i 
 
 HTMNOLOaY: 
 
 A LECTURE 
 
 « 
 
 DELIVERED IN THE QLEES'S HALL, UNDER THE AUSPICES OF THE 
 
 ART ASSOCIATION OF MONTREAL, 
 
 FEBRUARY 24Tn, 1885, 
 
 BY THE 
 
 REY. CANON NORMAN, M.A., D.C.L., 
 
 Vice-President of the AssociaiioH. 
 
 ASSISTED BY THE MENDELSSOHN CHOIR DNDER THE 
 DIRECTION OF MR. JOSEPH GOULD. 
 
 GAZETTE PRINTING COMPANY 
 
 1885. 
 
 
NOV 2 31972 
 
HYMNOLOGT. 
 
 There are obviously two ways of treating the subject before us. 
 One is, to look upon hymns simply as poetical compositions, 
 embodying praise of the Creator, thankfulness for mercies 
 received, public confession of sin, public entreaties for pardon or 
 protection, as the case may be, and declarations of faith in cer- 
 tain special religious verities. These poems may also be of a 
 more subjective character, and exhibit the aspirations of the 
 individual soul ; its yearnings after a higher and purer state of 
 being, its private struggles, its trials, its contrition, its hopes and 
 fears. 
 
 Hymns have been treated in this way by Lord Selborne, for- 
 merly Eoundell Palmer, in his beautiful work, entitled the " Book 
 of Praise;" again by Bishop Huntington in his " Hymns of the 
 Ages ;" by Dr. Mason Neale in his " Hymns of the Eastern 
 Church," and by many more. 
 
 Or hymns may be regarded as linked to musical strains, and 
 unless in that ooiinexion, as maimed and truncated. 
 
 I need scarcely ii.form you that it is the latter of these two 
 aspects, which I at present contemplate, and which I shall have 
 the pleasure of bringing before you. I shall treat mainly of 
 hymns as lyric poems, set to music, and I congratulate myself and 
 you, that wo shall have the advantage of listening to some hymns 
 as rendered by 'that well-known organization, the Mendelssohn 
 Choir, under the direction of its still better known conductor, my 
 kind friend and brother musician, Mr. Joseph Grould. To them, 
 by anticipation, I tender my very best thanks for their invaluable 
 co-operation, and to Mr. Gould especially, for the infinite trouble 
 that he has taken in the matter. 
 
 I should perhaps state that in the case of most of the composi- 
 
tions that will be sung to-night only a portion will be given, for 
 fear of undue length ; also that several of them would be 
 rendered more interesting and etfeetive if the organ in this build- 
 ing were worthy of the hall and of this city of Montreal. 
 
 Perhaps the less I say of this instrument the better. Praise it 
 I cannot ; but the accompaniment by a fine organ of some of the 
 hymns, especially the chorales, would hive been of considerable 
 service, and some pieces had to be omiUed for lack of a good 
 organ accompaniment. 
 
 My subject to-night is perplexing from the very copiousness of 
 the material. "When I tell you that the number of hymnals in 
 the English language alone can be estimated by hundreds, you 
 will readily conceive that it is not easy to condense remarks, and 
 to avoid trespassing on the patience of listeners. 
 
 I shall not, I hope, appear too didactic when i say that the 
 word ''hymn" belongs to Classical Greek, and wis originally 
 applied to any song or poem in honour of Gods, heroes or famous 
 men. Pindar calls his odes "hymns," and the Athenian Dra- 
 matists, such as Eui'ipides, use the word not infrequently with a 
 cognate signification. We possess also hymns composed by other 
 Greek writers, such as Homer, Hesiod, Callimachus, and 
 Cleanthes. The three most ancient Greek musical examples 
 known to exist are hymns to Apollo, Nemesis, and Calliope. 
 These are melodies or notes in succession. The hymns in 
 question are comparatively late, being about the 3rd centuiy 
 A. D. It is much to be regretted that we have so few un- 
 doubted examples of ancient music. Dr. Bui'ney has preserved 
 the three that I have mentioned translated into modern notation. 
 Their authorship is uncertain. 
 
 Harmony, as we now understand the word, was unknown in 
 these early times, and Isidore, of Seville, is said to have written 
 the earliest known work on Harmony. 
 
 The Latin writers did not adopt the special word " hymn," 
 and there are not many classical Latin poems to which the name 
 can correctly be applied ; but Catullus and Horace supply 
 us with one or two specimens. Augustine gives us a definition 
 of the ideal hymn, as "Praise of God with song," but the idea 
 now incUides prayer and spiritual meditation as well as praise 
 and thanllsgiving. ^^ 
 
In early Christian times the words *' psalm" and " hymn" were 
 nearly convertible terms, and the name *' hymn" ie sometimes 
 applied to the Psalms, in the Septuagint version of the Old Tes- 
 tament, while the Venerable Bede calls the whole Psalter the 
 '' Book of Hymns." 
 
 Jesus Christ is related by Sts. Matthew and Mark to have sung 
 a hymn with His disciples after the Last Supper, and before going 
 to the Mount of Olives. This is generally supposed to have been 
 part of the great Hallel, i.e., a portion of the Psalter from the 
 113th to the 118th Ps., inclusive. The Jews were, as we know, 
 in the habit of singing these Psalms in the course of the Paschal 
 Feast. There ?s also a tradition that the hymn sung on that 
 memorable occasion was the basis of the melodious and pathetic 
 *• Tonus Peregrinus." Of the truth of this tradition we cannot 
 be certain, but as it opens up the whole and much vexed question 
 of the antiquity and origin of the Gregorian Tones, or more 
 strictly the plain chant, I will be merciful, and say but little on 
 that head. There is no doubt that the Hebrew race are and ever 
 have been a music-loving people. A person must be a very care- 
 less reader of the Old Testament who does not detect this featui-e 
 in its pages ; and also we cannot fail to notice the many sacred 
 songs which abound in the Old Testament. 
 
 The Hebrew music may have been akin to that of the As- 
 syrians and Egyptians, probably nearer to the former, and the 
 Christian Church may have received the ancient melodies trans- 
 mitted to them by the older Church. These may also have been 
 accepted by the Greeks, who invented the names of the four old 
 authentic modes, viz., Dorian, Phrygian, Lydian, and Mixo- 
 Lydian. These modes may thus have originated in the East, and 
 the oldest known Hebrew chants are said to be in the Phrygian 
 and Mixo-Lydian modes. I should say that some ancient and 
 very interesting Hebrew hymns are preserved in Mr. Engel's 
 work, " Music^f the most ancient nations." 
 
 The expression "authentic modes" was later applied to five 
 modes accoi-ding to the Gregorian sjstem, by the addition of the 
 Ionian mode. 
 
 The choir will sing one of these Hebrew hymns, "Ana be 
 korenu." 
 
 On the authority of the Rev. Mr. de Sola, I may observe that 
 
6 
 
 the words and melody are about TOO years old. It is sung in the 
 Spanish and Portuguese congregations throughout the world on 
 the eve of the day of Atonement. 
 
 Some eminent composers were of Jewish extraction, as for 
 instance, Halevy, Meyerbeer, and above all Mendelssohn. In his 
 writings there is said to be traceable some very ancient phrases. 
 He occasionally uses the very old pentatonic scale, i.e., the scale 
 of five notes, and there is apparently an affinity between some of 
 his compositions and the music used in the Jewish synagogues. 
 
 This pentatonic scale lends a peculiar character to some old 
 Scotch and Irish music. 
 
 Thus the plain chant may have a very ancient basis, but beyond 
 that we cannot for certain pronounce. It was, perhaps, at all 
 events, co-eval with Christianity. At first, it was handed down by 
 oral tradition, not being committed to writing. It is the basis of 
 all true chui'ch music. Though sometimes uncouth, it is very 
 grand. Let me instance the hymn for Advent, *' O come, O come 
 Emmanuel." The words are fi*om the Latin, the melody belongs 
 to the old plain song. I ask has any one who has heard a Choral 
 Litany well done, and has not been struck by its beauty ? Who 
 is not impressed by a Cathedi*al Service carefully and reverently 
 rendered ? To the plain song we owe our choral amens, versicles, 
 and Litany cadence. Some here may have heard Mendelssohn's 
 splendid Te Deum in A, and can recall the marvellous and witch- 
 ing effect produced by the introduction of the Litany cadence to 
 the words, " Holy, Holy, Holy, Lord God of Sabaoth." It is 
 like a strain from another world. In fact, the term " unearthly" 
 is exactly applicable to some of these ancient melodies. 
 
