. [Handbook to The Lutheran Hymnal]

 

The ancient law departs  158

Debilis cessent elementa legis;

Sat diu mentes timor occupavit;

Foedus aeterni stabilire Iesus

Coepit amoris.

 

Sole de vero radius, paterni

Luminis purus sine nube splendor,

Probra peccati puer ecce tinctus

Samguine praefert.

 

Stillat excisos pueri per artus

Efficax noxas abolere sanguis:

Obligat morti pretiosa totum

Stilla cruorem.

 

Haec dies nomen tibi comparavit,

O puer, pronus quad adoret orbis,

Et simul dici, simul ipse Iesus

Incipis esse.

 

Summa laus Patri, simul aequa Nato,

Qui suo mundum redimit cruore;

Par sit amborum tibi laus per omne,

Spiritus, aevum. Amen.

 

Abbé Sebastian Besnault first published this hymn in the Sens Breviary, 1726, with this as the first line,

 

Iam satis mentes timor occupavit.

 

The version above is from the Paris Breviary, 1736.

The translation is an altered form of that which was made by the compilers of Hymus Ancient and Modern, 1861. [Handbook to The Lutheran Hymnal]

 

The Bridegroom soon will call us  100

Der Bräut’gam wird bald rufen:

Kommt all’, Ur Hochzeitsgäst’!

Hilf, Gott, dass wir nicht schlafen,

In Sünden schlummern fest,

Bald hab’n in unsern Händen

Die Lampen, Öl und Licht

Und dürfen uns nicht wenden

Von deinem Angesicht.

 

Da werden wir mit Freuden

Den Heiland schauen an,

Der durch sein Blut und Leiden

Den Himmel aufgetan,

Die lieben Patriarchen,

Propheten allzumal,

Die Märt’rer und Apostel

Bei ihm, ein’ grosse Zahl.

 

Die werden uns annehmen

Als ihre Brüderlein,

Sich unser gar nicht schämen,

Uns mengen mitten ein.

Wir werden alle treten

Zur Rechten Jesu Christ,

Als unsern Gott ambeten,

Der unsers Fleisches ist.

 

Gott wird sich zu uns kehren,

Ein’m jeden setzen auf

Die güldne Kron’ der Ehren

Und herzen freundlich drauf,

Wird uns an sein’ Brust drücken

Aus Lieb’ ganz väterlich,

An Leib und Seel’ uns schmücken

Mit Gaben mildiglich.

 

Da wird man hören klingen

Die rechten Saitenspiel;:

Die Musikkunst wird bringen

In Gott der Freuden viel.

Die Engel werden singen,

All’ Heil’gen Gottes gleich,

Mit himmelischen Zumgen

Ewig in Gottes Reich.

 

Er wird uns fröhlich leiten

Ins ew’ge Paradeis,

Die Hochzeit zu bereiten

Zu seinem Lob und Preis.

Da wird sein Freud’ und Wonne

In rechter Lieb’ und Treu’

Aus Gottes Schatz und Bronne

Und täglich werden neu.

 

Also wird Gott erlösen

Uns gar aus aller Not,

Vom Teufel, allem Bösen,

Von Trübsal, Angst und Spott,

Von Trauern, Weh und Klagen,

Von Krankheit, Schmerz und Leid,

Von Schwermut, Sorg’ und Zagen,

Von aller bösen Zeit.

 

THIS is the first Lutheran hymn which sings of the glories of eternal life. It may be burdened with many heavy expressions, but on the other hand it contains many stanzas that are radiant with almost supernatural beauty” (Söderberg).

The original, consisting of 33 stanzas, was published in a pamphlet, 1552, in Wittenberg, under the title Ein schöner Geistlicher unt Christlicher newer Berckreyen, Von dem Jüngsten tage, unt ewigem Leben. (An old Danish translation: En ganske trøstelig, aandelig Sang og Vise om den yderste Dag og om de udvalgtes Glæde.) Only centos and excerpts of this hymn are in use. In 1860 Wackernagel made up a selection of 21 stanzas. The most popular German version is that of the Geistlicher Liederschatz, Berlin, 1863, with the first line thus: “Der Braütgam wird bald rufen.” This contains stanzas 3/, 8, 9, 16, 18, 17, and 13 of the original. The 4 stanzas numbered in Italics and translated by Dr. B. H. Kennedy, 1863, are given in The Lutheran Hymnary. Thirty-one stanzas of the hymn were rendered into Danish by Hans Christensen Sthen and published in Copenhagen, 1616. Landstad made use of 9 stanzas of Walther’s hymn, beginning with the first stanza of the original. Landstad himself composed the second stanza for his version. Both the Danish and the Norwegian version have been rendered into the meter of the original. … Walther wrote several hymns. Only one of his other hymns has been translated into English: “Herzlich lieb hab’ ich dich, mein Gott.” He is more popularly known as a musician and co-laborer with Luther. [Dahle, Library of Christians Hymns]

This cento is only a small portion of Johann Walther’s original hymn “Herzlich tut mich erfreuen,” first published at Wittenberg in 1552, in 33 (34?) stanzas, with the title “A Beautiful Spiritual and Christian New Miner’s Song of the Last Day and Eternal Life.” The most popular form of the hymn is that from which the translation was made, including in order Stanzas 31, 8, 9, 16, 18 17,13, and was first used thus in Melchior Franck’s Rosetulum musicum, 1628

The translation is by Matthias Loy, although we are not certain that Stanzas 5 and 7 are by him. If so, they were not included in the Ohio Synod’s Hymnal of 1880, from which the translation of the other stanzas is taken. [Handbook to The Lutheran Hymnal]

 

The Church’s one foundation  486

FOR other foundation can no man lay than that which is laid, which is Jesus Christ” (I Cor. 3:11).

This hymn was written in 1866 and printed the same year in Lyra Fidelium. It contained seven stanzas. Later a revised version of five stanzas was printed in Hymns Ancient and Modern, 1868. An enlarged edition of ten stanzas was published in 1885 for use in the Salisbury Cathedral. The hymn is based on the third article of the Apostles’ Creed: “The Holy Catholic Church; the Communion of Saints. He is the Head of the Body, the Church.” This hymn was selected as the processional hymn for the great festivals of the year celebrated in Canterbury Cathedral, Westminster Abbey, and St. Paul Cathedral, London, 1888, when all the bishops of the Lambeth conference were gathered in meeting. The second redaction of the hymn (that of five stanzas) is found in all the leading English hymnals and has been translated into many languages. Gustav Jensen translated it into Norwegian for his Utkast til ny salmebok for den norske kirke. There are two Latin versions, the latest being, “Nobis unum est fundamen,” by Rev. E. Marshall, 1882. [Dahle, Library of Christians Hymns]

 

The day is surely drawing near  538

Es ist gewisslich an der Zeit,

Dass Gottes Sohn wird kommen

In seiner grossen Herzlichkeit,

Zu richten Bös’ umd Frommen.

Dann wird das Lachen werden teu’r,

Wenn alles wird vergehn in Feu’r,

Wie Petrus davon schreibet.

 

Posaunen wird man hören gehn

An aller Welt ihr Ende,

Darauf bald werden auferstehn

All’ Toten gar behende;

Die aber noch das Leben han,

Die wird der Herr von Stunden an

Verwandeln umd verneuen.

 

Danach wird man ablesen bald

Ein Buch, darin geschrieben,

Was alle Menschen, jung und alt,

Auf Erden hab’n getrieben

Da dann gewiss ein jedermann

Wird hören, was er hat getan

In seinem ganzen Leben.

 

O weh demselben, welcher hat

Des Herren Wort verachtet

Und nur auf Erden früh und spat

Nach grossem Gut getrachkt!

Der wird fürwahr ganz kahl bestehn

Und mit dem Satan müssen gehn

Von Christo in die Hölle.

 

O Jesu, hilf zur selben Zeit

Von wegen deiner Wunden,

Dass ich im Buch der Seligkeit

Werd’ angezeichnet funden!

Daran ich denn auch zweifle nicht,

Denn du hast ja den Feind gericht’t

Und meine Schuld bezahlet.

 

Derhalben mein Fürsprecher sei,

Wenn du nun wirst erscheinen.

Und lies mich aus dem Buche frei,

Darinnen stehn die Deinen,

Auf dass ich samt den Brüdern mein

Mit dir geh’ in den Himmel ein,

Den du uns hast erworben.

 

O Jesu Christ, du machst es lang

Mit deinem Jüngsten Tage!

Den Menschen wird auf Erden bang

Von wegen vieler Plage.

Komm doch, komm doch, du Richter gross,

Und mach uns in Genaden los

Von allem Übel! Amen.

 

This hymn of Bartholomäus Ringwaldt is a recast of a hymn which appeared anonymously in Zwey schöne Lieder, c. 1565, which, in turn, was based on Dies Irae. Ringwaldt’s version was published in his Handbüchlein, 1586.

The translation is an altered form of that by Philip A. Peter used in the Ohio Lutheran Hymnal, 1880. [Handbook to The Lutheran Hymnal]

 

The day of resurrection  356

AnastasewV hmera

lamprunqwmen laoi,

Pasca Kuriou, pasca.

Ek gar qanatou proV zwhn,

kai ek ghV proV ouranon,

CristoV o qeoV

hmaV diebibasen,

epinikion adontaV.

 

Kaqarqwmen taV aisqhseiV,

kai oyomeqa

tw aprositw qwti

thV anastasewV Criston

exastraptonta, kai

Cairete faskontoV

tranwV akousomeqa,

epinikion adonteV.

 

Ouranoi men epaxiwV

eufrainesqwsan,

gh de agalliasqw×

eortazetw de kosmoV

oratoV te apaV

kai aoratoV,

CristoV gar eghgertai,

eufrosunh aiwnioV.

 

THIS is the first of eight odes or songs contained in the great hymn known as The golden Canon for Easter, by John of Damascus. The hymn was presumably written about the middle of the 8th century, as John of Damascus died about 780. Neale calls this hymn “The glorious old hymn of victory.” A later hymnologist, however, is of the opinion that this title belongs to another Greek hymn (Christ has risen from the dead). The present “ode” was first published as a church hymn in The Parish Hymn Book, 1863, and it has continued to grow in favor. It was rendered into English in 1862 by John M. Neale. [Dahle, Library of Christians Hymns]

This hymn by John of Damascus is part of the Golden Canon for Easter Day. It forms the first of the eight odes that make up this canon. It has been called “the grandest piece in Greek sacred poetry.” It was written about the middle of the eighth century. The translation is an altered form of that by John M. Neale in his Hymns of the Eastern Church, 1862, beginning “ ‘Tis the day of resurrection.” It was first published as a hymn for congregational use in the Parish Hymn Book, 1863, beginning “The Day of Resurrection.” [Handbook to The Lutheran Hymnal]

 

The death of Jesus Christ, our Lord  329

1. Wår Herres Jesu Kristi död

Hugswalar oss i all wår nöd,

Och när wi tänke deruppå,

En hjertans glädje wi då få.

 

2. Afplanat har han med sitt blod

Den handskrift, som emot oss stod;

Ty han war oss så god och huld,

Att han betalte all wår skuld.

 

3. Att detta trofast är och sant,

Han gifwer oss en säker pant

Uti sin helga nattward, der

Wi smake huru ljuf han är.

 

4. Hans heliga lekamen sann,

Hans dyra blod, som för oss rann,

Wi undfå wid hans helga bord,

Som han har lofwat i sitt ord.

 

5. En harlig spis är detta wisst,

På hwilken aldrig blifwer brist,

Ett himmelskt manna, som war själ

Till ewigt lif bewarar wäl.

 

6. Säll är då hwarje wärdig gäst.

Som lit till Jesu ord har fäst;

Ty Jesus will med kärlek bo

Hos den, som har en stadig tro;

 

7. Och som will helgad bli i Gud,

Ej wika från hans ord och bud,

Men Kristo lefwer, synden dör

Och så Guds helga wilja gör.

 

8. Men den owärdig gar härtill,

Ej tror, ej sig omwända will,

Ham äter döden uti sig

Och blir fördömd ewinnerilg.

 

9. Gif oss att tro af hjertans grund,

Att wi fa frälsning och miskund

Utaf din nådes fullhet stor.

Amen, wälsignad den det tror!

 

This great Communion hymn by Haquin Spegel was written in 1686 and included in Jesper Swedberg’s Psalm-Book, 1696, in the preparation of which Spegel had collaborated with Swedberg. This hymn has been called “a classic example of how Spegel could set forth in song the objective truths of the Christian faith.” The omitted ninth stanza reads:

 

O Jesus Christ, our Brother dear,

Unto Thy cross we now draw near;

Thy sacred wounds indeed make whole

A wounded and benighted soul.

