Domination of the Psalter in English Hymnody

This disappearance in England of the work of the Reformers in church music was due not only to the lack of great translators but also to many other causes. Early in the Renaissance England came to think of the Reformation as her own movement, and therefore casting aside all suggestions from other countries wished to study history and hymns of English sources only. The few men at this time who recognized Germany as the mother country of the Reformation and a seat of literary accomplishments had no wide influence in England. All German residents in England belonged exclusively to the commercial class and brought no literary influence with them; also a reason for the literary alienation at this time was the fact that Germany did not enter the religious wars in which Englishmen were so deeply interested. To men like Jonson and Fletcher Germany was famous only as a land of magicians and conjurers such as Paracelsus and Dr. Faustus. In short, for nearly two centuries England knew little of Germany except what booksellers found it to their profit to advertise on their sign directories as the "wonderful strange Newes from Germany," and the satires of Brant, Dedekind, and Fischart.For a good account of contemporary German drama and satire in England, cf. Herford: The Literary Relations of England and Germany in the XVIth. Century. Ch. IV-VII.

Another most vital cause of the retardation of the development of hymnody in Great Britain so soon after the Reformation was the example and influence of Geneva. Calvin was organizing his ecclesiastical system at Geneva, and introduced into it Marot's PsalterClement Marot, valet de chambre to Francis I of France, collaborated with Theodore Beza on a metrical translation of the Old Testament Psalms. The work appeared about 1540. which was then very fashionable. This example produced in England the translation commonly known as the Old Version of the Psalms begun in the reign of Henry VIII (1509-1547). In this collection are eleven metrical versions of the "Te Deum" and "Da pacem, Domine," two original hymns of praise, two penitential and a hymn of faith. The tunes which accompanied the words were German.Cf. Barney: History of Music. Therefore, although the religious influence of the Reformation was always strong in England from the beginning of the movement, the influence of Luther from a literary standpoint early in the Renaissance ceased to exist in England and was replaced by Calvin's stern rule. These narrower canons admitting nothing but paraphrases of scripture and even of scripture little outside the Psalms became the firm fashion of English hymnody for the next century and a half.

The Eighteenth Century

In spite of the fact that Luther had little influence on English literature in the early Reformation his hymns came to their own in England in the middle of the XVIIIth century. In the meantime, although the English people used the stern canons of Calvin, they began to feel the want of a more lyric hymn. While German Protestantism had developed at once a rich hymnody there was actually no English hymnody until the XVIIIth century. Isaac Watts, a representative of the English Independents, may be justly considered the real founder of modern English hymnody. He was the first to understand the nature of the want, and by the publication of his Hymns in 1707-1709 and Psalms (hymns founded on psalms) he led the way in providing for this want. His immediate followers were Simon Browne and Doddridge; and later in the century Grigg, Miss Steele, Beddome and Swain succeeded them. Of these writers Watts and Doddridge are certainly preeminent, the hymns of the former are of unusual fervor and strong simplicity, and those of Doddridge while perhaps more artificial in general than those of his predecessor Watts are nevertheless distinguished by their graceful style.

About 1738 came the "Methodist" movement which afterward became divided into three sects, the Arminian under John Wesley, those who adhered to the Moravians,The Moravians were a vigorous religious cult established in Herrnhut, Saxony. and the Calvinists of whom Whitfield was the leader. Each of these factions had its own hymn writers, some of whom did, and others did not, secede from the Church of England. These are the years when a renewed strong current of influence from Germany is felt. The translation movement first sprang up in the middle of this century when Count Zinzendorf and A. G. Spangenberg came to EnglandIn 1737 and 1741, respectively. and established a branch of the Moravian Church there. The Gesangbuch, the first of the hymn books for the congregation at Herrnhut, had been published in 1735 by Count Zinzendorf. The Moravians in England began to translate many of the hymns contained in the German Moravian Hymn Book.Cf. p. 11. These translations, however, were for the most part poor, mere doggerel, but in later editions they were somewhat improved, especially in the one revised in the XlXth century by James Montgomery, the well known hymn writer, who was for a long time a member of the English Moravian Church. Among these many English hymn writers at this time whether writing entirely from English sources, or influenced by German ideas and philosophily or merely translators of the German hymn, the Wesley brothers are deserving of the first place.

After determining upon missionary lives John and Charles Wesley embarked on October 14, 1735, for the new colony of Georgia. Among their fellow passengers were twenty-six Moravian colonists, who in all the changes of weather, especially during storms, made a great deal of hymn singing. John Wesley was much impressed with the fervor and piety of these hymns and with their spiritual possibilities. One of the German sources which had great influence upon Wesleyan hymnody was Freylinghausen's Geist-reiches Gesang-Buch (Halle 1704 and 1714). John Wesley introduced hymn singing into the "companies" formed in Georgia and his first hymn book appeared as a Collection of Psalms and Hymns. Charles-Town 1737, without his name. Of the seventy lyrics in the book, one half are from Watts, fifteen of the remainder are hymns of the Wesleys, five of which were translated from the German by John Wesley. In his third collection printed in England in 1750 the immediate impression the hymns produce is that of foreignness because of the many lengthy stanzas and the unusual metres. The reason for this is the fact that the authorities insisted that the melodies sung at Herrnhut be kept, irrespective of the language in which they might be sung. Although Charles Wesley knew no German, and therefore derived his impressions of the Moravian hymnody indirectly, nevertheless he caught much of its tone and manner and its atmosphere of confiding love. In all he wrote about 6500 hymns, through a large portion of which may be traced this Moravian influence.

Of great value to English hymnody are the contributions of the Calvinistic Methodists, and few writers of hymns have had higher gifts than A. M. Toplady, the author of "Rock of Ages." His hymns have the same warmth, richness and spirituality as German hymns, and are meditations after the German manner, owing direct obligation to German originals. During the first quarter of the nineteenth century came the practice of hymnodists of altering without scruple the compositions of other men, notably Latin and German hymn writers, to suit their own doctrines and tastes, with the result all too often of spoiling the originals thus altered, though English hymnody was undoubtedly enriched by this process of adaptation.

The Nineteenth Century

Two publications in 1827, Bishop Heber's Hymns and Keble's Christian Year introduced a new epoch into English hymnody, destroying the barrier which had previously existed between the different theological schools of the Church of England. This movement received a great additional impulse from the publication in 1833 of Bunsen's Gesangbuch. From this time hymns and hymn writers multiplied not only in the Church of England, but in Scotland and America also. With such influences as we have mentioned the more recent collections have evidenced an improved standard of taste, and there has been a larger and more liberal admission of good hymns from the German. In this XIXth century when the study of the German language and literature became so much more common than before it is natural that an impulse be given also to translation of German hymns.

Beside the improvement in the standard of taste, additional interest in hymnody had been aroused by the prominence given to congregational singing in English churches. "To love hymns in eighteenth century Scotland was to be accused of heresy: in England, it was to be convicted of that worse thing, 'enthusiasm.'" Since the days of Luther Germany had given her hymns general esteem, but in England it was the middle of the nineteenth century before hymns won anything like popular favor. The congregational hymn in England is the direct although exceedingly slow outgrowth of the German Reformation but it must be borne in mind that the foundations of congregational singing were laid even before Luther. When the Hussites in Bohemia created this hymnody in the vernacular their hymns were designed for worshippers rather than for the choir.The earliest extant hymn book is that in the Bohemian Museum at Prague, and bears the date Jan. 13, 1501, but this hymn book is, singularly, never mentioned among the works of the Brethren (Moravians). While German Protestantism developed at once a rich hymnody there was actually no English hymnody until the XVIIIth century.

German hymns and chorals had a place in the Church Psalter and Hymn Book of William Mercer of Sheffield (1854). One who took much interest in its preparation was James Montgomery of whom mention has already been made.Cf. p. 31. For Gerhardt's influence on Montgomery cf. p. 139. This was the most successful of all the books of the decade for the reason that it aided in placing the hymnody back in the people's hands and making it congregational. Thus we see that the success of congregational singing of the better type required a return to the Reformation practice of including the tunes, as well as words, in the people's hymn books.

If general congregational singing after the manner that prevailed in Germany for so long has been an incentive to the development of English hymnody, the interest in German hymnody has at the same time been quickened by the good work done in Frances E. Cox's Sacred Hymns from the German (1841) and Henry J. Buckoll's Hymns translated from the German (1842). This also found expression in the Psalms and Hymns, partly original, partly selected (Cambridge 1851) of Arthur T. Russell, in which the German hymns played a very large part, the Latin a very small one; even the arrangement of the hymns is based on an old Lutheran hymn book. In 1854 appeared Richard Massie's Martin Luther's Spiritual Songs, and the first of four parts (1854-1862) of Hymns from the Land of Luther by Jane Borthwick and her sister Mrs. Findlater. In 1855 and 1858 Catherine Winkworth published the first and second series of her Lyra Germanica, following them in 1863 with the Chorale Book for England, and Christian Singers of Germany (1869). The work of this group of translators which has secured so firm a place in English hymnody for a number of German hymns and more particularly those of Paul Gerhardt will be discussed in the following chapter.

Du liebe Unschuld du, wie schlecht wirst du geachtt!--(Goed. 3.)

Appeared in the Crü. Praxis, 1656, p. 650.

English Version:

1. By J. Kelly, under the heading, "Under the vexations of the wicked prosperous world," the first stanza as follows:

This translation is somewhat labored as is especially evident in line 4 above for the German:

Goedeke in his note to this hymn points out that from the use of the Alexandrine verse, the freedom from biblical phraseology and from the generality of the expressions it is probable that this is one of Gerhardt's earliest poems composed at a time when he patterned his writings after the model of Opitz.On Gerhardt's use of the Alexandrine cf. p. 20 f, and on the influence of Opitz cf. p. 18.

Wie ist so grosz und schwer die Last.--(Goed. 7.)

Appeared in Crü.--Runge, 1653, no. 299.

This fervent appeal for protection during the Thirty Years' War has been translated into English only by J. Kelly 1867, p. 246. In line 36 he renders (from the Wackernagel text which he used):

As mein Herr is very evidently the proper reading from the sense of the context and the character of the other stanzas, it is unfortunate that his otherwise excellent rendering should be made to suffer by this one weak stanza.

"Protection of God in hitherto dangerous times of war."

O Herrscher in dem Himmelszelt.--(Goed. 15.)

Appeared in Crü.--Runge, 1653, no. 315.

This poem and "Nun ist der Regen hin" (cf. Goed. 17, below) were both written during the Thirty Years' War and inspired by the same occasion. Gerhardt in two instances uses the same set of rhymes:

The long metre lends itself well to English translation, and Kelly in his English version has observed with precision the pleading and melancholy tone of the original.

His last stanza forms by its fervor an even stronger conclusion than Gerhardt's. The alteration from "bis in unsern Tod" to "as long as we may live" is a decided improvement, and more consistent with the thought of the context:

Nun ist der Regen hin.--(Goed. 17.)

First published in Crü.--Runge, 1653, no. 315.

