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Mary Lundie Duncan

1814 - 1840 Person Name: Mary L. Duncan Hymnal Number: d204 Author of "Lo round the throne a glorious band" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Duncan, Mary, née Lundie, daughter of the Rev. Robert Lundie, Parish Minister of Kelso, and Mary Grey Lundie Duncan, was born at Kelso, April 26, 1814. On July 11, 1836, she was married to the William Wallace Duncan, the son of Rev. Henry Duncan, D.D., founder of the Savings Bank movement and minister in Ruthwell, Dumfriesshire, Scotland. In the end of December, 1839, she took a chill, which resulted in a fever and died on Jan. 5, 1840. Her hymns, mostly written for her children between July and December, 1839, appeared, in 1841, in her Memoir, by her mother, and were issued separately, in 1842, as Rhymes for my Children, to the number of 23. The best known are, "Jesus, tender Shepherd, hear me," and "My Saviour, be Thou near me." Dianne Shapiro, from John Julian "Dictionary of Hymnology" and email from Prof. Charles W. Munn (biographer of Henry Duncan)

William Bright

1824 - 1901 Hymnal Number: d42 Author of "Behold us, Lord, before thee met" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Bright, William, D.D., born at Doncaster, Dec. 14, 1824, and educated at University College, Oxford, where he graduated B.A. (first class in Lit. Hum.) in 1846, M.A. in 1849. In 1847 he was Johnson's Theological Scholar: and in 1848 he also obtained the Ellerton Theological Essay prize. He was elected Fellow in 1847, and subsequently became Tutor of his College. Taking Holy Orders in 1848, he was for some time Tutor at Trinity College, Glenalmond; but in 1859 he returned to Oxford, and in 1868 became Regius Professor of Ecclesiastical History and Canon of Christ Church. His publications include:— (1) Ancient Collects, selected from various Rituals, 1857, 2nd ed., 1862; (2) History of the Church from the Edict of Milan to the Council of Chalcedon, 1860; (3) Sermons of St. Leo the Great on the Incarnation, translated with notes, 1862; (4) Faith and Life, 1864-66; (5) Chapters of Early English Church History, 1877; (6) Private Prayers for a Week; (7) Family Prayers for a Week; (8) Notes on the Canons of the First tour Councils. He has also edited (9) Eusebius' Ecclesiastical History, 1872; (10) St. Athanasius's Oration against the Arians, &c, 1873; (11) Socrates' Ecclesiastical Hist.; (12) with the Rev. P. G. Medd, Latin Version of the Prayer Book, 1865-69. His poetical works are, (13) Athanasius and other Poems, by a Fellow of a College, 1858; and (14) Hymns & Other Poems, 1866; revised and enlarged, 1874. The last two works contain original hymns and translations. To the hymn-books he is known through his original compositions, seven of which are given in the revised edition of Hymns Ancient & Modern and some are found elsewhere. In addition to “And now the wants are told," and "At Thy feet, O Christ, we lay" (q.v.), there are:— 1. And now, 0 Father, mindful of the love. Holy Communion. Published in Hymns Ancient & Modern1875. Part of a composition in his Hymns, &c. 2. Behold us, Lord, before Thee met. Confirmation. Printed in the Monthly Packet, Nov. 1867, and, in a revised form, in the Appendix to Hymns Ancient & Modern, 1868. 3. How oft, O Lord, Thy face hath shone. St. Thomas. Published in Hymns Ancient & Modern, 1875. 4. Once, only once, and once for all. Holy Communion. Written in 1865, and published in his Hymns, &c, 1866, in 6 stanzas of 4 lines. It was given in the Appendix to Hymns Ancient & Modern, 1868; the new edition, 1875, and several other collections. 5. We know Thee, Who Thou art. Prayer after Pardon. Written in 1865, and published in his Hymns , &c, 1866, in 5 stanzas of 4 lines. It was included in the Appendix to Hymns Ancient & Modern, 1868, &c. Canon Bright's hymns merit greater attention than they have received at the hands of compilers. He died March 6, 1901. -- John Julian, Dictionary of Hymnology (1907) =================== Bright, William, p. 182, i. Other hymns in common use are:— 1. God the Father, God the Son. Litany of the Resurrection. Second stanza, "Risen Lord, victorious King." From Iona, &c, 1886. 2. Pie sat to watch o'er customs paid. St. Matthew. In the 1889 Supplemental Hymns to Hymns Ancient & Modern. 3. Holy Name of Jesus. Name of Jesus. From Iona, &c., 1886. 4. Now at the night's return we raise. Evening. Rugby School Hymn Book, 1876, and others. 5. Thou the Christ for ever one. Mission to the Jews. In the 1889 Supplemental Hymns to Hymns Ancient & Modern. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Adam, de Saint-Victor