 It would seem that the original distinction between a psalm 
 and a hymn consisted in this featui'e, that the fonner was accom- 
 panied by stringed instruments, such as the psaltery. We find 
 allusions to the singing of Psalms in the writings of St. Paul and 
 St. James. The former and Silas, when immured jn the dungeon 
 at Philippi, are literally said to have "sung a hymn to God," and 
 St. Paul speaks of "psalms and hymns and spiritual songs." 
 Again, St. Panl, in the 14th ch. Ist Ep. to the Corinthians, alludes 
 to the singing of psalms, which would indicate a reference to 
 public worship. But, in addition, there are several passages in 
 St. Paul's Epistles, which owing to the resemblance which they 
 
bear to later Oriental hymnody, have been supposed by some to 
 be extracts from Christian hymns of the Apostolic age. 
 Vide Ephes., 5 c, 14 v., 1 Tim., 3 c, 16 v., 1 Tim., 6 c. 15 and 16 v., 
 2 Tim., 2c., 11 and 12v. Also, the thanksgiving of the assembled 
 disciples, as recorded in Acts, 4 c, is, from its poetical rhythm, 
 strikingly similar in character to the New Testament canti- 
 cles, which have been in use in parts of the Christian 
 hm'ch from very early times. The cpcDS i\apov, a compo- 
 sition ^.scribed to Athenagenes, and still occasionally used in 
 in the offices of the Eastern Church, is supposed to be the earliest 
 form of a Christian hymn, as the term is at present understood, as 
 distinct from a psalm or any ordinary act of praise. It has been 
 well rendered into English by Canon Bright, commencing ''Light 
 of gladness, beam divine." 
 
 If we turn to the Eastern Church we find that hymnody pre- 
 vailed from the earliest times, in fact, there is no doubt that the 
 East set the example to the West. Setting aside mattei's of tra- 
 dition, we find that the practice of hymn-singing, and indeed 
 what we now call antiphonal hymn-singing prevailed in Bithynia, 
 at the beginning of the 2nd century. Pliny, in his celebrated 
 letter to Trajan, stated that the Christians of Bithynia were in 
 the habit of assembling early on fixed days, and singing hymns 
 from side to side to Christ as God. *' Stato die ante luccm con- 
 venire carmenque Christo, quasi Deo, dicere secum invicem." 
 
 Ignatius is said by the historian Socrates to have introduced 
 antiphonal singing into the Church at Antioch, from whence it 
 spread to other churches. There seems also to be an allusion to 
 choral singing in the epistle of Ignatius to the Eoman Christians. 
 The alternate singing of the Old Testament Psalms was first 
 introduced into the Church at Antioch, in the reign of Constan- 
 tine II., by two monks, Flavianus and Diodorus. Tertullian also 
 alludes to the singing of hymns at the Love Feasts. The Apos- 
 tolic Constitutions enjoined the use of a morning and evening 
 hymn, and Clement of Alexandi*ia, in his " Paedagogus," has a 
 very fine primitive hymn, which has been translated by the Rev. 
 A. Chatfield, and begins " O Thou, the King of Saints, all conquer- 
 ing Woi*d." The Greek morning hymn, to which I have just 
 referred, is the original of the well-known " Gloria in Excelsis.'* 
 The Latin version of this magnificent hymn was introd' ced into 
 Rome by Telesphorus, as early as the time of Hadrian. 
 
8 
 
 • We can trace the use of hymns in other early Greek writings, 
 and they were highly esteemed by the authorities of the day. 
 Ephrsera of Bdessa, who wrote in Syriac, is the earliest volumi- 
 nous writer whose hymns were extant. Some of them have been 
 translated by the Eev. Henry Burgess, and are valuable contribu- 
 tions to the store of ancient hymnody. They combine simplicity 
 and tenderness with hope and faith. The chief Greek hymn- 
 writers, contemporary with Ephraem, were Methodius, Bishop of 
 Tyre ; Synesius, Bishop of Ptolemais, and Gregory Nazianzen, 
 patriarch of Constantinople. Some of their writings have been 
 translated into English by the Rev. A. Chatfield. The one most 
 likely to be known in its English garb to those present is " Loi-d 
 Jesus think of me," the original by Synesius, which is found in 
 many collections. The metres of these hymns mainly followed 
 classical models. 
 
 Chrysostom, it may be said, laboured as zealously for the cause 
 of hymnody at Constantinople as Ambrose did at Milan. 
 
 Romanus, who lived at the end of the 5th century, was the 
 founder of the peculiar system of hymnody which still prevails 
 in the Greek communion. The estimation in which these hymns 
 are held will be understood when it is remembered that, according 
 to the late Dr. Nsale, fom^-fifths of the ancient Greek sei-vices were 
 occupied by hymns. The form of these hymns is more Eastern 
 than Greek, and the system is elaborately technical, extremely 
 wearisome to an ordinary reader. Two schools of Greek hymnody 
 grew out of this system; one, that of Romanus and his followers, 
 during the 6th and 7th centuries ; the other, which arose in the 
 8th century, and continued till this particular art died out. Car- 
 dinal Pitra, in his " Analecta," has published a number of speci- 
 mens of the earlier school, which he describes as very dramatic 
 and vigorous, but, in some respects, so lengthy as to resemble a 
 modern oratorio. The later school followed a more strictly 
 theological plan, and some of the writei*s tried to forget the per- 
 Ljcutions of the day by retiring into monasteries. 
 - Many of my hearers must be familiar with English vei*sions of 
 these late Greek melodists. For these versions we are mainly 
 indebted to Br. Neale. He was a true poet, and has translated 
 many of these hymns in a most felicitous manner. His versions 
 are very faithful and connect, and yet have all the freedom of an 
 
9 
 
 original. Thus he has translated the hymn of Anatolius, of Con- 
 stantinople, Zocpepds rpiHV/ja, in the form *' Fierce was the 
 wild billow." This hymn, whether in the original or the trans- 
 lation, possesses a wonderful swing and spirit. Then there is a 
 still more familiar hymn, also by Anatolius, which is known 
 under the heading '^The day is past and over." Few un- 
 acquainted with the facts would suspect that this hymn, as we 
 have it, is a translation. Anatolius, I should mention, is even 
 earlier than Eomanus. He lived in the 5tb centuiy. Another 
 well-known hymn by Andrew, of Crete, is found in some hymn 
 books. It begins, " Christian dost thou see them ? "' The music is 
 by Dykes. This we also owe to Dr. Neale. I will enumerate a 
 few others, translated by the same hand, e.g., " Come ye faithful, 
 raise the strain," by John Damascene; " Stars of the morning so 
 gloriously bright," by St. Joseph of the Studium, and the follow- 
 ing special favourites, *' Art thou weary," music by Sir A. Baker, 
 the original of which is by Stephen, of St. Saba. Again, " O 
 happy band of Pilgrims," based on a hymn by St. Joseph of the 
 Studium, and ''Safe home, safe home in port," the original also 
 by St. Joseph. These last three are more free adaptations of 
 Oreek hymns than faithful transcripts of originals; but many of 
 us would sorely regret them if they were expunged from our 
 hymnals. 
 
 Turning to the Western Church, we find that the rise of 
 hymnody was later there than in the East. Hilary, Bishop of 
 Poitiers, in the 4th century, seems to have been the earliest 
 Latin hymn writer, and he borrowed the idea from the Church in 
 Asia Minor. In the West, the private use of hymns preceded 
 their public ecclesiastical use. Jerome says that in his days, 
 those who went into the fields could hear peasants singing David's 
 psalms or hymns. Ambrose, in times of great religious trouble, 
 introduced hymns into the Church of Milan, and his convert, 
 Augustine, describes the powerful eifect produced on himself and 
 others by the rendering of these hymns. Perhaps (whoevei* was 
 the author of that sublime unmetricai hymn the '' Te Deum") its 
 public use began about this time. The authorship has been 
 ascribed to Ambrose himself, and to him certainly belongs the 
 honour of inti'oducing the true metrical hymn, for the rhythm of 
 older hymns was distinct from actual metre. Ambrose also was 
 