This simple nature poem expressing to the Almighty thanks for gracious sunshine after a storm has appeared but once in English verse, the version of J. Kelly, 1867, p. 298. The many poetic allusions and references to nature he has imitated very acceptably, at times even surpassing the thought of the original. In the first stanza the rhymes "gekehret" and "erhöret" have been especially aptly rendered by the accented ed in "turnéd" and spurnéd."

How successfully Kelly has caught the spirit of Gerhardt's nature description is evident in stanza 9:

Nun laszt uns gehn und treten.--(Goed. 19.)

[New Year.]

Evidently written during the Thirty Years' War. It first appeared in Crü.--Runge, 1653, no. 106, in 15 stanzas of 4 lines; thence in Wackernagel: no. 12; Bachmann: no. 24; Berlin G. L. S.: 1863, no. 200.

English Versions:

1. In prayer your voices raise ye.

In full, by J. Kelly, 1867, p. 45. From this 8 stanzas are included in the Ohio Lutheran Hymnal, 1880. alt., The Lutheran Hymnal, 1941, no. 122.

2. Now let each humble creature.

In the Suppl. to Ger. Psal., 1765, p. 4, and Select Hymns from Ger. Psal., Tranquebar, 1754, p. 7. In the Moravian Hymn Bk., 1789, no. 507 (1849, no. 1106) greatly altered and beginning, "Year after year commenceth."

3. O come with prayer and singing.

R. Massie in the British Herald, Jan., 1865, p. 8.

4. Christians all, with one accord.

E. Massie, 1867, p. 168.

5. With notes of joy and songs of praise.

Dr. R. Maguire, 1883, p. 24.

Noch dennoch must du drum nicht ganz.--(Goed. 23.)

Appeared in the Crü. Praxis, 1656, no. 814.

This hymn of consolation seems to refer to some particular disaster that had befallen the community during the Thirty Years' War. The "drum" in line 1 may possibly refer to some address or announcement made to the congregation.

The poem has been well translated in full by J. Kelly, 1867, p. 230. He makes no attempt to render the doubtful meaning above referred to in the word "drum." On the other hand his interpretations of several rather obscure lines (cf. lines 29 and 43 below) are undoubtedly correct.

Lines 29, 30Gerhardt, lines 29, 30:
Drum fährt uns Gott durch unsern Sinn
Und läszt uns Weh geschehen; are rendered:

and lines 43, 44:lines 43, 44:
Drum falle, du betrübtes Heer,
In Demut für Ihm nieder;

In this last citation Kelly is right in assuming it is not literally the "army" but rather the congregation or community that Gerhardt is here addressing.

Wie soll ich dich empfangen.--(Goed. 25.)

(Cf. p. 82.)

Nun du lebest, unsre Krone.--(Goed. 28.)

This poem was appended to an address delivered in Berlin on the 23d of March, 1648, at the funeral of Peter Fritzen, the President of the Consistory.

English Version:

A complete translation by J. Kelly, 1867, p. 338.

Sei mir tausendmal gegrüszet.--(Goed. 40.)

Taken from the "Salve mundi salutare," ascribed to St. Bernard of Clairvaux.Bernard of Clairvaux, saint, abbot, and doctor, was born in Burgundy in 1091, entered the monastery of Citeaux in 1113. In 1146 he spent much time in traversing France and Germany to rouse the people to participate in the ill-fated second crusade. He died in 1153. The hymns by which he is best known are (1) "Jesu dulcis memoria," a long poem on the "Name of Jesus," and (2) "Salve mundi salutare," an address to the various members of Christ on the cross. Hymns, translated from, or founded on, St. Bernard's will be found in almost every modern hymnal. The text of this beautiful poem is in St. Bernard's Opera Omnia, Paris, 1609, cols. 1655-56. Here it is entitled "A rhythmical prayer to anyone of the members of Christ suffering and hanging on the Cross," and is divided into 7 parts viz:

I. Salve mundi salutare (to the Feet).

II. Salve Jesu, Rex sanctorum (to the Knees).

III. Salve Jesu, pastor bone (to the Hands).

IV. Salve Jesu, summe bonus (to the Side).

V. Salve salus mea, Deus (to the Breast).

VI. Summi Regis cor aveto (to the Heart).

VII. Salve caput cruentatum (to the Face).

The whole poem has been frequently translated into German. The best known translations are those by Paul Gerhardt, which are free versions of all the seven parts from the Latin text of 1609. Of Gerhardt's versions, nos. I, V, VI, and VII have passed into English, as follows:

I. Sei mir tausendmal gegrüszet.--(Goed. 40.)

This appeared in the 5th ed., Berlin, 1653, and the Frankfort ed., 1656, of Crü. Praxis, no. 150; thence in Wackernagel: no. 16; Bachmann: no. 48; Unv. L. S.: 1851, no. 116.

English Versions:

1. Thousand times by me be greeted.

In pt. I of the Moravian H. Bk. 1754. Repeated in later editions.

2. Ever by my love be owned (st. I, III, IV).

A. T. Russell in his Psalms and Hymns, 1851.

V. Gegrüszet seist du, Gott, mein Heil.--(Goed. 46.)

Appeared in the Frankf. ed., 1656, of Crü. Praxis; thence in Wackernagel: no. 20; Bachmann: no. 52.

English Versions:

1. All hail to Thee, my Savior and my God.

Mrs. Stanley Carr in her translation of Wildenhahn's Paul Gerhardt, ed. 1856, p. 116.

2. All hail! my Savior and my God.

R. Massie in the British Herald, Feb., 1865, p. 18.

VI. O Herz des Königs aller Welt.--(Goed. 47.)

Appeared in the Frankf. ed., 1656, of Crü. Praxis, no. 155; thence in Wackernagel: no. 21; Bachmann: no. 53; Berlin, G. L. S.: 1863, no. 258.

English Version:

1. O Heart of Him who dwells on high.

R. Massie in the British Herald, May, 1866, p. 260.

VII. O Haupt voll Blut und Wunden.--(Goed. 49.)

(Cf. p. 86 ff.)

Wach auf, mein Herz, und singe.--(Goed. 59.)

(Cf. p. 95 ff.)

Nun ruhen alle Wälder.--(Goed. 60.)

(Cf. p. 98 ff.)

Weg, mein Herz, mit den Gedanken.--(Goed. 62.)

[Lent.]

Founded on St. Luke XV. Appeared in Crü. Praxis, 1648, no. 36 in 12 stanzas.

English Versions:

1. Let not such a thought e'er pain thee.

J. Kelly, 1867, p. 83.

2. Hence, my heart, with such a thought.

Miss Winkworth, 1869, p. 210.

Herr, höre, was mein Mund.--(Goed. 65.)

Appeared in Crü. Praxis, 1648, no. 37.

This Prayer for favor in judgment is based on Psalm CXLIII. It is pervaded with deep humility and devoutness.

Warum machet solche Schmerzen.--(Goed. 67.)

[New Year.]

Based on St. Luke II, 21. It appeared in Crü. Praxis, 1648, no. 97 in 4 stanzas. Bunsen, in his Versuch 1833, no. 120, gives stanzas III, IV, altered to "Freut euch, Sünder, allerwegen."

English Versions:

1. Mortals, who have God offended.

Miss Cox, 1841, p. 21, from Bunsen.

2. Why should they such pain e'er give Thee.

J. Kelly, 1867, p. 43.

Ein Lämmlein geht und trägt die Schuld.--(Goed. 68.)

(Cf. p. 104 ff.)

O Welt, sieh hier dein Leben.--(Goed. 71.)For adaptations of this hymn cf. p. 137.

[Passiontide.]

Cf. Koch IV, 161, 711, 787. First published in Crü. Praxis, 1648, no. 119, in 16 stanzas of 8 lines, reprinted in Wackernagel: no. 15; Bachmann: no. 8; Unv. L. S.: 1851, no. 113. Stanzas III-V were favorites with J. S. Bach and used by him in his St. Matthew and St. John Passion Music.Cf. p. 21.

English Versions:

1. Extended on a cursed tree.

A free translation in long metre by J. Wesley, of stanzas I, III, IV, VI, VIII-XI, XVI, in Hymns and Sacred Poems, 1740 (P. Works, 1868-72, Vol. I, p. 232), and thence in the Wesleyan H. Bk., 1780, and since in other hymn books of the Methodists. The translation of stanzas IX-XI, XVI, beginning "My Savior, how shall I proclaim" were included in the American Sabbath Hymn Book, 1858, and the Baptist Service of Song, Boston, 1871.

2. See, World, upon the bloody tree.

A translation by P. H. Molther of stanzas I-X in the Moravian H. Bk., 1742, 1754. In the 1789 and 1886 eds. it is altered to "See, World, upon the shameful tree." The hymn appears in several English hymn books in different abridged forms.

3. O, World! behold upon the tree.

A good translation omitting stanza VII, by Miss Winkworth, in the 2d Series, 1858, of her Lyra Ger., and thence in Schaff's Christ in Song ed. 1869, p. 174, and slightly altered and beginning:

4. Here, World, see thy Redeemer.

In the Suppl. to Ger. Psalmody, ed. 1765, p. 16.

5. O World! attention lend it.

J. Gambold, as no. 442 in pt. I of the Moravian H. Bk., 1754. Altered to "O World, see thy Creator." (1886, no. 94.)

6. O World! see thy life languish.

J. D. Burns, in the Family Treasury, 1859, pt. I, p. 54, also in his Memoir and Remains, 1869, p. 246.

7. See World! thy Life assailed.

J. Kelly, 1867, p. 54.

8. Here, World, thy great Salvation see.

Dr. J. Guthrie, 1869, p. 87.

9. O World! see here suspended.

In Reid's Praise Book, 1872, no. 1009.

10. Behold, O World, thy Life, thy Lord.

Dr. R. Maguire, 1883, p. 143.

Selected Stanzas:

J. Gambold in Part I of the 1734 edition of the Moravian Hymn Book.

P. H. Molther in Part I of the 1754 edition of the Moravian Hymn Book.

Note in the above stanzas the inconsistencies in capitalization.

Miss Winkworth, in her Lyra Germanica, 1858.

Auf, Auf, mein Herz mit Freuden.--(Goed. 74.)

[Easter.]

It appeared in Crü. Praxis, 1648, no. 141, in 9 stanzas.

English Versions:

1. Up! up! my heart with gladness, See.

J. Kelly, 1867, p. 71.

2. Up, Up, my heart, with gladness, Receive.

H. L. Frothingham, in his Metrical Pieces, 1870, p. 228.

O du allersüszste Freude!--(Goed. 76.)

[Whitsuntide.]

First published in the 3d ed., 1648, of Crü. Praxis, no. 155 in 10 stanzas of 8 lines; thence in Wackernagel: no. 30; Bachmann: no. 10. Cf. Koch IV, 232.

This is a fine hymn of supplication to the Holy Spirit for His gifts and graces. It is widely popular in Germany, and is included in the Berlin G. L. S.: 1863, no. 366. Through the version of J. C. Jacobi it has also been very largely used in various forms, in Great Britain and America.

Nun danket all und bringet Ehr.--(Goed. 78.)

Appeared in Ebeling, 1648, no. 181.