1100 - 1146 Person Name: Adam of Saint Victor Hymnal Number: d75 Author of "Come, pure hearts, in sweetest measures" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Adam of St. Victor. Of the life of this, the most prominent and prolific of the Latin hymnists of the Middle Ages, very little is known. It is even uncertain whether he was an Englishman or a Frenchman by birth. He is described by the writers nearest to his own epoch, as Brito, which may indicate a native of either Britain, or Brittany. All that is certainly known concerning him is, that about A.D. 1130, after having been educated at Paris, he became, as quite a young man, a monk in the Abbey of St. Victor, then in the suburbs, but afterwards through the growth of that city, included within the walls of Paris itself. In this abbey, which, especially at that period, was celebrated as a school of theology, he passed the whole of the rest of his life, and in it he died, somewhere between the years 1172 and 1192 A.D. Possessed of "the pen of a ready writer," he seems to have occupied his life in study and authorship. Numerous as are the hymns and sequences satisfactorily proved to have been written by him, which have come down to us, there would seem to be little doubt that many more may have perished altogether, or are extant 'without his name attaching to them; while he was probably the author of several prose works as well. His Sequences remained in MS. in the care and custody of the monks of their author's Abbey, until the dissolution of that religious foundation at the Revolution; but some 37 of them, having found their way by degrees into more general circulation, were pub. by Clichtoveus, a Roman Catholic theologian of the first half of the 16th cent, in his Elucidatorium Ecclesiasticum, which passed through several editions from 1516 to 1556, at Paris, Basel and Geneva. Of the rest of the 106 Hymns and Sequences that we possess of Adam's, the largest part—some 47 remaining unpublished—were removed to the National Library in the Louvre at Paris, on the destruction of the Abbey. There they were discovered by M. Leon Gautier, the editor of the first complete edition of them, Paris, 1858. The subjects treated of in Adam's Hymns and Sequences may be divided thus :— Christmas, 7; Circumcision, 1; Easter, 6; Ascension, 1; Pentecost, 5; Trinity, 2; the Dedication of a Church, 4; Blessed Virgin Mary, 17; Festivals of Saints, 53; The Invention of the Cross, 1; The Exaltation of the Cross, 1; On the Apostles, 3; Evangelists, 2; Transfiguration, 2. Although all Adam of St. Victor's Sequences were evidently written for use in the services of his church, and were, doubtless, so used in his own Abbey, it is quite uncertain how many, if any, of them were used generally in the Latin Church. To the lover of Latin hymns the works of this author should not be unknown, and probably are not; but they are far less generally known than the writings should be of one whom such an authority as Archbishop Trench describes as " the foremost among the sacred Latin poets of the Middle Ages." His principal merits may be described as comprising terseness and felicity of expression; deep and accurate knowledge of Scripture, especially its typology; smoothness of versification; richness of rhyme, accumulating gradually as he nears the conclusion of a Sequence; and a spirit of devotion breathing throughout his work, that assures the reader that his work is "a labour of love." An occasional excess of alliteration, which however at other times he uses with great effect, and a disposition to overmuch "playing upon words," amounting sometimes to "punning," together with a delight in heaping up types one upon another, till, at times, he succeeds in obscuring his meaning, are the chief defects to be set against the many merits of his style. Amongst the most beautiful of his productions may be mentioned, perhaps, his Jucundare plebs fidelis; Verbi vere substantivi; Potestate non natura; Stola regni laureatus; Heri mundus exultavit; LaudeB cruets attollamus (Neale considers this "perhaps, his masterpiece "); Aye, Virgo singularis; Salve, Mater Salvatoris; Animemur ad agonem; and Vox sonora nostri chori. Where almost all are beautiful, it is difficult, and almost invidious, to make a selection. Of his Hymns and Sequences the following editions, extracts, and translations have been published:— i. Original with Translations: (1) (Euvres Poetiques d’ Adam de S.-Victor. Pat L. Gautier, Paris, 1858. It is in two vols. duodecimo, and contains, besides a memoir of Adam of St. Victor, and an exhaustive essay upon his writings, a 15th cent. tr. into French of some 46 of the sequences, and full notes upon the whole series of them. (2) The Liturgical Poetry of Adam of St. Victor, from the text of Gautier, with trs. into English in the original metres, and short explanatory notes by Digby S. Wrangham, M.A., St. John's Coll., Oxford, Vicar of Darrington, Yorkshire, 3 vols. Lond., Kegan Paul, 1881. (3) In addition to these complete eds., numerous specimens from the originals are found in Daniel, Mone, Konigsfeld, Trench, Loftie's Latin Year, Dom. Gueranger's Annee Liturgique, &c. ii. Translations:— (1) As stated before, 46 of the Sequences are given by Gautier in a French tr. of the 15th cent. (2) In English we have translations of the whole series by Digby S. Wrangham in his work as above; 11 by Dr. Neale in Med. Hymns: 15, more freely, by D. T. Morgan in his Hymns and other Poetry of the Latin Church; and one or more by Mrs. Charles, Mrs. Chester, C. S. Calverley, and the Revs. C. B. Pearson, E. A. Dayman, E. Caswall, R. F. Littledale, and Dean Plumptre. Prose translation are also given in the Rev. Dom Laurence Shepherd's translation into English of Dom Gueranger's works. iii. English Use:— From the general character of their metrical construction, it has not been possible to any great extent to utilise these very beautiful compositions in the services of the Anglican Church. The following, however, are from Adam of St. Victor, and are fully annotated in this work:— (1) in Hynms Ancient & Modern, Nos. 64 and 434 (partly) ; (2) in the Hymnary, Nos. 270, 273, 324, 380, 382, 403, 418; (3) in the People's Hymnal 215, 277, 304 ; and (4) in Skinner's Daily Service Hymnal, 236. -John Julian, Dictionary of Hymnology (1907) ==================== Adam of St. Victor. A second and greatly improved edition of his Œuvres Poetiques by L. Gautier was published at Paris in 1881. --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