10 
 
 the first to reduce the old plain song melodies to something like 
 a definite system. He fixed the four diatonic scales, and he was 
 followed by Gregory, who added four more. Owing to the 
 labours of both these eminent men we possess the eight tones, 
 commonly but somewhat incorrectly called Gregorian, as well as 
 other hymnal melodies. The " peregrine tone" is most likely 
 of later date. The Ambrosian music seems to have been 
 congi'egational in character, but the substitution by Gregory of 
 the octave for the tetra chord, as the fundamental division of the 
 scale, was an enormous step in advance. The Ambrosian hymns 
 are nearly 100 in number, and some are said to have been com- 
 posed by Ambrose himself. They exhibit many valuable quali- 
 ties, are suitable for public worship, and have exercised much 
 influence over hymn writers in all ages. It is right, however, 
 to state that some high authorities doubt whether Ambrose did 
 more than adapt and publicly introduce musical material already 
 existing. He is believed to have instituted in Milan what wo 
 now call antiphonal singing which has a natural connexion with 
 the old Hebrew parallelisms. The traces of these are visible in the 
 colon, which divides the verses in the Psalms. * 
 
 The original of the word " antiphonal," when used by Aristotle, 
 bore a diiferent meaning. We now, by it, signify two sides of a 
 choir singing alternately. Aristotle applied it to a body of bo\ s 
 or females and men singing together, the former, of course, an 
 octave above the last. Hymn-singing also up to the 9th centuiy 
 is believed to have been in unison, and no instrumental church 
 music seems to have been in use in early Christian times. The 
 famous Benedict in the 6th century reduced the Ambrosian 
 hymns to a regular system. The two great national liturgies of 
 the time were those of Lombardy and Spain, and hymns sanc- 
 tioned by authority found place in both. These hymns were 
 afterwai'ds collected into breviaries, and date from the time of 
 Hilary and Ambrose to that of Gregory the great. 
 
 The metre adopted by Ambrose was strictly dimeter iambic, in 
 other words, the long measure of English hymns, and this was 
 for a considerable period regaixled as the normal metre of the 
 Latin hymn. With Ambrose, both as regards time and merit, 
 must be classed Prudentius, a layman and a native of Saragossa, 
 in Spain. He used different metres from Ambrose, but I will 
 
 ( 
 
11 
 
 spare you their names. His very fine hymn which begins 
 " corde natus ex parentis" is really a long and magnificent poem, 
 from which most churches only selected one portion. We have a 
 portion of it in that very grand Christmas hymn, translated by 
 Dr. Neale and Sir Henry Baker. It begins '' Of the Father's love 
 begotten." The music of this is a plain song melody which suits 
 the words excellently well. The hymn when properly sung 
 carries a listener with it. 
 
 The reputation of Prudentius as a Christian poet is deservedly 
 high, though some of his writings, however beautiful, are not 
 classical. In the 5th and 6th centuries the only hymn-writers of 
 any eminence were Gregory the Great and Yenantius Fortunatus. 
 The latter wrote " Pange lingua gloriosi," translated by Neale, 
 and the grand * Yexilla regis prodeunt," "The royal bummers 
 forward go." 
 
 In the 10th century a style was invented consisting of regular 
 lines of equal syllables, sometimes in rhyme, but governed by 
 accent rather than quantity. Some of the finest mediaeval hymns 
 were written in this metre. Nevertheless, with this transition 
 from ancient to modern forms of versification, the quality of the 
 hymns began to deteriorate. Bade was a fairly successful hymn- 
 writer, and Theodulph, Bishop of Orleans, at the end of the Tth 
 century, was the author of the celebrated hymn which has been 
 made known to us in an English form, as '* Glory, laud, and 
 honour to Thee Redeemer King," and is generally sung on Palm 
 Sunday. Maurus, the learned Bishop of Mainz, also at this time 
 enriched the Christian church with some excellent poems. 
 
 Among the hjnnns of this period are three anonymous ones of 
 gi*eat beauty, which are to be met with in various forms in most 
 hymn-books. These are (1) " Blessed city, Heavenly Salem," (2) 
 " Alleluia, sound ye in strains of holy praise," called the endless 
 Alleluia, and best known of all, (3) "Alleluia, song of sweetness." 
 Later in the beginning of the 11th century, Fulbert, Bishop of 
 Chartres, composed the " Chonis nova) Hierusalem" so dear to 
 us in the form " Ye choirs of New Jerusalem." This group are 
 amongst the best of the class that may be called the New 
 Jerusalem Hymns, and are remarkable for their melody, their 
 imagination, and their faith. 
 
 To the early mediaeval period belongs the celebrated hymn 
 
12 
 
 " Yeni Creator Spiritus." It has been attributed to the Emperor 
 Charlemagne, but it is more likely that Charles the Bald, his 
 grandson, was its composer. The first mention of its use is 
 by the Benedictines in 898. It has since been constantly sung 
 in Western Christendom, and it is specially familiar to members 
 of the Anglican Church as '' Come, Holy Ghost, our souls in- 
 spire." It has been translated by Bishop Cosin. Some hymns, 
 written in unclassical Latin, were introduced about this 
 time into the Canon of the Mass, and were called proses 
 or sequences. In the case of many of these, it is likely that 
 the writer of the words was also the composer of the music. 
 In later times, portions of these ancient tunes were chosen 
 as "Canti fermi" for Motetts and Masses. One of the best 
 known motetts is the "Ave Yerum." It has been set to music 
 by many eminent composers. The choir will now sing one of 
 Gounod's settings of this motett. Notker, a Benedictine of 
 this period, introduced for the fii*st time these sequences be- 
 tween the Epistle and Gospel in the Communion office. They 
 may be said to be the beginning of the later mediaeval 
 period of Latin hymnody. One of the most remarkable of 
 these sequences alluded to, beginning "Media in Ylta"' is 
 found, in substance, in one of the most solemn and beau- 
 tiful 01 Anglican offices, I mean the Burial Service. That por- 
 tion directed to be said or sung at the grave, and which com- 
 mences " In the midst of life we are in death," is taken from 
 this sequence, and one of Luther's funeral hymns is also a trans- 
 lation of it. The most lovely of Latin hymns, in the opinion of 
 that cultivated scholar Archbishop Trench, is the Golden Se- 
 quence " Holy Spirit, Lord of Light." Its authorship and precise 
 date are uncertain. Berex^^arius of Tours, Bernard of Clairvaux 
 and Abelard were well known Latin mediseval hymn writers, and 
 last, but perhaps greatest of all, comes Adam of St. Yictor- 
 Trench's " Sacred Latin Poetry," contains several choice speci- 
 mens of his hymns. Palestrina, in the 16th century, made a col- 
 lection of Festival hymns, harmonized in the most masterly and 
 elaborate manner. This collection is perhaps of its kind the 
 finest in ths world. 
 
 But the mo^t celebrated hymns of this period are the " Dies 
 Ii*ffi," by Thomas de Celano, (companion and biographer of Francis 
 
13 
 
 of Assisi), and the "Stabat Mater dolorosa" of Jacopone. Neither 
 of these are classical in their diction, but viewed as religious 
 poetry, they are wonderfully grand and beautiful. The former 
 has often been translated into English. The best versions known 
 to me are, one by Sir Walter Scott, which is very brief, one by 
 Dean Stanley, another by Dr. Irons, which is found in Hymns 
 Ancient and Modem, set to music by Dr. Dykes, another by Dean 
 Alford,and one by Philip Worsley, which though rather rugged, and 
 perhaps lacking in musical flow, is very faithful to the original, and 
 full of impressive power. The" Stabat Mater" is also known in an 
 English garb. The most familiar version is the one that begins 
 " By the Cross sad vigil Keeping." This hymn is also familiar 
 to musicians in Rossini's dramatic and melodious, though some- 
 what operatic, arrangement. Besides these, the 13th Century 
 produced tht famous sequence " Sion, lift thy voice and sing," 
 and the four celebrated sacramental hymns of St. Thomas Aqui- 
 nas, translated in part by Dr. Neale, (1) " Of the glorious Body 
 telling," (2) "The Heavenly Word proceeding forth," (3) "Let 
 us with hearts renewed our grateful homage pay" and (4) "Adoro 
 te devote latens Deltas," rendered in English by Bishop Woodford 
 as " Thee we adore, O hidden Saviour, Thee." These show 
 marks of great genius and deep feeling. 
 
 Three monasteries, St. Gall, near* Constance, Cluny, in Bur- 
 gundy, and St. Victor, near Paris, were the cradles of many me- 
 diaeval hymns. Gottschalk, of St. Gall, was perhaps the author 
 of the sequence so familiar through Dr. Neale's admirable 
 translation — " The strain upraise of joy and praise." Bernard 
 of Morlaix was a monk of Cluny, and was the author of 
 a long and striking poem, from parts of which Dr. Neale's 
 familiar hymn "Jerusalem the Golden" and others have 
 been derived. One of the most popular of mediieval Latin 
 hymns is the " Adeste fidelcs." which the choir will now sing to 
 the traditional tune. It is said to have been cast into its present 
 form by John Reading in 1760, but is, undoubtedly, mediaeval 
 in origin. Bernai*d of Clairvaux, has been already mentioned 
 He was the founder of that fervid and passionate form of Latin 
 poetry, which some may consider too sensuous and earthly, when 
 applied to Divine persons, but which has been acceptable to fol- 
 lowers of more than one school of thought. " Jesu the very 
 
14 
 
 thought of Thee," "Jesu Thou joy of loving hearts," and "O 
 Jesu, King most wonderful" are parts of one lengthy poem by 
 the aforesaid Bernard. 
 