 

The translation is an altered form of that by Olof Olsson. It appeared in the Evangelical Lutheran H9mn-Book, 1912, and in The Hymnal (Augustana Synod), 1925. [Handbook to The Lutheran Hymnal]

 

The God of Abraham praise  69

Tradition has it that the author, Thomas Olivers, wrote this hymn at the home of his friend John Bakewell, at Westminster, in 1770. In Josiah Miller’s Singers and Songs of the Church, 1869, we are told:

 

The son of a Wesleyan minister said a few years ago: “I remember my father telling me that he was once standing in the aisle of the City Road Chapel during a conference in Wesley’s time. Thomas Olivers, one of the preachers, came down to him and said, ‘Look at this; I have rendered it from the Hebrew, giving it, as far as I could, a Christian character, and I have called on Leon, the Jew, who has given me a synagog melody to suit it; here is the tune, and it is to be called Leoni.’”

 

The hymn is a free Christian rendering of the Hebrew Yigdal, or Doxology, which summarizes in metrical form the thirteen articles of the Hebrew Creed. The cento before us is made up of Stanzas 1 (as altered in the Presbyterian Hymnal), 2, 4, and 12 of the hymn, of which the other stanzas and Olivers’s origina1 first stanza read as follows:

 

1. The God of Abrah’m praise,

Who reigns enthroned above;

Ancient of everlasting days

And God of Love:

JEHOVAH GREAT I AM!

By earth and heaven confest;

I bow and bless the sacred Name,

Forever blessed.

 

3. The God of Abrah’m praise,

Whose all-sufficient grace

Shall guide me all my happy days

In all my ways:

He calls a worm his friend!

He calls himself my God!

And he shall save me to the end

Thraugh Jesus’ blood.

 

5. Though nature’s strength decay,

And earth and hell withstand,

To Canaan’s bounds I urge my way

At His command:

The watery deep I pass,

With Jesus in my view;

And through the howling wilderness

My way pursue.

 

6. The goodly land I see,

With peace and plenty blessed;

A land of sacred liberty

And endless rest.

There milk amd honey flow;

And oil and wine abound,

And trees of life forever grow,

With mercy crowned.

 

7. There dwells the Lord, our King,

THE LORD OUR RIGHTEOUSNESS

(Triumphant o’er the world and sin),

The Prince of Peace;

On Sion’s sacred height,

His kingdom still maintains;

And glorious with His saints in light

Forever reigns.

 

8. He keeps His own secure,

He guards them by His side,

Arrays in garments, white and pure,

His spotless bride:

With streams of sacred bliss,

With groves of living joys—

With all the fruits of Paradise

He still supplies.

 

9. Before the great THREE-ONE

They all exulting stand;

And tell the wonders he hath done

Through all their land;

The listening spheres attend

And swell the growing fame

And sing the songs which never end,

The wondrous NAME.

 

10. The God who reigns on high,

The great archangels sing,

And “Holy, holy, holy, cry,”

“ALMIGHTY KING!

“Who Was and Is the same

“ And evermore shall be.

“JEHOVAH—FATHER—GREAT I AM!

“We worship Thee.”

 

11. Before the SAVIOR’S face

The ransomed nations bow;

O’erwhelmed at His almighty grace,

Forever new:

He shows His prints of love—

They kindle to a flame!

And sound through all the worlds above

The slaughtered LAMB.

 

The hymn was published as a tract, A Hymn to the God of Abraham, undated, by Olivers, and passed through at least eight editions within a very short time. [Handbook to The Lutheran Hymnal]

 

The Gospel shows the Father’s grace  233

This hymn, a companion piece of Matthias Loy’s hymn on the Law (The Law of God is good and wise), first appeared in the Ohio Synod’s Collection of Hymns, fourth edition, 1863, and then in the Ohio Lutheran Hymnal, 1880. For comments on the tune “Herr Jesu Christ, dich” see Hymn No. 3. [Handbook to The Lutheran Hymnal]

 

The happy Christmas comes once more  143

 

THIS Christmas hymn is really an extract from a longer hymn of nineteen stanzas which was based on Luther’s “From heaven above to earth I come” (L. H. 181). It was printed in Kjøbenhavns Skilderi, 1817, and later in Sang-Værk til den danske Kirke. (Notes on Grundtvig are given in Vol. I, No. 49.) The present translation was made by Charles Porterfield Krauth, 1867 (1868). [Dahle, Library of Christians Hymns]

 

The Head that once was crowned  393

HE that overcometh, I will give to him to sit down with me in my throne, as I also overcame, and sat down with my Father in His throne” (Rev. 3:21).

This hymn was first published in the fifth edition of Kelly’s Hymns, 1820. It is based upon Hebrews 2:10, “For it became Him, for whom are all things, and through whom are all things, in bringing many sons unto glory, to make the captain of their salvation perfect through sufferings.” It is very extensively used in England and America. A. M. Macgill rendered a translation into Latin for his Songs of the Christian Creed and Life, 1876: “Spinis caput coronatum.”

After about 60 years’ experience of the blessings of the Gospel, Rev; Th. Kelly was asked if anything he had seen or heard had changed his opinions. He replied: “What pacified the conscience then, does so now. What gave hope then, does so now. ‘Other foundation can no man lay than that which is laid, which is Jesus Christ”’ (1 Cor. 3:11). (Biography of Kelly, Vol. I, No. 83.) [Dahle, Library of Christians Hymns]

 

The King of love my Shepherd is  370

THIS hymn is based in part upon the Twenty-Third Psalm of David; the words of Christ, John 10:11, 14: “I am the good shepherd”; and Luke 15:4-5: “What man of you, having a hundred sheep, and having lost one of them, doth not leave the ninety and nine in the wilderness, and go after that which is lost, until he find it? And when he hath found it, he layeth it on his shoulders, rejoicing” (Third stanza found in Baker’s biography, Vol. I, No. 17).

This hymn was first published in the appendix to the original edition of Hymns Ancient and Modern, 1868. [Dahle, Library of Christians Hymns]

 

The King shall come when morning dawns  101

 

 

The kingdom Satan founded  259

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SAA skal dog Satans Rige” appeared first in En ny Kirke-Psalmebog (Vinterparten), 1689. Its Scriptural basis is the Gospel lesson for the third Sunday in Lent, Luke 11:14-28. The English translation is by the Rev. Carl Døving, 1908. [Dahle, Library of Christians Hymns]

 

The Law commands and makes us know  489

This hymn appeared in Watt’s Hymns and Spiritual Songs, 1709, headed “The Law and Gospel Distinguished.” [Handbook to The Lutheran Hymnal]

 

The Law of God is good and wise  492

THE Law is holy, and the commandment holy, and righteous, and good” (Rom. 7:12); “We know that the Law is good, if a man use it lawfully” (1 Tim. 1:8); “By the works of the Law shall no flesh be justified in His sight; for through the Law cometh the knowledge of sin” (Rom. 3:20);

“The Law is become our tutor to bring us unto Christ, that we might be justified by faith” (Gal. 3:24);

“Love worketh no ill to his neighbor: love therefore is the fulfilment of the Law” (Rom. 13:10);

“As the body apart from the spirit is dead, even so faith apart from works is dead” (James 2:26);

“By grace have ye been saved through faith; and that not of yourselves, it is the gift of God” (Eph. 2 8).

It is considered probable that this hymn was composed about 1880. It was adopted by the committee revising The Evangelical Lutheran Hymnal, Columbus, Ohio, and it was also accepted into The Evangelical Lutheran Hymn Book, St. Louis, Missouri, and other hymnals. [Dahle, Library of Christians Hymns]

 

The Lord hath helped me hitherto  71

Bis hieher hat mich Gott gebracht

Durch seine grosse Güte;

Bis hieher hat er Tag und Nacht

Bewahrt Herz und Gemüte;

Bis hieher hat er mich geleit’t,

Bis hieher hat er mich erfreut,

Bis hieher mir geholfen.

 

Hab Lob und Ehre, Preis und Dank

Für die bisher’ge Treue,

Die du, o Gott, mir lebenslang

Bewiesen täglich neue!

In mein Gedächtnis schreib’ ich an:

Der Herr hat grosse Ding getan

An mir und mir geholfen.

 

Hilf ferner auch, mein treuer Hort,

Hilf mir zu allen Stunden!

Hllf mir an all und jedem Ort,

Hilf mir durch Jesu Wunden;

Hilf mir im Leben, Tod und Not

Durch Christi Schmerzen, Blut und Tod:

Hilf mir, wie du geholfen!

 

This is one of our most popular hymns of praise from the German. The author, Ämilie Juliane, countess of Schwarzburg-Rudolstadt, published it, in 1699, in her devotional book Tägliches Morgen-, Mittags- und Abend-Opffer, Rudolstadt, to be sung on “Wednesdays after the meal.”

The translation is by Prof. August Crull, 1882. [Handbook to The Lutheran Hymnal]

 

The Lord into His Father’s hands  339

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The Lord my faithful Shepherd is  368

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THE Lord is my Shepherd” (Psalm 23). This hymn was published in Arrebo’s Kong David’s Psalter, 1623. This is the first one of Arrebo’s hymns to find a place in the hymn books of the church. The English translation was rendered by the Rev. Carl Døving, 1906. [Dahle, Library of Christians Hymns]

 

The Lord’s my Shepherd, I’ll not want  371

This is the famous metrical version of the 23d Psalm as it appeared in the Scottish Psalter, 1650. It is based on the version of Francis Rous, which reads:

 

1. My Shepherd is the living Lord

And He that doth me feed;

How can I, then, lack anything

Whereof I stand in need?

 

2. In pastures green and flourishing

He makes me down to lye:

And after drives me to the streames

Which run most pleasantly.

 

3. And when I feele my selfe neere lost,

Then home He me doth take,

Conducting me in His right paths,

Even for His owne Names sake.

 

4. And though I were even at death’s doore,

Yet would I feare none ill;

Thy rod, Thy staff do comfort me,

And Thou art with me still.

 

5. Thou hast my table richly stor’d

In presence of my foe;

My head with oile Thou dost anoint,

My cup doth overflow.

 

6. Thy grace and mercy all my daies

Shall surely follow me;

And ever in the house of God

My dwelling place shall be. [Handbook to The Lutheran Hymnal]

 

The Lord, my God, be praised  404

 

Gelobet sei der Herr,

Mein Gott, mein Licht, mein Leben,

Mein Schöpfer, der mir hat

Mein Leib und Seel’ gegeben,

Mein Vater, der mich schützt

Von Mutterleibe an,

Der alle Augenblick’

Viel Gut’s an mir getan!

 

Gelobet sei der Herr,

Mein Gott, mein Heil, mein Leben,

Des Vaters liebster Sohn,

Der sich für mich gegeben,

Der mich erlöset hat

Mit seinem teuren Blut,

Der mir im Glauben schenkt

Das allerhöchste Gut!

 

Gelobet sei der Herr,

Mein Gott, mein Trost, mein Leben,

Des Vaters werter Geist,

Den mir der Sohn gegeben,

Der mir mein Herz erquickt,

Der mir gibt neue Kraft,

Der mir in aller Not

Rat, Trost und Hilfe schafft!

 

Gelobet sei der Herr,

Mein Gott, der ewig lebet,

Den alles lobet, was

In allen Lüften schwebet!

Gelobet sei der Herr,

Des Name heilig heisst:

Gott Vater, Gott der Sohn

Und Gott der werte Geist,

 

Dem wir das Heilig jetzt

Mit Freuden lassen klingen

Und mit der Engel Schar

Das Heilig! Heilig! singen,

Den herzlich lobt und preist

Die ganze Christenheit,

Gelobet sei mein Gott

In alle Ewigkeit!

 

This is one of the best hymns of Johann Olearius. Originally written for Trinity Sunday and based on the Gospel for that feast, it was first published in his monumental hymnal Geistliche Singekunst, 1671. It was entitled “Encouragement from the Gospel to thankful meditation on this great mystery.”