Edward Osler

1798 - 1863 Hymnal Number: d262 Author of "O God, unseen, yet [but] ever near, thy presence" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Osler, Edward, was born at Falmouth in January, 1798, and was educated for the medical profession, first by Dr. Carvosso, at Falmouth, and then at Guy's Hospital, London. From 1819 to 1836 he was house surgeon at the Swansea Infirmary. He then removed to London, and devoted himself to literary pursuits. For some time he was associated with the Society for Promoting Christian Knowledge, both in London and at Bath. In 1841 he became the Editor of the Royal Cornwall Gazette, and took up his residence at Truro. He retained that appointment till his death, at Truro, March 7, 1863. For the Linnaean Society he wrote Burrowing and Boring Marine Animals. He also published Church and Bible; The Voyage: a Poem written at Sea, and in the West Indies, and Illustrated by papers on Natural History, 1830; The Life of Lord Exmouth, 1837, &c. His hymnological work is mainly connected with the Mitre Hymn Book. During 1835-36 he was associated with Prebendary W. J. Hall, the editor, in producing that collection, which was published in 1836 as Psalms and Hymns adapted to The Services of the Church of England. He resided in Mr. Hall's house during the time. From the "hall manuscript" we gather that he contributed 15 versions of the Psalms (5 being rewritten from others), and 50 hymns (a few rewritten). Most of these hymns and Psalm versions, together with others not in the Mitre Hymn Book, were afterwards given in the monthly numbers of his Church and King, from Nov. 1836 to Aug. 1837. The best known of these hymns are, “O God, unseen, yet ever near," and “Worship, honour, glory, blessing." Several of his hymns in common use are:— 1. Father, Whose love and truth fulfil. Holy Baptism. 2. Glory to God! with joyful adoration. Praise to the Father. 3. Great God, o'er earth and heaven supreme. Men the Stewards of God's Bounties. 4. Great God of hosts, our ears have heard. Ps. xliv. Based on the N. Version. 5. Great God, Whose awful mystery. Holy Trinity. 6. I hold the sacred book of God. Martyrs. 7. Jehovah hath spoken, the nations shall hear. Second Advent. 8. Lord, may the inward grace abound. Holy Baptism. 9. May we Thy precepts, Lord, fulfil. Love. 10. Mighty Saviour, gracious King. Advent. 11. 0 God, the help of all Thy Saints. Ps. x. 12. O Thou, the Lord and Life of those. Christ the Life of Men. 13. O Saviour, Who didst come. Easter. 14. Saviour, Whose love could stoop to death. Easter. 15. See, Lord, before Thy mercy seat. For Schools. 16. Set in a high and favoured place. Advent. 17. Wake frem the dead, new life begin. Lent. 18. With trembling awe we come. Lent. Several of these hymns are not in Osier's Church and King. We have ascribed them and others to him on the authority of the "hall MSS." It must be noted also that the text in the Church and King often differs from that in the Mitre. --John Julian, Dictionary of Hymnology (1907) Though not mentioned by Julian, perhaps his most enduring contribution to hymnody is the third stanza of "Praise the Lord! Ye Heavens, Adore Him", whose first two stanzas are of anonymous authorship. --Leland Bryant Ross (2019)

