DAUAT8YHD ODM3O University of California Berkeley ANDREWS (WILLIAM LORING Annotator). The Heavenly Jerusalem. A Mediaeval Song of the Joys of the Church Triumphant. With annotations by William Loring Andrews. Illustrations. 8vo, wrappers, gilt top, uncut. New York, 1908 One ofiao copies printed upon "Arches" hand-made paper. tl)io book one iwn&rca ana tiurntv copies Ijafce been printed upon "Qttty* maue paper; ttoent;0e&en copies upon 3'mperial Japan paper anD fiuc copied on special 3|apan paper rigljt 10 re0erbeD to print ten ejtra copies of cacl) of cl)f tiuo engratitngs; bv l^r. s^iDucv 11. s>uutl) none of toill be off ereD for sale illeluia, laeta mater concine* li fcor tuorum ctbtum gauDentium; nofif fiere cogunt llatin f Hones full precious are ty towres thy gates of pearles are told, There is that Alleluia fung in flreates of beaten gold Thofe (lately buildings manifold on fquaredftones do rife rames enclofed Caftlewife HEAVENLY JERYSALEM AMEDI/EVALSONG OFTHEJOYS OFTHE CHVRCH TRIVMPHANT With (Annotations by NEV/ YORK CHARLES S CRIB NEKS SONS A\ C A\ V I I I COPYRIGHT, IQOS BY WILLIAM LORING ANDREWS 3fnscri6eD to t&e memorp of tfie Dear ones "tofcom toe imtoe long 0mce, anD low atofciie," I3T t0 a magnificent tiring to pass along tljr far*0tretclring toista of lAMitns, from tl)f sublime sclkcontainete nrss of >* Ambrose to tlje more ferbio tn^ 0piration of 0* Oregon? , tljr rrautsitr t^po^ logs of iBenantius 3f ortunatfe, painting of &. peter Dam tan t , iifee fiiimplicit^ of >* Bother, ttie scriptural calm of ^oue0calcus, t^e tfubfecttoe lobe^ linesfs of > HBernarD, till all culminate in tljr full bla?e of glor^ U3l)icl) surrounds aaam of &* Victor, tlie greatest of tjiem alL N the year 1 865 , the late Dr. William C. Prime published a little octo- decimo of ninety-two pages upon the hymn, "O, mother dear Jerusalem," of which, unfortu- nately, there must have been a very limited number of copies printed, for it has long been, in the writer's ex- perience, a difficult book to find out- side of the Lenox Branch of the New York Public Library, and only recent- ly has his search for a copy proved successful. -le Rev. Horatius Bonar, D. D., also wrote a monograph upon the subject which was published in Edinburgh, in 1852. This brochure one could hardly expect to happen on after reading Dr. Prime's statement, made in 1865, that it was then so xvii scarce a book as to be inaccessible to American readers. Consequently I have lacked, in the preparation of the following pages, the assistance which would have been afforded me by this monograph, whose author Dr. Prime met by a happy chance one morning as he was riding over the hills on the north of Jerusalem, and of whose book he says : ' ' It contains a valuable and thorough history of our hymn, with parallel hymns, and much learned and appreciative comment by Dr. Bonar. " Occasional writings such as these treatises of Drs. Prime and Bonar published in limited editions soon become almost if not quite, in- trouvable, much to our detriment, for they frequently contain the infor- mation of which we are most in need and cannot find elsewhere. XVlll Ith the rare felicity of expres- sion that characterizes all the productions of his pen, Dr. Prime thus introduces his subject: e old hymn to which this little book is devoted and which is given here as nearly as may be in the form which it bore two hun- dred years ago, needs no words of praise to commend it. is a grand poem, and one or another portion of it will reach every heart with its power and beauty. It has been a comfort and joy to very many people, both in this form and in the numerous variations, abbrevia- tions and alterations, in which it has from time to time appeared among the sacred poems of the Christian world. ****** *<;,*/* * * * The hymn has grown to be xix very sacred; it was sung by the mar- tyrs of Scotland in the words we have here. It has rung in triumphant tones through the arches of mighty cathe- drals; it has been chaunted by the lips of kings and queens and nobles ; it has ascended in the still air above the cottage roofs of the poor; it has given utterance to the hopes and expecta- tions of the Christian of every con- tinent, by every seashore, in hall and hovel, until it has become in one or another