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Martin Luther

1483 - 1546 Hymnal Number: d64 Author of "Flung to the heedless winds" in Harmonia Ecclesiae Luther, Martin, born at Eisleben, Nov. 10, 1483; entered the University of Erfurt, 1501 (B.A. 1502, M.A.. 1503); became an Augustinian monk, 1505; ordained priest, 1507; appointed Professor at the University of Wittenberg, 1508, and in 1512 D.D.; published his 95 Theses, 1517; and burnt the Papal Bull which had condemned them, 1520; attended the Diet of Worms, 1521; translated the Bible into German, 1521-34; and died at Eisleben, Feb. 18, 1546. The details of his life and of his work as a reformer are accessible to English readers in a great variety of forms. Luther had a huge influence on German hymnody. i. Hymn Books. 1. Ellich cristlich lider Lobgesang un Psalm. Wittenberg, 1524. [Hamburg Library.] This contains 8 German hymns, of which 4 are by Luther. 2. Eyn Enchiridion oder Handbuchlein. Erfurt, 1524 [Goslar Library], with 25 German hymns, of which 18 are by Luther. 3. Geystliche Gesangk Buchleyn. Wittenberg, 1524 [Munich Library], with 32 German hymns, of which 24 are by Luther. 4. Geistliche Lieder auffs new gebessert. Wittenberg. J. Klug, 1529. No copy of this book is now known, but there was one in 1788 in the possession of G. E. Waldau, pastor at Nürnberg, and from his description it is evident that the first part of the Rostock Gesang-Buch, 1531, is a reprint of it. The Rostock Gesang-Buch, 1531, was reprinted by C. M. Wiechmann-Kadow at Schwerin in 1858. The 1529 evidently contained 50 German hymns, of which 29 (including the Litany) were by Luther. 5. Geistliche Lieder auffs new gebessert. Erfurt. A. Rauscher, 1531 [Helmstädt, now Wolfenbüttel Library], a reprint of No. 4. 6. Geistliche Lieder. Wittenberg. J. Klug, 1535 [Munich Library. Titlepage lost], with 52 German hymns, of which 29 are by Luther. 7. Geistliche Lieder auffs new gebessert. Leipzig. V. Schumann, 1539 [Wernigerode Library], with 68 German hymns, of which 29 are by Luther. 8. Geistliche Lieder. Wittenberg. J. Klug, 1543 [Hamburg Library], with 61 German hymns, of which 35 are by Luther. 9. Geystliche Lieder. Leipzig. V. Babst, 1545 [Gottingen Library]. This contains Luther's finally revised text, but adds no new hymns by himself. In pt. i. are 61 German hymns, in pt. ii. 40, of which 35 in all are by Luther. For these books Luther wrote three prefaces, first published respectively in Nos. 3, 4, 9. A fourth is found in his Christliche Geseng, Lateinisch und Deudsch, zum Begrebnis, Wittenberg, J. Klug, 1542. These four prefaces are reprinted in Wackernagel’s Bibliographie, 1855, pp. 543-583, and in the various editions of Luther's Hymns. Among modern editions of Luther's Geistliche Lieder may be mentioned the following:— Carl von Winterfeld, 1840; Dr. C. E. P. Wackernagel, 1848; Q. C. H. Stip, 1854; Wilhelm Schircks, 1854; Dr. Danneil, 1883; Dr. Karl Gerok, 1883; Dr. A. F. W. Fischer, 1883; A. Frommel, 1883; Karl Goedeke, 1883, &c. In The Hymns of Martin Luther. Set to their original melodies. With an English version. New York, 1883, ed. by Dr. Leonard Woolsey Bacon and Nathan H. Allen, there are the four prefaces, and English versions of all Luther's hymns, principally taken more or less altered, from the versions by A. T. Russell, R. Massie and Miss Winkworth [repub. in London, 1884]. Complete translations of Luther's hymns have been published by Dr. John Anderson, 1846 (2nd ed. 1847), Dr. John Hunt, 1853, Richard Massie, 1854, and Dr. G. Macdonald in the Sunday Magazine, 1867, and his Exotics, 1876. The other versions are given in detail in the notes on the individual hymns. ii. Classified List of Luther's Hymns. Of Luther's hymns no classification can be quite perfect, e.g. No. 3 (see below) takes hardly anything from the Latin, and No. 18 hardly anything from the Psalm. No. 29 is partly based on earlier hymns (see p. 225, i.). No. 30 is partly based on St. Mark i. 9-11, and xvi., 15, 16 (see p. 226, ii.). No. 35 is partly based on St. Luke ii. 10-16. The following arrangement, however, will answer all practical purposes. A. Translations from the Latin. i. From Latin Hymns: 1. Christum wir sollen loben schon. A solis ortus cardine 2. Der du bist drei in Einigkeit. O Lux beata Trinitas. 3. Jesus Christus unser Heiland, Der von. Jesus Christus nostra salus 4. Komm Gott Schopfer, heiliger Geist. Veni Creator Spiritus, Mentes. 5. Nun komm der Beidenheiland. Veni Redemptor gentium 6. Was flirchst du Feind Herodes sehr. A solis ortus cardine ii. From Latin Antiphons, &c.: 7. Herr Gott dich loben wir. Te Deum laudamus. 8. Verleih uns Frieden gnädiglich. Dapacem, Domine 9. Wir glauben all an einen Gott. iii. Partly from the Latin, the translated stanzas being adopted from Pre-Reformation Versions: 10. Komm, heiliger Geist, Herre Gott. 11. Mitten wir im Leben sind. Media vita in morte sumus. B. Hymns revised and enlarged from Pre-Reformation popular hymns. 12. Gelobet seist du Jesus Christ. 13. Gott der Vater wohn uns bei. 14. Gott sei gelobet und gebenedeiet. 15. Nun bitten wir den heiligen Geist. C. Psalm versions. 16. Ach Gott vom Himmel, sieh darein. 17. Aus tiefer Noth schrei ich zu dir. 18. Ein' feste Burg ist unser Gott. 19. Es spricht der Unweisen Mund wohl. 20. Es wollt uns Gott genädig sein. 21. War Gott nicht mit uns diese Zeit. 22. Wohl dem, der in Gotten Furcht steht. D. Paraphrases of other portions of Holy Scripture. 23. Diess sind die heilgen zehn Gebot. 24. Jesaia dem Propheten das geschah. 25. Mensch willt du leben seliglich. 26. Mit Fried und Freud ich fahr dahin. 27. Sie ist mir lieb die werthe Magd. 28. Vater unser im Himmelreich. E. Hymns mainly Original. 29. Christ lag in Todesbanden. 30. Christ unser Herr zum Jordan kam. 31. Ein neues Lied wir heben an. 32. Erhalt uns Herr bei deinem Wort. 33. Jesus Christus unser Heiland, Der den, 34. Nun freut euch lieben Christengemein. 35. Vom Himmel hoch da komm ich her. 36. Vom Himmel kam der Engel Schaar. In addition to these — 37. Fur alien Freuden auf Erden. 38. Kyrie eleison. In the Blätter fur Hymnologie, 1883, Dr. Daniel arranges Luther's hymns according to what he thinks their adaptation to modern German common use as follows:— i. Hymns which ought to be included in every good Evangelical hymn-book: Nos. 7-18, 20, 22, 28, 29, 30, 32, 34, 35, 36, 38. ii. Hymns the reception of which into a hymn-book might be contested: Nos. 2, 3, 4, 19, 21, 22, 23, 24, 25, 33. iii. Hymns not suited for a hymn-book: Nos. 1, 5, 6, 27, 31, 37. [Rev. James Mearns, M.A.] --John Julian, Dictionary of Hymnology (1907)