Simon Browne

1680 - 1732 Hymnal Number: d67 Author of "Come, gracious Spirit, heavenly Dove" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Simon Browne was born at Shepton Mallet, Somersetshire, about 1680. He began to preach as an "Independent" before he was twenty years of age, and was soon after settled at Portsmouth. In 1716, he became pastor in London. In 1723, he met with some misfortunes, which preyed upon his mind, and produced that singular case of monomania, recorded in the text-books of Mental Philosophy; he thought that God had "annihilated in him the thinking substance, and utterly divested him of consciousness." "Notwithstanding," says Toplady, "instead of having no soul, he wrote, reasoned, and prayed as if he had two." He died in 1732. His publications number twenty-three, of which some are still in repute. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872. ================== Browne, Simon. A contemporary of Dr. Watts, born at Shepton Mallet, Somersetshire, cir. 1680, and died in 1732. After studying for the Independent Ministry under the Rev. John Moore, of Bridgewater, he became pastor of an Independent charge in Portsmouth, and then, in 1716, of the Independent-Chapel in Old Jewry, London. His lateryears were clouded by a peculiar malady, under the influence of which "he imagined that God had in a gradual manner annihilated in him the thinking substance, and utterly divested him of consciousness." It is supposed that the death of a highwayman at his hands during a violent struggle, followed by that of his wife and son a short time after, had much to do in producing this sad result. Whilst thus contending that he had no power to think, he produced a work in defence of Christianity, another in defence of the Trinity, a third as an Exposition of the 1st Epistle to the Corinthians, and a fourth in the form of a Dictionary. His publications number over 20. Of these works, he is known to hymnology through his:— Hymns and Spiritual Songs, in Three Books, designed as a Supplement to Dr. Watts, &c, 1720, 2nd edition 1741, 3rd edition 1760. It contains 166 hymns, 7 doxologies, and a Preface of some historical interest. In the old collections Simon Browne's hymns (all of which are from the above collection) held a prominent position, but in modern hymnals they are fast passing out of use. The best known and most widely used are "Come, Holy [gracious] Spirit, Heavenly Dove," "O God, on Thee we all depend," and "Lord, at Thy feet we sinners lie." In addition the following are also in common use:— 1. Eternal God, Almighty Cause. Unity of God. 2. Eternal God, of beings First. God all in all . 3. Frequent the day of God returns. Sunday. 4. Great First of beings, Mighty Lord. Creation. 5. Great God, my joyful thanks to Thee. Thanksgiving. 6. Great God, Thy peerless excellence. Imitation of God. 7. Great Lord of earth and seas and skies. Providence. 8. Great Ruler of the earth and sky. Providence. 9. Hail, Holy Spirit, bright, immortal, Dove. Whitsuntide. 10. Hail, happy day, the [thou] day of holy rest. Sunday. 11. I cannot shun the stroke of death. Death. 12. Lord, Thou art good; all nature shows. Divine Goodness. 13. Lord, what a feeble frame is ours. Frailty of Life. 14. O God, on Thee we all depend. Confidence in God. -- John Julian, Dictionary of Hymnology (1907)