of its forms the possession of the whole Christian world." Admit it to be an act of resumption, for one, r ith my limited know- ledge of the subject, to attempt to follow, even afar off, in the footsteps of an author of the ripe schol- arship and high literary attainments of XX Dr. Prime, and I do not flatter myself that in the following pages, I have made a contribution to the history of this noted hymn, save perhaps by bringing into wider and more particu- lar notice the rare and curious little volume in which it made its second appearance in printed form. Be this as it may, this monograph, at all events, affords me an opportunity to indite these few lines in memoriam of one with whom, through our co-trustee- ship in one of our public institutions 1 was for many pleasant years brought into familiar and helpful intercourse, and who was to me a " guide, phil- osopher and friend." 'N Arber's Transcript of the Regis- ters of the Stationers Company of London, 1554-1640, 1 find, under date of July 23, 1601, the following xxi entry of the little book alluded to above, the possession of a copy of which emboldened me to write this essay upon the hymn "The Heavenly Jerusalem." wiltiam ffervrand. Gntered for his copy nnder the nan Jed of master lASFEILD and maoter Q) eaton ward- en. <_^C QOOKe. called tne sonqe or & i MARY the mother of CHRIST con- teuninae tne story e of nis lyfe and ** passion. ~y*T will be noticed that this entry -** differs in orthography and capi- talization from the title of the printed book which is given on the fortieth page. WILLIAM LORING ANDREWS. Celestial Country 3fitl) tampers: gloto tljv bulwarks ; streets ferity etneralas bla?e; Clje sarfcius ana tlje topa? mnite in tyee tyeit ra^s ti:i)inr ageless femlls are Mitl; amrtl^st unpriced; t!P^ Saints builu up its fabric 2inl> tye corner-stone is Christ* JFrom tye fc^tym of &t* Bernard of Clunp SlDason IIlu0tration0 Hotogravure reproduction of the title page to George Wither's " Preparation to the Psalter," Lon- don, 1619. Drawn and engraved by Francis Delaram, a contemporary with Elstracke and the Passes. . v 1 1 Small tablet with verses by W . Prid, designed and engraved on copper by Sidney L. Smith. ..... viii III Title page, designed and engraved on copper by Sidney L. Smith. ix IV Photogravure reproduction of a page in an " Horae avec chant not6" a MS of the XIV or commencement of the XV Century on 180 leaves of fine vellum. It (the page) con- tains the Kyrie Eleyson and the beginning of the Gloria in excelsis Deo from the Mass 4 V The artist monk at work in his scriptorium; a copy of a wood en- xxv ii IUu0tratton0 graving in "Le Compendium His- torial. " Printed at Paris in 1 528, for Galliot du Pre. 1 1 VI Three different tunes to the hymn "Jerusalem my happy home," from the English Hymnal. Printed at the University Press, Oxford. Lon- don, Amen Corner, 1906 . . . .19 The decorative initial letters are reduced from those in a page (illuminated in colors and gold) of a Flemish Antiphonal of the XV Century. Size of the vellum leaf 14 x 2iK inches. offiliplite HJti.jv, iUoam.guft. m $el&8 aij. iritexhibited,bythe len who compiled English Hymnal, in admitting the whole of the song of F. B. P. to its pages, was not shared, nor was the same love for "old poetry but choicely good" displayed, by the compilers of the Hymnal of the Pro- testant Episcopal Church in the United States, in present use. Montgomery's short hymn with the title, ' 'Jerusalem my happy home," supplemented by Dickson's "O! Mother Dear Jerusa- lem," appears to have been consid- ered all-sufficient. A comparison of this so-called version of Montgomery, with the hymn in its first known Eng- lish form, shows that he rejected all but two lines of the first verse, and in these he substituted words of his 20 own selection, his devout purpose being, we presume, to expunge from the hymn whatever, from his Mora- vian point of view, savored of the su- perstition of the Church of Rome a process of elimination, which as we see, left very little besides the name. Ready as Montgomery was to play fast and loose, with the poetical pro- ductions of other men, he objected strongly, we are told, to any tam- pering with his own compositions, an egotistical frame of mind common, it has been remarked, to