 The sequences to which I have referred were gradually multi- 
 plied, then in some quarters used in the vernacular, and finally 
 were disused. They were discouraged in Rome even before the 
 Reformation period. In the 17th century the Roman Breviary 
 was revised. Many mediaeval hymns were struck out. Some 
 new ones were inserted, and some of the older ones freely altered. 
 These changes were not always improvements. At that time a 
 hymn by St. Francois Xavier was introduced, known to most of 
 us through its English version, which was wi'itten in the main by 
 Caswali. This begins " My God, I love Thee." The Parisian 
 Hymnary underwent several revisions ; Jean Baptiste Sauteul, 
 of the Abbey of St. Victor, contributed some very fine hymns to 
 the second revision in the 17th century. Some good Latin 
 hymns have been written since the Reformation, both in Germany 
 and England, but in most cases they have necessarily given place 
 to hymns in the veraacular. 
 
 "We now turn to German hymnody, and Luther's name natu- 
 rally suggests itself. He was a cultivated musician, and, assisted 
 by other writers, less known than himself out of Germany, he 
 promoted the study of hymns. He wrote about thirty-seven 
 hymns, of which twenty-five are original and the remainder are 
 translations or adaptations of Latin originals. They are mostly 
 instinct with simple faith and enthusiasm. Above them all to were 
 the " Sin feste Burg," which every one must admit to be an 
 inspiration. It has been called the MareeiUaise of the Reformation. 
 
 Lutaer's hymns, no doubt, greatly aided that great work. 
 They were sung everywhere. They gave a congregational char- 
 acter to public woinship, and being in many cases set to well 
 knowii tunes, they speedily became popular. 
 
 I may say that no finer hymn singing exists anywhere than 
 that T7hich can be heard in Lutheran churches. It may seem 
 somewhat slow to our ears, but there is a massive solidity about 
 it that is inexpressibly grand and solemn. 
 
 Mcst of the hj^mns of the Lutheran School breathe a spirit of 
 resignation to the Divine will, and preparation for death and 
 judgment. This is not to be wondered at, when we consider the 
 
15 
 
 state of the times, and impending persecution. The well known 
 hymn " Great God what do I see and hear," generally assigned 
 to Luther himself, is reall}', I believe, the work of Ringwaldt, a 
 follower of the great Eeformer, while the music is by Klug. 
 Another very beautiful hymn and universally popular in Ger- 
 many has been utilized by Mendelssohn, and appears as the 
 chorale : *' Sleepers wake " in the oratorio of St. Paul. Out of 
 the many other fine hymns, v/hich saw the light during that 
 stormy period, I desire to mention only one, " Nun danket alle 
 Gott," ''Now, thank we all our God." This was written bv 
 Martin Einckhart in 1636. It has been called the Te Deum of 
 Germany, being usually sung on occasions of public thanksgiving. 
 Mendelssohn has introduced it with great skill and elfect at the 
 conclusion of his Lobgesang. 
 
 The works of the most esteemed German hymn writers in the 
 first half of the 17th century may be found in Miss Winkworth's 
 interesting book, " Christian singers of Germany." They are 
 very spiritedly rendered into English. Paul Gerhardt has been 
 considered as the prince of Lutheran poets. His poems have 
 been compared, and justly, to Keble's "Chrisiixn year." They are 
 more for private than congregational use, and breathe the lan- 
 guage of individual experience. 
 
 One of the finest of German hymns attributed to Gei*hai*dt, 
 is *' O Sacred Head " but is supposed by some to have sprung 
 from a Latin original. It is set to a chorale by Haseler. 
 
 Towards the close of the 17th century a new school of reli- 
 gious thought arose, to which the name of Pietist has been 
 given. Freylinghausen was the most popular writer of this 
 school, though others may have equalled him in excellence. I can- 
 not even name them, for I should exhaust all your patience. Of the 
 writei*8 of the Pietist school, I would only mention Schmolke, 
 the most voluminous of German hymn writers, author of more 
 than 1,100 religious poems, Neander, Arnold and Tersteegen. 
 
 Towaixis the middle of the 18th century there was a reaction 
 against Pietism, as proved by the popularity of Gellert and 
 Klopstock, especially the former. The enthusiasm which greeted 
 the publication of his spiritual odes and songs was quite remark- 
 able. The tide of opinion has since changed, and they are now 
 neglected. Yon Hardenburg and De la Motte Fouqu^, tho 
 
:"^ 
 
 16 
 
 celebrated author of Sintram and Undine, both lived at the time 
 of the first French Eevolution, and were poets of no mean ability, 
 but their writings are hardly fitted for congregational purposes. 
 The German hymn writers of the present day are numerous. 
 Perhaps the foremost of them is Spitta. Some of his hymns have 
 been much admired. They have been translated by Mr. Massie, 
 while Miss Cox, Miss Fry, Miss Dunn and especially Miss Wink- 
 worth, have done much to popularize German hymns among 
 English speaking people. " O sinner, lift the eye of faith," is 
 German, and is translated by Miss Cox. The tune to which this 
 hymn is set in Hymns, Ancient and Modern, is also German. 
 Miss Cox is besides the translator of the favourite hymn, " O, let 
 him whose sorrow." The melody and words of a very spirited 
 hymn, " Who are these like stars appearing," are both German. 
 
 We now come to the fourth, and perhaps the most interesting 
 portion of our field of enquiry, — British hymns. Archbishop 
 Cranmer endeavoured to present to the English people in their 
 mother tongue some of the hymns of the Ancient Church. King 
 Henry's Primer, published in 1545, contai: ed English metrical 
 translations of several Ambrosian hymns. But in the next reign, 
 Marot and Bezas French metrical version of the Old Testament 
 Psalms began to exercise an influence in England. Calvin intro- 
 duced them into his system of worship, and though at first they 
 were generally fashionable, being sung to popular airs, yet when 
 they were interdicted by the Eoman Catholic priesthood, they 
 became a badge of the Reformed party. The example thus set 
 produced what is known in England as the old version of the 
 Psalms. This appeared in 1562, and was the joint work of 
 several hands, though commonly associated with the names of 
 two, Sternhold and Hopkins, Bishop Jewel describes the grand 
 effect produced by these Psalms when sung after the sermons at 
 St. Paul's Cross by large congregations of men, women and 
 children. , 
 
 This Psaltei' was published with some authority, and it was 
 allowed, though not enjoined. There was no particular pro- 
 vision for hymn singing in the Post Eeformational Prayer 
 Books, but to promote Church music " hymns or such like songs 
 to the praise of Almighty God " were sanctioned. The Old 
 Version was published by John Daye, and contained, besides the 
 
17 
 
 versified Psalms, metrical versions of the Canticles and Lord's 
 Prayer, as well as a few original hymns. Many alterations were 
 subsequently introduced, and the present text differs materially 
 from the edition of 1562. In 1564 the general assembly in Scot- 
 land published and enjoined, among other matters, a metrical 
 version of the Psalms. This was in some measui-e based on the 
 old version . 
 