James Montgomery

1771 - 1854 Person Name: James Mongtomery Hymnal Number: d65 Author of "Forever with the Lord [our God], amen, so let it be" in Harmonia Ecclesiae James Montgomery (b. Irvine, Ayrshire, Scotland, 1771; d. Sheffield, Yorkshire, England, 1854), the son of Moravian parents who died on a West Indies mission field while he was in boarding school, Montgomery inherited a strong religious bent, a passion for missions, and an independent mind. He was editor of the Sheffield Iris (1796-1827), a newspaper that sometimes espoused radical causes. Montgomery was imprisoned briefly when he printed a song that celebrated the fall of the Bastille and again when he described a riot in Sheffield that reflected unfavorably on a military commander. He also protested against slavery, the lot of boy chimney sweeps, and lotteries. Associated with Christians of various persuasions, Montgomery supported missions and the British Bible Society. He published eleven volumes of poetry, mainly his own, and at least four hundred hymns. Some critics judge his hymn texts to be equal in quality to those of Isaac Watts and Charles Wesley . Many were published in Thomas Cotterill's Selection of Psalms and Hymns (1819 edition) and in Montgomery's own Songs of Zion (1822), Christian Psalmist (1825), and Original Hymns (1853). Bert Polman ======================== Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of "The Fall of the Bastille," and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour. Montgomery's principal poetical works, including those which he edited, were:— (1) Prison Amusements, 1797; (2) The Wanderer of Switzerland, 1806; (3) The West Indies, 1807; (4) The World before the Flood, 1813; (5) Greenland and Other Poems, 1819; (6) Songs of Zion, 1822; (7) The Christian Psalmist, 1825; (8) The Christian Poet, 1825; (9) The Pelican Island, 1828; (10) The Poet’s Portfolio, 1835; (11) Original Hymns for Public, Private, and Social Devotion, 1853. He also published minor pieces at various times, and four editions of his Poetical Works, the first in 1828, the second in 1836, the third in 1841, and the fourth in 1854. Most of these works contained original hymns. He also contributed largely to Collyer's Collection, 1812, and other hymnbooks published during the next 40 years, amongst which the most noticeable was Cotterill's Selections of 1819, in which more than 50 of his compositions appeared. In his Christian Psalmist, 1825, there are 100 of his hymns, and in his Original Hymns, 1853, 355 and 5 doxologies. His Songs of Zion, 1822, number 56. Deducting those which are repeated in the Original Hymns, there remain about 400 original compositions. Of Montgomery's 400 hymns (including his versions of the Psalms) more than 100 are still in common use. With the aid of Montgomery's MSS. we have given a detailed account of a large number. The rest are as follows:— i. Appeared in Collyer's Collection, 1812. 1. Jesus, our best beloved Friend. Personal Dedication to Christ. 2. When on Sinai's top I see. Sinai, Tabor, and Calvary. ii. Appeared in Cotterill's Selection, 1819. 3. Come to Calvary's holy mountain. The Open Fountain. 4. God in the high and holy place. God in Nature. The cento in Com. Praise, 1879, and others, "If God hath made this world so fair," is from this hymn. 5. Hear me, O Lord, in my distress. Ps. cxliii. 6. Heaven is a place of rest from sin. Preparation for Heaven. 7. I cried unto the Lord most just. Ps. cxlii. 8. Lord, let my prayer like incense rise. Ps. cxxxix. 9. O bless the Lord, my soul! His grace to thee proclaim. Ps. ciii. 10. Out of the depths of woe. Ps. cxxx. Sometimes "When from the depths of woe." 11. The world in condemnation lay. Redemption. 12. Where are the dead? In heaven or hell? The Living and the Dead. iii. Appeared in his Songs of Zion, 1822. 13. Give glory to God in the highest. Ps. xxix. 14. Glad was my heart to hear. Ps. cxxii. 15. God be merciful to me. Ps. lxix. 16. God is my strong salvation. Ps. xxvii. 17. Hasten, Lord, to my release. Ps. lxx. 18. Have mercy on me, O my God. Ps. li. 19. Hearken, Lord, to my complaints. Ps. xlii. 20. Heralds of creation cry. Ps. cxlviii. 21. How beautiful the sight. Ps. cxxxiii. 22. How precious are Thy thoughts of peace. Ps. cxxxix. 23. I love the Lord, He lent an ear. Ps. cxvi. 24. In time of tribulation. Ps. lxxvii. 25. Jehovah is great, and great be His praise. Ps. xlviii. Sometimes, "0 great is Jehovah, and great is His Name." 26. Judge me, O Lord, in righteousness. Ps. xliii. 