poets in gen- eral, both sacred and profane. ""VOTE find more of the sentiment ^^ and more of the words of the song by F. B. P. in the hymn 1 The Heavenly Jerusalem, " under the title and with the first line changed to "Oh ! mother dear Jerusalem," by 21 David Dickson. This contains seven of F. B. P.'s verses, in none of which, however, is the original wording closely followed and several of them are much corrupted. Dr. John Mason Neale, one of the most accomplished English hymn-writers and translators of the nineteenth century, is not at all complimentary to this Scotch Pres- byterian minister of the seventeenth, to whom he refers as "one Dickson, a Covenanter, who most impudently appropriated the song of F. B. P. to himself and mixed up with it a quan- tity of his own rubbish." N so far as we have been able to ascertain, naught but a mere skeleton of this ancient hymn, is now admitted to the hymnal 22 of the Roman Catholic Church in the United States; barely enough to en- able us to recognize it as one of the many children clad in new and strange habiliments, of the hymn from the "Book of Meditations, " of the most il- lustrious father of the Latin Church, still it shows another of the different trains of thought this gem of religious poetry has excited in the minds of men, and to which it has given an im- pulse and direction. E take the three verses of which it consists from the ' ' Roman Hymnal. A complete Man- ual of English Hymns and Latin Chants, Compiled and arranged by a choirmaster, of St. Francis Xavier's Church," New York, 1884, and still, we believe, in general use. 23 Erusalem, my happy home, How do I sigh for thee? When shall my exile have an end ? Thy joys when shall 1 see ? Jerusalem, Jerusalem, Jerusalem, my happy home How do I sigh for thee! ii No sun, no moon in borrowed light Revolve thine hours away The Lamb on Calv'ry's Mountain slain Is thy eternal day. Jerusalem, Jerusalem, etc. in From every eye He wipes the tear All sighs and sorrows cease No more alternate hope and fear But everlasting peace. Jerusalem, Jerusalem, etc. 24 turn from one extreme of hymnologist caprice to the other, we have only to refer to a volume entitled "The Fire-side En- cyclopedia of Poetry," a collection of Religious and Secular Poems, com- piled and edited by Henry Y. Coates, Philadelphia, 1878, which contains a hymn called "The New Jerusalem or the Soul's Breathing after the Heaven- ly Country." In it, are many of the verses of the song, by F. B. P. , inter- laced with those of W. Prid. Many of them have alterations in the text. Verses are also added from other sources, and serve to lengthen the medley (or cento, whichever one may see fit to style it) to the thirty- one verses of eight lines each, to which it is spun out. An example of the verbal alterations, the omis- 25 to nip 3eru0alem sions, and the arbitrary transposition of lines and verses, which in this Fireside Companion, break the con- tinuity of thought, and cripple the stately measure of the hymn by F. B. P., is afforded by a comparison of its seventh, eighth, and ninth verses, with the sixth verse in Mr. Coates' collection, which combines the three four-line verses of the first named, in one verse of eight lines. ' ^ Rom the song by F. B. P. sev- ^ ^ enth, eighth and ninth verses : C6p toales are maDe of precious stones Sultoarfees DiamonDes square gates are of rigbt orient pearle anD rare* Cftp terrettes anD tbp pinacles carbuncles Doe s&ine toctic streets are patoeD toitt) gouID Surpassinge cleare anD fine, 26 Cf)g f)ouse0 are of Jfcone Cby toinOoc0 crtetale cleare Cftp tple0 are maD of beaten gouID jap (Son tftat 31 toere t&ere* HRom Mr. Coates' collection, the sixth verse : Thy houses are of ivory, Thy windows crystal clear, Thy streets are laid with beaten gold- There angels do appear Thy walls are made of precious stone, Thy bulwarks diamond square, Thy gates are made of orient pearl O God! if I were there! e last of these modern ver- sions, to which we shall draw attention, will be found in the ' ' Library of Religious Poetry," Edited by Dr. Philip Schaffand Arthur Oilman, M. A. , 27 New York, 1889. Here the hymn is given verbatim as it appears in Julian's Dictionary. One verse, however, is transposed, the second being made the fourteenth, and