John Cawood

1775 - 1852 Hymnal Number: d149 Author of "Hark, what mean those holy voices" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church John Cawood was born in 1775, at Matlock, Derbyshire, where his father carried on a small farm. He enjoyed very limited educational advantages. At the age of eighteen he occupied a menial position. But seeking every opportunity of self improvement, and aided by those who interested themselves in his behalf, he was enabled in 1797 to enter S. Edmund Hall, Oxford, and obtained his B.A. in 1801, and his M.A. in 1807. He was ordained in 1801, and most of his life in the ministry was spent as perpetual Curate of S. Ann's Chapel of Ease, Bewdley, Worcestershire. He died in 1852. He published several prose works, but no volume of hymns or poems. His son says, "My father composed about thirteen hymns, which have one by one got into print, though never published by himself, or any one representing him." --Annotations of the Hymnal, Charles Hutchins, M.A., 1872 ======================= Cawood, John, M. A., born at Matlock, Derbyshire, March 18, 1775. His parents being in humble circumstances, he received in childhood but a limited education, and at 18 was engaged in the service of the Rev. Mr. Cursham, Sutton-in-Ashfield, Notts. Three years' study, however, under careful direction, enabled him to enter St. Edmund Hall, Oxford, in 1797. Obtaining his degree in 1801, he took Holy Orders, and became successively Curate of Ribsford and Dowles, and Incumbent of St. Ann's Chapel of Ease, Bewdley, Worcestershire. He died Nov. 7, 1852. His hymns, 17 in all, were never published by himself. Of these 9 were included in Cotterill's Selection, 8th ed., 1819, Nos. 268-276. Most of these have passed into other collections. These are :— 1. Almighty God, Thy word is cast. After a Sermon. 2. Hark! what mean those holy voices? (1819.) Christmas. 3. Begin a joyful song. (1819.) Christmas. 4. Behold yon wondrous star. (1819.) Epiphany. 5. Trembling with tenderest alarms. (1816.) Finding of Moses. 6. In Israel's fane, by silent night. (1816.) Samuel. 7. King o'er all worlds the Saviour shone. (1819.) Good Friday. 8. Christians, the glorious hope ye know. (1819.1 Plea for Missions. 9. Hark! what mean those lamentations. (1819.) Missions. In addition, Dr. Rogers pub. in his Lyra Britannica, 1867, from the author's manuscript:— 10. A child of sin and wrath I'm born. (1820.) Infant's Prayer. 11. The Sou of God, in worlds on high. (1822.) Christ's Humility. 12. Blessed Father, Great Creator. (1837.) Holy Trinity. These details are from the S. MSS., amongst which there are 5 hymns yet unpublished. --John Julian, Dictionary of Hymnology (1907)

J. Grigg

1720 - 1768 Person Name: Joseph Grigg Hymnal Number: d179 Author of "Jesus, and shall it ever be" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Grigg, Joseph, was born in 1728, according to the D. Sedgwick’s Manuscript," but this date seems to be some six or eight years too late. He was the son of poor parents and was brought up to mechanical pursuits. In 1743 he forsook his trade and became assistant minister to the Rev. Thomas Bures, of the Presbyterian Church, Silver Street, London. On the death of Mr. Bures in 1747, he retired from the ministry, and, marrying a lady of property, look up his residence at St. Albans. He died at Walthamstow, Essex, Oct. 29, 1768. As a hymnwriter Grigg is chiefly known by two of his hymns, "Behold a stranger at the door"; and "Jesus, and can it ever be?" His hymnwriting began, it is said, at ten years of age. His published works of various kinds number over 40. Those in which his hymns are found are:— (1) Miscellanies on Moral and Religious Subjects, &c, London, Elizabeth Harrison, 1756. (2) The Voice of Danger, the Voice of God. A Sermon Preached at St. Albans, and at Box-Lane, Chiefly with a View to the apprehended Invasion. By J. Grigg. London, J. Buckland, 1756. To this is appended his hymn, "Shake, Britain, like an aspen shake." (3) Four Hymns on Divine Subjects wherein the Patience and Love of Our Divine Saviour is displayed, London, 1765. (4) Hymns by the late Rev. Joseph Grigg, Stourbridge, 1806. (5) During 1765 and 1766 he also contributed 12 hymns to The Christians Magazine. In 1861 D. Sedgwick collected his hymns and poems, and published them with a memoir as: Hymns on Divine Subjects, * * * * London, 1861. This volume contains 40 "Hymns," and 17 "Serious Poems." In the “S. MSS." Sedgwick notes that in 1861 he omitted three hymns by Grigg, which were then unknown to him, viz.:—l) On "The National Fast," appended to a sermon preached at Northampton, Feb. 13, 1761, by W. Warburton, and published in London, 1761. (2) "A Harvest Hymn by the late Rev. Joseph Grigg," in 6 stanzas, in the Evangelical Magazine, July, 1822; and (3) On the Parable of Dives and Lazarus, dated "Feb. 15, 1767." -- John Julian, Dictionary of Hymnology (1907)

John Morison

1750 - 1798 Hymnal Number: d372 Author of "The people that in darkness sat [dwelt]" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Morison, John, D.D., was born in Aberdeenshire in 1749. He studied at the University of Aberdeen (King's College), where he graduated M.A. in 1771. In 1780 he became parish minister of Canisbay, Caithness. He received the degree of D.D. from the University of Edinburgh in 1792. He died at Canisbay, June 12, 1798. He was one of the members added on May 26, 1781, to the Committee appointed by the General Assembly of 1775 to revise the Translations and Paraphrases of 1745. To him are ascribed Nos. 19, 21, 29, 30 and 35, in the 1781 collection, and he is said to have been joint author with John Logan of Nos. 27 and 28. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