It is based on the Apocryphal book Sirach I. 24, and inspired also of course by the famous hymn of Martin RinckartCf. p. 11. "Nun danket alle Gott," which may be called the German Te Deum. As a great part of Rinckart's life, was, like Gerhardt's, spent amid the horrors of the Thirty Years' War it is natural that Gerhardt should have been influenced by this voluminous writer. Rinckart's hymn was translated by Miss Winkworth in her Chorale Book, but for some reason she has passed over Gerhardt's verses. As Rinckart was a good musician and his melodyThe melody as it appeared in Crüger's Praxis, etc., is marked with Crüger's initials, but it was quite likely adapted from a motet by Rinckart. was well calculated to please the popular ear it is not strange that his hymn has maintained itself ahead of Gerhardt's.

The only English version published is that of J. Kelly, 1867, p. 238.[But now cf. The Lutheran Hymnal, 1941, p. 581, "All ye who on this earth do dwell."]

The translation has much more flowery language than the original and is far less direct, cf. "In grateful songs" as compared with "Nun danket all," and in the second stanza a virtual repetition of this "with gladsome songs now fill the air" for the very forceful reflexive construction "Ermuntert euch." Throughout the poem the English version brings out more emphatically than the German the idea of life in eternity. Cf. stanza 6:

and the last two lines of stanza 8:

In the closing stanza the translation by losing the fervor of Gerhardt's verses is almost anticlimactic. The German is a fervent prayer that God may close our eyes and appear to us in eternity, while the English, in too evident an effort to effect a rhyme with rest, would seem to assign to the Deity a place almost secondary in importance to "our eyes." Cf. stanza 9.Er drücke, wann das Herze bricht
Uns unsre Augen zu
Und zeig uns drauf sein Angesicht
Dort in der ewign Ruh.

Zweierlei bitt ich von dir.--(Goed. 80.)

Appeared in Crü. Praxis, 1648, no. 240. Based on Proverbs, XXX, 7-9.

English Versions:

The rhyme of the German has offered great difficulties in the last three lines of each stanza. The translator's success in meeting this obstacle has been indifferent. Cf.:

O Gott, mein Schöpfer, edler Fürst.--(Goed. 81.)

Based on the Apocryphal book Sirach, XXIII 1-6. It appeared in Crü. Praxis, 1648, no. 248.

English Versions:

Ich hab in Gottes Herz und Sinn.--(Goed. 83.)

[Resignation]

It appeared in Crü. Praxis, 1648, no. 249, in 12 stanzas.

English Versions:

1. I into God's own heart and mind.

J. Kelly, 1867, p. 219.

2. To God's all-gracious heart and mind.

Miss Winkworth, 1869, p. 213.

Nicht so traurig, nicht so sehr.--(Goed. 89.)

[Christian Contentment.]

Founded on Psalm CXVI, 7; Psalm XLII, 6-12; 1 Tim. VI, 6. Appeared in the 3d ed., 1648, of Crü. Praxis, no. 251, in 15 stanzas of 6 lines; thence in Wackernagel: no. 53; Bachmann: no. 16; Berlin G. L. S.: 1863, no. 851.

English Versions:

1. Ah! grieve not so, nor so lament.

Nach dir, O Herr, verlanget mich.--(Goed. 91.)

Based on Psalm XXV. Appeared in Crü. Praxis, 1648, no. 276.

English Version:

A full translation by J. Kelly, 1867, p. 88. This is one of the best pieces of interpretation as regards harmony and rhythm and the spirit of the original, that he has given us. Kelly is at his best in rendering the "long metre" hymns (cf. Goed. 260, 287, etc.). Stanza 9 is especially noteworthy:

Ich erhebe, Herr, zu dir.--(Goed. 93.)

Based on Psalm CXXI. It appeared in Crü. Praxis, 1648, no. 279.

English Version:

Stanza 1 of the complete translation by J. Kelly, 1867, p. 135.

Gott Lob! nun ist erschollen.--(Goed. 95.)

[Thanksgiving for the Proclamation of the Peace of Westphalia in 1648 after the Thirty Years' War.]

It appeared in Crü. Praxis, 1653, no. 401, 1656, no. 409, in 6 stanzas of 12 lines; Wackernagel: no. 64; Bachmann: no. 84; Unv. L. S.: 1851, no. 589.

English Versions:

Miss Winkworth in her Lyra Ger., 1858, p. 156, and her Chorale Book, 1863. Stanzas I, V, VI, form no. 49, in M. W. Stryker's Christian Chorals, 1885.

2. Praise God! for forth hath sounded.

J. Kelly, 1867, p. 251.

Du bist zwar mein und bleibest mein.--(Goed. 100.)

[For the Bereaved.]

This is a beautiful hymn for consolation of parents on the loss of a son The occasion of the poem was the death of Constantin Andreas, younger son of Johannes Berkov, pastor of St. Mary's Church, Berlin. It was first printed as one of the Dulcia amicorum solatia at the end of the funeral sermon by Georg Lilius, Berlin, 1650. Included in Ebeling, 1667, 6, no. 72, in 12 stanzas.

English Versions:

1. Thou'rt mine, yes, still thou art mine own.

Miss Winkworth, in her Lyra Ger., 1858, p. 123.

2. Yes, thou art mine, still mine, my son.

J. D. Burns, in the Family Treasury, p. 8, and his Remains, 1869, p. 249.

3. Mine art thou still, and mine shalt be.

J. Kelly, 1867, p. 333.

Lobet den Herren, alle die Ihn fürchten!--(Goed. 106.)

[Morning.]

Included in the Crü.--Runge, 1653, no. 7, in 10 stanzas of 5 lines; thence in Wackernagel: no. 100; Bachmann: no. 21; Berlin G. L. S.: 1863, no. 1063.

English Versions:

1. Praise God! revere Him! all ye men that fear Him!

This is from the version in Bunsen's AlIg. G. B., 1846, no. 167; stanza 1 being from Gerhardt and stanzas 2, 3, from "Lobet den Herren, denn er ist sehr freundlich" (which Wackernagel quotes from a Nürnberg broadsheet about 1560). It appeared in the Dalston Hospital H. Bk., 1848, no. 55, signed "A. G."

2. Our Lord be praising, All His glory raising.

H. J. Buckoll, 1842, p. 27.

3. Praise ye Jehovah, all ye men who fear Him.

J. Kelly, 1867, p. 279.

Warum willst du drauszen stehen.--(Goed. 108.)

[Advent.]

Suggested by Gen. XXIV, 31. It appeared in Crü.--Runge, 1653, no. 78, in 9 stanzas of 8 lines; viz. stanzas I-VII, XI, XII, of the full form; stanzas VIII-X being added in Ebeling, 1667, 5, no. 50. The full text, in 12 stanzas, appeared also in Wackermagel: no. 2; Bachmann: no. 23; Unv. L. S.: 1851, no. 20.

English Versions:

1. Wherefore dost Thou longer tarry.

Miss Winkworth, omitting stanzas VIII-X, in her Lyra Ger., 2d Series, 1858, p. 6. In her C. B. for England, 1863, no. 153, the translation of stanzas III, V, XI, are omitted.

2. Wherefore dost Thou, blest of God.

R. Massie, in Lyra Domestica, 1864, p. 90.

Zeuch ein zu deinen Thoren.--(Goed. 111.)For adaptations of this hymn cf. p. 136.

[Whitsuntide.]

Cf. Koch IV, 231. Appeared in Crü.--Runge, 1653, no. 157, in 12 stanzas, viz: stanzas I-VIII, XII, XIII, XIV, XVI, of the full poem. Stanza XV was added in Ebeling, 1666-67, no. LXXX, and stanzas IX-XI in J. H. Feustking's ed., 1707. The full form in 16 stanzas is in Wackernagel: no. 32; and Bachmann: no. 25; and the Unv. L. S.: 1851, no. 184. The hymn was undoubtedly written during the Thirty Years' War.

English Versions:

1. Retake thy own Possession.

This is a free translation omitting stanzas X-XII, in pt. II, 1725, of J. C. Jacobi's Psalmodia Germanica, p. 9. In his ed. of 1732, it is greatly altered, and begins "In me resume thy dwelling." From this form the translations of stanzas I, VI, XVI, were included unaltered in the Scottish Evang. Union H. Bk., 1856.

2. Come to Thy temple here on earth.

A good translation omitting stanza IV, by Miss Winkworth in her Lyra Ger., 1st Series, 1855, p. 113. From this the translations of stanzas I, II, VIII, XII, were repeated in the Pennsylvania Luth. H. Bk., 1865.

3. O enter, Lord, Thy temple.

A good translation by Miss Winkworth in her Chorale Book, of stanza I, II, V-VIII, XIV, XVI, based on her Lyra Ger. version. Included in full and unaltered as no. 482, 483 in Dr. Thomas' Augustine H. Bk., 1866. No. 483 begins "All love is thine, O Spirit" (stanza VII). In the Pennsylvania Luth. Ch. Bk., 1868, no. 250, is stanzas I-III, VI, VIII, and in the Ohio Luth. Hyl., 1880, no. 106, is stanzas I, II, V, XIV, XVI.

4. Retake thy own possession, Thou glorious Guest of Hearts.

In Select H. from Ger. Psal., Tranquebar, 1754, p. 43, and the Suppl. to Ger. Psalt., ed. 1765, p. 26.

Du Meine Seele, singe.--(Goed. 115.)

[Psalm CXLVI.]

Appeared in Crü.--Runge, 1653, no. 183, in 10 stanzas.

English Version:

1. O Come, my soul with singing.

Miss Burlingham, in the British Herald, Jan., 1866, p. 207, and as no. 423 in Reid's Praise Bk., 1872.

Ich singe dir mit Herz und Mund.--(Goed. 118.)

[Thanksgiving.]

Cf. Koch IV, p. 95. First published in Crü.--Runge, 1653, no. 186, in 18 stanzas of 4 lines; thence in Wackernagel: no. 85; Bachmann: no. 27; Crü. Praxis: 1656; Berlin G. L. S.: 1863.

English Versions:

1. O Lord! I sing with mouth and heart.

Translated in full by J. Kelly, 1867, p. 225. A cento in 6 stanzas is found in the Ohio Lutheran Hymnal, 1880, no. 364. [alt., The Lutheran Hymnal, 1941, p. 569.]

2. He never yet has made mistakes.

Stanzas XVII, XVIII, as no. 475, in part I of the Moravian H. Bk., 1754.

3. I sing to Thee with Heart and Tongue.

Appeared in the Suppl. to Ger. Psalmody, ed. 1765, p. 65. Included in the Moravian H. Bk., 1789, no. 802 (1886, no. 647), altered, and beginning: "I'll praise Thee with my heart and tongue."

4. I'll sing to Thee with mouth and heart.

Miss Cox, 1864, p. 154.

5. I'll sing to Thee with heart and mouth.

Miss Manington, 1863, p. 108.

Der Herr, der aller Enden.--(Goed. 120.)

Founded on Psalm XXIII. Appeared in the Crü.--Runge, 1653, no. 224.

English Versions:

A good and full translation by J. Kelly, 1867, p. 266, with a rather unusual combining of literality and metre, especially in stanza 9:

Warum sollt ich mich denn grämen.--(Goed. 122.)