 Charles I. endeavom*ed, but without success, to enforce on 
 England and Scotland a version of the Psalms which was in Dart 
 the work of his father, James I., and was completed by the Earl 
 of Stirling. During the time of the Long Parliament, the West- 
 minster Assembly decided in favour of a version of the Psalms 
 by Rouse, one of Cromwell's officials, who had made large use of 
 Lord Stirling's translation. Rouse's work was the basis of the 
 Paraphrase of the Psalms, which in 1649 was ordered to be used 
 in Scotland, i.nd has been retained ever since. It is a sort of 
 medium betw jen the harshness of the old, and the modernism of 
 the new version. In 1662 the passage was inserted in the English 
 Book of Common Prayer, "In quires and places where they sing, 
 here followeth the Anthem." This clause possesses both Synodical 
 and Parliamentary authority, and virtually sanctioned, for Angli- 
 cans, the use of hymns not absolutely taken out of Scripture. 
 The New Version, as it is called, appeared in 1696. A supple- 
 ment containing additions in the shape of hymns accompanied 
 by tunes was published later. Some of these are still printed in 
 Prayer Books. The best of them is one that all of us would be 
 sorry to lose. Its opening line is " While shepherds watched 
 their flocks by night," and it is ascribed to Tate, the then Poet 
 Laureate. This New Version, as you doubtless know, was the 
 work of two Irishmen, Nicholas Brady and the above-mentioned 
 Nahnm Tate. Many have uiade meny about the result. Witness 
 the lines, ''Nicholas Brady and Nahum Tate divided the Psalms 
 into six and eight." And there are conflicting opinions as to the 
 relative merits of the two versions. The older is more faithful 
 to the Hebrew, while the newer, though more fluent and polished, 
 is audaciously free in dealing with a sacred original. At the 
 same time the 8th, 57th, 84th and 100th Psalms by Sternhold 
 and Hopkins, and the 23rd, 34th and 36th Psalms by Tate and 
 Brady, will always be prized. There are two metrical versions of . 
 2 
 
18 
 
 the 100th Ps. ; one commonly called the Old Hundredth, written 
 by Kethe, said to be a Scotchman, one of the band who took part 
 in the preparation of the old version. This begins, *' All people 
 that on earth do dwell." The other commences " With one con- 
 sent let all the earth," and is the work of Tate and Brady. The 
 choir will sing a portion of the former at the close of the lecture. 
 The tune is old French, composed, it is said, by Claude Goudimel 
 in the 16 th century. The melody, as we have it, was then sung 
 by the tenor part. Other and truer poets than those just men- 
 tioned have essayed to metrify the Psalter, and have not 
 succeeded. The failure in all these cases was inherent in the 
 attempt itself. The Psalms in their original poetry are full of 
 divine life and force. When they are reduced to modern rhyme 
 and metre much of this is evaporated and lost. The Psalms 
 supply copious material for hymns, but for the most part are 
 impatient of any attempt at modern versification. I might here 
 mention that the hymns found at the end of many Anglican 
 Prayer Books, however excellent in themselves, were first in- 
 serted at about 1791 and possess no other authority than that of 
 the printer. 
 
 Congregational hymnody was unknown for some time after the 
 Eeformation. Wedderburn, Dickson and Baker, of Scotland, and 
 Crashaw, of England, were the first to free themselves from the 
 trammels of the times. The last named was a man of pure taste 
 and imaginative faculty. He become a Eoman Catholic and lost 
 his preferment in consequence. Wither again was a poet of no 
 ordinary excellence. Some of his songs and h^Tnns wer j set to 
 music by the great Orlando Gibbons. " Come, O come in pious 
 lays," the opening of his Hallelujah, is reprinted in the " Book of 
 Praise," and though antiquated in phraseology, is not without 
 considerable merit. Bishop Cosin, so well known for his 
 private devotions and his uncompromising Churchmanship, 
 occupies no insignificant position as a hymn writer. His 
 translation of the Ambrosian hymn "lam lucis orto sidere" 
 is well known and in general use. Milton and Jeremy Taylor 
 were both hymn writere. The former's splendid compositions 
 are not suitable for congregational purposes. The latter is spoken 
 of with eulogy by Bishop Heber. John Austin, Eichard Baxter, 
 John Mason and Thomas Shepherd were hymn writers of mark 
 
19 
 
 in the ITth century. Bishop Ken, who belongs to the 
 same period, will always be remembered as the author of the 
 Morning and Evening Hymns. The latter will ever be dear to 
 Christians. Its universal acceptance is due to its simplicity, its 
 sound healthy tone of not over strained devotion, and its most 
 felicitous adaptation to Tallis' Canon. Both words and music are 
 to my mind models in their way. ' ■ " 
 
 Addison, also of this age, was a poet, and his hymn, " The 
 spacious firmament on high," itself a paraphrase of the 19th psalm, 
 is a very perfect composition. It perhaps errs from excess of 
 finish, and lacks some of the vigour which we associate with a 
 hymn. George Herbert's poems, (sweet singer as he was, and 
 full of piety as well as homely wisdom,) are not adapted for con- 
 gregational singing. We pass over a few years till we come to 
 the true founders of modern English hymnody. They belonged 
 to the Independent Body and are represented by Dr. Watts. He 
 and Doddridge are pre-eminently at the head. Unequal as he 
 undoubtedly was in style, few have even approached Dr. Watts 
 for unaffected earnestness, manly piety and pure and strong 
 English. I need only mention a few of his hymns : (1) " When 
 I survey the wondrous cross ;" (2) ''Jesus shall reign where'er 
 the sun;" (3) " God our help in ages past." This last is a 
 splendid paraphrase of the 90th psalm. It must be familiar to all 
 here, and if known cannot fail to be admired. 
 
 Doddridge, though much less simple, has written a few admi- 
 rable hymns. His best is probably the Advent hymn, " Hark 
 the glad sound, the Saviour comes." This it would be difficult 
 to beat. He is nlso known as the author of the familiar Sacra- 
 mental hymn, " My God and is thy table spread." Watts' influ- 
 ence spread to Scotland and helped to bring forth Cameron's fine 
 hymn, " How bright those glorious spirits shine," and also the 
 hymn attributed to Bruce, " Where high the heavenly temple 
 staads." 
 
 The next great stage in hymnody originated with the Me- 
 thodist movement. This split up into three parties, Arminian, 
 Moravian and Calvinist. Each of these divisions had its own 
 hymn writers. The first is most honourably represented by 
 Charles Wesley, the ablest hymn writer of his time. He was 
 assisted by his brother John, who translated and adapted Latin 
 
20 
 
 and German hymns, but does not seem to have composed any 
 himself. This is however a matter of doubt. Charles Wes- 
 ley has his defects as a writer. Some of his hymns are 
 tedious, some are faulty in construction, but he possessed 
 great depth of feeling, and excelled in variety of style 
 and treatment. Some of his hymns will last as long as the 
 English tongue survives. How spirited is " O for a thousand 
 tongues to sing," and " Rejoice, the Lord is King." The 
 ever delightful "Hark the herald angels sing," as Wesley 
 wrote it. began " Hark how all the welkin rings. Glory to the 
 King of Kings." It would seem that in this case changes are 
 improvements. On the other hand, we must l^car in mind, how 
 powerful association is in affecting our verdict as to the quality 
 of varying versions. Those who admire warmth of devotional 
 feeling as expressed in a hymn will love the well known " Jesus, 
 lover of my soul." 
 
 The best known hymn-writer among the Moravian Methodists 
 was Cennick. One of his hymns, in an abridged form, is found 
 in most hymn books. Its first line is " Children of the Heavenly 
 King." The very deservedly popular Advent hymn, " Lo He 
 comes with clouds descending," can claim a plurality of authors 
 in the persons of Charles Wesley, Cennick, and Madan. The tune 
 to which this hymn was sung in days gone by, and for aught I 
 know, is sung still, was originally a hornpipe, or according to 
 some, a love song, from an operetta called "jThe Golden Pippin." 
 The, if possible, still greater favourite, " Jesus Christ is risen to- 
 day," is anonymous, but the last verse was written by Chas. 
 Wesley. Byrom is another writer connected with the Moravian 
 school. One of his hymns, which is a general favourite, begins 
 " Christians awake, salute the happy morn." 
 
 The Calvinist school can boast of several distinguished hymn- 
 writers. Of these, Toplady desei-vedly holds the first place. His 
 " Rock of Ages" is glorious. Its very opening powerfully aiTests 
 the attention. Loi*d Selborne considers it the finest hymn in the 
 English language. Many other of Toplady's poems are much 
 admired, and possess considerable merit, but none, in my judg- 
 ment, display the antithetical force and hannony of " Rock of 
 Ages." 
 
 To this sect belonged Berridge, Williams, and Rowland Hill. 
 
SI 
 
 The second of this trio is the author of " Guide me, O Thou great 
 Jehovah." The Olney hymns, which were the work of writei*s 
 of this Calvinistic school, cannot be passed by. Newton, one of 
 them, has contributed some noble hymns. Perhaps the best of 
 these is " Glorious things of thee are spoken, Zion city of oui* 
 God." Newton also was the author of the modern English form 
 of a very old hymn, "How sweet the name of Jesus sounds." 
 This is a graceful and flowing composition, and, barring one 
 woi-d, seems beyond criticism. Cowper also is the author of the 
 following, <*Hark my soul, it is the Loixi," one of the sweetest 
 and most beautiful hymns in our tongue, and worthily set to 
 music by Dr. Dykes. Cowper also wrote "God moves in a 
 mysterious way" and the powerful hymn " There is a fountain 
 filled with blood," the commencement of which, in my opinion 
 is questionable, both in taste and reverence. He was also the 
 author of a favourite hymn which is only really fitted for private 
 use. Its opening words are " Oh for a closer walk with God." 
 