The translation is by Prof. August Crull, altered. [Handbook to The Lutheran Hymnal]

 

The Morning Star upon us gleams*  167

(See: How lovely shines the Morning Star)

 

The mystery hidden from the eyes  405

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The new church year again is come  93

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The only Son from heaven  224

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THIS is the first Lutheran hymn written by a woman. It has been characterized as a sublime evangelical hymn. Rudelbach calls it a “highly poetic Jesus hymn.” It was printed in the first Lutheran hymnbooks, such as Erfurter Enchiridion, 1524, and Geistliche Lieder, Wittenberg, 1531. In the latter edition it has the following title: Ein geistlich liedt von Christo, Elisabet Creutzigerin; and it was very likely printed under that same title in the lost edition of Klug’s Gesangbuch, Wittenberg, 1529. There has been some doubt as to the authorship, principally for the reason that the woman referred to was hardly twenty years of age at the time the hymn was first printed. The hymn has also been ascribed to Andreas Knöpken, but for no good reason. The hymn, with her name attached, would not have been printed in contemporary Lutheran hymnals unless she had actually written it. Of the seven or eight English translations The Lutheran Hymnary has adopted A. T. Russell’s, with a few slight changes. The first Danish translation is found in the first edition of Klaus Mortensøn’s Salmebog, 1528. [Dahle, Library of Christians Hymns]

 

The people that in darkness sat  153

This hymn is by John Morison, dated 1770. It was first published in the Draft Scottish Translations and Paraphrases, 1781, where the opening line reads: “The race that long in darkness pined.” In the Evangelical Lutheran Hymn-Book a portion of this hymn was used (No. 155), beginning with Stanza 4 above. Our text is as altered for Hymns Ancient and Modern, 1861, by the editors of that volume. [Handbook to The Lutheran Hymnal]

 

The power of sin no longer  243

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The radiant sun shines in the skies  78

 

 

The royal banners forward go  273

Vexilla regis prodeunt,

Fulget crucis mysterium,

Quo carne carnis conditor

Suspensus est patibulo:

 

Quo vulneratus insuper

Mucrone diro lanceae,

Ut nos lavaret crimine,

Manavit unda et sanguine.

 

Impleta sunt, quae cecinit

David fideli carmine,

Dicendo nationibus:

Regnabit a ligno Deus.

 

Arbor decora et fulgida,

Ornata regis purpura,

Electa digno stipite,

Tam sancta membra tangere.

 

Beata, cuius brachlis

Pretium pependit seculi,

Statera facta est corporis

Praedam tulitque tartari.

 

O crux ave, apes unica,

Hoc passionis tempore:

Auge piis iustitam

Reisque dona veniam.

 

Te summa Deus Trinitas

Collaudat omnis spiritus:

Quos per crucis mysterium

Salvas, rege per secula.

 

This cento comes to us from the sixth century. Its author, Bishop Venantius Fortunatus (530—609), was one of the popular Latin hymn-writers of the early Middle Ages. Archbishop Trench describes Fortunatus as a “clever, frivolous, self-indulgent, and vain character.” His contributions to the hymnology of his day seem to have been very considerable, but the general quality of his poetry is not very high. He represents the “last expiring effort of the Latin muse in Gaul” to retain something of the “old classical culture amid the advancing tide of barbarism.” However, in some of his efforts, as in this hymn, he rises above his level to lofty heights of true poetry.

The account usually given about the origin of this hymn is very likely legendary. Mearns gives this summary of the story in Julian’s Diclionary of Hymnology:

 

Fortunatus was then living at Poitiers, where his friend Queen Rhadegunda founded a nunnery. Before the consecration of the nunnery church she desired to present certain relics to it, and among these she obtained from the Emperor Justin II a fragment of the so-called True Cross, from which circumstance the nunnery received its name of the Holy Cross. This relic was sent in the first instance to Tours and was left in charge of the Bishop in order that he might convey it to Poitiers. In the Abbé E. Briand’s Sainte Radegonde, its journey to Poitiers is thus described: “Escorted by a numerous body of clergy and of the faithful holding lighted torches, the Bishop started in the midst of liturgical chants, which ceased not to resound in honor of the hallowed wood of the Redemption. A league from Poitiers the pious cortège found the delegates of Rhadegunda, Fortunatus at their head, rejoicing in the honor which had fallen to them; some carrying censers with perfumed incense, others torches of white wax. The meeting took place at Migné, at the place where, twelve centuries and a half later, the cross appeared in the air. It was on this occasion that the hymn “Vexilla Regis” was heard for the first time, the chant of triumph composed by Fortunatus to salute the arrival of the True Cross.... It was the 19th of November, 569.”

 

The popularity of this hymn is attested by the fact that many have essayed to put it into English. Julian lists 37 English translations. The third stanza has been the crux of the translators. Percy Dearmer rightly says: “The reference is to Ps. 96:10; but neither in the Hebrew, the authentic Septuagint, the present Vulgate, nor of course in the English versions is there anything answering to this.” Perhaps Fortunatus referred to an interpolated text. It is generally conceded that John Mason Neale’s translation of this stanza is the finest rendering of these lines. The translation otherwise is only partly based on Neale, Medieval Hymns, 1851, his excellent first stanza being retained. [Handbook to The Lutheran Hymnal]

 

THE SAINTS’ DELIGHT  431

 

 

The Son of God goes forth to war  559

FOR St. Stephen’s Day.

This hymn was published in Heber’s posthumous Hymns, 1827, in eight stanzas of four lines each. “Fight the good fight of faith, lay hold on eternal life” (1 Timothy 6:12). “They overcame him (the devil) by the blood of the Lamb, and by the word of their testimony; and they loved not their lives unto death” (Revelation 12:11). [Dahle, Library of Christians Hymns]

 

The star proclaims the King is here  173

Hostis Herodes impie,

Christum venire quid times?

Non eripit mortalia,

Qui regna dat caelestia.

 

Ibant magi, quam viderant,

Stellam sequentes praeviam:

Lumen requirunt lumine,

Deum fatentur munere.

 

Lavacra puri gurgitis

Caelestis Agnus attigit;

Peccata, quae non detulit,

Nos abluendo sustulit.

 

Novum genus potentiae,

Aquae rubescunt hydriae,

Vinumque iussa fundere

Mutsvit unda originem.

 

Gloria tibi, Domine,

Qui apparuisti hodie,

Cum Patre et Sancto Spiritu

In sempiterna saecula. Amen.

 

This hymn is part of Coelius Sedulius’s “Paean Alphabeticus de Christo.” The beginning initials of the Latin stanzas show that we have a continuation of Hymn No. 104.

The translation is an altered form of that by John M. Neale, in his Hymnal Noted, 1852. [Handbook to The Lutheran Hymnal]

 

The strife is o’er  357

Alleluia, Alleluia, Alleluia.

Finita iam sunt praelia,

Est parta iam victoria;

Gaudeamus et canamus:

Alleluia!

 

Post fata mortis barbara

Devicit Iesus tartara;

Applaudamus et psallamus:

Alleluia!

 

Surrexit die tertia

Caelesti clarus gratia

Insonemus et cantemus:

Alleluia!

 

Sunt clausa stygis ostia,

Et caeli patent atria;

Gaudeamus et canamus:

Alleluia!

 

Per tua, Iesu, vulnera

Nos mala morte libera,

Ut vivamus et canamus:

Alleluia! Amen.

 

This hymn has not been traced back farther than the Jesuit Symphonia Sirenum, Cologne, 1695. The translation is an altered form of that by Francis Pott, c. 1859, and was included in his Hymns Fitted to the Order of Common Prayer, 1861. [Handbook to The Lutheran Hymnal]

THE author of this hymn is unknown. The earliest edition is found in Symphonia Sirenum, Cologne, 1695. It was also printed in Hymnodia Sacra, Münster, 1753. Dr. Neale is of the opinion that this hymn dates from the 12th century. The original contains five stanzas with a double “Hallelujah” prefixed:

Alleluia! Alleluia! Finita jam sunt praelia; Est parta jam victoria; Gaudeamus et canamus: Alleluia!

The Lutheran Hymnary adopted the translation made in 1859 by Francis Pott (b. 1832, England; educated at Oxford; served as minister in various places). Pott’s rendering is commonly considered the best English version. It was published in 1861 in Hymns fitted to the Order of Common Prayer. The first English translation, “Finished is the battle now,” was rendered by J. M. Neale in 1851. [Dahle, Library of Christians Hymns]

 

The sun arises now  83

Nu rinder Solen op

Af Østerlide,

Forgylder Klippens Top

Og Bergets Side!

Vær glad, min Sjæl, og lad

din Stemme klinge,

Stig op fra Jordens Bo,

Og dig med Tak og Tro

Til Himlen svinge!

 

Utallig, saa som Sand,

Og uden Maade

Som Havets dybe Vand,

Er Herrens Naade,

Som han mit Hoved

daglig overgyder,

Hver Morgen uden Maal

En Naade uden Maal

Til mig nedflyder.

 

Lad Synden nu idag

Mig ei forblinde

At jeg min Guds Behag

Har ret i Minde!

Men, om min Fod gaar vild,

oe sig mon støde,

Da vend, o Gud, mig om

Gak ei med mig til Dom,

Tilgiv min Brøde!

 

Du bedst min Tarv og Trang,

O Herre, kjender,

Tilmed er Lykkens Gang

I dine Hænder,

Og hvad mig tjener bedst

I hver en Maade,

Det du tilforne ser,

Min Sjæl, hvad vil du meer?

Lad Gud kun raade!

 

This hymn, by Thomas Hansen Kingo, was published in the official Danish Kirke-Psalme-Bog, 1699. The original has seven stanzas. Our cento includes Stanzas 1, 2, 6, and 7. The tranalation is by P. C. Paulsen and, as far as we have been able to determine, was written about 1925. It is contained in the American Lutheran Hymnal, 1930. [Handbook to The Lutheran Hymnal]

 

The sun has gone down  575

\\

 

The sun’s last beam of light is gone  562

Hinunter ist der Sonnenschein,

Die finstre Nacht bricht stark herein;

Leucht uns, Herr Christ, du wahres Licht,

Lass uns im Finstern tappen nicht!

 

Dir sei Dank, dass du uns den Tag

Vor Schaden, G’fahr und mancher Plag’

Durch deine Engel hast behüt’t

Aus Gnad’ und väterlicher Güt’.

 

Womit wir hab’n erzürnet dich,

Dasselb’ verzeih uns gnädiglich

Und rechn’ es unsrer Seel’ nicht zu.

Lass uns schiefen mit Fried’ und Ruh’!

 

Durch dein’ Engel die Wach’ bestell,

Dass uns der böse Feind nicht fäll’;

Vor Schrecken, G’spenst und Feuersnot

Behüt uns heint, o lieber Gott!

 

Nikolaus Herman first published this hymn in his Sontags Euangelia vber das gantze Jar, Wittenberg, 1560, entitled, “Der abend segen, In tono eodem.”

The foregoing hymn in the collection is his morning hymn. (See Hymn No. 547.) It is likely that some of the lines were suggested by the hymn “Christe, qui lux es et dies.” (See Hymn No. 559.)

The composite translation is based on that of Catherine Winkworth, Lyra Germanica, first series, 1855.

 

 

The tree of life  302

 

 

The will of God is always best  477

Was mein Gott will, das g’scheh’ allzeit,

Sein Will’, der ist der beste;

Zu helfen den’n er ist bereit,

Die an ihn glauben feste;

Er hilft aus Not, der fromme Gott,

Und züchtiget mit Massen.

Wer Gott vertraut, fest auf ihn baut,

Den will er nicht verlassen.

 

Gott ist mein Trost, mein’ Zuversicht,

Mein’ Hoffnung und mein Leben.

Was mein Gott will, dass mir geschicht,

Will ich nicht widerstreben.

Sein Wort ist wahr, denn all mein Haar

Er selber hat gezählet.

Er hüt’t und wacht und hat wohl acht,

Auf dass uns gar nichts fehlet.

 

Nun, muss ich Sünd’r von dieser Welt

Hinfahr’n in Gottes Willen

Zu meinem Gott: wann’s ihm gefällt,

Will ich ihm halten stille.

Mein’ arme Seel’ ich Gott befehl’

In meiner letzten Studen.

Du frommer Gott, Sünd’, Höll’ und Tod

Hast du mir überwunden.

 

Noch eins, Herr, will ich bitten dich,

Du wirst mir’s nicht versagen:

Wenn mich der böse Geist anficht,

Lass mich, Herr, nicht verzagen;

Hiff, steur und wehr, ach Gott, mein Herr,

Zu Ehren deinem Namen!

Wer das begehrt, dem wird’s gewährt.

Draut sprech’ ich fröhlich: Amen.