(Cf. p. 108 ff.)

Wol dern Menschen, der nicht wandelt.--(Goed. 124.)

Appeared in Crü.--Runge, 1653, no. 241.

It would be inconceivable that Gerhardt should omit the first Psalm from his themes, and his hymn adapts so well the biblical text that we should expect more than the one English version of J. Kelly, 1867, p. 130.[But now cf. Lutheran Hymnary, #455: "Blessed is the man that never."] In his rendering the translator has done well to infuse much of the poetic language of the English Bible.

Wol dem, der den Herren scheuet.--(Goed. 130.)

Appeared in Crü.--Runge, 1653, no. 243.

The CXIIth Psalm of David celebrating the prosperity of the godly is the basis for Gerhardt's beautiful hymn which has found great popularity in German hymn-books. The translation by J. Kelly, 1867, p. 132, is the only English version published. While Gerhardt follows quite closely the poetic language of the Bible, the translator departs often from what might be expected as the normal English equivalent of Gerhardt's diction. In the following stanzas the translation brings out excellently Gerhardt's simile and metaphor.

Cf. also lines 1 and 2 of stanza 2:

Schwing dich auf zu deinern Gott.--(Goed. 135.)

Appeared in Crü.--Runge, 1653, no.*288, under the title "Trost in schwerer Anfechtung."

Die Zeit ist nunmehr nah.--(Goed. 142.)

[Day of Judgment--Second Advent.]

Based on Acts III, 20. It first appeared in the Crü.--Runge, 1653, no. 367, in 18 stanzas of 6 lines; thence in Wackernagel: 1843, no. 119 (1874, no. 124); Bachmann: no. 40; Berlin G. L. S.: ed. 1863, no. 1517.

English Versions:

1. O Christ! how good and fair.

A translation of stanzas III, IV, VI, VII, X-XIII, XVII, by Mrs. Charles in her Voice of Christian Life in Song, 1858, p. 242.

2. May I when time is o'er.

A translation of stanzas VII, VIII, in the Moravian H. Bk., 1789, (in later eds.) "I shall when time is o'er."

3. The time is very near.

J. Kelly, 1867, p. 341.

Wir singen dir, Emanuel.--(Goed. 150.)

(Cf. p. 110 ff.)

O Jesu. Christ! dein Kripplein ist.--(Goed. 153.)

[Christmas.]

At the Manger in Bethlehem. It appeared in Crü. Praxis, 1653, 1656, no. 101, in 15 stanzas.

English Versions:

1. Be not dismay'd--in time of need.

(Stanza XI) in the Moravian H. Bk., 1789, no. 236.

2. O blessed Jesus! This.

Miss Winkworth, in her Lyra Ger., 1858, p. 18.

3. Jesus Christ! Thy cradle is.

Miss Manington, 1864, p. 41.

Frölich soll mein Herze springen.--(Goed. 155.)

[Christmas.]

(Cf. Koch IV, p. 130.)

Appeared in Crü. Praxis, 1653 and 1656, no. 104, in 15 stanzas of 8 lines; reprinted in Wackernagel: no. 5; and Bachmann: no. 44; Unv. L. S.: 1851, no. 35.

Lauxmann, in Koch, VIII, 26, thus analyses it:

"First a trumpet blast: Christ is born, God's Champion has appeared as a Bridegroom from his chamber (I, II). In the following 4 stanzas the poet seeks to set forth the mighty value of the Incarnation: is it not love when God gives us the Son of His Love (III), the Kingdom of Joy (IV) and His Fellowship (V)? Yes, it is indeed the Lamb of God who bears the sin of the world (VI). Now he places himself as herald by the cradle of the Divine Child (VII). He bids, as in Matt. XI, 28, all men (VIII), all they that labor (IX), all the heavy laden (X), and all the poor (XI), to draw near. Then in conclusion he approaches in supplication like the shepherds and the Wise Men (XII-XV). He adores the child as the source of life (XII), his Lamb of God (XIII), his Glory (XIV), and promises to be ever true to Him (XV). It is a glorious series of Christmas thoughts, laid as a garland on the manger at Bethlehem."

Crüger gave the hymn an original melody in 1656 (as in L. Erk's Choralbuch, 1863, no. 86), but the melody generally used (in Church Hymns called "Bonn") is that by J. G. Ebeling in the Geistliche Andachten, 1666, to "Warum sollt ich mich derm grämen."Cf. p. 108. The hymn is very beautiful, but somewhat long, hence generally abridged.

English Versions:

1. Let the voice of glad thanksgiving.

A good translation of stanzas I-III, VI-IX, by A. T. Russell, as no. 15, in the Dalston Hospital Hymn Bk., 1848, and repeated, in part, as no. 56, in his own Psalms and Hymns, 1851.

Ich steh an deiner Krippen hier.--(Goed. 158.)

[Christmas.]This is Gerhardt's third Christmas hymn (cf. also Goed. 150, 153, 155, 310, 312). It is very probable that in composing it the poet had in mind the words of St. Jerome of Strido, abbot of a monastic brotherhood in Bethlehem 386-420: "As often as I gaze on this place (the manger at Bethlehem), so often does my heart converse with the Infant Jesus which lay there in the manger . . . I say . . . "I must give Thee something, Dear Child! I will give Thee all my wealth," and the child answered--"Give it to the poor, I will accept it as if it were given me."--cf. Koch IV, p. 137.

Included in Crü. Praxis: 1653, no. 105, 1656, no. 105, in 15 stanzas of 7 lines; Wackernagel: no. 9; Bachmann: no. 45; Berlin G. L. S.: 1863, no. 167.

This is a beautiful hymn in which the poet puts himself in the place of the shepherds and the wise men visiting Bethlehem; and in praise and adoration tenders his devotion, his love and his all to the Infant Savior in the manger.

English Versions:

1. Stanzas I, IV, VII, XV, have been translated by Rev. A. T. Russell in his Ps. and Hys., 1851, no. 57. His translation of stanza I is as follows:

2. I stand beside Thy manger-bed.

Miss Manington, 1864, p. 38.

3. Now at the manger here I stand.

J. Kelly, 1867, p. 32.

Hör an! mein Herz, die sieben Wort.--(Goed. 161.)

[Passiontide. (The seven words from the Cross.)]

Founded on the hymn of J. Böschenstein: "Da Jesus an dem Kreuze stund" (which was called a translation from the Latin of Peter Bolandus, "Stabat ad lignum crucis"). It appeared in Crü. Praxis, 1653, no. 137, 1656, no. 137, in 15 stanzas.

English Versions:

1. Come now, my soul, thy thoughts engage.

Dr. H. Mills, 1845, 1856, p. 309.

Sei frölich alles weit und breit.--(Goed. 171.)

Appeared in Crü. Praxis, 1656, no. 171.Goedeke states in his note to this hymn (p. 171): "In Crüger's Praxis ist Christ(ian) Bartholdi unterzeichnet, aber von Ebeling als Gerhardt's aufgenommen, und auch wol von ihm selbst mitgetheilt. . . ."

English Version:

This is stanza 1 of a complete translation of the seven stanzas of Gerhardt's Easter hymn, keeping well the spirit and fervor of the original, at the same time observing the literality in an unusually difficult metre. Cf. stanza 7:

Gott Vater, sende deinen Geist.--(Goed. 173.)

Appeared in Crü. Praxis, 1656, no. 198.

English Versions:

A complete translation by J. Kelly, 1867, p. 78, a version of very varying excellence. For example, stanza 15 seems hopelessly weak when compared with the vigorous and simple German:

On the other hand in stanza 5 the translator has coped very successfully with the many difficulties of rhyme and metre:

Was alle, Weisheit in der Welt.--(Goed. 176.)

[Trinity Sunday.]

Appeared in Crü. Praxis: 1653, no. 206, 1656, no. 212, in 8 stanzas of 9 lines; thence in Wackernagel: no. 1; Bachmann: no. 59; Berlin G. L. S.: 1863, no. 50.

English Versions:

1. Scarce Tongue can speak, ne'er human ken.

A translation in full, by J. Kelly, 1867, p. 1.

2. The mystery hidden from the eyes.

R. Massie, in his Lyra Domestica, 1864, p. 87.

Wie lang, O Herr, wie lange soll.--(Goed. 178.)

Appeared in Crü. Praxis, 1656, no. 365.

Translated by J. Kelly, 1867, p. 235, in seven stanzas of seven lines each. The rhyme and metre have been altered after the first four lines in each stanza, with the result that the version is one of this translator's least successful contributions.

Befiehl du deine Wege.--(Goed. 185.)

(Cf. p. 114 ff.)

O Jesu Christ, mein schönstes Licht.--(Goed. 200.)

[Love of Christ.]

Cf. Koch IV, 402, VIII, 294. Included in the 5th ed., Berlin, 1653, and the Frankfurt ed., 1656, of Crü. Praxis, in 16 stanzas of 9 lines; thence in Wackernagel: no. 45; Bachmann: no. 73; Unv. L. S.: 1851, no. 771. This is one of the finest hymns on the Love of Christ. It is founded on Prayer V of Class II in Johann Arndt's Paradiszgärtlein, 1612.This hymn led Philipp Friedrich Hiller to think of turning all of these prayers in the Paradiszgärtlein into hymns. The result was his work entitled "Arndt's Paradiszgärtlein . . . in teutsche Lieder," Nürnberg (no date given). The book is in four parts and contains 301 hymns, 297 being founded on Arndt and 4 original.

English Versions:

(A.) Wesley.

1. Jesus, Thy boundless love to me.

A full and very fine translation by J. Wesley in Hymns and Sacred Poems, 1739 (P. Works, 1868-72, vol. I, p. 138).[Cf. Collection of Hymns, #373.] In the Wesleyan Hymn Book, 1780, it was reduced to 9 stanzas.

Centos of the Wesley version are:

(1.) O Love, how cheering is Thy ray. (Stanza III.)

Bk. of Hymns, Boston, U. S. A., 1848.

(2.) My Savior, Thou Thy love to me. (Stanza V.)

Moravian H. Bk., 1789.

(3.) More hard than marble is my heart. (Stanza VI.)

American Sabbath H. Bk., 1858.

(4.) O draw me, Savior, after Thee. (Stanza IX.)

Snepp's Songs of G. and G. Pennsylvania Luth. Ch. Bk., 1868.

Ich danke dir demütiglich.--(Goed. 205.)

Appeared in the Crü. Praxis, 1656, no. 318. From Johann Arndt's Paradiszgärtlein (Goslar, 1621, 4), 3, 17, p. 294, "Gebet um zeitliche und ewige Wolfahrt."

English Versions:

A complete translation by J. Kelly, 1867, p. 117. In stanza 14 the translator has, in honor to Queen Victoria, altered the original which reads:

to

Ach! treuer Gott, barmherzigs Herz.--(Goed. 209.)

[Cross and Consolation.]

Founded on a prayer "for patience under great trial," no. XXV in Class III of J. Arndt'sCf. pp. 24 and 63. Paradiszgärtlein, 1612. It appeared in Crü. Praxis, Frankfurt, 1656, no. 391, in 16 stanzas of 7 lines, and was included in many subsequent hymn books, as recently as the Unv. L. S.: 1851, no. 693; also in Wackernagel: no. 57; and in Bachmann: no. 80.