 In the early and middle part of this century the chief hymn 
 writers were Kelly, an Irishman, Sir B. Grant, John Chandler an 
 Irishman, Bishop Mant and Montgomery, a Scotch Moravian. 
 From the first we have received the melodious hymn, "Through the 
 day Thy love has spai*ed us," and the very grand and stately hymn 
 " We sing the praise of Him who died." There is less of sentiment 
 than in Watts' hymn on the same subject, but on the other 
 hand, it possesses far more power and dignity. Sir K. Grant's 
 name will always be connected with the hymn, " O Worship the 
 King," and with the penititential hymn, " Saviour, when in dust 
 to Thee." John Chandler made some pleasing translations from 
 the Latin, as for instance " As now the sun's decliniL^ ravs." 
 To Montgomery we are indebted for many valuable contributions. 
 Perhaps his most successful efforts are " For ever with the Loj-d," 
 " Hail to the Lord's Anointed," and " Songs of Praise the 
 Angels sang." Bishop Mant at this time also took an active part 
 in the hymn movement. He was an elegant scholar, and wrote 
 gi*acefully both in English and Latin. Many of us must admii-e 
 his hymn that begins " Bright the vision that delighted." The 
 number of hymnals was greatly multiplied at the beginning 
 of the present century, and the vicious practice began to spread 
 of altering hymns to suit the taste of each particular collector 
 
22 
 
 or editor. The extent to which this mangling process was 
 cari'ied may be seen by compai'ing the versions of many popular 
 hymns with the original form. This last can be found in the 
 "Book of praise," to which I have frequently referred. The 
 author, with praiseworthy diligence, sought out and ascertained 
 as far as possible the original of every hymn in his book. The 
 use of hymns did not, however, obtain very extensively in the 
 Church of England at this period. The new version of the 
 Metrical Psalms and Anthems were introduced in the Church 
 Services, the latter generally in Cathedrals, the former in Parish 
 services. 
 
 Bishop Heber's Hymns, to which collection Dean Milman 
 contributed a few, saw the light about 1827. This was a rich 
 addition to English Hymnody. We can scarcely prize too 
 highly such hymns as " Holy, Holy, Holy, Lord God Almighty," 
 "Hosannah to the living Loixi," "From Greenland's Icy Moun- 
 tains," so well known to us as set by Dr. Wesley, " The Son of 
 God goes forth to war," and " God that madest earth and heaven." 
 These are all Heber's. To Milman «ve owe, " Kide on, ride on in 
 majesty," " Oh help us. Lord, each hour of need," and the touch- 
 ing hymn " When our heads are bowed with woe." To the last 
 line of each verse of this last hymn exception has been taken, 
 
 j I and it has had to undergo the mangling process. 
 
 1 1 Keble's " Christian Year " appeared also about the year 1827, 
 
 and marks a new period in the history of Christian lyi-ics. The 
 popularity of this work has been most remarkable. When it 
 was first offered for publication to John Parker of Oxford, he 
 
 i declined it, on the ground that it never would be read, and 
 
 would be a total financial failure. He was signally in error, 
 but many people would have shared in this i/rror. It is not 
 very easy to explain the very high estimation in which the 
 
 n " Christian Year " is regarded by a lai'ge number of English 
 
 speaking people. Its general style does not appear popular, 
 and often it is not easy to understand. Its exquisite refine- 
 ment would seem likely to make it " caviare " to the mul- 
 titude, and a work only to be appreciated by the select and 
 highly educated. 
 
 I Several excellent hymns have, however, been taken from the 
 
 Christian year, thus "When God of old came down from 
 
23 
 
 heaven," " There is a book who runs may read,' " O timely 
 happy, timely wise," which last is rich in practical wisdom. 
 Again, " Sun of my soul thou Saviour dear," so beautifully set to 
 music by Sir Herbert Oakley, "Lord, in Thy name Thy ser- 
 vants plead," a hymn for seed time, and the lovely marriage 
 hymn, " The voice that breathed o'er Eden," which for purity, 
 grace, and sanctified human sentiment can hardly be excelled. 
 And the fact remains that the sale of the work has been, and is 
 enormous. Nay, it has helped to produce other kindred works, 
 such as the Lyi*a Apostolica, the Lyra Innocentmm, the Lyra 
 Sanctorum, and many more. In the first of these three, the Lyra 
 Apostolica, we find ''Lead kindly light," of John Henry New- 
 man. Its pathos, delicacy, and tenderness are indescribable. 
 Newman is gifted with the divine afflatus of the poet, and, if he 
 had chosen, might have won laurels in that capacity. 
 
 Among the very best of modern writers we must place the 
 Scotch poet. Dr. Horatius Bonar. Many of his hymns are evi- 
 dently the offspring of a pious, contemplative, and imaginative 
 mind, and though generally adapted for private use, they are 
 exceptionally popular when sung in churches. I would mention 
 the following — "Thy way, not mine, O Lord;" "A few more 
 years shall roll ;" "I heard the voice of Jesus say." 
 
 Among still more modern writers I can only enumerate Lyte, 
 Charlotte Elliott, Mrs. Alexander, Isaac Williams, Sir Henry 
 Baker, Caswall, Bishop Walsham How, Dean Alfoi*d, Faber, Miss 
 Havergal, W. C. Dix, Dr. Muhlenberg, Mr. Stone, Di*. Monsell. 
 
 Lyte is the author of the favourite "Abide with Me." 
 effectively set to music by Monk and Hopkins. 
 
 There can be no doubt that the public taste, as regards hym- 
 nody, has much advanced during the last generation. Greater 
 scrupulousness prevails as regards the question of tampering with 
 other men's wi'itinga, a broader spu'it is shewn in the admission 
 of desirable hymns from every possible source, and all that can 
 be achieved to make this part of Divine worship attractive is at 
 least attempted. It may, nevertheless, be questioned whether 
 we do not err on the side of making our Church mui^ic (at all 
 events as enshrined in hymns) too preitty, too light, and too 
 sensuous in style. No doubt this greatly helps to temporaiy 
 popularity, but there is some risk of our degrading our songs of 
 
praise by uniting the words to airs that simply tickle the ear, 
 and convey no suggestion of a religious character. John Newton 
 also, speaking of the words of a hymn, laid down the principle 
 that " perspicuity, simplicity and ease should be chiefly attended 
 to, and the imagery and colorings of poetry, if admitted at all, 
 should be indulged in very sparingly and with great judgment." 
 There is much wisdom in this criticism. The features just men- 
 tioned should appear in hymns intended for congregational use, 
 in which introspection and highly strained devotion are not so * 
 much to be looked for. Lord Selborne writes to the same effect 
 in his Preface to the Book of Praise. He observes, " a good 
 hymn should have simplicity, freshne:}s, and reality of feeling; a 
 consistent elevation of tone, and rhythm easy and harmonious, 
 but not jingling or trivial. Its language may be homely, but 
 should not be slovenly or mean. Nor will the most exemplary 
 soundness of doctrine atone for doggerel, or redeem from failure a 
 prosaic style." 
 
 Apropos to doggerel, what can be worse than the two follow- . 
 ing lines, which occur in a popular hymn, the soui'ce of which 
 
 is Latin : 
 
 " Law and prophet and blest psalm, 
 Lit with holy light so calm." 
 
 It looks as if the writer had first tried to find a rhyme for psalm, 
 and having triumphantly succeeded in this, afterwai-ds filled in. 
 Such was one of the facetious rules for constructing a prize poem 
 when I was at Oxford. 
 
 I may be permitted to say that every good hymn should have 
 one idea runuing through it, and should not be a mere congeries 
 of pious aspirations, or simple statements, however con-ect, of 
 Christian doctrine. I should like to mention, as samples, a few 
 hymns that I consider really and especially ^ood. Thus, " The 
 radiant morn hath passed away," by Mrs. Alexander, is veiy 
 happily worked out. The changes in nature are described as 
 types of the changes in human life ; and the believer is led 
 onwai"d to the permanency of the beauty and joys of another life. 
 A similar lesson is taught by the hymn, " Fierce was the wild 
 billow." Again, antithesis greatly helps to the efl*ect of a hymn. 
 Thus in Faber's hyiiin, " O, comi?) and mourn with me awhile," 
 the following verse is beautiful, deeply suggestive of what was 
 
25 
 
 passing in the SavioTU''s mind during the most solemn period of 
 
 human history, — 
 
 •'Seven times he spake, seven words of love, 
 And all three hours His silence cried 
 For mercy on the souls of men ; 
 Jesus, our Lord, is crucified." 
 