 

“Des alten Churfürsten Markgraff Albrechts Lied” (The old Elector Margrave Albrecht’s hymn)—thus this hymn is entitled in one of the hymnals in which it was published. Wackernagel remarks: “Who wrote it for him or who could have dedicated it to him, there is no proof.” Other authorities, however, incline to the view that the elector himself is the author. The hymn first appeared in print in a broadsheet, c. 1554, at Nürnberg. It became, and still is, in many circles a favorite hymn of comfort. The translation is composite. For comments on the tune “Was mein Gott will” see Hymn No. 437. [Handbook to The Lutheran Hymnal]

 

The world is very evil  534

ORDER?????

Hora novissima, tempora pessima Sunt; vigilemus.

Ecce minaciter imminet arbiter Ille supremus,—

Imminet, imminet, ut mala terminet, Aequa coronet,

Recta remuneret, anxia liberet, Aethera donet.

 

Curre, vir optime; lubrica reprime, Praefer honesta,

Fletibus angere, flendo merebere Caelica festa

Luce replebere iam sine vespere, Iam sine luna;

Lux nova lux ea, lux erit aurea, Lux erit una.

 

Patria splendida, terraque florida, Libera spinis,

Danda fidelibus est ibi civitus, Hic peregrinis.

Tunc erit omnibus inspicientibus Ora Tonantis

Summa potentia, plena scientia, Pax rata sanctis.

 

Hic homo nititur, ambulat, utitur; Ergo fruetur.

Pax, rata pax ea, spe modo, postea Re capietur.

Plaude, cinis mens, est tua pars Deus; Eius es et sis;

Rex tuus est tua portio, tu su; Ne sibi desis. Amen.

*

Urbs Sion aurea, patria lactea, Cive decora,

Omne cor obruis, omnibus obstruis Et cor et ora.

 

Nescio, nescio, quae iubilatio, Lux tibi qualis,

Quam socialia gaudia, gloria Quam specialis.

 

Sunt Sion atria coniubilantia, Martyre plena,

Cive micantia, principe stantia, Luce serena.

 

Sunt ibi pascua mentibus afflua Praestita sanctis;

Regis ibi thronus, agminis et sonus Est epulantis.

 

Gens duce splendida, contio candida Veatibus albis,

Sunt sine fletibus in Sion aedibus, Aedibus almis. Amen.

*

O bona patria, lumina sobria Te speculantur;

Ad tua nomina sobria lumina Collacrimantur.

Est tua mentio pectoris unctio, Cura doloris,

Concipientibus aethera mentibus Ignis amoris.

 

Tu locus unicus illeque caelicus Ea paradisus.

Non tibi lacrima, sed placidissima Gaudia, risus.

Lux tua mora crucis atque caro ducis Est crucifixi;

Laus, benedictio, coniubilatio Personst Ipsi.

 

Est ibi consita laurus, et insita Cedrus hysopo;

Sund radiantia iaspide moenia, Clara pyropo.

Hinc tibi sardius, inde topazius, Hinc amethystus.

Est tua fabrica contio caelica, Gemmaque Christus.

 

Tu sine litore, tu sine tempore Fons, modo rivus;

Dulce bonis sepis, estque titi lapis Undique vivus.

Est tibi laurea, dos datur aurea, Sponsa decora,

Primaque principis oscula suscipis, Inspicis ora.

*

Hic breve vivitur, hic breve plangitur, hic breve fletur;

Non breve vivere, non breve plaudere, retribuetur.

 

O retributio! stat brevis actio, vita perennis;

O retributio! caelica mansio stat lue plenis.

 

Sunt modo praelia, postmodo praemia,— qualia? plena:

Plena refectio, nullaque passio, nullaque poena.

 

Spe modo vivitur, et Sion angitur A Babylone;

Nunc tribulatio, tunc recreatio, sceptra, coronae.

 

Qui modo creditur, ipse videbitur atque scietur,

Ipse videntibus atque scientibus attribuetur.

 

Mane videbitur, umbra fugabitur ordo patebit;

Mane nitens erit, et bona qui gerit, ille nitebit.

 

Nunc tibi tristia, tunc tibi gaudia,— gaudia, quanta

Vox nequit edere, lumina cernere, tangere planta.

 

Pars mea, rex meus, in proprio Deus ipse decore

Visus amabitur, atque videbitur auctor in ore.

 

Hymns No. 605, 613, 614, and this hymn are portions of the great poem of three thousand lines, entitled De Contemptu Mundi (On Contempt of the World) written by Bernard of Morlas or Murles (not Morlaix, but the place is uncertain), while a monk at the famous monastery of Cluny, c. 1140, and dedicated to the abbot, Peter the Venerable. The opening lines of this poem are the Hymn No. 605.

The translations of all four hymns are by John M. Neale, which appeared in part in his Sacred Latin Poetry, 1849, and a larger portion, which he published in The Rhythm of Bernard de Morlaix, 1858. [Handbook to The Lutheran Hymnal]

For thee, O dear, dear country.

O bona patria, lumina sobria te speculantur.

—BERNARD OF CLUNY.

THIS hymn has been taken from the first part of Bernard of Cluny’s poem: De Contemptu Mundi, which begins thus:

Hora novissima, tempora pessima sunt; vigilemus.

This grand poem, based upon the last two chapters of Revelation, was written in the abbey of Cluny about 1145 and contains upwards of 3,000 verse lines. It is found in a manuscript from the 13th century in the Bodleian Library. It was included in Varia Poemata de corrupto Ecclesiae Statu, Basel, 1556, by Flacius Illyricus. Illyricus was an aggressive and enthusiastic reformer, and as such he made use of the flaying satire upon the corruption of the times as found in this poem. Later it was frequently published in its entirety in various works of the 16th, 17th 18th and 19th centuries. In modern times more or less of the poem has been repeated by various authors in England and Germany. The original poem was dedicated to Petrus Venerabilis (Peter the Venerable), the head of the order of monks to which Bernard belonged. The poem is written in the unique dactylic hexameter verse, and the author states that the poem both as to contents and form came into being through divine inspiration. Archbishop Trench says, in mentioning the many redactions of this poem: “That this poem has caused a great deal of attention and interest is self-evident. Every one who has a sense for real and true poetry, though less favorably impressed by certain details, will be stirred to the depth of the soul by the wealth of sublime inspiration flowing through these unique stanzas.” Bishop Trench criticizes especially the verse form and, concerning the contents, lack of development in thought. Dr. Neale says: “The greater part of this poem is a bitter satire upon the corruption of the times. But, as a contrast to this picture of the corruption of the world and a life in sin, the first part of the poem presents a grand description of the glory and peace of the New Jerusalem—an ode so filled with charm and beauty that scarcely any other poem of the Middle Ages, written upon this theme, may be compared with it.” The first to translate any part of this poem was Dr. John Neale, and his translations are the only ones in common use. He translated first that part of the Latin original (96 lines) which Bishop Trench published in his Sacred Latin Poetry, beginning with the words: “Hic breve vivitur” (Brief life is here our portion), and this translation appeared in Neale’s Mediaeval Hymns, 1851. In 1858 Dr. Neale rendered 218 lines of the first part of Bernard’s poem beginning with the words: “Hora novissima.” Of these two renderings a number of hymns or centos have come into being, of which a few have found a place in all the leading hymn books of England and America. Among these may be mentioned, besides those named above, “O bona patria” (For thee, O dear, dear country; the present hymn); “Hic breve vivitur” (Brief life is here our portion, L. H. 612); and “Urbs Sion aurea,’ (Jerusalem the Golden, L. H. 614).

Bernard of Cluny (Murles, or Morlas, not Morlaix), was born in Murles, (Bretagne, Britanny), France, in the first part of the 12th century. The abbey of Cluny was at that time the most famous in Europe—famous for its wealth and for its stately buildings, and especially for its cathedral. The imposing festival services with the elaborate ritual were famed far and wide. The abbot of this institution was the well known Peter the Venerable. Here Bernard spent the greater part of his life. It is not known at what date he died, neither do we know much more about him than that he wrote this famous poem, De Contemptu Mundi (On contempt of the world), which he dedicated to the leader of his order, Peter of Cluny.

Many attempts have been made to render selections of this poem into a form more closely like the original than Neale’s and also in the meter of the original, but these do not seem to have gained favor. A few examples follow:

These are the latter times These are not better times Let us stand waiting.

—DUFFIELD.

Here we have many fears, This is the vale of tears, The land of sorrow.

—G. MOULTRIE.

Earth very evil is;

Time through the last of his

Journey is halting.

—JACK MASON.

From the very first part of the original: “Hora novissima,” Neale has made the hymn, “The world is very evil.” This hymn has not been taken up by our Lutheran Hymnary. The melody *** for this hymn, the subject of this sketch, has been taken from Alfred B. Gaul’s cantata, The Holy City. Alfred Robert Gaul, born in Norwich, England, 1837, organist and composer, has written many popular sacred compositions.

Brief life is here our portion.

Hic breve vivitur, hic breve plangitur, hic breve fletur.

—BERNARD OF CLUNY.

FOR the general setting of this hymn, see notes under No. 608.

This cento, drawn from Bernard of Cluny’s poem, has found a place in about 100 various hymn books in England and America. The number of stanzas may vary from four to twelve, and these do not always come in the same order. [Dahle, Library of Christians Hymns]

 

Thee God we praise, Thy name we bless  44

1. Te Deum laudamus: te Dominum confitemur.

2. Te æternum Patrem omnis terra veneratur.

3. Tibi Cherubim et Seraphim incessabili voce proclamant:

4. Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.

5. Pleni sunt coeli et terra majestatis gloriæ tuæ.

6. Te gloriosus Apostolorum chorus,

7. Te Prophetarum laudabilis numerus,

8. Te Martyrum candidatus laudat exercitus.

9. Te per orbem terrarum sancta confitetur Ecclesia,

10. Patrem immensæ majestatis,

11. Venerandum tuum verum et unicum Filium,

12. Sanctum quoque Paraclitum Spiritum.

13. Tu Rex gloriæ Christe.

14. Tu Patris sempiternus es Filius.

15. Tu ad liberandum suscepturus hominem: non horruisti Virginis uterum.

16. Tu devicto mortis aculeo: aperuisti credentibus regna coelorum.

17. Tu ad dexteram Dei sedes, in gloria Patris.

18. Judex crederis esse venturus.

19. Te ergo quæsumus, tuis famulis subveni: quos pretioso sanguine redemisti.

20. Æterna fac cum sanctis tuis in gloria numerari.

21. Salvum fac populum tuum Domine, et benedic hæreditati tuæ.

22. Et rege eos, et extolle illos usque in æternum.

23. Per singulos dies benedicimus te.

24. Et laudamus nomen tuum in sæculum et in sæculum sæculi.

25. Dignare Domine die isto sine peccato nos custodire.

26. Miserere nostri Domine: miserere nostri.

27. Fiat misericordia tua Domine super nos, quemadmodum speravimus in te.

28. In te Domine speravi: non confundar in æternum.

 

Te Deum laudamus. Hymnus in honorem sanctae trinitatis.

TRADITION has it that this world-famous hymn has come to us from the Greek church of the third century. It is thought that Bishop Ambrose of Milan (d. 397) translated it into Latin. In this language it gained its widest circulation. The Ambrosian Hymn of Praise, as it has been called, has been sung by the Church for fifteen centuries. From the close of the fifth century it was used in the Roman church at the morning worship immediately before the reading of the Gospel. It was used during the ancient period at all great church festivities, as, for instance, at the installation of the popes, the coronation of kings, and the like.

The hymn contains, in the first place, a strain praising the Triune God, the Father, Son, and Holy Ghost, and closes with an humble prayer for the help and grace of God. The German version, “Herr Gott, dich loben wir,” was made by Luther presumably in the year 1529, and is found listed as an antiphonal anthem for two choirs. In Wittenberg, we are told, the organ paused at the close of the first division of the hymn and the church bells chimed, while the choirs sang: “O holy, holy, holy Lord, Thou God of hosts, by all adored.” In the Church of England it is ordered that this hymn shall be used at the daily morning prayer throughout the year. There are a great number of English translations of the Latin original. These date from the 10th century down to the present time. There are also a number of English translations of Luther’s German version of 1529.

According to an old custom the “Te Deum” In Latin is sung at dawn of May-day from the tower of the administration building of Magdalen College at Oxford.

This hymn enjoys the same popularity today as during the ancient period. It is used throughout the Christian Church on days of special thanksgiving and commemoration, as well as at regular services. Landstad says: “No hymn shows clearer and in a more comforting way how the Church, despite separation and schism, yet may meet and unite in this hymn of praise, as well as confession, of the Triune God and His great work of mercy in Creation, Redemption, and Sanctification. The prestige and universal use of this hymn is not due to any intrinsic poetic qualities in the ordinary sense of the term, but rather to the fact that it breathes forth lofty, divine truths; the clear and powerful testimony of the faith of the holy Christian Church from the earliest times and throughout all generations. It has therefore been considered more as a universal confession of faith than as an ordinary hymn.”