English Versions:

1. O God most true, most merciful!

A good adaptation in 4 stanzas by Rev. A. T. Russell in his Psalms and Hymns, as follows: &

This version appears in an altered form in Kennedy, 1863, no. 665. "O God of mercy full and free."

Barmherziger Vater, höchster Gott.--(Goed. 212.)

Based on Joh. Arndt's Creutzgebet. It appeared in Crü. Praxis, 1656, no. 382.

English Version:

Ich weisz, mein Gott, dasz all mein Thun.--(Goed. 217.)

[Supplication.]

A prayer for success in all Christian works and purpose; founded on Jeremiah X, 23, and Acts V, 38, 39. Cf. Koch IV, 98. Included in Crü. Praxis, 1653, no. 321, 1656, no. 332, in 18 stanzas of 5 lines; thence in Wackernagel: no. 40; Bachmann: no. 71; Berlin, G. L. S.: 1863.

In the Ebeling edition the hymn has the title: "Um Glück und Segen zu allem christlichen Thun und Vorhaben." It has on many occasions been given as a farewell injunction by parents to their children on leaving home.

English Versions:

1. I know, my God, and I rejoice.

(Stanzas I-III, VIII, XI, IX) by Miss Winkworth in her Chorale Book, 1863, no. 121.

2. My God! my works and all I do.

J. Kelly, 1867, p. 102.

Du bist ein Mensch, das weiszt du wol.--(Goed. 220.)

Appeared in Crü. Praxis, 1656, no. 330.

A hymn of self-abnegation, even self-denunciation, emphasizing the frailty and insignificance of mortals, and closing with an admonition of resignation to God's wise dispensations. Though Gerhardt frequently employs this form of rhymeI.e. ab ab cc dd. Cf. nos. 62, 76, 100, 108, 124, 127, 130, 145, 149, 256, 263, 307, 321. only rarely does he combine it with this metre. Both have been strictly observed by J. Kelly, 1867, p. 148:

Ich habs verdient. Was will ich doch.--(Goed. 224.)

Appeared in the Crü. Praxis, 1656, 817, no. 374.

English Version:

This is one of the least adaptable poems of Gerhardt and it is evident that the translator has struggled with the many difficulties of metre and frequent rhyme.

Ich hab oft bei mir selbst gedacht.--(Goed. 226.)

Appeared in Crü. Praxis, 1656, no. 331.

English Version:

A free, but very acceptable rendering in which the easy colloquial style of the original has been well retained. Cf. lines 7 and 8:

Ist Gott für mich, so trete.--(Goed. 229.)

(Cf. p. 126 ff.)

Auf den Nebel folgt die Sonne.--(Goed. 232.)

[Thanksgiving after great sorrow and affliction.]

It appeared in Crü. Praxis, 1653, no. 236, and 1656, no. 249, in 15 stanzas of 7 lines; thence in Wackernagel: no. 87; Bachmann: no. 64; Unv. L. S.: no. 402. Cf. Koch IV, 545.

English Versions:

1. Cometh sunshine after rain.

Miss Winkworth in her Lyra Ger., 1st Series, 1855, p. 100 (omitting stanzas IV-VII, X, XI). In her 1856 ed. the translation of stanzas X and XI is added. In the Christian H. Bk., Cincinnati, 1865, no. 799 begins with her stanza no. XIII "Now as long as here I roam."

2. After clouds we see the sun.

J. Kelly, 1867, p. 261.

Soll ich meinem Gott nicht singen.--(Goed. 235.)

[Thanksgiving.] Cf. Koch, IV, 91 ff.

One of Gerhardt's finest hymns, setting forth God's love in His creation, redemption and sanctification of the world, His care in trouble. It closes with a prayer which R. Massie renders:

The hymn was included in the 5th ed., Berlin, 1653, and in the Frankfurt ed., 1656, of Crü. Praxis, no. 230; thence in Wackernagel: no. 81; Bachmann: no. 60; Unv. L. S.: 1851, no. 722.

English Versions:

1. Shall I not his praise be singing.

Dr. Mills in his Horae Germanicae, 1845, p. 141, and 1856, p. 195.

This is a mediocre version, as it misses the characteristic points of the German. His stanzas II, IV-VII beginning "As the eagle fondly hovers," were included in the Amer. Luth. Gen. Synod's Collection, 1850-52, no. 35.

2. Shall I not sing praise to Thee.

A full and good translation by Miss Winkworth in her Lyra Ger., 1st Series, 1855; p. 200; also, omitting stanzas III-VI, VIII in her C. B. for England, 1863, no. 10. Included in full in Cantate Domino, Boston, U. S. A., 1859.

Also hat Gott die Welt geliebt.--(Goed. 256.)

[Good Friday.]

Founded on John III, 16. It appeared in Crü. Praxis, 1661, no. 372, in 17 stanzas.

English Version:

1. Be of good cheer in all your wants.

P. H. Molther, of stanza 16, as no. 181 in the Moravian H. Bk., 1789 (1886, no. 217).

Herr, aller Weisheit Quell und Grund.--(Goed. 260.)

Appeared in Crü. Praxis, 1661, 576, no. 373.

English Version:

A complete and very good translation by J. Kelly. The long metre of 8 syllables seems to lend itself more readily to adaptation into English. In the fourth stanza, first line, Kelly has resorted to a device common to translators, that of making up the extra accent where the corresponding English cognate has lost the ending, by selecting instead of a monosyllabic adverb an adverb of two syllables. Here, of course, "very" for "sehr" makes literality and meter perfect.

As exact and appropriate translation as is possible word for word is found in stanza ???:

Jesu, allerliebster Bruder.--(Goed. 263.)

Based on Johann Arndt's Paradiszgärtlein, 1, 33, 92. It appeared in Crü. Praxis, 1661, no. 374.

English Version:

A complete translation by J. Kelly, 1867, p. 112. The translator has well rendered a hymn of rather unusual difficulty of interpretation in a foreign tongue.

An unavoidable weakening by translation appears in the last stanza:

Geduld ist euch vonnöten.--(Goed. 267.)

Based on Hebrews X, 35-37. It appeared in Crü. Praxis, 1661, no. 375.

English Version:

By J. Kelly, 1867, p. 184. A complete translation of the 14 stanzas, and in general very true to the original. It is noteworthy that the first line of each stanza contains the word "patience" as does the poem of Gerhardt the word "Geduld." Kelly's rendering of the last four lines illustrates as well as any the faithfulness of his version.

Nun sei getrost und unbetrübt.--(Goed. 271.)

Subjoined to a funeral address by Johann Meiszner.

This is one of Gerhardt's many "Trostgesänge," and though less well known than most of his hymns is deserving of wider recognition than it has hitherto received. As far as is at present known there has been published but one English version, that of J. Kelly, 1867, p. 329, the first stanza of which is as follows:

"JOYFUL RESIGNATION TO A HAPPY DEPARTURE FROM THIS WEARY WORLD."

It is unfortunate that the translator has been satisfied with "glad" for the forceful "getrost" which connotes "confidence" and "trust" (to which it is indeed cognate)Cf. p. 22. and even "comfort in that confidence" to the point of being "courageous." More pardonable is his balking at the characteristic alliterative "Geist und Gemüte" which must mean not only the "feelings," but also "soul" and "intellect" as well. If "heart" be accepted in this broadest sense it is undoubtedly the best English equivalent. The psychology of language would presumably never allow in poetry a literal word-for-word rendering of "Geblüte, Fleisch, Haut," and the English reader is denied the poetic force of "ward"Und Fleisch und Haut ward zugericht; line 5. also beautifully illustrated so frequently in the German Bible. Again it must be accounted a defect that the passive "ward zugericht" (1. 5) is changed to an active construction. The German passive is never used without sufficient reason, and Gerhardt chooses here to imply the divine mystery of birth. Here the English is too specific. On the other hand where the German is direct, "Dein Jesus" (1. 3), "Geblüte, Fleisch, Haut," (1. 4, 5), "Der" (1. 6), the English descends to the general.

Stanza 7 preserves more of the "Stimmung" of the original:

It is difficult to see, however, why "allerliebster Freund" (line 43) could not have its logical equivalent "dearest Friend";Line 43: "Thou Jesus! O Thou sweetest Friend." and similarly in line 48, "Und wie wir stehen," might equally be "And as we are," instead of "As we are here," which seems rather forced.

Gib dich zufrieden, und sei stille.--(Goed. 274.)

[Cross and Consolation.]

Founded on Psalm XXXVII, 7. It appeared in Ebeling, 1666, 1, no. 11, in 15 stanzas.

English Versions:

1. Be thou content: be still before.

Miss Winkworth, 1855, p. 156, and in Bishop Ryle's Collection, 1860, no. 269.

2. Be thou contented! aye relying.

J. Kelly, 1867, p. 202.

3. Tranquilly lead thee, peace possessing.

N. L. Frothingham, 1870, p. 246.

Selected Stanza:

Miss Winkworth in her Lyra Germanica, 1855, p. 156.

Ich bin ein Gast auf Erden.--(Goed. 284.)

[Eternal Life.]

Based on Psalm XXXIX, 12, "I am a stranger with thee, and a sojourner, as all my fathers were." Cf. also Psalm CXIX, "I am a stranger in the earth." It was first published in Ebeling, Berlin, 1666; reprinted in Wackernagel: 1843, no. 112; and Bachmann: no. 98; and included as no. 824, in the Unv. L. S.: 1851.

English Versions:For adaptations of this hymn cf. p. 140 ff.

1. A pilgrim and a stranger,
      I journey here below.

Herr, du erforschest meinen Sinn.--(Goed. 287.)

Appeared in Ebeling, 1666, 2, no. 23.

English Versions:

1. Lord, Thou my heart dost search and try.

J. Kelly, 1867, p. 138. &

In his last stanza Kelly has nearly equalled the original in happily choosing for many of the words the exact English cognate:

Die güldne Sonne.--(Goed. 293.)

[Morning.]

First appeared in Ebeling, 1666, 3, no. 25, entitled "Morgensegen"; thence * in Wackernagel: no. 98; Bachmann: no. 101; Crü. Praxis: 1672; Unv. L. S.: 1851, no. 449. (The melody is by Ebeling. It is called in the Irish Ch. Hymnal "Franconia.")

Lauxmann in Koch, VIII, 185, calls this "A splendid hymn of our poet, golden as the sun going forth in his beauty, full of force and blessed peace in the Lord, full of sparkling thoughts of God."

English Versions:

1. The golden sunbeams with their joyous gleams.

A translation by Miss Winkworth in her Lyra Ger., 1855. Her translations of verses as follows:

Her version appears in Kennedy, 1863, no. 814, with the omission of the translation of Gerhardt's stanzas II, VIII, IX.

2. Evening and Morning.

A good translation beginning with stanza IV ("Abend und Morgen") by R. Massie in the 1857 ed. of Mercer's Church Psalter and Hymn Book. The version has these stanzas:

This version in whole or in part appears in various hymn books. In Kennedy, 1863, no. 636, it begins with the translation of stanza IX ("Gott, meine Krone") "Father, O hear me." Massie subsequently added a translation of stanzas I, II, III, and included it in his Lyra Domestica, 1864, p. 106, and this full form appears in Reid's Praise Bk., 1872, no. 379.