 The expression ** silence cried " is singularly and touchingly 
 suggestive. Faber, on the other hand, is at times unhealthily 
 sentimental. He is very fond of the adjective " sweet," and at 
 times totally misapplies it. Thus : 
 
 " Do more than pardon : give us joy, 
 " - Sweet fear, and sober liberty." 
 
 The adjective " sweet " is totally out of its place when united 
 with " fear." Also, I take exception to the refrain in his popular 
 hymn, '' O, Paradise." Thus: — 
 
 " Where loyal hearts and true, 
 ' Stand ever in the light, 
 
 • • All rapture through and through. 
 
 In God's most holy sight." 
 
 What is the construction of " All i*apture through and through" ? 
 If it is a nominative case, where is the verb, and what, in the 
 name of common sense, does it mean? Yet people sing it 
 apparently with great internal satisfaction. I also object, though 
 this is a question of individual taste, to the introduction of the 
 details of Christ's passion into a hymn. The mention of the 
 individual sufferings of the Eedeemer might be congenial to 
 Mediaeval taste, and in the foi'm of a Latin hymn ; but such a 
 plan does not, I think, harmonize with the English temperament. 
 There is a risk of materializing those unexampled sufferings, 
 and of substituting compassion for faith. Hence my unfavoui*- 
 able criticism of a favourite hymn, *' In the Lord's atoning gi'ief," 
 and especially do I dislike the lines : 
 
 •* May these all our spirits sate, 
 And with love inebriate." 
 
 These are entirely, to my mind, out of keeping with healthy 
 religious sentiments. 
 
 Again, the repetition of a word, except when it is a translation 
 and the original requires it, gives the appearance of feebleness. 
 
Thus Faber's fine hymn, " My God, how wonderful Thou art," 
 is weakened by the last two lines of the last verse : 
 
 " What rapture will it be, ' v 
 
 Prostrate before Thy throne to lie, - 
 And gaze, and gaze on Thee." - . . . \ 
 
 On the other hand, I would speak with hearty commendation 
 of the following hymns. " Go to dark Gethsemane," is marked 
 by expression and pathos that is not overwrought. Also, Keble's 
 hymn, " When God of old came down from heaven," is admirable, 
 as setting forth the contrast in God's manifestations through the 
 Jewish and Christian Churches. " Come unto Me, ye weary," is 
 a symmetrical and finished hymn, the sentiment of which is 
 chastened and moderate. Again, the hymn, " We saw Thee not, 
 when Thou didst come, to this poor world of sin and death," is 
 very original, as describing the lesson of faith in Eevelation, 
 incumbent on us all. The " Eock of Ages " of Toplady magnifi- 
 cently depicts the completeness of Christ's work, and the help- 
 lessness of man. 
 
 " Ten thousand times ten thousand " is also a very brilliant 
 hymn, and has been well set by Dykes. I like the following 
 verse " particularly. It suggests the continuity of our present 
 and futui-e lives : . 
 
 ■ 
 
 " Oh then, what raptured greetings, 
 
 On Canaan's happy shore, 
 What knitting severed friendships up, 
 
 Where partings are no more. 
 Their eyes with joy shall sparkle, 
 
 That brimmed with teara of late, 
 Orphans no longer fatherless, 
 
 Nor widows desolate." 
 
 The line " Knitting severed friendships up " is rather clumsy, 
 and detracts from the merit of the verse. 
 
 How beautiful also is this verse out of Bonar's hymn : — 
 
 " I heard the voice of Jesus say, 
 
 * I am this dark world's light ; 
 
 ' Look unto Me, thy mom shall rise, 
 
 * And all thy day be bright' 
 I looked to Jesus, and I found 
 
 In Him my Star, my Sun ; 
 And in that hght of life I'll walk 
 Till travelling days are done." 
 
27 
 
 There is enough of feeling, and it would be hard to better it in 
 any point. Again the hymn " Jesus, Lord of Life and glory," 
 a metrical Litany, is very fine, and has been eifectively arranged 
 by E. J. Hopkins. I must also mention once more Bonar's very 
 solemn hymn " A few more years shall roll." I greatly like one 
 vei*se for its antithetical character, and for its combined depth 
 and simplicity : — 
 
 " 'Tis but a little while 
 ' • And He shall come again, 
 
 Who died that we might live, who lives 
 That we with Him may reign. 
 
 Then O my Lord prepare 
 
 ^ly soul for that glad day ; 
 wash me in Thy precious blood, ' - 
 
 , , And take my sins away." 
 
 And lastly, if I have not tried your patience beyond bounds, I 
 wonld mention " Crown Him with many Crowns." This is truly 
 magnificent, and the music by Sir George Eivey is worthy of the 
 words. Nothing more need be said. The words are by Bridge. 
 
 Of the more recent school of musicians, it may be said that 
 some of their tunes are admirable, and have conferred great 
 public benefit. One of our gi-eatest benefactors, as a writer of 
 the music for hymns, is the late Dr. Dykes. Very sweet are his 
 melodies, and very rich his inner parts, but he is not always 
 original. He was no doubt unconscious of plagiarism. I would 
 mention, in addition to those already quoted, his setting of Wm. 
 Whiting's hymn, '•' Eternal Father strong to save," and the flowing 
 melody to which he adapted Harriett Auber's hymn, " Our blest 
 Eedeemer ere He breathed." I could cite many more favorites. 
 Ml'. Barnby is another most accomplished writer, but his hymns 
 are a little too difficult for average choira and congregations. 
 One of the simplest is the setting of the Latin Hymn translated 
 by Caswall, " When morning gilds the skies." Barnby's harmonic 
 changes are sometimes very intricate, and the compositions rather 
 too akin to part songs for congregational purposes. For we must 
 remember that breadth and simplicity should characterize both 
 words and music, if hymns are to play the important part which 
 they undoubtedly can do towai-ds the edification and spiritual 
 benefit of the people. 
 
28 ' . 
 
 Again, Henry Smart, Sir Arthur Sullivan, Sir Geo. Ehey, Sir 
 Herbert Oakley, Arthur Henry Brown, Leighton Hayne, E. 
 Redheiid, W. H. Monk, E. J. Hopkins, Dr. Stainer, Sir F. 
 Ouseley, Sebastian Wesley, W. S. Hoyte, and Dr. Steggall are 
 amongst the ablest musical purveyors to modern hymnals. 
 
 It may be expected that I should make some reference to 
 Carols. Their origin is very ancient, but their style was some- 
 what lighter than that of hymns. They were suug of old be- 
 tween the scenes of miracle plays, and have ever been popular. 
 We possess a most interesting collection edited by Dr. Stainer 
 and Mr. Bramley. . 
 
 Perhaps some persons may regret the large number of extant 
 hymnals, and desire that one should be generally accepted and re- 
 cognized as possessing authority. But in the first place, who is to 
 confer the authority ? At present every denomination has a prefer- 
 ence for some special hymnal, and in some cases, congi'egations of 
 different religious views choose a particular book, as harmonizing 
 with their particular ideas. And even supposing it were at all 
 likely that various Christian bodies should agree to appoint a 
 Committee of Poets and Musicians, and determine to abide by 
 their decision, and accept their collection (and this is so improba- 
 ble as to be nearly impossible), there would be this grave objec- 
 tion, attending and incidental to the plan, viz., that churches 
 would be debarred from profiting by the constant accessions to 
 our stores of Hymnody resulting from the works of living 
 writers. It would be a great deprivation to lose these, and to be 
 confined to one stereotyped set of tunes and words, however 
 excellent the words may be. Some tunes, and indeed some 
 hymns, pall on the ear and become wearisome. This would 
 specially hold good in the case of those of a romantic and simply 
 melodious character. 
 