27. Lift up your heads, ye gates, and wide. Ps.xxiv. 28. Lord, let me know mine [my] end. Ps. xxxi. 29. Of old, 0 God, Thine own right hand. Ps. lxxx. 30. O God, Thou art [my] the God alone. Ps. lxiii. 31. 0 Lord, our King, how excellent. Ps. viii. Sometimes, "0 Lord, how excellent is Thy name." 32. O my soul, with all thy powers. Ps. ciii. 33. One thing with all my soul's desire. Ps. xxvii. From this, "Grant me within Thy courts a place." 34. Searcher of hearts, to Thee are known. Ps. cxxxix. 35. Thank and praise Jehovah's name. Ps. cvii. 36. Thee will I praise, O Lord in light. Ps. cxxxviii. 37. The Lord is King; upon His throne. Ps. xciii. 38. The Lord is my Shepherd, no want shall I know. Ps. xxiii. 39. The tempter to my soul hath said. Ps. iii. 40. Thrice happy he who shuns the way. Ps. i. 41. Thy glory, Lord, the heavens declare. Ps. xix. 42. Thy law is perfect, Lord of light. Ps. xix. 43. Who make the Lord of hosts their tower. Ps. cxxv. 44. Yea, I will extol Thee. Ps. xxx. iv. Appeared in his Christian Psalmist. 1825. 45. Fall down, ye nations, and adore. Universal adoration of God desired. 46. Food, raiment, dwelling, health, and friends. The Family Altar. 47. Go where a foot hath never trod. Moses in the desert. Previously in the Leeds Congregational Collection, 1822. 48. Green pastures and clear streams. The Good Shepherd and His Flock. 49. Less than the least of all. Mercies acknowledged. 50. Not to the mount that burned with fire [flame]. Communion of Saints. 51. On the first Christian Sabbath eve. Easter Sunday Evening. 52. One prayer I have: all prayers in one. Resignation. 53. Our heavenly Father hear. The Lord's Prayer. 54. Return, my soul, unto thy rest. Rest in God. 55. Spirit of power and might, behold. The Spirit's renewing desired. 56. The Christian warrior, see him stand. The Christian Soldier. Sometimes, "Behold the Christian warrior stand." 57. The days and years of time are fled. Day of Judgment. 58. The glorious universe around. Unity. 59. The pure and peaceful mind. A Children's Prayer. 60. This is the day the Lord hath made (q. v.). Sunday. 61. Thy word, Almighty Lord. Close of Service. 62. What secret hand at morning light ? Morning. 63. While through this changing world we roam. Heaven. 64. Within these walls be peace. For Sunday Schools. v. Appeared in his Original Hymns, 1853. 65. Behold yon bright array. Opening a Place of Worship. 66. Behold the book whose leaves display. Holy Scriptures. 67. Come ye that fear the Lord. Confirmation. 68. Home, kindred, friends, and country, these. Farewell to a Missionary. 69. Let me go, the day is breaking. Jacob wrestling. 70. Not in Jerusalem alone. Consecration of a Church. 71. Praise the high and holy One. God the Creator. In common with most poets and hymnwriters, Montgomery strongly objected to any correction or rearrangement of his compositions. At the same time he did not hesitate to alter, rearrange, and amend the productions of others. The altered texts which appeared in Cotterill's Selections, 1819, and which in numerous instances are still retained in some of the best hymnbooks, as the "Rock of Ages," in its well-known form of three stanzas, and others of equal importance, were made principally by him for Cotterill's use. We have this confession under his own hand. As a poet, Montgomery stands well to the front; and as a writer of hymns he ranks in popularity with Wesley, Watts, Doddridge, Newton, and Cowper. His best hymns were written in his earlier years. In his old age he wrote much that was unworthy of his reputation. His finest lyrics are "Angels from the realms of glory," "Go to dark Gethsemane," "Hail to the Lord's Anointed," and "Songs of praise the angels sang." His "Prayer is the soul's sincere desire," is an expanded definition of prayer of great beauty; and his "Forever with the Lord" is full of lyric fire and deep feeling. The secrets of his power as a writer of hymns were manifold. His poetic genius was of a high order, higher than most who stand with him in the front rank of Christian poets. His ear for rhythm was exceedingly accurate and refined. His knowledge of Holy Scripture was most extensive. His religious views were broad and charitable. His devotional spirit was of the holiest type. With the faith of a strong man he united the beauty and simplicity of a child. Richly poetic without exuberance, dogmatic without uncharitableness, tender without sentimentality, elaborate without diffusiveness, richly musical without apparent effort, he has bequeathed to the Church of Christ wealth which could onlv have come from a true genius and a sanctified! heart. --John Julian, Dictionary of Hymnology (1907)