3. The sun's golden beams.

Miss Dunn, 1857, p. 21.

4. Sunbeams all golden.

Miss Cox, 1864, p. 13.

What is our mortal race.

(Beginning with stanza VII) by E. Massie, 1866, p. 87.

6. See the sun's glorious light.

E. Massie, 1867, p. 8.

7. The golden morning.

J. Kelly, 1867, p. 270.

Selected Stanzas:

Miss Winkworth in her Lyra Germanica, 1855, p. 216.

Der Tag mit seinem Lichte.--(Goed. 296.)

Appeared in Ebeling, 1666, 3, 26.

Compare with this:

(a) The hymn of J. A. Freylinghausen (1704)

"Der Tag ist hin, mein Geist und Sinn."

(This has been translated by Miss Winkworth, R. Massie, Miss Borthwick and others, and has much similarity of thought to Gerhardt's hymns.)

also (b) "Der Tag vergeht, die müde Sonne sinket" in Knapp's Evang. Liederschatz, 1837.

Ich, der ich oft in tiefes Leid.--(Goed. 298.)

Based on Psalm CXLV. First published in Ebeling, 1666, 3, no. 27, in 18 stanzas of 7 lines; thence in Wackernagel: no. 95; Bachmann: no. 103; Berlin G. L. S.: 1863, no. 1004.

English Versions:

1. I who so oft in deep distress.

Miss Winkworth in her Lyra Ger., 2d Series, 1858, p. 149. The translation omits Gerhardt's stanzas II, III, IV. An alteration and adaptation of stanzas VI, VIII, IX, XI, beginning "O God! how many thankful songs," appeared as no. 168 in Holy Song, 1869.

2. Who is so full of tenderness.

A translation of stanza VIII as stanza 4 in the Moravian Hymn Book, 1886, no. 537.

Miss Winkworth, in her Lyra Germanica, 1855.

Wie schön ists doch, Herr Jesu Christ.--(Goed. 302.)

[Marriage.]

Founded on Psalm CXXVIII. First published in Ebeling, 1666, 4, no. 38, in 8 stanzas of 12 lines; thence in Wackernagel: 1843, no. 108, 1874, no. 109; Bachmann: no. 105; Unv. L. S.: 1851, no. 680.

English Version:

1. Oh Jesus Christ! how bright and fair.

In full by J. Kelly, 1867, p. 307; repeated altered, and omitting stanzas III-V, in the Ohio Lutheran Hymnal, 1880, no. 339.

Voller Wunder, voller Kunst.--(Goed. 304.)

[Holy Matrimony.]

First published in Ebeling, 1666, 4, no. 40, in 17 stanzas. The hymn is often used in Germany at marriages.

English Versions:

1. Full of wonder, full of skill.

Dr. H. Mills, 1845, 1836, p. 215.

2. Full of wonder, full of skill.

Mrs. Stanley Carr, in her translation of Wildenhahn's Paul Gerhardt, ed. 1856, p. 52.

3. Full of wonder, full of art.

J. Kelly, 1867, p. 302.

4. Full of wonder, full of art.

Miss Winkworth in her Christian Singers of Germany, 1869, p. 215.

Selected Stanza:

Dr. H. Mills in his Horae Germanicae, 1856.

Schaut! Schaut! was ist für Wunder dar?--(Goed. 310.)

[Christmas.]

First published in Ebeling, 1667, 5, 55, in 18 stanzas of 4 lines; thence in Wackernagel: no. 4; Bachmann: no. 109.

English Version:

1. Behold! Behold! what wonders here.

In full by J. Kelly, 1867, p. 14. From this 12 stanzas were included in the Ohio Lutheran Hyl., 1880, as no. 25, no. 26: no. 26 beginning with the translation of stanza XIII, "It is a time of joy today."

Kommt, und laszt uns Christum ehren.--(Goed. 312.)

[Christmas.]

Founded on St. Luke, II, 15. First published in Ebeling, 1667, 5, no. 56, in 8 stanzas of 4 lines; thence in Wackernagel: no. 6; Bachmann: no. 110; Unv. L. S.: 1851, no. 43.

Herr Gott, du bist ja für und für.--(Goed. 315.)

Based on Psalm XC. It appeared in Ebeling, 1667, 6, no. 68.

English Version:

Stanza 1 of a complete translation by J. Kelly, 1867, p. 312.

In this version the translator has lost much of the poetry and spirit not only of Gerhardt but of the ninetieth Psalm on which Gerhardt's poem is based. Witness the second and fourth lines above, where Kelly offers the feeble Latin derivatives for the virile "Die Zuflucht deiner Heerde" and "Grund."

Johannes sahe durch Gesicht.--(Goed. 319.)

Based on Chap. VII, 9. ff. of Revelations. It appeared in Ebeling, 1667, 7, 84.

English Version:

Stanza 1 of a complete translation by J. Kelly, 1867, p. 347.

Wie ist es müglich, höchstes Licht.--(Goed. 324.)

Appeared in Ebeling, 8, 96.

The English version by J. Kelly, 1867, p. 259, is throughout more moderate in tone and does not reflect the utter self-abnegation of Gerhardt.This is almost the only poem in which Gerhardt has not employed his characteristic alliteration or assonance, or introduced "Friede" or "Freude" words. On these characteristics cf. p. 2 ff.

Ich weisz, dasz mein Erlöser lebt--(Goed. 331.)

[Easter.]

Founded on Job. XIX, 25-27. First published in Ebeling, 1667, 10, no. 119, in 9 stanzas of 7 lines; thence in Wackernagel: 1843, no. 118 (1847, no. 123); Bachmann: no. 119; Berlin G. L. S.: 1863, no. 301.

English Versions:For adaptations from this hymn cf. p. 135 ff.

1. I know that my Redeemer lives. In this my faith is fast.

A full and spirited translation by J. Oxenford, in Lays of the Sanctuary, 1859, p. 122. His translation of stanzas I, III, VII-IX were included, altered as no. 779 in Kennedy, 1863.

2. I know that my Redeemer lives, This hope,

Miss Manington, 1863, p. 78.

From the foregoing statements it is evident that even of Gerhardt's less well-known hymns there has been a comparatively large representation in English and American hymnals. The ten hymns which follow are so widely known through the excellent versions of Miss Winkworth and others, that making the treatment more detailed, I shall discuss the individual merits of the different versions and compare their relative values as interpretations of the originals.

Wie soll ich dich empfangen.--(Goed. 25.)

[Advent.]

First published in Crü.--Runge, 1653, no. 77, in 10 stanzas of 8 lines; thence in Wackernagel: no. 3; Bachmann: no. 22; Unv. L. S.: 1851, no. 21. Cf. Koch IV, 119 ff.

The hymn is founded on St. Matthew XXI, 1-9, the Gospel for the first Sunday in Advent. It is one of Gerhardt's finest productions, and is probably the best German Advent hymn. It is inferable from stanzas VI-IX that the poem was written during the Thirty Years' War. The entire first stanza has been set to music by Bach in the Weihnachtsoratorium, Part I.

English Versions:

1. How shall I meet my Savior.

A translation in full, by J. C. Jacobi, in his Psalmodia Germanica, 722, p. 3 (1732, slightly altered). Included in the Moravian Hymn Book, 1754, and also in later editions with alterations. Varying centos of this version are found in Montgomery's Christian Psalmist, 1825; Dr. Pagenstecher's Collections, 1864; and Bishop Ryle's Collection, 1860. Other forms are:

(a.) "We go to meet Thee, Savior" (stanza I altered), in Reid's Praise Book, 1872, mainly from the Moravian H. Bk., 1801.

(b.) "Love caused Thine Incarnation" (stanza V altered), in Walker's Collection, 1855, and Snepp's Songs of G. and G., 1872, from the Moravian H. Bk., 1801.

2. Oh, how shall I receive Thee.

A good translation of stanzas I, II, VII, VIII, X, by A. T. Russell in his Ps. and Hys., 1851, no. 36. Repeated in Kennedy, 1863, and the People's H., 1867; and abridged in J. L. Porter's Collection, 1876; H. and Songs of Praise, N. Y., 1874; Laudes Domini, N. Y., 1884, etc.

3. Oh! how shall I receive Thee.

In the 1857 ed. of Mercer's C. P. and H. Bk. Stanzas 1, 2, are based on A. T. Russell's version and stanzas 3, 4, 5 (Gerhardt's IV, V, VI), are based on Jacobi, as altered in the Moravian H. Bk., 1801. Altered forms have appeared in other hymnals.

4. Ah! Lord, how shall I meet thee.

A translation of stanzas I, II, V, VI, VIII, X, by Miss Winkworth, in her C. B. for England, 1863, no. 21.

5. Say with what salutations.

In full by J. Kelly, 1867, p. 10; repeated, abridged, in the Ohio Luth. Hyl., 1880.

6. Lord, how shall I be meeting.

J. W. Alexander, in Schaff's Kirchenfreund, 1850, p. 176, and his Christ in Song, 1869, p. 20, and his own Breaking Crucible, 1861, p. 11.

7. How shall I meet Thee? How my heart.

Miss Winkworth, 1855, p. 7.

8. How shall I come to meet Thee.

Miss Manington, 1863, p. 65.

O Haupt voll Blut und Wunden.--(Goed. 49.)

[Passiontide.]

A beautiful but very free translation of the "Salve Caput Cruentatum," which is part VII of the "Rhythmica Oratio," 1153, ascribed to St. Bernard of Clairvaux.Cf. p. 40 and note. The Latin original follows:

Gerhardt's version appeared in the 1656 ed. of Crü. Praxis, no. 156, in 10 stanzas of 8 lines; thence in Wackernagel: no. 22; Bachmann: no. 54; Unv. L. S.: 1851, no. 109. Cf. Koch, IV, 163; VIII, 47.

In Koch VIII, 47, Lauxmann thus characterizes it:

"Bernard's original is powerful and searching, but Gerhardt's hymn is still more powerful and profound, as redrawn from the deeper spring of evangelical Lutheran, Scriptural, knowledge, and fervency of faith."

Stanza X Lauxmann traces not only to Bernard but to stanza II of "Valet Will ich dir geben" of Herberger, and to Luther's words on the death of his daughter Magdalen "Who thus dies, dies well."

The melody to which the hymn is sung, usually called "Passion Chorale," first appeared in Hans Leo Hassler's "Lustgarten," Nürnberg, 1601, set to a love song, beginning "Mein G'müth ist mir verwirret."

The hymn has often been signally blessed. The story is told that a Roman Catholic from Bohemia on hearing this hymn sung in a Protestant church was so overpowered that he shed tears of joy, for he saw clearer than ever his own sin and the Savior's grace; he understood better than ever the secret of justification by faith alone, and he became from that time a true evangelical Christian. Frederick William I., King of Prussia from 1713 to 1740, the father of Frederick the Great, ordered in his will that at his funeral this hymn should be played by the band. For other incidents connected with this hymn cf. Th. Kübler: Historical notes to the Lyra Germanica, London, 1865.