A great deal has been written about this hymn, concerning its origin, author, translations, and translators; concerning its use; the many composers who have set it to music, etc.. etc. If it all were compiled, this material alone would fill many volumes. Many and varied opinions have been advanced during the centuries concerning the authorship of the hymn. In many breviaries, for instance, it is referred to in connection with Ambrose and Augustine: Canticum Ambrosii et augustinii. An old legend says that the hymn was written during the Easter night when Ambrose baptized Augustine in the cathedral of Milan. By divine inspiration, it is claimed, Ambrose sang the first part and Augustine continued the hymn. In this manner the hymn is referred to Ambrose, who is the oldest and most famous of the Latin hymn writers. As time went on it became customary to call all true metrical hymns Ambrosian hymns. Thus have been credited to Ambrose many hymns which he has not written. It seems certain that Ambrose has neither written nor translated this hymn. Modern scientific research asserts that “Te Deum” was originally not a Greek but a Latin hymn. Although the hymn is found in Greek, still it cannot be demonstrated that it was in use in the Oriental church. Modern hymnologists and historians claim that Niceta of Remesiana was the author of “Te Deum laudamus,” about 410. Several manuscripts mention Nicetus or Nicetius. An old Latin hymnary lists the hymn as Canticum beati Niceti and expressly mentions Niceta of Remesiana as the author. Niceta, bishop of Dacia, 392-414, is praised by his friend Paulinus of Nola for his learning and poetic ability. Niceta visited Paulinus about 398 or 402. Cassiodorus, also, mentions Niceta with much praise and recognition. The oldest Danish version of “Te Deum” dates from the 13th or the 14th century. This, however, was not well adapted for use in the church. A version specially designed for the public worship is found in the collection, Een ny handbog, Rostock, 1529, by an unknown author. According to the custom of the ancient church, it was ordered to be used at matins. The translation in Landstad’s Hymnbook is by Landstad from Luther’s German version. The English version in The Lutheran Hymnary is by the Rev. Carl Døving, 1911.

Many world-famous masters have composed music for “Te Deum laudamus.” Among them may be mentioned Palestrina, Cherubini, Graun, Purcell, Handel, Tallis, Croft, Dvorak. Several ancient melodies have, however, come down with the hymn from the earliest period. [Dahle, Library of Christians Hymns]

 

 

Thee will I love, my Strength, my Tower  409

Ich will dich lieben, meine Stärke,

Ich will dich lieben, meine Zier,

Ich will dich lieben mit dem Werke

Und immerwährender Begier;

Ich will dich lieben, schönstes Licht,

Bis mir (der Tod) das Herze bricht.

 

Ich wil dich lieben, o mein Leben,

Als meinen allerbesten Freund;

Ich will dich lieben und erheben,

Solange mich dein Glanz bescheint;

Ich will dich lieben, Gotteslamm,

Als meinen (lieben) Bräutigam.

 

Ich danke dir, du wahre Sonne,

Dass mir dein Glanz hat Licht gebracht;

Ich danke dir, du Himmelswonne,

Dass du mich froh und frei gemacht;

Ich danke dir, du güldner Mund,

Dass du mich (ewig) machst gesund.

 

Erhalte mich auf deinen Stegen

Und lass mich nicht mehr irregehn;

Lass meinen Fuss auf deinen Wegen

Nicht straucheln oder stille stehn;

Erleucht mir Leib und Seele ganz,

Du starker (schöner) Himmelsglanz.

 

Gib meinen Augen süsse Tränen,

Gib meinem Herzen keusche Brunst.

Lass meine Seele sich gewöhnen,

Zu üben in der Liebeskunst.

Lass meinen Sinn, Geist und Verstand

Stets sein zu dir, (o Gott,) gewandt.

 

Ich will dich lieben, meine Krone,

Ich will dich lieben, meinen Gott;

Ich will dich lieben ohne Lohne,

Auch in der allergrössten Not.

Ich wil dich lieben, schönstes Licht,

Bis mir (der Tod) das Herze bricht.

 

Johann Scheffler (Angelus Silesius) published this hymn of “love to Christ” in his Heilige Seelenlust, etc., 1657, in eight stanzas. The cento omits Stanzas 3 and 4, in which he apparently refers to the time when he was a member of the Lutheran Church, before his conversion to Roman Catholicism. They read in translation thus:

 

3. Alas! that I so late have known Thee,

Who art the Fairest and the Best;

Nor sooner for my Lord could own Thee,

Our highest Good, our only Rest!

Now bitter shame and grief I prove

O’er this my tardy love.

 

4. I wamdered long in willing blindness,

I sought Thee, but I found Thee not,

For still I shunned Thy beams of kindness

The creature-light filled all my thought.

And if at last I see Thee now,

‘Twas Thou to me didst bow!

 

The translation is an altered form of that by Catherine Winkworth in her Chorale Book for England, 1863. [Handbook to The Lutheran Hymnal]

THIS is one of Scheffler’s most beautiful hymns, breathing a deep and fervent love for the Savior. It was published first in his Heilige Seelenlust, 1657, in 8 six-line stanzas under the title: She (the soul) Promises to Love Him unto Death. John Wesley’s translation for his Hymns and Sacred Poems contains 7 stanzas, of which 3 are here omitted. This hymn has found a place in many English hymnals. It has also been translated into Swedish: “Jag vil dig elska, Gud, min styrka.”

In ever new and pregnant images the poet varies the idea of a complete absorption into God. But aberrations are close at hand: mysticism may degenerate into pure pantheism and mental extravagance. Friedrich Schlegel says concerning Scheffler’s poetry that in these mystical strains are found the profoundest thoughts intimately combined with childlike clearness and simplicity of heart. (For biography of Scheffler, see Vol. I, No. 68.) [Dahle, Library of Christians Hymns]

 

There is a fountain filled with blood  301

THIS Passion hymn was written about 1771 and appeared in Conyers’ Collection of Psalms and Hymns in 1772. It contained seven stanzas. It was also printed in the Olney Hymns, 1779, under the title Praise for the Fountain opened. The hymn is based upon Zech. 13:1, “In that day there shall be a Fountain opened to the house of David and to the inhabitants of Jerusalem for sin and for uncleanness.” Of the seven original stanzas the last two have been omitted. The words of the first line were found objectionable by many, and several attempts have been made to improve it. In Cotterill’s Selection, 1819, the first stanza was entirely rewritten, the first line appearing thus:

From Calvary’s cross a fountain flows Of water and of blood,

!\lore healing than Bethesda’s pool, Or famed Siloam’s flood.

This version was made by Montgomery, who also changed the second stanza, as follows:

And there may sinners vile as he, Wash all their guilt away.

The Lutheran Hymnary has here followed Cowper’s original:

And there have I, as vile as he, Washed all my sins away.

The above mentioned changes have met with much criticism, with the result that the hymn is most commonly used in its original form. The hymn writer, Ray Palmer, says concerning these and other similar revisions of well-known hymns: “There is a fountain filled with blood” has been pronounced by some gross and repulsive in its conception and language, or, to say the very least, highly objectionable in point of taste. Such criticism seems to us superficial. It takes the words as if they were intended to be a literal prosaic statement. It forgets that what they express, is not only poetry, but the poetry of intense and impassioned feeling, which naturally embodies itself in the boldest metaphors. The inner sense of the soul, when its deepest affections are moved, infallibly takes these metaphors in their true significance, while a cold critic of the letters misses that significance entirely. He merely demonstrates his own lack of spiritual sympathies of which, for fervent Christian hearts, the hymn referred to is an admirable expression.”

The changes made in this hymn by Montgomery and others have, in the large majority of cases, been discarded by the Church. Cowper’s original is most commonly used, and is recognized as an excellent product of sublime inspiration. The hymn, both in its complete and in its abbreviated form, is found in hymn books throughout the English-speaking world, and has been translated into many languages. [Dahle, Library of Christians Hymns]

 

There is a safe and secret place  218

HE that dwelleth in the secret place of the Most High shall abide under the shadow of the Almighty. I will say of the Lord, He is my refuge and my fortress: My God, in whom I will trust” (Psalm 91:1-2). This hymn was first printed in Lyte’s Spirit of the Psalms, 1834. It breathes the spirit of peace and rest in the Lord. The original has 5 stanzas. It is extensively used both in England and America. [Dahle, Library of Christians Hymns]

 

There many shall come from the east  200

Der mange skal komme fra Øst og fra Vest,

Og sidde tilbords i Guds Rige

Med Abraham, Isak og Jakob til Gjest

Hos ham, som bød ind os at stige.

Miskunde dig over os, Jesu!

 

Men de, som modstode fra Morgen til Kveld,

Og stoled paa egen Dyds Styrke,

Fordømmes og kastes med Legem og Sjæl

Hen ud i det yderste Mørke.

Miskunde dig over os, Jesu!

 

Gud lader os høre med Kjærligheds Brand

Vor Hyrdes hans Lokking saa blide,

At vi maatte skynde os, Kvinde og Mand,

Og sanke os til ham i Tide!

Miskunde dig over os, Jesu!

 

Gid jeg maatte være, og alle med mig,

Blandt Guds den beseglede Skare,

Gud tage os naadig i Himlen til sig,

Og frelse fra Helvedes Fare!

Miskunde dig over os, Jesu!

 

Gud giv mig at være den salige Gjest,

Som sidder hos Kongen for Borde,

At holde hos hannem den evige Fest,

Naar her de mig gjemme og jorde!

Miskunde dig over os, Jesu!

 

Da glemmes der Kors, som paa Jorden jeg bar,

Da slukner saa mildelig Sorgen,

Da bliver opklaret, hvad gaadefuldt var,

Da rinder den lyse Dags Morgen.

Miskunde dig over os, Jesu!

 

Da toner der gjennem den himmelske Hal

En Lovsang, som ikke har Mage.

For Stolen og Lammet de Salige skal

Sin Krone for Kampen modtage.

Miskunde dig over os, Jesu!

 

Magnus B. Landstad based this hymn on the Gospel for the Third Sunday after Epiphany, Matt.8:1-13. It appeared in his Kirke-Salmebog, et Utkast, 1861. The hymn is one of Landstad’s best.

The translation is by Peer O. Strømme, 1909. It was included in The Lutheran Hymnary, 1913. [Handbook to The Lutheran Hymnal]

THE Biblical basis is the Gospel lesson for the Third Sunday after Epiphany, Matt. 8, especially verses 11 and 12. The fourth and seventh stanzas may also refer to Rev. 7:4-12 and 2:10. Our English translation was made by Peer Strømme in 1909. This is one of Landstad’s very best hymns. It is a spiritual folk-song, both as to form and contents, and is very well suited to the popular religious folk-tune which was originally sung in Sweden to the hymn “Himmelriket liknas widt tijo jungfruer,” found in Jesper Svedberg’s Then Swenska Psalmboken, Stockholm, 1695. [Dahle, Library of Christians Hymns]

 

These are the holy Ten Commands  490

Dies sind die heil’gen Zehn Gebot’,

Die uns gab unser Herre Gott

Durch Moses, seinen Diener treu,

Hoch auf dem Berg Sinai.

Kyrieleis!

 

Ich bin allein dein Gott, der Herr,

Kein’ Götter sollst du haben mehr;

Du sollst mir ganz vertrauen dich,

Von Herzensgrund lieben mich.

Kyrieleis!

 

Du sollst nicht führen zu Unehr’n

Den Namen Gottes, deines Herrn;

Du sollst nicht preisen recht noch gut,

Ohn’ was Gott selbst red’t und tut.

Kyrieleis!

 

Du sollst heil’gen den Feiertag,

Dass du und dein Haus ruhen mag;

Du sollst von dein’m Tun lassen ab,

Dass Gott sein Werk in dir hab’.

Kyrieleis!

 

Du sollst ehr’n und gehorsam sein

Dem Vater und der Mutter dein,

Und wo dein’ Hand ihn’n dienen kann,

So wirst du lang’s Leben hab’n.

Kyrieleis!

 

Du sollst nicht töten zorniglich,

Nicht hassen noch seibst rächen dich,

Geduld haben und sanften Mut

Und auch dem Feind tun das Gut!

Kyrieleis!

 

Dein Eh’ sollst du bewahren rein,

Dass auch dein Herz kein’ andre mein’,

Und halten keusch das Leben dein

Mit Zucht und Mässigkeit fein.