John Dryden

1631 - 1700 Person Name: J. Dryden Hymnal Number: d86 Author of "Creator Spirit, by whose aid [light]" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Dryden, John. The name of this great English poet has recently assumed a new importance to the students of hymns, from a claim made on his behalf in regard to a considerable body of translations from the Latin published after his death (1701), in a Primer of 1706. The discussion of this point will preclude us from giving more than an outline of his life. i. Biography.—John Dryden was the son of Erasmus, the third son of Sir Erasmus Dryden, and was born at Aid winkle, All Saints, Northants, Aug. 9, 1631. He was educated under Dr. Busby at Westminster, and entered Trip. College, Cambridge, in 1650. He took his B.A. in 1654, and resided nearly 7 years, though without a fellowship. He was of Puritan blood on both his father's and mother's side, and his training found expression in his first great poem, Heroic Stanzas on the death of Oliver Cromwell, 1658. In 1660, however, he turned, like the bulk of England, Royalist, and in his Astraea Redux, and in A Panegyric on the Coronation (1661), celebrated the Restoration. In 1663 he married Lady Elizabeth Howard. The marriage was apparently not a happy one; and there seems to be plain proof of Dryden's unfaithfulness. In 1670 he was made Poet Laureate and Historiographer Royal, and he retained these posts until the accession of William (1688). He had joined the Roman Church in 1685, and remained steadfast to it at the fall of James II. This change is of special significance, as will appear below, in regard to his translations from the Latin. It greatly straitened his means, and compelled him to great literary exertion in his closing years. He died May 18, 1701, and was buried in Westminster Abbey. The poems of Dryden show high excellence in fields widely different from another. He was for years the leader of the English stage, as a writer of tragedy, comedy, and tragi-comedy. The specialities of his plays were a large substitution of the heroic couplet for blank verse, in imitation of Corneille, plots full of exaggerated passion, intrigue, and rant, and a catchword dialogue. These features were caricatured by Buckingham and others in the Rehearsal (acted 1671). The gross immorality of his dramas has long made them unreadable; but his influence on poetry has been enduring. No metre so long dominated style as his heroic couplet, which, though inferior to Pope's in polish and precision, excels it in resonance, freedom and audacity, "The long resounding march and energy divine." He was the first to make poetry a lucid vehicle for political and religious discussion, in the Religio Laid (1682), and The Hind and Panther (1687). The finest satires in English are Absalom and Acnitophel (Part i., 1681; Part ii., 1682, to which he contributed only a portion, the rest being by Nahura Tate), The Medal, and Mac Flecknoe (1682). He gave a new energy and fulness of meaning to the work of translation through his classical reproductions, of which his Virgil is the finest specimen (published in 1697). Alexander's Feast remains one of the most brilliant English odes. His prefaces and dedications had a large influence on our prose style, and are the first material efforts in the province of poetical criticism. The salient points of his genius are a transcendent literary force continually exerting itself in fresh forms; and that narrowing of the work of poetry to matters of political, social, human interest, which ruled supreme in Pope and his followers. (See Dryden by Mr. G. Saintsbury, Men of Letters Series.) ii. Hymn Translations. — Until recently, Dryden's known contributions to hymnody consisted of only three pieces. The best known of these is the translation of “Veni Creator," published in vol. iii. of his Miscellanies, in 1693. Sir Walter Scott, in his Life of Dryden, 1808, published a translation of the "Te Deum " ("Thee Sovereign God our grateful accents praise"), and a translation of "Ut queant laxis," the hymn at Evensong for St. John the Baptist's Day (Scott calls it "St. John's Eve") ("O sylvan Prophet "). Mr. W. T. Brooke has pointed out one or two facts that slightly shake Scott's attribution of these two pieces to Dryden. He has discovered the translation of the "Te Deum” in Dodd's Christian's Magazine, 1760, contributed by J. Duncombe, and attributed to Pope. And Scott's account of the two pieces is confused. He received them from a Mrs. Jackson, who told him that they were mentioned in Butler's “Tour through Italy," and that after Butler's death they passed into the hands of the celebrated Dr. Alban, and so came to hers. They are not however mentioned in the published edition of Butler's Tour; and "Butler" and "Dr. Alban" are the same person—-Dr. Alban Butler, author of The Lives of the Saints. Alban Butler's Tour was edited and published by Charles Butler, his nephew, who also wrote a Life of Alban Butler. The confusion cannot now be unravelled: but is not enough to discredit Scott's decision, which may have rested on the handwriting. The translation of the "Te Deum" is not like Pope, and has a Drydenesque Alexandrine in it, and other marks of Dryden's manner. One great Roman Catholic poet was perhaps confused with the other. These three pieces, however, with slight variation of text, have been discovered independently by Mr. Orby Shipley and Mr. W. T. Brooke, in The Primer, or Office of the B. V. Mary, in English, 1706; and the discovery has led them to a strong conviction that the bulk of the 120 translations of Latin hymns in this book are