Mary Dana Shindler

1810 - 1883 Person Name: Mary S. B. Dana Shindler Hymnal Number: d222 Author of "Sparkling and bright in its liquid light Is the water in our glasses" in Harmonia Ecclesiae Shindler, Mary Stanley Bunce, née Palmer, better known as Mrs. Dana, was born in Beaufort, South Carolina, Feb. 15, 1810. In 1835 she was married to Charles E. Dana, of New York, and removed with him to Bloomington, now Muscatine, Iowa, in 1838. Mr. Dana died in 1839, and Mrs. Dana returned to South Carolina. Subsequently she was married to the Rev. Robert D. Shindler, who was Professor in Shelby College, Kentucky, in 1851, and afterwards in Texas. Mrs. Shindler, originally a Presbyterian, was for some time an Unitarian; but of late years she has been a member of the Protestant Episcopal Church. As Mary S. B. Dana she published the Southern Harp, 1840, and the Northern Harp, 1841. From these works her hymns have been taken, 8 of which are in T. O. Summers's Songs of Zion, 1851. The best known are:— 1. Fiercely came the tempest sweeping. Christ stilling the storm. (1841.) 2. I'm a pilgrim, and I'm a stranger. A Christian Pilgrim. (1841.) 3. O sing to me of heaven. Heaven contemplated. (1840.) Sometimes given as "Come, sing to me of heaven." [Rev. F. M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907) =================== Shindler, Mary S. B., p. 1055, i. Other hymns usually attributed to this writer, are "Prince of Peace, control my will" (Perfect Peace), in the Church of England Magazine, March 3, 1858, in 32 lines; and " Once upon the heaving ocean" (Jesus calming the Sea). --John Julian, Dictionary of Hymnology, Appendix, Part II (1907)

George Herbert

1593 - 1633 Hymnal Number: d225 Author of "Sweet day, so cool, so calm, so bright" in Harmonia Ecclesiae Herbert, George, M.A., the fifth son of Richard Herbert and Magdalen, the daughter of Sir Richard Newport, was born at his father's seat, Montgomery Castle, April 3, 1593. He was educated at Westminster School, and at Trinity College, Cambridge, graduating B.A. in 1611. On March 15, 1615, he became Major Fellow of the College, M.A. the same year, and in 1619 Orator for the University. Favoured by James I., intimate with Lord Bacon, Bishop Andrewes, and other men of influence, and encouraged in other ways, his hopes of Court preferment were somewhat bright until they were dispelled by the deaths of the Duke of Richmond, the Marquis of Hamilton, and then of King James himself. Retiring into Kent, he formed the resolution of taking Holy Orders. He was appointed by the Bishop of Lincoln to the Prebend of Lcighton Ecclesia and to the living of Leighton Bromswold, Hunts, July 15, 1626. He remained until 1629, when an attack of ague obliged him to remove to his brother's, house at Woodford, Essex. Not improving in health at Woodford, he removed to Dantsey, in Wiltshire, and then as Rector to Bemerton, to which he was inducted, April 26, 1630, where he died Feb. 1632. The entry in the register of Bemerton is "Mr. George Herbert, Esq., Parson of Foughleston and Bemerton, was buried 3 day of March 1632." His life, by Izaak Walton, is well known; another Memoir, by Barnabas Oley, is forgotten. Herbert's prose work, Priest to the Temple, appeared several years after his death: but The Temple, by which he is best known, he delivered to Nicholas Ferrar (q.v.), about three weeks before his death, and authorized him to publish it if he thought fit. This was done iu 1633. The work became popular, and the 13th edition was issued in 1709. It is meditative rather than hymnic in character, and was never intended for use in public worship. In 1697 a selection from The Temple appeared under the title Select Hymns Taken out of Mr. Herbert's Temple & turned into the Common Metre To Be Sung In The Tunes Ordinarily us'd in Churches. London, Parkhurst, 1697. In 1739, J. & C. Wesley made a much more successful attempt to introduce his hymns into public worship by inserting over 40 in a much-altered form in their Hymns & Sacred Poems. As some few of these came into their collection of Psalms & Hymns, 1741, revised 1743, they were long sung by the Methodists, but do not now form part of the Wesleyan Hymn Book. No further attempt seems to have been made to use the Temple poems as hymns until 1853, when some altered and revised by G. Rawson were given in the Leeds Hymn Book of that year. From that time onward more attention was paid to Herbert alike by Churchmen and Nonconformists, and some of his hymns are now widely accepted. Many editions of his works have been published, the most popular being that of the Rev. Robert Aris Wilmott, Lond., Geo. Routledge & Son, 1857; but Dr. Grosart's privately printed edition issued in his Fuller Worthies Library in 1874, in three volumes, is not only the most complete and correct, but included also his psalms not before reprinted, and several poems from a ms. in the Williams Library, and not before published. The Temple has also been pub¬lished in facsimile by Elliott Stock, 1876, with preface by Dr. Grosart; and in ordinary type, 1882, by Wells Gardner, with preface by J. A. Shorthouse. The quaintness of Herbert's lyrics and the peculiarity of several of their metres have been against their adoption for congregational purposes. The best known are: "Let all the world in every corner sing"; "My stock lies dead, and no increase"; "Throw away Thy rod"; "Sweet day, so cool, so calm"; and "Teach me, my God, and King." [William T. Brooke] --John Julian, Dictionary of Hymnology (1907)