Kyrieleis!

 

Du sollst nicht stehlen Geld noch Gut,

Nicht wuchern jemands Schweiss und Blut;

Du sollst auftun dein’ milde Hand

Den Armen in deinem Land.

Kyrieleis!

 

Du sollst kein falscher Zeuge sein,

Nicht lügen auf den Nächsten dein;

Sein Unschuld sollst auch retten du

Und seine Schand’ decken zu.

Kyrieleis!

 

Du sollst dein’s Nächsten Weib und Haus

Begehren nicht noch etwas draus;

Du sollst ihm wünschen alles Gut,

Wie dir dein Herz selber tut.

Kyrieleis!

 

Die Gebot all’ uns geben sind,

Dass du dein’ Sünd’, o Menschenkind,

Erkennen sollst und lernen wohl,

Wie man vor Gott leben soll.

Kyrieleis!

 

Das helf’ uns der Herr Jesus Christ,

Der unser Mittler worden ist;

Es ist mit unserm Tun verlor’n,

Verdienen doch eitel Zorn.

Kyrieleis!

 

In the late Middle Ages the Ten Commandments were used for various purposes: on pilgrimages, as an introduction to the Litany during Lent, for examination in the confessional, and for the instruction of children. This metrical version by Martin Luther first appeared in Eyn Enchiridion, Erfurt, 1524.

The translation is an altered form of that by Richard Massie in his Martin Luther’s Spiritual Songs, 1854. [Handbook to The Lutheran Hymnal]

 

Thine forever! God of love  515

THIS hymn was written in 1847 for the author’s class of girls at the Sunday School of St.Thomas Church, Newport, on the Isle of Wight. It was printed in 1848 in Twelve Letters on Confirmation, also in Verse Memories. “Thine forever, God of love,” is her most favored hymn. It contained originally seven stanzas, of which our version has omitted the last two. [Dahle, Library of Christians Hymns]

 

Thine honor save, O Christ, our Lord!  221

Rett, o Herr Jesu, rett dein’ Ehr’,

Das Senfzen deiner Kirche hör,

Der Feind’ Anschläg’ und Macht zerstör,

Die jetzt verfolgen deine Lehr’!

 

Gross ist ihr List, ihr Trutz und Macht,

Sie fahren hoch daher mit Pracht,

Al unsre Hoffnung wird verlacht,

Wir sind bei ihm’n wie nichts geacht’t.

 

Vergib uns unsre Missetat,

Vertilg uns nicht, erzeige Gnad’,

Beweis den Feinden in der Tat,

Es gelte wider dich kein Rat!

 

Steh deinem kleinen Häuflein bei,

Aus Gnaden Fried’ und Ruh’ verleih;

Lass jedermann erkennen frei,

Dass hier die rechte Kirche sei!

 

Lass sehn, dass du sei’st unser Gott,

Der unsre Feinde setzt zu Spott,

Wirft ihre Hoffart in den Kot

Und hilft den Seinen aus der Not!

 

Johann Heermann first published this hymn in his Devoti Musica Cordis, Breslau, 1630. It was headed: “For times of persecution and distress of pious Christians.”

The translation is by Matthias Loy in the Ohio Lutheran Hymnal, 1880, slightly altered. [Handbook to The Lutheran Hymnal]

 

Thine is the glory  73

 

 

This day at Thy creating Word  31

This hymn by William Walsham How was first published in Morrell and How’s Psalms and Hymns, 1854, beginning with the line:

 

“This day the light of heavenly birth

First streamed upon the new-born earth.”

 

No doubt because of the inaccuracy of that statement, Bishop How changed these lines in the enlarged edition, 1864, and began the hymn thus:

 

“This day by Thy creating word,” etc.

 

In 1871 it was again published in Church Hymns, after revision by the author, and a doxology was added. This is the authorized text of the hymn, as above. In the earlier form the first two lines of the second stanza read:

 

“This day the Savior left the grave,

And rose omnipotent to save.”

 

In the conclusion of a supplementary chapter of Bishop How’s biography by his son, there is an interesting comment, written by Dr. Boyd Carpenter, on hymn-writing that is worthy of consideration:

 

It is the fate of a hymn-writer to be forgotten. Of the millions who Sunday after Sunday sing hymns in our churches not more than a few hundred know or consider whose words they are singing. The hymn remains; the name of the writer passes away. Bishop Walsham How was prepared for this; his ambition was not to be remembered but to be helpful. He gave free liberty to any to make use of his hymns. It was enough for him if he could enlarge the thanksgivings of the Church or minister by song to the souls of men. There will be few to doubt that his unselfish wish will be fulfilled. Some of his hymns … will continue to be sung for long years to come; they will cheer and console the hearts of millions; many who hear will take up their burden and their hope again. We are told that when Melanchthon and his comrades, shortly after Luther’s death, fled to Weimar, they heard a child singing the stirring words of Luther’s “Ein’ feste Burg.” “Sing, dear daughter, sing,” said Melanchthon, “you know not what great people you are comforting.” Even so the voice of the hymn-writer carries comfort to unknown hearts and to after-ages.

The writer dies; the hymn remains; the song goes on; tired men listen and find rest. Struggling men are encouraged to struggle once again; statesmen, philanthropists, the broken-hearted, and the despairing are helped. Sing on; you know not what great people you are comforting. Such a reward is better than fame. It is as if, even after life is ended, the power to give a cup of cold water to a fainting soul in the name of Christ was not denied to the singer of the Church. [Handbook to The Lutheran Hymnal]

 

This is the day the Lord hath made  32

The text is from Psalms of David Imitated, 1719, by Isaac Watts, based on Ps. 118: 24-26. [Handbook to The Lutheran Hymnal]

 

This is the feast  359

 

 

This little Babe so few days old  162

 

THOMISSØN  365

 

 

Thou art the Way: to Thee alone  363

PUBLISHED first in Doane’s Songs by the Way, 1824. By many it is considered to be of the highest rank among American hymns; and it has found a place in the leading hymn books of England, where it is used very extensively. The text is evidently John 14:6: “I am the Way, the Truth, and the Life.” [Dahle, Library of Christians Hymns]

 

Thou Light of Gentile nations  151

Gehe auf, du Trost der Heiden,

Jesu, heller Morgenstern!

Lass dein Wort, das Wort der Freuden,

Laut erschallen nah und fern,

Dass es allen Frieden bringe,

Die der Feind gefangen hält,

Und dir Lob und Preis erklinge

Durch die ganze Heidenwelt!

 

Sieh die Not der geistlich Blinden,

Welche deinen Glanz nicht sehn

Und, solang sie dich nicht finden,

Trostlos in der Irre gehn!

Sieh den Jammer aller Heiden:

Finsternis bedecket sie,

Und im Dunkel ihrer Leiden

Labet sie die Hoffnung nie.

 

Ach, in diesen Finsternissen

Lägen wir auch ganz und gar,

Wenn uns nicht herausgerissen

Der Erbarmer wunderbar.

Freundlich ist er uns erschienen

In der Gnade hehrer Pracht,

Dass wir nun mit Freuden dienen

Dem, der uns so selig macht.

 

Da wir nun dein Heil erfahren,

Darf die Liebe nimmer ruhn,

Es der Welt zu offenbaren,

Wie du uns gebeutst zu tun:

Aller Kreatur zu künden

Gottes Wort vom ew’gen Heil,

Dass Vergebung ihrer Sünden

Allen Menschen werd’ zuteil.

 

Mehr in uns dein Liebesfeuer,

Herr, den Heiden beizustehn,

Dass wir betend immer treuer

Um Erbarmung für sie flehn,

Dass wir gerne Gaben spenden

Für dein Evangelium

Und viel fromme Boten senden,

Zu verkünden deinen Ruhm!

 

Nun, so lass dein Licht erscheinen,

Gott, den Heiden nah und fern!

Von den Strassen, von den Zäunen

Rufe sie durch deinen Stern!

Führe, die du dir erkoren,

Aus dem Reich des Teufels aus;

Denn für alle, die verloren,

Ist noch Raum im Vaterhaus.

 

LORD, now lettest Thou Thy servant depart in peace, according to Thy Word: For mine eyes have seen Thy salvation, which Thou hast prepared before the face of all people; A light to lighten the Gentiles and the glory of Thy people Israel” (Luke 2:29-32). The hymnologist, James Mearns, says that this is possibly the most beautiful hymn ever written upon the story of the presentation of Jesus in the temple. The oldest known source of this hymn is the author’s Geistliches Sion, 1674, containing six stanzas with the title, The Purification of the Virgin Mary. It was included in Crüger’s Praxis Pietatis, 1688, and also in later editions of the same work. The present translation by Miss Winkworth was prepared for the Chorale Book for England, 1863, with the sixth stanza omitted. [Dahle, Library of Christians Hymns]

 

Thou to whom the sick and dying  237

THIS hymn was written in 1870 at the request of prebendary Hutton of Lincoln and was published in Supplement the following year. It was sung to a melody by H. H. Pierson and was included in Hymn Tunes by Simpkin and Marshall, 1872. It was published in Thring’s Hymns and Sacred Lyrics, 1874. The hymn is based upon Matthew 4:24. See also the Gospel lesson for second Sunday in Lent, Matthew 15:21, and following verses. [Dahle, Library of Christians Hymns]

 

Thou, who the night in prayer didst spend*  505

(See: O Lord, who in Thy love divine)

 

 

Thou, whose almighty Word  202

AND God said, Let there be light, and there was light” (Gen. 1:3).

Marriott’s hymn was written in 1813. It was read by Thomas Mortimer, lecturer of St. Olave’s, Southwark, at a meeting of the London Missionary Society, May 12, 1825. Together with Mortimer’s address it was published in the June issue of The Evangelical Magazine for that year. It was printed also in The Friendly Visitor for July, 1825. In 1866 it was included in Lord Selborn’s Book of Praise. The Lyra Britannica took it up in 1867, and since it has been given a place in many hymnals wherever the English language is used. [Dahle, Library of Christians Hymns]

 

Though in midst of life we be*  527

(See: In the midst of earthly life)

 

 

Through Jesus’ blood and merit  414

Ich bin bei Gott in Gnaden

Durch Christi Blut und Tod.

Was kann mir endlich schaden?

Was acht’ ich alle Not?

Ist er auf meiner Seiten,

Gleichwie er wahrlich ist,

Lass immer mich bestreiten

Auch alle Höllenlist.

 

Was wird mich können scheiden

Von Gottes Lieb’ und Treu’?

Verfolgung, Armut, Leiden

Und Trübsal mancherlei?

Lass Schwert und Blösse walten,

Man mag durch tausend Pein

Mich für ein Schlachtschaf halten,

Der Sieg bleibt dennoch mein,

 

Dass weder Tod noch Leben

Und keiner Engel Macht,

Wie hoch sie machte schweben,

Kein Fürstentum, kein’ Pracht,

Nichts dessen, was zugegen,

Nichts, was die Zukunft hegt,

Nichts, welches hoch gelegen

Nichts, was die Tiefe trägt,

 

Noch sonst, was je erschaffen,

Von Gottes Liebe mich

Soll scheiden oder raffen;

Denn diese gründet sich

Auf Christi, Tod und Sterben.

Ihn fleh’ ich gläubig an,

Der mich, sein Kind und Erben,

Nicht lassen will noch kann.

 

According to Fisher, Simon Dach wrote this hymn on the death of Count Achatius of Dohna, February 16, 1651, in six stanzas. It is based on Rom. 8:31 ff. In German hymnals it is usually given in five stanzas. The cento includes Stanzas 1, 2, 4, and 5 of this version

The omitted stanza reads in the original:

 

Ich kann um dessentwillen,

Der mich geliebet hat,

G’nug meinen Unmut stillen

Und fassen Trost und Rat;

Denn das ist mein Vertrauen,

Der Hoffnung bin ich voll,

Die weder Drang noch Grauen

Mir ewig rauben soll,

 

The translation is composite. [Handbook to The Lutheran Hymnal]

 

Thus far the Lord has led me  566

 

 

Thy hand, O God, has guided  196

 

 

Thy little ones, dear Lord, are we  144

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HAVE ye never read, Out of the mouth of babes and sucklings thou hast perfected praise ?” (Matt. 21: 16).

This is the last of Brorson’s Christmas hymns, which were published in 1732, in Tønder, under the following title: A Few Christian Hymns, to the Glory of God and for the Edification of Christian Souls, Especially My Beloved Congregation, for the Coming Joyous Christian Festival, in Haste and in All Simplicity Composed by H. A. B., Tundern, 1732. The title of this particular hymn is A Little Hymn for Children, together with the above-mentioned Scripture passage. [Dahle, Library of Christians Hymns]

 

Thy love, O gracious God and Lord  449

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FOR God so loved the world, that He gave His only begotten Son, that whosoever believeth in Him should not perish, but have everlasting life.