also Dryden's. It is shown under Primers, that there are remarkable evidences of unity of hand in these translations. Is this hand Dryden's? The case for Dryden is a constructive one, and may be thus summarised:— The translation in Scott, "0 sylvan Prophet," is in a metre unknown to previous editions of the Primer; and there are altogether 11 translations generally representing Latin Sapphics, in the book in this metre. Five of these translations have a further internal link in having the same gloria, three in having another common gloria. The presumption is irresistible that they are all by the author of "0 sylvan Prophet." Again, the translation of the "Te Deum " (also in Scott) is one of 8 pieces in Dryden's great metre, which is also new to the Primers' heroic couplets. Though not linked by common glorias, the tone of all these is Drydenesque, especially the translation of "Sacris Solemniis," which has these characteristic lines, "They eat the Lamb with legal rites and gave Their mother synagogue a decent grave," and closes with an Alexandrine. The translation "Creator Spirit, by Whose aid" is followed by two others in the same metre, which have a variation (in a single word) of its gloria. The three known hymns of Dryden are thus heads of groups presumptively of the same parentage. Proceeding further in the book, the large group of 8-syllable hymns exhibits 35, which are curiously marked as by a single band through their glorias (see Primers). They have several Drydenesque phrases (e.g. "noon of night,” “gleamy white," a technical use of "yielding," “liquid," "equal"), turns of expression and cadences, and a significant link with the translation of the "Te Deum" in the term “vocal blood" (cf. "vocal tears" in 2 other translations) found in the translation of "Deus tuorum militum." This technical method of inquiry when applied still further to other groups linked by a single gloria certainly points in the same direction; Drydenisms, links with groups already named, an occasional appearance of layman freedom of expression, and in one case (“Audit tyrannus" tr.), an echo of the heroic plays, emerge. The least characteristic group is that containing translations of "Ave maris stella" and "Jesu dulcis memoria," in C.M.; and the latter translation ("Jesu, the only thought of Thee"), beautiful as it is, is in the main only the translation from the Primer of 1685 recast in C.M. But the adoption of C.M.—-a new metre in these Primers—-would be natural in one previously long familiar with the metrical Psalms; the translation of “Ave maris stella" has the recurrent use of "equal," which is a mannerism of Dryden: and the word "way " in the translation of "Jesu dulcis memoria" is used similarly in that of "Immense coeli conditor." The result of a minute investigation, purposely conducted on somewhat mechanical lines, is a presumption almost amounting to proof, that the bulk of these 120 translations are not only by the same hand, but by the hand of Dryden. A measure of doubt must however attach to the least characteristic pieces, from the following considerations:— (1) The translations of "Stabat Mater " and "Dies Irae" are reprinted from the Primer of 1687. This fact is of course not decisive against their parentage by Dryden, as it may be argued, that the Primer of 1687 also contains Dryden translations. But (2) the translation of the "Dies Irae "seems to be, notwithstanding some Drydenesque phrases, by Lord Roscommon. It is found in a text considerably varied from that of 1706 in Tate's Miscellanea Sacra 1696 and 1698); and is there attributed to Lord Roscommon. It appears also, but in a text identical with that of 1706, in Tonson's Poems by The Earl of Roscommon, 1717, which professes to give only the "truly genuine" poems of the Earl. If this translation is not Dryden's, others also may not be his. And (3) the Primer of B. V. M. in which these translations are found did not appear till five years after Dryden's death; and may have been edited by some one else. Mr. W. T. Brooke has drawn attention to variations in the text of Scott from that of the Primer; which may be accounted for by editorial revision; and the editor may have had blanks to fill in which Dryden had left. It would be most natural to suppose that the Primer would be edited by a priest; but the fact that it is difficult to say whether the text in Scott or in the Primer is the more characteristic of Dryden either points to the existence of two authentic texts of the poet, or a revision by someone thoroughly intimate with Dryden's manner, e.g. (as Mr. Brooke acutely conjectures), Charles Dryden, who may have taken his father's manuscripts with him to Rome. The argument in favour of Dryden is presented with great force and skill by Mr. Orby Shipley in the Dublin Review, October, 1884, and in the preface to his Annus Sanctus. In corroboration of the evidence given above, Mr. Shipley has collected some Roman Catholic traditions, which ascribe to Dryden "a considerable number" of Latin translations “Jesu dulcis memoria" and "Dies Irae" are said to have been translated as penances. These traditions are however very indefinite; in some cases they do not date earlier than the present century; and in some (see Preface to Annus Sanctus) they are mistaken. He seeks a further corroboration of the theory from the appearance of several of these translations in editions of The Manual of Prayers, 1750, and The Garden of the Soul, 1737. But it is shown under Primers that these books afford no real evidence on this subject. [Rev. H. Leigh Bennett, M.A.] - John Julian, Dictionary of Hymnology (1907)