Matthias Claudius

1740 - 1815 Hymnal Number: d286 Author of "We plough the fertile meadows" in Harmonia Ecclesiae Claudius, Matthias, son of Matthias Claudius, Lutheran pastor at Reinfeld in Holstein (near Lübeck), was born at Reinfeld, Aug. 15, 1740. An ancestor, who died as a Lutheran pastor in 1586, had Latinized his name, Claus Paulsen, to Claudius Pauli, and his descendants had adopted Claudius as their surname. Claudius entered the University of Jena, in 1759, as a student of theology, but being troubled with an affection of the chest, and finding little attraction in the Rationalism of Jena, he turned his attention to law and languages. After a short visit to Copenhagen, as private secretary to a Danish count, he joined in 1768 the staff of the Hamburg News Agency (Adress-Comptoirnachrichten). Removing to Wandsbeck, near Hamburg, he undertook in 1771 the editing of the literary portion of the Wandsbecker Bote, and contributed a number of his poems to the Göttingen Musen-Almanach. In 1776 he was appointed one of the Commissioners of Agriculture and Manufactures of Hesse-Darmstadt, and in 1777 editor of the official Hesse-Darmstadt newspaper, which he conducted in the same spirit as his Wandsbeck Bote. At Darmstadt he became acquainted with Goethe (then living near by at Frankfurt), and with a circle of freethinking philosophers. During a severe illness in 1777, he realised, however, the spiritual emptiness of the life at Darmstadt; the buried seeds sown in his youth sprang up; and he once more became in faith as a little child. Renouncing position and income, he returned to Wandsbeck to re-edit the Bote, which he conducted in a distinctively Christian spirit. In 1788 he was appointed by the Crown Prince of Denmark auditor of the Scheswig-Holstein Bank at Altona, but continued to reside at Wandsbeck till 1813, when he was forced by the war to flee, and was unable to return till May, 1814. The next year he removed to the house of his eldest daughter in Hamburg, and died there Jan. 21, 1815 (Koch, vi. 417-429; Allg. Deutsche Biographie, iv. 279-281). His fugitive pieces appeared in two parts as Asmus omnia sua secum portans; oder sammtliche Werke des Wandsbecker Bothen, Wandsbeck and Hamburg, 1774 (pt. iii. 1777, iv. 1782, v. 1789, vi. 1797, vii. 1802, viii. 1812). While much of his poetry was distinctively Christian in its spirit, and many of his pieces might rank as popular sacred songs, yet he wrote no hymns designed for use in Church. Three pieces have, however, passed into the German hymn-books, all of which have been translated into English, viz.:— i. Das Grab ist leer, das Grab ist leer. [Easter.] First published in pt. viii., 1812, as above, p. 121, in 10 stanzas. Translated as "The grave is empty now, its prey," by Dr. H. Mills, 1859, printed in Schaff’s Christ in Song, 1870. ii. Der Mond ist aufgegangen. [Evening.] His finest hymn, conceived in a child-like, popular spirit—a companion to the more famous hymn, "Nun ruhen alle Walder " (q. v.). According to tradition it was composed during his residence at Darmstadt, 1762, while walking on the so-called Schnempelweg, a footpath leading by the river-side up to the Odenwald. First published in J. H. Voss's Musen-Almanach, Hamburg, 1770, p. 184, and then in pt. iv., 1782, as above, p. 57, in 7 stanzas of 6 lines. Included as No. 452 in the Oldenburg Gesang-Buch, 1791, as No. 570 in the Württemberg Gesang-Buch, 1842, and No. 509 in the Unverfälschter Liedersegen, 1851. The only translation in common use is:— The silent moon is risen, good and full, as No. 322, in the Ohio Lutheran Hymnal, 1880. Other translations are:— (1) "The fair moon hath ascended," in the British Magazine, Nov. 1837, p. 518. (2) "The moon on high Is beaming,",by H. J. Buckoll, 1842, p. 105. (3) "The moon hath risen on high," by Miss Winkworth, 1855, p. 229 (1876, p. 231). (4) "The moon up heaven is going," by J. D. Bums, in Family Treasury, 1860, p. 92, repeated in his Memoir, 1869, p. 269. (5) “The moon is upwards climbing," by Miss Manington, 1863, p. 124. (6) "The moon is up in splendour," by E. Massie, 1866, E. 115. (7) "The moon hath risen clear," in Alice Lucas's Trs.from German Poets, 1876, p. 12. (8) "The moon is up and beaming," in Mrs. A. W. Johns's Original Poems and Translations, 1882, p. 61. iii. Im Anfang war's auf Erden. [Harvest.] First published in pt. iv., 1782, as above, p. 42, in 17 stanzas of 4 lines, and chorus (see also G. W. Fink's Musikalischer Hausschatz der Deutschen, Altona, 1860, No. 77). It occurs in a sketch entitled, Paid Erdmann's Fest. The neighbours are represented as coming to Paul's house and there singing this so-called “Peasants' Song," the last four stanzas of which specially relate to the occasion; the stanzas being sung as a solo, and all joining in the chorus. It can hardly be called a hymn, though it has passed into a few German hymnals principally for use in school. Beginning, "Auf! Lasset Gott uns loben," 10 stanzas were included as No. 482 in the Oldenburg G. B., 1791. In T. Fliedner's Liederbuch, Kaiserswerth, 1842, No. 95 begins with stanza vii., "Was nah ist und was feme." The form most popular is that beginning with stanza iii., "Wir pflügen und wir streuen," as in Dr. Wichern's Unsere Lieder, Hamburg, 1844, No. 55, and other collections. Translations in common use:— 1. We plough the fields and scatter, by Miss J. M. Campbell, contributed to the Rev. C. S. Bere's Garland of Songs, Lond., 1861, p. 61 (later eds. p. 27). A free rendering in 3 stanzas of 8 lines, with chorus, entitled, "Thanksgiving for the Harvest." Since its reception into the Appendix to Hymns Ancient & Modern, 1868 (No. 360, ed. 1875, No. 383), it has passed into numerous hymnals in Great Britain, and America. In Thring's Collection, 1882, No. 609, st. iv., "Our souls, Blest Saviour, gather," is an original stanza by Rev. H. Downton, added to supply some distinctly Christian expressions to the hymn, and first published in the Record newspaper in 1875. 2. We plough the fertile meadows. Of this translation there are two forms greatly differing, both ascribed to Dr. S. F. Smith, but whether either form is really by him we have failed to ascertain. What seems to be the original form, in 6 stanzas of 4 lines and chorus, is found in the Methodist Free Church Sunday School Hymns; Curwen's New Child's Own Hymn Book &c. The other form, in 3 stanzas of 8 lines and chorus, is in Allon's Supplemental Hymns; New Congregational Hymn Book, &c. 3. We plough the ground, we sow the seed, in 4 stanzas of 8 lines with chorus, without name of translation, is No. 215 in G. S. Jellicoe's Collection, 1867. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)