“For God sent not His Son into the world to condemn the world, but that the world through Him might be saved” (John 3:16, 17).

The hymn was first published in the authorized edition of Kingo’s Salmebog, 1699. It is composed according to the Gospel for the second day of Pentecost (John 3:16-21). The original has fourteen stanzas. Eleven of these were retained by Landstad in his hymnal. In our present English version by the Rev. G. T. Rygh stanzas 8 and 9 of Landstad’s cento were omitted. [Dahle, Library of Christians Hymns]

 

Thy soul, O Jesus, hallow me  290

 

 

Thy strong Word did cleave the darkness  72

 

 

Thy way and all thy sorrows  208

Befiehl du deine Wege,

Und was dein Herze kränkt,

Der allertreusten Pflege

Des, der den Himmel lenkt!

Der Wolken, Luft und Winden,

Gibt Wege, Lauf und Bahn,

Der wird auch Wege finden.

Da dein Fuss gehen kann.

 

Dem Herren musst du trauen,

Wenn dir’s soll wohlergehn:

Aut sein Werk must du schauen,

Wenn dein Werk soll bestehn.

Mit Sorgen und mit Grämen

Und mit selbsteigner Pein

Lässt Gott sich gar nichts nehmen,

Es muss erbeten sein.

 

Dein’ ew’ge Treu’ und Gnade.

O Vater, weiss und sieht,

Was gut sei oder schade

Dem sterblichen Geblüt;

Und was du dann erlesen,

Das treibst du, starker Held,

Und bringst zum Stand und Wesen,

Was deinem Rat gefällt.

 

Weg’ hast du allerwegen,

An Mitteln fehlt dir’s nicht;

Dein Tun ist lauter Segen,

Dein Gang ist lauter Licht,

Dein Werk kamn niemand hindern,

Dein’ Arbeit darf nicht ruhn,

Wenn du, was deinen Kindern

Erspriesslich ist, willst tun.

 

Und ob gleich alle Teufel

Hier wollten widerstehn,

So wird doch ohne Zweifel

Gott nicht zurückegehn;

Was er sich vorgenommen,

Und was er haben will,

Das muss doch endlich kommen

Zu seinem Zweck und Ziel.

 

Hoff, o du arme Seele,

Hoff und sei unverzagt!

Gott wird dich aus der Höhle,

Da dich der Kummer plagt,

Mit grossen Gnaden rücken;

Erwarte nur die Zeit,

So wirst du schon erblicken

Die Sonn’ der schönsten Freud’.

 

Auf, auf, gib deinem Schmerze

Und Sorgen gute Nacht!

Lass fahren, was dein Herze

Betrübt und traurig macht!

Bist du doch nicht Regente,

Der alles führen soll;

Gott sitzt im Regimente

Und führet alles wohl.

 

Ihn, ihn lass tun und walten,

Er ist ein weiser Fürst

Und wird sich so verhalten,

Dass du dich wundern wirst,

Wenn er, wie ihm gebühret,

Mit wunderbarem Rat

Die Sach’ hinausgeführet,

Die dich bekümmert hat.

 

Er wird zwar eine Weile

Mit seinem Trost verziehn

Und tun an seinem Teile,

Als hätt’ in seinem Sinn

Er deiner sich begeben,

Und sollt’st du für und für

In Angst und Nöten schweben,

Frag’ er doch nichts nach dir.

 

Wird’s aber sich befinden,

Dass du ihm treu verbleibst,

So wird er dich entbinden,

Da du’s am mind’sten gläubst;

Er wird dein Herze lösen

Von der so schweren Last,

Die du zu keinem Bösen

Bisher getragen hast.

 

Wohl dir, du Kind der Treue!

Du hast und trägst davon

Mit Ruhm und Dankgeschreie

Den Sieg und Ehrenkron’.

Gott gibt dir selbst die Palmen

In deine rechte Hand,

Und du singst Freudenpsalmen

Dem, der dein Leid gewandt.

 

Mach End’, o Herr, mach Ende

An aller unsrer Not.

Stärk unsre Füss’ und Hände

Und lass bis in den Tod

Uns allzeit deiner Pflege

Und Treu’ empfohlen sein,

So gehen unsre Wege

Gewiss zum Himmel ein.

 

COMMIT thy way unto the Lord; Trust also in Him, and He will bring it to pass” (Befiehl dem Herrn deine Wege und hoffe auf ihn; er wird’s wohl machen”—Psalm 37:5).

This hymn, which Lauxmann calls the most comforting of all the songs which have sounded forth from Gerhardt’s golden lyre, “sweeter also than honey and the droppings of the honey comb” (Psalm 19:10), appeared first in the Frankfurt edition of Crüger’s Praxis Pietatis Melica, 1653. It is an acrostic based upon Psalm 3 7:5 (which passage is indicated by the first words of the hymn stanzas). Landstad has rendered it to read as follows: “Velt paa Herren din Vei og haab paa ham; han skal det gjøre.” The hymn gained great favor at once and entered into the greater number of hymn books in use. It was sung at the laying of the cornerstone of the First Lutheran Church of Philadelphia, May 2, 1743, and likewise at the opening service conducted by Heinrich Melchior Muehlenberg, the virtual founder of the German Lutheran Church of America.

The many incidents related in connection with this hymn show that it was universally cherished as a hymn of comfort, which in many cases proved its sustaining force in Christian experience. Karl D. Kuster (d. 1804), member of the consistorial court, relates from his experiences as Prussian army chaplain: “I was detained in Glogau on account of a wounded foot, and it was only with great difficulty that I could walk, even with the help of crutches. I was exceedingly grieved also because I had suffered the loss of all my means of livelihood. Then I tried to comfort myself with these words: ‘Thy way and all thy sorrows, Give thou into His hand.’ A short while afterwards a messenger brought me a letter containing money from an unknown person, who wrote as follows: ‘One whose property God has spared in this war, and who has heard that you, in the Hochkircher-attack, have lost all of yours, pays his debt to you, wishing you health for your important office, and for the country, peace. November 10, 1758. “—During the Silesian campaign, 1806, a company of dragoons entered a minister’s home, and the lieutenant colonel demanded for himself and his followers various refreshments, which the pastor could not supply. Under threats he was ordered to bring the required provisions within three hours. The pastor’s daughter, endeavoring to comfort her parents, took her harp and sang Gerhardt’s hymn. As she sang, the door opened and the commanding officer entered quietly. Being frightened, she ceased her singing. He motioned to her to continue. When she had finished he said with deep emotion: “My gentle child, I thank you for these moments. Such edification has long been denied me. Just be calm! No one shall harm you or offend you by any further threat or demands.” Shortly afterwards the dragoons left.—A pious father relates: “During the famine of 1772, when so many families lacked the necessities of life, our numerous family had not by any means gathered in the necessary provisions, neither had we any money. Then, upon the Friday after Christmas, we gathered for the customary family devotion. The Gospel lesson relating the feeding of the 5,000 was read, and my father deeply impressed upon our hearts how the Lord also now, even as before, is both willing and able to help. Then he sang the 7th and 8th stanzas of Gerhardt’s hymn:

Arise, arise! thy sadness,

Thy cares send far away;

and

Leave all to His direction:

In wisdom He doth reign.

I have myself often sung these stanzas, but never have they made such an impression upon me as at that time. The next morning, as we went out, we found two wagon loads of provisions at our door. They had been sent by an old acquaintance whom my father had helped the previous year with food and grain for seed. Father exclaimed, triumphant in faith: ‘Behold, mother, the Lord is always the same, He will never forsake those who put their trust in Him.’” (Notes on Paul Gerhardt may be found in Vol. I, No. 157.) [Dahle, Library of Christians Hymns]

According to tradition Paul Gerhardt wrote this hymn after he had been expelled from Berlin, with his wife and children, because of his loyalty to the Lutheran Confessions. On the way to Saxony they stopped at a wayside inn, and there, with the thought of the uncertain future and the needs of his family on his mind, he wrote this hymn to comfort himself and those near and dear to him. Almost immediately afterwards two messengers of Duke Christian of Merseburg brought him the reassuring news that the Duke had prepared the necessary help for him, whereby Gerhardt would have an adequate income until he would be reinstated.—There are, however, several good reasons for discrediting this account. Gerhardt did not have his office in Berlin until 1666. He did not depart from Berlin, to take up his ministry in Lübben, until 1669. His wife died in 1668. And the hymn was published in Crüger’s Praxis Pietatis Melica, Frankfurt edition, 1656. The hymn was therefore very likely written during his ministry at Mittenwalde and thus prior to his service in Berlin.

Lauxmann, in Koch, calls the hymn “the most comforting of all the hymns that have resollnded on Paul Gerhardt’s golden lyre, sweeter to many souls than honey and the honeycomb.” For many generations it has been a universal favorite in the German and Scandinavian churches, and the fact that it has been translated in whole or in part into English scores of times and included in many English hymnals, is evidence of its popularity also in this part of the Church.

In its German form the hymn is an acrostic on Ps. 37:5, formed by the initial words of the stanzas. This characteristic is not evident in the usual translations, but there are several English translations that have preserved this form.

The most popular English translation is that by John Wesley, who, however, uses the short-meter arrangement and thus makes it impossible to use the tune to which Gerhardt’s text has long been wedded. Few English hymnals use all sixteen stanzas of Wesley’s version. The most popular centos are the two beginning: “Commit, then, all thy griefs,” and, “Give to the winds thy fears.” As Wesley’s complete version is rarely printed, we give it for the benefit of our readers:

 

1. Commit thou all thy griefs

And ways into His hands,

To His sure truth and tender care

Who earth and heaven commands.

 

2. Who points the clouds their course,

Whom winds and seas obey,

He shall direct thy wandering feet,

He shall prepare thy way.

 

3. Thou on the Lord rely;

So safe shalt thou go on;

Fix on His work thy steadfast eye,

So shall thy work be done.

 

4. No profit canst thou gain

By self-consuming care;

To Him commend thy cause; His ear

Attends the softest prayer.

 

5. Thy everlasting truth,

Father, Thy ceaseless love,

Sees all Thy children’s wants and knows

What best for each will prove.

 

6. And whatsoe’er Thou will’st

Thou dost, O King of kings;

What Thy unerring wisdom chose,

Thy power to being brings.

 

7. Thou everywhere hast sway,

And all things serve Thy might:

Thy every act pure blessing is,

Thy path unsullied light.

 

8. When Thou arisest, Lord,

Who shall Thy work withstand?

When all Thy children want, Thou giv’st;

Who, who, shall stay Thy hand?

 

9. Give to the winds thy fears;

Hope and be undismayed;

God hears thy sighs and counts thy tears,

God shall lift up thy head.

 

10. Through waves and clouds and storms

He gently clears thy way;

Wait thou his time so shall this night

Soon end in Joyous day.

 

11. Still heavy is thy heart?

Still sink thy spirits down?

Cast off the weight, let fear depart.

And every care be gone.

 

12. What though thou rulest not?

Yet heaven and earth and hell

Proclaim, God sitteth on the throne

And ruleth all things well.

 

13. Leave to His sovereign sway

To choose and to command;

So shalt thou wondering own His way

How wise, how strong His hand.

 

14. Far, far above thy thought

His counsel shall appear

When fully He the work hath wrought

That caused thy needless fear.

 

15. Thou seest our weakness, Lord;

Our hearts are known to Thee:

Oh, lift Thou up the sinking hand,

Confirm the feeble knee!

 

16. Let us, in life, in death,

Thy steadfast truth declare

And publish with our latest breath

Thy love and guardian care.

 

An analysis of this hymn gives us the following outline:

      1. The Invitation: “Commit thy way unto the Lord,” Stanzas 1—5.

      2. The Exhortation: “Trust also in Him,” Stanzas 6—8.

      3. The Assurance: “He will bring it to pass,” Stanzas 9—11.

      4. The Prayer for Endurance, Stanza 12.

Our translation is composite and retains the metrical form of the German original. [Handbook to The Lutheran Hymnal]

 

To God be glory  21

 

 

To Jordan came our Lord, the Christ  247

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To shepherds as they watched by night  154

Vom Himmel kam der Engel Schar,

Erschien den Hirten offenbar;

Sie sagten ihn’n: Ein Kindlein zart,

Das liegt dort in der Krippe hart

 

Zu Bethlehem in Davids Stadt,

Wie Micha das verkündet hat.