Benjamin Webb

1819 - 1885 Hymnal Number: d281 Author of "O love, how deep, how broad, how high" in The Churchman's Hymn-Book, a Collection of Hymns Old and New, for Use in the Services of the Church Benjamin Webb (b. London, England, 1819; d. Marylebone, London, 1885) originally translated the text in eight stanzas, although six only appear in Lift Up Your Hearts. It was published in The Hymnal Noted (1852), produced by his friend John Mason Neale. Webb received his education at Trinity College, Cambridge, England, and became a priest in the Church of England in 1843. Among the parishes he served was St. Andrews, Wells Street, London, where he worked from 1862 to 1881. Webb's years there coincided with the service of the talented choir director and organist Joseph Barnby, and the church became known for its excellent music program. Webb edited The Ecclesiologist, a periodical of the Cambridge Ecclesiological Society (1842-1868). A composer of anthems, Webb also wrote hymns and hymn translations and served as one of the editors of The Hymnary (1872). Bert Polman ================== Webb, Benjamin, M.A., was born in London in 1820, and was educated in St. Paul's School; whence he passed to Trinity College, Cambridge, in 1838, B.A. 1842, M.A. 1845. Ordained by the Bishop [Monk] of Gloucester and Bristol he was Assistant Curate of Kemeston in Gloucestershire, 1843-44; of Christ Church, St. Pancras, 1847-49; and of Brasted, Kent, 1849-51; at which date he was presented to the P. C. of Sheen in Staffordshire, which he held until 1862, when he became Vicar of St. Andrews, Wells Street, London. In 1881 the Bishop [Jackson] of London collated him to the Prebend of Portpool in St. Paul's Cathedral. Mr. Webb was one of the Founders of the Cambridge Camden, afterwards the Ecclesiological Society; and the Editor of the Ecclesiologist from 1842 to 1868, as well as the General Editor of the Society's publications. His first appearance in print was as joint editor of Bishop Montague's Articles of Inquiry in 184; in 1843 he was joined with Mr. J. M. Neale in An Essay on Symbolism, and A Translation of Durandus; in 1847 he put forth his valuable work on Continental Ecclesiology; in 1848 he was joint editor with Dr. Mill of Frank’s Sermons, for the Anglo-Catholic Library, and with the Rev. J. Fuller-Russell of Hierurgia Anglicana. After the decease of his father-in-law (Dr. Mill), he edited Dr. Mill's Catechetical Lectures, 1856; a second edition of Dr. Mill's Christian Advocates Publications on the Mythical Interpretation of the Gospels, 1861; and of Dr. Mill's Sermons on our Lord's Temptation, 1873. He was also one of the editors of the Burntisland reprint of the Sarum Missal. One of his most valuable works is Instructions and Prayers for Candidates for Confirmation, of which the third edition was published in 1882. Mr. Webb was one of the original editors of the Hymnal Noted, and of the sub-Committee of the Ecclesiological Society, appointed to arrange the words and the music of that book; and was also the translator of some of the hymns. In conjunction with the Rev. Canon W. Cooke he was editor of the Hymnary, 1872, for which office his habitual reconstruction and composition of the words of the anthems used at St. Andrew's, Wells Street, as well as his connection with the Hymnal Noted, eminently qualified him. His original hymns contributed to the Hymnary, 1871 and 1872, were:-- 1. Assessor to thy King. St. Bartholomew. In the Hymnary, 1872. 2. Behold He comes, thy King most holy. Advent. Originally written to be sung in St. Andrew's Church, Wells Street, as an anthem to the music of Schumann's Advent-lied, and afterwards published in the Hymnary, 1872. 3. Praise God, the Holy Trinity. Hymn of Faith. Originally written for use in St. Andrew's, Wells Street, and subsequently in the Hymnary, 1872. 4. Praise the Rock of our salvation. Dedication of a Church. Published in the Hymnary, 1872. Mr. Webb's authorised text is in the Westminster Abbey Hymn Book, 1883. 5. Ye angel hosts above. Universal Praise to God. In the Hymnary, 1872. He died in London, Nov. 27, 1885. [Rev. William Cooke, M.A.] -- John Julian, Dictionary of Hymnology (1907)