The English versions are many, and of some of the versions there are several centos:

1. O Head so full of bruises.

In full, by J. Gambold, in Some other Hymns and Poems, London, 1752, p. 12. Repeated in the Moravian H. Book, 1754, pt. 1, no. 222 (1789 greatly altered). In the 1789 ed. a new translation of stanza IX was substituted for Gambold's version, his translation of stanza IX "When I shall gain permission" being given as a separate hymn.

Centos of the above version are:

a. "O Head, so pierced and wounded" in Dr. Pagenstecher's Collection, 1864.

b. "O Christ! what consolation" in the Amer. Bapt. H. Bk., 1871.

c. "I yield Thee thanks unfeigned" (based on Gambold's version of stanza IX) in E. Bickersteth's Christian Psalmody, 1833.

d. "I give Thee thanks unfeigned" in Bishop Ryle's Collection, 1860.

2. O Sacred Head! now wounded.

A very beautiful translation by Dr. J. W. Alexander. His translations of stanzas I, II, IV, VII-X, were first published in the Christian Lyre, N. Y., 1830, no. 136. These stanzas were revised, and translations of stanzas III, VI, were added by Dr. Alexander for Schaff's Deutscher Kirchenfreund, 1849, p. 91. The full text is in Dr. Alexander's Breaking Crucible, N. Y., 1861, p. 7; in Schaff's Christ in Song, 1869; and the Cantate Domino, Boston, U. S. A., 1850.[Alt. in The Lutheran Hymnal, 1941, #172.[ In his note Dr. Schaff says:

"This classical hymn has shown an imperishable vitality in passing from the Latin into the German, and from the German into the English, and proclaiming in three tongues, and in the name of three Confessions--the Catholic, the Lutheran, and the Reformed--with equal effect, the dying love of our Savior and our boundless indebtedness to Him."

Dr. Alexander's version has passed into very many English and American hymnals, and in very varying centos, some of which follow:

a. "O sacred Head, now wounded," People's H., 1867; Hymnary, 1872; Hatfield's Church H. Bk., 1872; Hymns and Songs of Praise, N. Y., 1874, etc.

b. "O Sacred Head! once wounded" (stanza I altered), Bapt. Ps. and Hys., 1858, etc.

c. "O Sacred Head, sore wounded" (stanza I altered), in the Stoke Hymn Book, 1878.

d. "O Sacred Head, so wounded" (stanza I altered), in J. L. Porter's Collection, 1876.

Wach auf, mein Herz! und singe.--(Goed. 59.)

[Morning.]

Appeared in Crü. Praxis, 1648, no. 1, in 10 stanzas of four lines; thence in Wackernagel: no. 99; Bachmann: no. 1. It was repeated in Crü--Runge, 1653, no. 1, and also in the Berlin G. L. S.: ed. 1863, no. 1132. This is one of the finest and most popular of German morning hymns, and soon passed into universal use, stanza VIII being best known. Cf. Koch, IV, 595 ff.

English Versions:

1. My Soul, awake and tender.

In full, by J. C. Jacobi, in his Psalmodia Germanica, 1720, p. 33 (1722, p. 104), repeated in pt. I of the Moravian H. Bk., 1754. In the Moravian H. Bk., 1789 and 1886, it begins "My soul awake and render," stanzas 1, 2, 4, 5, being from I; V (lines 3, 4); VI (lines 1, 2); X; VIII.

2. Thy Thanks, my Soul, be raising.

H. J. Buckoll, 1842, p. 28.

3. Wake, my heart, and sing His praises.

E. Massie, 1867.

Nun ruhen alle Wälder.--(Goed. 60.)

[Evening.]

First published in Crü. Praxis, 1648, no. 15, in 9 stanzas of 6 lines; thence in Wackernagel: no. 102; Bachmann: no. 2; Unv. L. S.: 1851, no. 529. Cf. Koch, IV, 607; VIII, 194.

This is one of the finest and one of the earliest of Gerhardt's hymns. In the time of Flat Rationalism in Germany the first stanza became the object of much derision.Cf. "Jetzt schlafen weder Wälder," as no. 2338, in the final "Zugabe" to the Herrnhut Gesangbuch, 1735, dated "On Aug. 13, 1748, after Holy Communion at Herrnhut." This is a parody on the style of Gerhardt's stanzas I, II, III, VI, VII. It was translated and included in Part II of the Moravian H. Book, 1754, as "Tho' now no creature's sleeping." But the shallow wit showed how little poetry was then understood, for Gerhardt followed in thus beginning his hymn a much admired passage of Virgil, Aeneid IV, 522-528:

Among the common people the hymn became an exceeding favorite and was generally used as an evening prayer. Its childlike simplicity combined with its deep poetical charm has won the hearts of old and young to the present day. Frequently it has been sung on starry nights by men, women, or children in the fields on their homeward way, and many have laid themselves down for the long sleep of death with this hymn on their lips.

A troop of French soldiers entered Lisberg, a small town of Hesse, on the 14th of September, 1796, plundered and killed the inhabitants, and burned the whole town. A little way distant, at the foot of a mountain, was a small cottage in which a mother sat by the bedside of her sick child. Hearing the noise in the town and seeing the burning houses she locked the door and knelt by the bedside and prayed. As the door burst open and a furious soldier rushed in, she spread her hands over the child and cried:

and lo! the wild soldier suddenly dropped his arm, stepped to the bed, and laid his rough hand gently on the child's head. Then going outside he stood guard that none of his troop might harm the cottage.

Although in limited use in the English hymn books, the translations are numerous, as follows:

1. Quietly rest the woods and dales.

Omitting stanza VIII by Mrs. Findlater, in H. L. L., 1st Series, 1854, p. 36 (1884, p. 38), included in Cantate Domino, Boston, U. S. A., 1859.

2. Now all the woods are sleeping.

A full and good translation by Miss Winkworth, in the 2d ed., 1856, of the 1st Series of her Lyra Ger., 1855, p. 228. Included in full in her C. B. for England, 1863, and the Ohio Luth. Hyl., 1880.

3. Now woods their rest are keeping.

A translation of stanzas I, III, VIII, IX, by Edward Thring, as no. 18 in the Uppingham and Sherborne School H. Bk., 1874.

4. Jesu, our joy and loving Friend.

A translation of stanza VIII as no. 200 in the Appendix of 1743 to the Moravian H. Bk., 1742.

5. Now Woods and Fields are quiet.

In the Suppl. to Ger. Psal., ed. 1765, p. 73.

6. Display thy both wings over.

A translation of stanza VIII as no. 156 in pt. I of the Moravian H. Bk., 1754.

7. Jesus, our Guardian, Guide and Friend.

A translation of stanza VIII as no. 765 in the Moravian H. Bk., 1789 (1886, no. 1190).

8. Lo! Man and Beast are sleeping.

H. J. Buckoll, 1842, p. 76.

9. Now rest beneath night's shadow.

E. D. Yeomans, in Schaff's Kirchenfreund, 1853, p. 195.

10. Now rest the woods again.

Miss Winkworth, 1855, p. 226 (see no. 2 above).

11. Rise, my soul, thy vigil keep.

Miss Dunn, 1857, p. 9.

12. Now resteth all creation.

J. S. Stallybrass, in the Tonic Solfa Reporter, January, 1859, and Curwen's Harmonium and Organ Book, 1863, p. 58.

Ein Lämmlein geht und trägt die Schuld.--(Goed. 68.)

[Passiontide.]

Appeared in Crü. Praxis, 1648; thence in Wackernagel: no. 13; Bachmann: no. 7. Lauxmann in Koch VIII, 40, designates it as "the masterpiece of all Passion hymns." It is commonly sung in Germany and was included in the Unv. L. S.: 1851, no. 95, but because of the complexity and variety of figures it has not come into extensive English or American use.

English Versions:

1. A Lamb goes forth: the sins he bears
      Of every generation.

A translation of stanzas I and II and part of IV by A. T. Russell in his Psalms and Hymns, 1851.

2. A Lamb goes uncomplaining forth.

Mrs. Charles' translation (combining Gerhardt's stanzas II and III as 2) appears in her Voice of Christian Life in Song, 1858, p. 232. The second part of her version, beginning, "Gate of my heart, fly open wide" (stanza VII), appears in the following: (a) Bishop Ryle's Collection, 1860; (b) Reid's Praise Book, 1872; (c) Christian Hymns, Adelaide, 1872.

3. A Lamb bears all its guilt away
      The world thus to deliver.

A full translation by J. Kelly, 1867, p. 49. The Ohio Luth. Hymnal, 1880, reduces it to 4 stanzas.

4. A Lamb goes forth and bears the Guilt
      Of all the world together.

J. Gambold, as no. 24, in part III, 1746, of the Moravian H. Book. In part II of the 1754 edition it begins "A Lamb goes forth and on him bears." In the ed. of 1801 it begins "A Lamb went forth," etc. Stanzas V, IX, X, of this version, beginning, "Jesus, I never can forget," are included in E. P. Hood's Our Hymn Book, 1868.

5. A Lamb goes forth and bears the Guilt
      Of Adam's Generations.

A translation in the Suppl. to Ger. Psal., ed. 1765, and also Select Hymns from Ger. Psal., Tranquebar, 1754.

6. See, bowed beneath a fearful weight.

Miss Dunn, 1857, p. 32.

7. A Holy, Pure and Spotless Lamb.

Miss Cox, in Lyra Messianica, 1864, p. 230, and also in her Hymns from the German, 1864, p. 107.

8. Forth goes a dear devoted Lamb.

Dr. J. Guthrie, in his Sacred Lyrics, 1869, p. 82.

9. Behold a Lamb! so tired and faint.

Mrs. E. J. Carr, in Songs of the Inner Life, 1871. This version appeared also in Reid's Praise Book, 1872, with slight alterations.

10. A Lamb goes forth--for all the dues.

Catharine Macrea, in Reid's Praise Book, 1872, no. 990.

Wir singen dir, Emanuel.--(Goed. 150.)

[Christmas.]

Included in Crü. Praxis, 1653, no. 100 in 16 stanzas of 4 lines. In Ebeling, 1667, 5, no. 52, four stanzas were added as IV, VIII, IX, XVII. The complete text in 20 stanzas is in Wackernagel: no. 10; Bachmann: no. 42; Unv. L. S.: 1851, no. 58. Cf. Koch IV, 136.

English Versions:

1. Emmanuel, we sing Thy praise.

This translation of stanzas I-III, V-VII, XVIII-XX, appeared in the British Magazine, January, 1838, p. 35. Repeated, omitting the translation of stanza XIX, and beginning "Emmanuel, Thy name we sing," in Kennedy, 1863.

2. Immanuel, we sing to Thee.

A translation of stanzas I-III, V, by A. T. Russell in the Dalston Hospital H. Bk., 1848.

Befiehl du deine Wege.--(Goed. 185.)

[Trust in God.]

Appeared in Crü. Praxis, 1656, no. 333; Wackernagel: no. 66; Bachmann: no. 72 in 12 stanzas of 8 lines; Unv. L. S.: 1851, no. 620.