Es ist der Herre Jesus Christ,

Der euer aller Heiland ist.

 

Des sollt ihr billig fröhlich sein,

Dass Gott mit euch ist worden ein.

Er ist gebor’n eu’r Fleisch und Blut,

Eu’r Bruder ist das ew’ge Gut.

 

Was kann euch tun die Sünd’ und Tod?

Ihr habt mit euch den wahren Gott.

Lasst zürnen Teufel und die Höll’,

Gott’s Sohn ist worden eu’r Gesell.

 

Er will und kann euch lassen nicht

Setzt ihr auf ihn eur’ Zuversicht.

Es mögen euch viel fechten an:

Dem sei Trotz, der’s nicht lassen kann!

 

Zuletzt müsst ihr doch haben recht,

Ihr seid nun worden Gott’s Geschlecht.

Des danket Gott in Ewigkeit,

Geduldig, fröhlich allezeit!

 

According to Julian, Martin Luther wrote this hymn in 1543, basing it on Luke 2:10,11. It was to be used when his Christmas hymn “From Heaven Above” (see Hymn No. 85) was thought to be too long. It was first published in Joseph Klug’s Geistliche Lieder, Wittenberg, 1543.

The translation is by Richard Massie, slightly altered, which first appeared in his Martin Luther’s Spiritual Songs, 1854. [Handbook to The Lutheran Hymnal]

 

To the name of our salvation  159

Gloriosi salvatoris

Nominis praeconia,

Quae in corde Genitoris

Latent ante saecula,

Mater caeli plena roris

Pandit nunc ecclesia.

 

Nomen dulce, nomen gratum,

Nomen ineffabile,

Dulce ‘Iesus’ appellatum,

Nomen delectabile,

Laxat poenas et reatum;

Nomen est amabile.

 

Hoc est nomen adorandum,

Nomen summae gloriae,

Nomen semper meditandum

In valle miseriae,

Nomen digne venerandum

Supernorum curiae.

 

Nomen istud praedicatum

Melos est auditui;

Nomen istud invocatum

Dulce mel est gustui:

Iubilus est cogitatum

Spiritali visui.

 

Hoc est nomen exaltatum

Iure super omnia,

Nomen mire formidatum,

Effugans daemonia,

Ad salutem nobis datum

Divina clementia.

 

Nomen ergo tam beatum

Veneremur cernui;

Sit in corde sic firmatum,

Quod non possit erui,

Ut in coelis potestatum

Copulemur coetui. Amen.

 

This hymn is by an unknown author. It is found in late medieval breviaries, beginning with that of Antwerp, 1496.

The translation is an altered form of that by John M. Neale, in his Medieval Hymns, 1851. [Handbook to The Lutheran Hymnal]

NEITHER is there salvation in any other: for there is none other name under heaven given among men, whereby we must be saved” (Acts 4:12). This hymn on the holy name of Jesus dates presumably from the fifteenth century. The author is unknown. The hymn is found in an Antwerp breviary, printed in 1496; in a Meissen breviary of 1517; and in a manuscript breviary of Darmstadt, dating from the fifteenth century. J. M. Neale’s free rendering, from the year 1851, has been somewhat varied in The Lutheran Hymnary. Dr. Neale calls it a German hymn. [Dahle, Library of Christians Hymns]

 

To us is born a blessed Child*  131

Ein Kindelein so löbelich

Ist uns geboren heute

Von einer Jungfrau säuberlich

Zu Trost uns armen Leuten.

Wär’ uns das Kindlein nicht gebor’n,

So wär’n wir allzumal verlor’n;

Das Heil ist unser aller.

Ei, du süsser Jesu Christ,

Dass du Mensch geboren bist,

Behüt’t uns vor der Hölle!

 

THIS Christmas stanza was in extensive use during the Middle Ages and, likewise, after the Reformation, throughout Germany and the Northern countries. It is often found as part of another German Christmas hymn: “Der Tag der ist so freudenreich.” Thus it was used as early as 1422. The stanza was printed in the Zwickau Enchiridion, 15 28. Here three stanzas were added, and the hymn appeared under the following title: Ein Gesang von der Gepurt Christ, den man auff Weinachten singet, gebessert. The four stanzas of this hymn were translated into Danish, presumably by Claus Mortensen, 1528, and later by Arvid Pedersen, 1529. Here the original stanza appears with the title as follows:

Een anden lofsang af Christi fødzel med the Noder som “Dies est letitie” sjunges med.

Eet lidet barn saa løsteligt, er fød for oss paa iorden, Aff een Jomffru reen oc hellig, han wilde wor frelser worde; haffde icke thet barn mandom tagit, tha haffde wi allesammen bliffuit fortabit, han er wor salighed allene. Wi tacke teg søde Jesu Christ, att tw menniske worden æst, wocte oss fraa heluedis pine.

The first lines of each of the other stanzas are as follows: 2. “Thenne tid er gantske glædelig”; 3. “Wel er them alle som thette tro”; 4. “Dess tacker hannem all Christenhed.” This hymn was omitted from Tausen’s Hymnal, but was included in Kingo’s. Guldberg’s contains only the first stanza, and this is slightly revised. In general the direction given by Hans Thomissøn concerning this hymn, has been followed: “During the Christmas festival the first stanza of this hymn shall be sung three times, and from Christmas to Candlemas it shall be sung once, before the reading of the Gospel from the pulpit.” The hymn is not found in the Evangelical Christian Hymnal, and in later hymnbooks only the first stanza has been included. Grundtvig has revised the whole hymn. Skaar relates: “Within recent years many Norwegian families used this hymn as the opening hymn at their Christmas festivals. ‘To us is born a blessed Child’ was sung first as the family gathered for devotion on Christmas morn, and, as a rule the stanza, ‘Søde Jesus, Davids Rod’ (Landst. 122, 4) was used as the closing hymn on these occasions.” Luther, in his Christmas sermon on Isaiah 9:1-7, says in connection with verse 6: “From this text we have derived our beautiful hymn which we now sing during Christmas: ‘To us is born a blessed Child, To us a Son is given.’… This (that all comfort and help must be sought in Christ alone) is also beautifully expressed in this song; whoever its author may have been, he has certainly stated the truth when he says that the Christ-child is our only comfort. These are great and exquisite words, and we do well if we give them serious consideration. The Holy Spirit must surely have taught the author to sing in this manner.”… Luther mentions this stanza in several other Christmas sermons. The melody was used originally for the Latin hymn, “Dies est laetitiae,” and is most likely a German tune dating from the Middle Ages. [Dahle, Library of Christians Hymns]

 

To us salvation now is come*  227

(See: Salvation unto us is come)

 

 

Today in triumph Christ arose  358

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TON-Y-BOTEL* (See: EBENEZER)  72

 

 

TOPLADY  286

The melody, “Toplady,” used in America, is by Thomas Hastings, a musician and prominent hymn writer of Utica, N. Y. The melody dates from 1830. [Dahle, Library of Christians Hymns]

The tune “Toplady,” composed for this hymn by Thomas Hastings in 1830, was first published in the collection, Spiritual Songs for Social Worehip, 1831, edited by the composer and Lowell Mason. [Handbook to The Lutheran Hymnal]

 

TREE OF LIFE  302

 

TRIUMPH  360

 

 

Triumphant from the grave  360

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True God, and yet a Man  269

 

 

TRURO  216

 

 

TRYGGARE KAN INGEN VARA  174

 

 

UNDIQUE GLORIA  22

 

 

UNSER HERRSCHER (NEANDER*)  29, 217, 547

The tune “Neander” is by Joachim “Neander”. In the original edition of his works, published in Bremen in 1680, called A und Ω, Bremen, 19 melodies were by “Neander”. This tune was one, and was given with his hymns “Unser Herrscher, unser König” (Our Ruler, Our King), and is therefore also called “Unser Herrscher.” In some hymnals the tune is called “Magdeburg,” in others “Ephesus.” [Handbook to The Lutheran Hymnal]

 

Upon the cross extended  304

 

O Welt, sieh hier dein Leben

Am Stamm des Kreuzes schweben,

Dein Heil sinkt in den Tod!

Der grosse Fürst der Ehren

Lässt willig sich beschweren

Mit Schlägen, Hohn und grossem Spott.

 

Tritt her und schau mit Fleisse:

Sein Leib ist ganz mit Schweisse

Des Blutes überfüllt;

Aus seinem edlen Herzen

Vor unerschöpften Schmerzen

Ein Seufzer nach dem andern quillt.

 

Wer hat dich so geschlagen,

Mein Heil, und dich mit Plagen

So übel zugericht’t?

Du bist ja nicht ein Sünder

Wie wir und unsre Kinder,

Von übeltaten weisst du nicht.

 

Ich, ich und meine Sünden,

Die sich wie Körnlein finden

Des Sandes an dem Meer,

Die haben dir erreget

Das Elend, das dich schläget,

Und das betrübte Marterheer.

 

Ich bin’s, ich sollte büssen,

An Händen und an Füssen

Gebunden in der Höll’;

Die Geisseln und die Banden

Und was du ausgestanden,

Das hat verdienet meine Seel’.

 

Du nimmst auf deinen Rücken

Die Lasten, die mich drücken

Viel schwerer als ein Stein.

Du wirst ein Fluch, dagegen

Verehrst du mir den Segen,

Dein Schmerzen muss mein Labsal sein.

 

Du setzest dich zum Bürgen,

Ja lässest dich gar würgen

Für mich und meine Schuld.

Mir lässest du dich krönen

Mit Dornen, die dich höhnen,

Und leidest alles mit Geduld.

 

Ich bin, mein Heil, verbunden

All’ Augenblick’ und Stunden

Dir überhoch und sehr.

Was Leib und Seel’ vermögen,

Das soll ich billig legen

Allzeit an deinen Dienst und Ehr’.

 

Ich will’s vor Augen setzen,

Mich stets daran ergötzen,

Ich sei auch, wo ich sei.

Es soll mir sein ein Spiegel

Der Unschuld und ein Siegel

Der Lieb’ und unverfälschten Treu’.

 

Wie heftig unsre Sünden

Den frommen Gott entzünden,

Wie Rach’ und Eifer gehn,

Wie grausam seine Ruten,

Wie zornig seine Fluten,

Will ich aus deinem Leiden sehn

 

Wenn böse Zungen stechen,

Mir Glimpf und Namen brechen,

So will ich zähmen mich;

Das Unrecht will ich dulden,

Dem Nächsten seine Schulden

Verzeihen gern und williglich.

 

Dein Seufzen und dein Stöhnen

Und die viel tausend Tränen

Die dir geflossen zu,

Die sollen mich am Ende

In deinen Schoss und Hände

Begleiten zu der ew’gen Ruh’.

 

This cento includes Stanzas 1 to 7, 9, 11, 12, 14, and 16 of Paul Gerhardt’s great hymn, first published in the third edition of Johann Crüger’s Praxis Pietatis Melica, 1648. It is a profound meditation on the Lord’s Passion. Stanzas 3 to 5 were favorites of Johann Sebastian Bach, who used them in his St.Matthew Passion and St. John Passion.

The translation is an altered form of that by John Kelly in his Paul Gerhardt’s Spiritual Songs, London, 1867. The omitted stanzas read:

 

8. Into death’s jaws Thou springest,

Deliverance to me bringest

From such a monster dire.

My death away Thou takest,

Thy grave its grave Thou makest;

Of love, O unexampled fire!

 

10. Not much can I be giving

In this poor llfe I’m living,

But one thing do I say:

Thy death and sorrows ever,

Till soul from body sever,

My heart remember shall for aye.

 

13. From them shall I be learning

How I may be adorning

My heart with quietness

And how I still should love them

Whose malice aye doth move them

To grieve me by their wickedness.

 

15. I’ll on the cross unite me

To Thee, what doth delight me

I’ll there renounce for aye.

Whate’er Thy Spirit’s grieving,

There I’ll for aye be leaving

As much as in my strength doth lay.

 

THIS Passion hymn was printed for the first time in the 3rd edition of Crüger’s Praxis Pietatis Melica, 1648. In contained 16 stanzas. Miss Winkworth’s translation includes stanzas 1, 3-5, 12, 15, and 16. Gerhardt’s hymn is of the same meter as “Nu hviler Mark og Enge” (L. H. No. 551, Now rest beneath night’s shadow). … —Stanzas 3-5 were among J. S. Bach’s favorites and were frequently employed by him in his Passion music. [Dahle, Library of Christians Hymns]