John Milton

1608 - 1674 Hymnal Number: d140 Author of "Let us with a joyful mind" in Harmonia Ecclesiae Milton, John, was born in London, Dec. 9, 1608, and died there Nov. 8, 1674. His poetical excellences and his literary fame are matters apart from hymnology, and are fully dealt with in numerous memoirs. His influence on English hymn-writing has been very slight, his 19 versions of various Psalms having lain for the most part unused by hymnal compilers. The dates of his paraphrases are:— Ps. cxiv. and cxxxvi., 1623, when he was 15 years of ago. These were given in his Poems in English and Latin 1645. Ps. lxxx.-lxxxviii., written in 1648, and published as Nine Psalmes done into Metre, 1645. Ps. i., 1653; ii., “Done August 8, 1653;" iii., Aug. 9, 1653; iv. Aug. 10, 1653; v., Aug. 12, 1653; vi., Aug. 13, 1653; vii.Aug. 14, 1653; viii., Aug. 14, 1653. These 19 versions were all included in the 2nd ed. of his Poems in English and Latin, 1673. From these, mainly in the form of centos, the following have come into common use:— 1. Cause us to see Thy goodness, Lord. Ps. lxxxv. 2. Defend the poor and desolate. Ps. lxxxii. 3. God in the great assembly stands. Ps. lxxxii. 4. How lovely are Thy dwellings fair. Ps. lxxxiv. From this, "They pass refreshed the thirsty vale," is taken. 5. Let us with a gladsome [joyful] mind. Ps. cxxxvi. 6. O let us with a joyful mind. Ps. cxxxvi. 7. The Lord will come and not be slow. Ps. lxxxv. Of these centos Nos. 4 and 5 are in extensive use. The rest are mostly in Unitarian collections. There are also centos from his hymn on the Nativity, "This is the month, and this the happy morn" (q.v.). --John Julian, Dictionary of Hymnology (1907)