Lauxmann, in Koch VIII, 392, calls this hymn "the most comforting of all the hymns that have resounded on Paulus Gerhardt's golden lyre, sweeter to many souls than honey and the honey-comb." It is an acrostic on Luther's version of Psalm XXXVII, 5, "Befiehl dem Herren deine Wege und hoffe auf ihn, er wirds wohl machen," formed by the initial words of the stanzas, those of the Wackernagel edition being printed in blacker type. This acrostic form has been preserved by Jacobi and Stallybrass.

According to tradition Gerhardt wrote the hymn in a Saxon village to console his wife after they had been compelled to leave Berlin. But the hymn was printed as early as 1653, and although Gerhardt had to give up his position in 1666,Cf. p. 4 f. he did not leave Berlin until his appointment to Lübben in 1669, while his wife died in Berlin in 1668. Hence there appear to be two good reasons for discrediting this story. We must assume, therefore, that the hymn was written during the Mittenwalde period when as yet he could have had no thought of a position in Berlin. The perfection of the hymn is strikingly evinced by the fact that it soon spread through Germany, finding its way into all hymn books and ranking as one of the finest hymns of its class. Lauxmann relates that it was sung when the foundation stone of the first Lutheran church at Philadelphia was laid, May 2, 1743, and again on October 20, when Muhlenberg, the father of the American Lutheran Church, held the opening service.

English Versions:

1. Commit thou all thy griefs.

A very free but spirited rendering omitting stanzas V, IX-XI, by J. Wesley in his Hymns and Sacred Poems, 1739 (P. Works, 1869-72, Vol. I, p. 125), in 8 stanzas of 8 lines. Wesley has here caught, far more successfully than any other, the real ring and spirit of Gerhardt. His translation has been included in many hymn books and collections, and has come into very extended use, but generally abridged. In the United Presb. H. Bk., 1852, it began "To God commit thy griefs." It is also found under these headings:

(a) Thou on the Lord rely (stanza III).

(b) Thy everlasting truth (stanza V).

(c) Give to the winds thy fears (stanza IX). (This is the heading under which it appears in most American hymnals. Cf. p. 202.)

(d) O cast away thy fears (stanza IX altered).

(e) Through waves and clouds and storms (stanza X).

(f) Leave to his sovereign sway (stanza XIII).

(g) Thou seest our weakness, Lord (stanza XV).

(h) Put thou thy trust in God.

This last is a greatly altered cento with the stanza arrangement as follows:

In this form also it has appered in many hymnals.

2. Commit thy way, confiding.

A complete translation by Dr. H. Mills in the Evang. Review, Gettysburg, July, 1849, and his Horae Ger., 1856, p. 172. His stanzas I, II, VI, XII, were included in the Lutheran General Synod's Hymns, 1852, and I, II, V, VI, XI, XII, in the Ohio Luth. Hymnal, 1880.

3. Thy way and all thy sorrows,
      Give thou into His hand.

A complete translation by Rev. A. T. Russell as no. 233 in his Psalms and Hymns, 1851, in 3 parts. Part II begins "In vain the powers of darkness / Thy will, O God, oppose": (Gerhardt's stanza V). Part III (Gerhardt's stanza IX) begins "Awhile his consolation / He will to thee deny."

4. Commit thy way to God.

A translation omitting stanzas IX, X, XII, by Mrs. Charles in her Voice of Christian Life in Song, 1858, p. 239. A cento of her version (Gerhardt's stanzas I, II, VI, VIII, XI) appears as no. 138 in Jellicoe's Collection, 1867, and another cento (Gerhardt's I, VI-VIII, XI) appears as no. 283 in Bishop Ryle's Collection, 1860.

5. Commit thy way, O weeper.

A free paraphrase in 6 stanzas of 4 lines by J. S. Stallybrass for the Tonic-Solfa Reporter, July, 1857, repeated in Curwen's Child's Own H. Bk., 1862 and 1874.

6. Commit thou every sorrow, And care.

A translation of stanzas I-III, XII, by Miss Borthwick in Dr. Pagenstecher's Collection, 1864, no. 240.

7. Commit thy Ways and Goings.

J. C. Jacobi, 1720, 1722, 1732.

8. Commit thou thy each grievance.

In part I of the Moravian H. Bk., 1754 and 1849.

9. Commit thy ways, thy sorrows.

Mrs. Stanley Carr in her translation of Wildenhahn's Paul Gerhardt, 1845 and 1856.

10. Commit thy secret grief.

Miss Dunn, 1857, p. 89.

11. Commend thy way, O mortal.

In Madame de Pontes's Poets and Poetry of Germany, 1858, vol. I, p. 424.

12. Commit thou all thy ways, and all.

Mrs. Bevan, 1859, p. 124.

13. Commit thy way unto the Lord, thy heavy.

Dr. R. P. Dunn in Sacred Lyrics from the German, Philadelphia, 1859, p. 85.

14. To God thy way commending.

Miss Cox, 1864, p. 161; and in the Gilman-Schaff Lib. of Rel. Poetry, 1883, p. 510.

15. Commit whatever grieves thee.

J. Kelly, 1867, p. 225.cf. The Lutheran Hymnal, 1941, p. 520.

16. Commit thy way, O weeping.

Dr. J. Guthrie in his Sacred Lyrics, 1869, p. 92.

17. Commit the way before thee,

N. L. Frothingham, 1870, p. 164.

18. Commit thy course and keeping.

Dr. John Cairns, c. 1850, but first published in Edinburgh, 1881, as an eight-page tract.

Ist Gott für mich, so trete.--(Goed. 229.)

[Trust in God.]

Based on Romans, VIII, 31-39. Cf. Kock, IV, 457. Included in Crü. Praxis, 1656, no. 330; thence in Wackernagel: no. 63; Unv. L. S.: no. 418. Lauxmann, in Koch, VIII, 408, quotes Langbecker: "This heroic hymn of Gerhardt's is worthy to be placed side by side with Luther's 'Ein' feste Burg.'"

The poem was written undoubtedly at the time when the Elector, Frederick William of Brandenburg, Gerhardt's sovereign, threatened with his severe displeasure those of the Lutheran clergy who would not sign a declarationCf. p. 4. binding them not to say anything publicly against the Reformed party. To this, most probably, the words of the thirteenth stanza refer,

This hymn, springing from a heart full of faith and courage, has gone into the hearts of many, especially the tried and afflicted, cheering and encouraging them in the struggles of faith. The third stanza in particular has often been made a blessing:

A pious watchman in Berlin who, when calling the hours of the night, used to sing suitable verses, once sang these lines before the house of a shoemaker, who with some friends, just then assembled late at night, was in danger of leaving the Church and setting up a self-righteous sect. The well-known words, coming so unexpectedly, had the desired effect, the shoemaker declaring to his friends, "As for me, I will rest upon that ground of Jesus and his blood, and not seek any other master." The final stanza:

has been the dying song of many a believing Christian.

English Versions:

1. If God be on my side.

A good translation omitting stanzas IV-VI, by Miss Winkworth in her Lyra Ger., 1855, p. 130. Included, abridged, in Holy Song, 1869, and the Evang. Hyl., 1880, N. Y.

Centos from this translation are:

(a) "If Jesus be my friend" (stanza I, line 5), in the Andover Sabbath H. Bk., 1858; Hatfield's Church Book, 1872, etc.

(b) "Since Jesus is my friend" (stanza I, line 5 altered), in Robinson's Songs for the Sanctuary, N. Y., 1865; Laudes Domini, 1884, etc.

(c) "Here I can firmly rest" (stanza II), in the Andover Sabbath H. Bk., 1858; Pennsylvanian Lutheran Church Book, 1868.

2. If God Himself be for me.

A good translation omitting stanzas IV-VI, X, by R. Massie in his Lyra Domestica, 1864, p. 110; from this are varying centos, e. g. Laudes Domini, 1884, no. 378 beginning: "I build on this foundation" (stanza III).

3. Is God for me? I fear not.

A free but spirited version, omitting stanzas V, XI, XII, by Mrs. Bevan in her Songs of Eternal Life, 1858, p. 39. This version was repeated and abridged in Snepp's Songs of Grace and Glory. In Reid's Praise Book, 1872, it appears as three hymns, the first as above; (2) "There is no condemnation" (stanza VI), and (3) "In heaven is mine inheritance" (stanza X).

4. Is God for me? t'oppose me.

In full, by J. Kelly, 1867, p. 208. The Ohio Luth. Hyl. includes a part of this version, i. e. the translation of stanzas III, XIV, XV, beginning "My Faith securely buildeth."

5. Is God for me? what is it.

J. C. Jacobi, 1725, p. 41 (1732, p. 139). Included in the Moravian H. Book, 1754, and altered in Bishop Ryle's Collection, 1883. In later editions it is abridged, beginning "Is God my strong salvation?"

6. The world may rise against me round.

Also "The world may fall beneath my feet," translations of stanzas I and XIII, by Mrs. Stanley Carr in her translation of Wildenhahn's Paul Gerhardt, 1845 (1856, p. 173).

7. If Christ is mine, then all is mine.

A hymn of three stanzas in M. W. Stryker's Church Praise Book, 1884, no. 485, marked "Benjamin Beddome 1776." Another cento is given in Bishop Ryle's Hymns and Spiritual Songs, 1883, p. 71.

"If God is mine, then present things."

Geh aus, mein Herz, und suche Freud--(Goed. 239.)Cf. Friedrich von Spee's hymn: "Der trübe Winter ist vorbei"; also the Volkslied:
    "Herzlich tut mich erfreuen
    Die fröhlich Sommerzeit."
and B. Ringwald's
    "Gottlob, es ist vorhanden die frölich Sommerzeit."

This beautiful poem of thanksgiving for the divine goodness in the gift of the delights of summer and of anticipation of the joys of Paradise appeared in the 1656 ed. of Crü. Praxis, no. 412, in 15 stanzas of 6 lines. It was also printed in H. Müller's Geistliche Seelenmusik, 1659, and included in Wackernagel: no. 103; Bachmann: no. 85; Unv. L. S.: 1851, no. 732. Cf. Koch, IV, 591; VIII, 141. Like Luther, who fondly loved nature and admired its beauties, Gerhardt showed himself in this inspiring poem a real lover of God's creation.

English Versions:

1. Go forth, my heart, and seek delight.

A good translation omitting stanza XIV, by Miss Winkworth, in the First Series of her Lyra Ger., 1855, p. 136. Her translation of stanzas VIII-XI, beginning "Thy mighty working, mighty God," was included in the American Sabbath Hymn Book, 1858, and repeated in Boardman's Collection, Philadelphia, 1861.

2. The golden corn now waxes strong.

A good translation beginning with stanza VII, contributed by R. Massie to the 1857 ed. of Mercer's C. P. and H. Bk., no. 463 (1864, no. 500). In the Appendix to the Second Series of Lyra Domestica Mr. Massie reprinted his translation at page 102, and prefixed a version of stanzas I-VI, beginning "Go forth, my heart, nor linger here." In this form it appeared in full in Reid's Praise Book, 1872.

3. Come forth, my heart, and seek delight.

Miss Cox, 1841 and 1864.