 It is easy to conceive of a person tiring of Faber's woixis, such 
 as " Hark, hark, my soul," or of Dykes' music in some instances. 
 It is not easy to imagine any one's wearying of Tallis' Canon, or 
 of " Hark the Herald Angels sing." Let us by all means wel- 
 come any additions to our stock of Hymnody ; only let us pursue 
 rather an eclectic system, and endeavour to admit those only 
 that are likely to stand the test of time. A hymn for congrega- 
 tional use should not be too sentimental in thought, or too ex- 
 
uberant in its expression. While its devotional tone should not 
 sink to the level of the least religiously disposed person in any 
 given congregation, its standard should not be hopelessly above 
 that of all but a select few. While we endeavour to gain a high 
 ideal, the element of reality should not be entirely absent from 
 our hymns. Some of the most popular of our modern hymns 
 lack this reality, but the melodious flow of their rhythm, and the 
 charm of the music which illustrates them, carry people on half- 
 unconsciously, and they do not pause to think whether they in 
 any sense mean what they are singing. I would mention as 
 samples of this feature : " Nearer my God to Thee," by Sarah 
 Adams, and " Jerusalem on high," the work of Samuel Grossman, 
 made popular by Dr. Steggall's musical arrangement. Yery few 
 persons in any congregation can conscientiously and truthfully 
 use these hymns. The one is an embodiment of the most pe: ect 
 and chastened resignation — the other of ecstatic piety. They 
 seem more suitable foi private than for public use. But, never- 
 theless, as in our prayei's we should aim at some higher eleva- 
 tion than we have yet reached, so of course our church music 
 should not be kept down to the level of the least instructed, and 
 least spiritual of the congregation. 
 
 Some one once observed that it was a comforting reflection 
 that we are not responsible for the words which we sing. He 
 was, of course, alluding to the ten-ible rubbish which is to be 
 found sometimes in the modern ballad, and also to the high flown 
 and amatory sentiments which some very commonplace and 
 prosaic lady or gentleman give forth with unmoved and placid 
 countenances. It is rather to be feared that people sing hymns 
 much after the same fashion. They enjoy the melody, it charms 
 their senses, and they think but little, if at all, of the words to 
 which it is wedded, and which it is meant to illustrate. I can 
 recall a number of young men on board ship, when engaged in 
 smoking and card playing, interspersed with language not always 
 of the choicest kind, bursting forth into the popular revival 
 hymn " Hold the foil;" without any appreciation that it was a 
 hymn, and therefore a more or less sacred composition. Thus we 
 are as it were in a dilemma, and exposed to one of two dangers. 
 If the words and melody (particularly the latter) be not attrac- 
 tive, then people will not join heartily in singing them. On the 
 
30 
 
 other hand, if the air be of a very popular character, there is al- 
 ways a risk of the words being sacrificed to the music. In this, 
 as in most matters, we should endeavour to ensure the happy 
 medium, and take care that neither words nor music be of a 
 petty, frivolous, or inferior character, unworthy of the pui'pose 
 for which they are designed, and the object which they are sup- 
 posed to attain. > 
 
 I may say, as has been observed by Mr. Engel, that the 
 Hymnody of Northern Germany is more appropriate and more 
 suited for artistic treatment than that of England ; because in 
 the case of the former, the same vei*ses are sung invariably to the 
 same tunes, whereas in England, tunes as a rule have been com- 
 posed to metres rather than to poems, and hence the melody fails 
 to convey one association, and one only. The Old Hundredth and 
 Dr. Croft's tune to the metrical 104th Psalm, are almost the only 
 exceptions. Tallis' Canon is perhaps another. We should, if 
 possible, avoid divorcing a hymn from the melody to which the 
 composer united it. He had an Mea in his mind when he wrote 
 the melody, which we violently subvert when we dissociate tune 
 from words. This at times may be unavoidable, but I must 
 object to it as a principle. Similarly, I dislike adaptations from 
 secular music when used in church services. They suggest most 
 incongruous ideas. I have heard a passage from Auber's "Muette 
 de Portici" used in chui'ch as music for the responses to the Com- 
 mandments. In my humble judgment such a plan is offensive 
 to good taste and reverence. Similarly the air " Eousseau's 
 Dream," belonged to an opera of J. J. Rousseau, called -- Le 
 Devin du Village." 
 
 There is one gi*eat fact which all Christian bodies would wisely 
 lay to heart, viz. : the imperative necessity of recognizing the 
 element of beauty in the public service of God. Ugly buildings, 
 hideous nasal singing, will not be endured by people in this 
 generation. If the Christian Church, — I use the term in its 
 bi*oadeet sense, — intends to atti*act and retain the young, she 
 must use all legitimate means to invest the public sei-vice of God 
 with dignity, beauty and interest. And among the legitimate 
 appliances towards this great and desirable end, music is in the 
 forefront. It is the highest and most eternal of Arts. Its use in 
 God's house may be said to have divine authority, and immemo- 
 
31 
 
 m 
 
 rial sanction. It has promoted the comfort and edification of 
 millions of believers, who have entered into their rest. It has 
 given a vent to the aspirations, and longings, and penitential con- 
 trition of numberless earnest souls. It has raised the worshipper 
 heavenward. It has cheered the languid invalid — it has smoothed 
 the dying pillow. Many a minister of God has (like myself) dis- 
 covered that a familiar hymn, even without music, can, from its 
 associations with other and happy days, console and distract a 
 sufferer, who, from physical debility, can perhaps bear no reading 
 or exhortation. Then, again, surely hymnody is bringing about a 
 rapprochement between churches, now unhappily, and perhaps as 
 yet unavoidably, severed. The use by differing congregations ot 
 the same words, if not the same music, tends to bring about 
 friendly sentiments from one to the other, to soften asperities, to 
 lessen antagonism. If Church union is ever to come about in 
 this life, it will be facilitated by the use, on the part of distinct 
 bodies, of the same sacred hymns. And the time will come, when 
 earthly music will give place to heavenly melodies. For Music 
 is the only Art of which we can say, for certain, that it will 
 exist in some form in another world. All of us Christians look 
 forward to the time, when all who have loved the truth in 
 sincerity will be gathered before the great white throne, and 
 sorrows and differences being removed for ever, they will find the 
 praises of Almighty God amongst their greatest and most unfad- 
 ing joys. , ■ - 
 
32 
 
 LIST OF MUSIC SUNG BY THE MENDELSSOHN CHOIR IN 
 ILLUSTRATION OF THE FOREGOING LECTURE. 
 
 1. 
 
 HEBREW. 
 
 " Ana bekorenu." 
 
 Twelfth century 
 
 GREEK. 
 
 Author- 
 
 2. " Fierce was the wild billow." 
 Anatoliiis of Constantinople (Fifth century). 
 
 3. "The day is past" 
 Anatolius of Constantinople (Fifth century). 
 
 4. " Christian, dost thou see them ? " 
 " Andrew of Crete " (Seventh century). 
 
 5. " Art thou weary ? " 
 " Stephen of St. Saba " (Eighth century). 
 
 Composer or source. 
 
 E. Silas. 
 
 : Dr. Dykes. 
 
 Dr. Dykes. 
 
 Sir H. Baker. 
 
 \ 
 
 LATIN. 
 
 6. '• Of the Father's love begotten." 
 Prudentius (Fifth century). 
 
 7. " The royal banners." 
 Venantius Fortunatus (Sixth century) 
 
 8. 
 
 9. 
 
 10. 
 
 " Jerusalem the golden." 
 Bernard of Morlaix (Twelfth century) 
 
 Mediaeval. 
 
 Mediaeval. 
 
 11. 
 
 12. 
 
 Luther. 
 
 Rinckhart. 
 
 0, come, all ye faithful." 
 " Ave verum." 
 
 GERMAN. 
 
 "A mighty fortress." 
 " Now thank we alL" 
 
 Plain song. 
 
 Plain song. 
 
 German. 
 Traditional. 
 
 Gounod. 
 
 German. 
 
 German. 
 
 13. " 0, sacred head." 
 
 Grerhardt (from Latin) Chorale harmonized by J. S. Bach. 
 
33 
 
 ENGLISH. 
 
 Author. - Composer or source. 
 
 14. Evening hymn. 
 
 Bishop Ken (17th century) Tallis' Canon (16th century). 
 
 15. "O God, our help." 
 Dr. Watts (Eighteenth century). 
 
 . . - ' - " *" 
 
 16. * " Jesus, lover of my soul." 
 Dr. Watts (Eighteenth century). 
 
 Playford. 
 
 L. Mackenzie. 
 
 17. 
 
 " Rock of ages." 
 
 Toplady (Eighteenth century). 
 
 R. Redhead. 
 
 18. " Sun of my soul." 
 
 J. Keble (Nineteenth century). 
 
 Oakley. 
 
 19. "Lead, kindly light." 
 J. H. Newman (Nineteenth century). 
 
 20. « Abide with me." 
 Lyte (Nineteenth century). 
 
 Dr. Dykes. 
 
 E. J. Hopkins. 
 
 21. " AH people that on earth." 
 
 Kethe (17th century). Claude Goudimel (16th century)