John Leland

1754 - 1841 Hymnal Number: d231 Author of "The day is past and gone, the evening shades appear" in Harmonia Ecclesiae Leland, John, an American Baptist minister, was born at Grafton, Massachusetts, on May 15th, 1754, and began to preach at the age of 20. From 1776 to 1790 he was in Virginia, and thereafter in Massachusetts, mostly at Cheshire. He died Jan. 14, 1841. His Sermons, Addresses, Essays and Autobiography were published by his niece, Miss L. F. Greene, at Lanesboro, Massachusetts, in 1845. His influence seems to have been equalled by his peculiarities. We hear of his "restless activity and roving disposition"; his "mad devotion to politics," wherein he had much local and temporary weight; his "ready wit and endless eccentricities;" as also of his high character. Of the hymns which have been ascribed to him, some on doubtful authority, the following are the most important:— 1. The day is past and gone, The evening, &c. Evening. This is in universal American use, and Leland's claim to the authorship has never been disputed, although it is supported by no known particulars. It was first made widely known by the invaluable Hartford Selection (Congregational) of 1799. Its first appearance, so far as known, was in Philomela, or, A Selection of Spiritual Songs, by George Roberts, Petersburg,1792, No. 82. 2. 0 when shall I see Jesus! The Christian Race. This vigorous lyric is ascribed by Dr. Hitchcock, in Hymns and Songs of Praise, 1874, to Leland. It has generally been regarded as anonymous, and is of uncertain date, cir. 1807, or probably earlier. 3. Christians, if your hearts are warm. Holy Baptism. Adult. The only hymn by Leland which can be authenticated by date and circumstances is this familiar doggerel:— "Christians, if your hearts are warm, Ice and snow can do no harm." Dr. Belcher says, in his Historical Sketches of Hymns, &c, 1859, that it was written for one of Leland's large baptisms in Virginia, 1779. [Rev. Frank M. Bird, M.A.] -- John Julian, Dictionary of Hymnology (1907)

Peter Williams

1723 - 1796 Hymnal Number: d88 Author of "Guide me, O thou great Jehovah" in Harmonia Ecclesiae Peter Williams (b. Llansadurnin, Carmarthanshire, Wales, 1722; d. Llandyfeilog, Wales, 1796) was converted to Christianity by the preaching of George Whitefield and was ordained in the Church of England in 1744. His evangelical convictions soon made him suspect, however, and he left the state church to join the Calvinist Methodists in 1746. He served as an itinerant preacher for many years and was a primary figure in the Welsh revival of the eighteenth century. After being expelled by the Methodists in 1791 on a charge of heresy, he ministered in his own chapel during the last years of his life. He published the first Welsh Bible commentary (1767-1770) and a Bible concordance (1773); he was also one of the annotators for John Canne's Welsh Bible (1790). In addition Williams published a Welsh hymnal, Rhai Hymnau ac Odlau Ysbrydol (1759), as well as Hymns on Various Subjects (1771). Bert Polman

Alexander Pope

1688 - 1744 Hymnal Number: d204 Author of "Rise, crowned with light, imperial [great] Salem [city], rise" in Harmonia Ecclesiae Alexander Pope was born in London, in 1688. His parents were Roman Catholics. He had a feeble constitution, was deformed in person, and attained the age of only fifty-six. He early acquired the means of independence by his literary gifts, and purchased his celebrated villa at Twickenham, whither he went to reside at the age of thirty. Of his many published works, his translation of the "Iliad" and "Odyssey" of Homer has given him the greatest reputation. As an English satirist, also, he stands very high. Nearly all his works, however, are imitations. He died at Tickenham, in 1744. --Annotations of the Hymnal, Charles Hutchins, M.A., 1872 ======== Pope, Alexander, the poet, son of a wholesale linen merchant in Lombard Street, London, was born in Plough Court, Lombard Street, May 21, 1688. His father being a Roman Catholic, he was first placed under the charge of Father Taverner, who taught him the rudiments of Greek and Latin. Later he attended a school at Winchester, and then at Hyde Park Corner. When about twelve he retired with his parents to Binfield, in Windsor Forest, and from thenceforth his education was mainly in his own hands. His subsequent success as a writer and poet is a matter of history, and has been dealt with in detail by Dr. Johnson in his Lives of the Poets, and by others. He died May 30, 1744, and was buried in a vault in Twickenham Church. For distinct public use, so far as we are aware, Pope wrote no hymns. His "Messiah"; his "Universal Prayer"; and his "Vital Spark" (q.v.), have been made use of for congregational purposes, but as a Roman Catholic he had no object in writing a hymn in a language which, at that time, his Church would refuse to use. In modern hymn-books his name is identified with the following pieces:-- 1. Father of all, in every age. Universal Prayer. The Lord's Prayer. This Prayer was published in 1738, as a conclusion to his Essay on Man, in 13 st. of 4 1. Warburton in his Advertisement of the 1748 ed. of the Essay, says:— "Concerning the Universal Prayer which concludes the Essay, it may be proper to observe that some pas¬sages in the Essay having been unjustly suspected of a tendency towards Fate and Naturalism, the author composed that Prayer as the sum of all, to show that hi a system was founded in Freewill, and terminated in Piety: that the First Cause was as well the Lord and Governor as the Creator of the Universe; and that by submission to His will (the great principle enforced throughout the Essay) was not meant the suffering ourselves to be carried along with a blind determination; but a religious acquiescence, and confidence full of hope and immortality. To give all this the greater weight and reality, the Poet chose for his model The Lord's Prayer, which of all others best deserves the title prefixed to his Paraphrase." The title here referred to is "The Universal Prayer, Deo Opt. Max." The hymn is found in common use in the following forms:— (1.) Father of all in every age. This is an abbreviated form, and has been in use, especially in Unitarian hymnbooks, from an early date. (2.) Father of all, [and] Thou God of love. This cento was given in 6 st. of 4 1. in the 1815 edition of Cotterill's Selections, No. 2; again in the 1819 ed., 141; in Stowell's Psalms & Hymns, 1831, No. 179; and again in later collections. (3.) Not to this earth's contracted span. In Collyer's Collection 1812, No. 629, in 4 st. of 4 1., and others. (4.) Teach me to feel another's woe. Also in Collyer's Collection, 1812, No. 630, in 4 st. of 4 1., and others. (5.) Thou Great First Cause, least understood. Also in Collyer's Collection, 1812, No. 628, in 4 st. of 4 1., and later hymnals. (6.) When I am right Thy grace impart. Given in Kennedy, 1863, No. 1166. 2. Ye nymphs of Solyma! begin the song. The Messiah. In No. 378 of the Spectator for Wednesday, May 14, 1712, Addison gave this poem with the introduction :— "I will make no apology for entertaining the reader with the following poem, which is written by a great genius, a friend of mine, in the country, who is not ashamed to employ his wit in the praise of his Maker." Then follows the poem with the heading, “Messiah. A Sacred Eclogue, composed of several passages of Isaiah the Prophet. Written in imitation of Virgil's Pollio." It consists of 107 lines. When republished by Pope this heading was expanded into a paragraph as an "Advertisement." As a poem it is unknown to the hymn-book; but from it the following centos have passed into common use:-- (1.) As the Good Shepherd tends his fleecy care. This was given in Collyer's Collection, 1812, No. 626, in 6 st. of 4 1., and has been repeated in later hymnals, but usually in an abridged form. (2.) From Jesse's root, behold a branch arise No. 624 in Collyer's Collection, 1812, in 5 st. of 4 1.; and again in later hymnals. (3.) Hark! a glad voice the lonely desert cheers. No. 625 in Collyer's Collection, 1812, in 4 st. of 4 1.; in Bishop Heber's posthumous Hymns, &c, 1827, p. 106; and again in later collections. (4.) Rise crowned with light, imperial Salem rise. In the Leeds Hymn Book, 1853, No. 687, in 3 st. of 8 1., and several later collections. (5.) The Saviour comes! by ancient seers foretold. In Mercer's Church Psalm & Hymn Book, 1864, and others. It may be noted that 1. 46 of The Messiah reads in the original "He wipes the tears for ever from our eyes." This was altered by Pope at the suggestion of Steele, made to Pope in a letter dated June 1, 1712, to "From every face He wipes off every tear." This latter is the poet's authorized reading, is given in his Works, and is found also in the book form reprints of the Spectator. -- John Julian, Dictionary of Hymnology (1907)

William B. Tappan

1794 - 1849 Person Name: William B. Tappan, 1794-1849 Hymnal Number: d261 Author of "There is an hour of peaceful rest" in Harmonia Ecclesiae See also in: Hymn Writers of the Church ============================= Tappan, William Bingham, was born at Beverley, Massachusetts, Oct. 29, 1794, and was apprenticed to a clockmaker at Boston in 1810. In 1815 he removed to Philadelphia, where he was engaged in business for a time. In 1822 he was engaged as Superintendent of the American Sunday School Union. In 1840 he was licensed to preach with the Congregational body, his sphere of usefulness on behalf of Sunday Schools being thereby considerably widened. He died suddenly, of cholera, at West Needham, Massachusetts, June 18,1849. His poetical works include:— (1) New England and Other Poems, 1819; (2) Poems, 1822; (3) Lyrics, 1822; (4) Poetry of the Heart, 1845; (5) Sacred and Miscellaneous Poems, 1848; (6) Poetry of Life, 1848; (7) The Sunday School and Other Poems, 1848; (8) Late and Early Poems, 1849; (9) Sacred Poems, 1849; (10) Gems of Sacred Poetry, 1860. Of these works the earliest are the most-important. His hymns in common use include the following:— 1. Holy be this as was the place. Public Worship. Included in his Lyrics, 1822; and given in Lyra Sacra Americana, 1868. 2. The ransomed spirit to her home. Love. Appeared in Nettleton's Village Hymns, 1824. This is probably his best hymn. 3. There is an hour of hallowed peace. Heaven, a Place of Rest. Given in his New England and Other Poems, 1819. 4. There is an hour of peaceful rest. Heaven a Place of Rest. The author's account of this hymn in his Gems of Sacred Poetry, 1860, is that it "was written by me, in Philadelphia, in the summer of 1818, for the Franklin Gazette, edited by Richard Bache, Esq., and was introduced by him to the public in terms sufficiently flattering to a young man who then certainly lacked confidence in himself. The piece was republished in England and on the Continent, in various newspapers and magazines, and was also extensively circulated in my own native land, where it has found a place in several hymn and music-books. It was published in my first volume of Poems, at Philadelphia, in 1819, and soon after was set to music by A. P. Heinrich, Esq., in the same city." It is in Lyra Sacra Americana, 1868, p. 265. 5. 'Tis midnight, and on Olive's brow. Gethsemane. Appeared in his Poems, 1822, and repeated in Lyra Sacra Americana, 1868, and several hymnals. 6. Wake, isles of the south, your redemption is near. Missions. Appeared in the Lyrics, 1822. It was sung at the wharf in New Haven at the embarkation of Missionaries for the Sandwich Islands, 1822. 7. When sorrow casts its shades around us. Resignation. From his New England and Other Poems, 1819. It is in Lyra Sacra Americana, 1868. 8. While the solemn note of time. Saturday Evening. Published in his Poems, 1822; repeated in Lyra Sacra Americana, 1868, and thence into Thring's Collection, 1882. [Rev F. M. Bird, M.A.] --John Julian, Dictionary of Hymnology (1907)