there are a number of inaccuracies in the orthography, but these are possibly, if not probably, proof-reader's oversights. show how little of the spirit and even less of the form of the old hymn, is preserved in Montgom- ery's lines, we now proceed to give his so-called version, as it appears in the Hymnal of the Protestant Epis- copal Church, in the United States. Revised and enlarged, as adopted by the General Convention in the year of our Lord 1892. Nevertheless the Church militant owes much, to this prolific Scotch writer of sacred songs, 28 Efttoenlp 3Jru0aIem for the many other comforting, in- spiring and tuneful hymns of his com- position, or adaptation, with which its Hymnal is studded. Montgomery is said to have written four hundred hymns, including his versions of the Psalms. Taken altogether, however, they would not, it is safe to assume, cover much more than half as much paper or parchment as St. Bernard, the Monk of Cluny's one great poem of about three thousand lines, "De ContemptuMundi," from which "Je- rusalem the Golden," 'The World is very evil" and other widely known and admired of our church hymns are taken "Jerusalem, my happy home" being placed among the number in some Hymnologies. No close and complete translation of this "love- liest of mediaeval measures," as it is 29 called by Dr. Neale, has ever, he states, been made. But, he continues, we may well be content with what we already owe to it, as additions to our store of church hymns. . William C. Prime justifies the revisers in their free and easy treatment of this " Song of the Heavenly Jerusalem," while he criti- cises unfavorably the results of their labors. ' ' Referring to the many dif- ferent versions that exist," and to the freedom with which old hymns are revised and changed, he writes: ' ' And since the oldest version in com- mon use was itself only an alteration of some of the lines of the original hymn, 'O! mother dear Jerusalem/ it may with much force be pleaded that any compiler of a hymn book has equal right to change that ver- 3 sion. It is, in truth, but a matter of taste, and all these versions are but weak substitutes for the triumphant chaunt of the original hymn." re followeth the printer-poet James Montgomery's version, made in 1802. i Erusalem, my happy home, Name ever dear to me, When shall my labors have an end In joy and peace and thee? ii When shall these eyes thy heaven- built walls, And pearly gates behold? Thy bulwarks, with salvation strong, And streets of shining gold? in There happier bowers than Eden's bloom, 3' Nor sin nor sorrow know : Blest seats ! through rude and stormy scenes I onward press to you. IV Why should I shrink from pain and woe, Or feel at death dismay? I've Canaan's goodly land in view And realms of endless day. v Apostles, martyrs, prophets, there Around my Saviour stand. And soon my friends in Christ below Will join the glorious band. VI Jerusalem, my happy home, My soul still pants for thee. Then shall my labors have an end, Then 1 thy joys shall see. 3 2 N the hymn/'The de- scription of heavenly erusalem" which ap- pears in the book en- titled "The Song of Mary, the Mother of Christ," the twenty-six stanzas of the hymn in MS. in the British Mu- seum signed, F. B. P. are abbreviated to nineteen, including the two which are repetitions of the refrain or burden of the song, and these have in some cases been transposed and subjected to changes in phraseology. This lit- tle quarto is one of the rarest books, in the entire range of seventeenth century English literature. At most, three copies only are known to bibli- ographers, and the one in the National Library is slightly mutilated. As its title indicates, the book contains a number of other songs, all of a deeply 33 religious character, among them one headed, 'The description of heavenly Jerusalem" a cento of fifty-two four- line verses, forty-two of which are, word for word, those of a hymn en- titled, "An English hymn of the Time of Queen Elizabeth" which is evi- dently, says Dr. Prime, a translation of the hymn of Damiani on the Glory of Paradise. Mr. Brooke's notice of this poem as the one from which the hymn "Jerusalem thy joys divine" is derived, his arithmetic has gone as- tray. He describes it as being com- posed of twenty-seven stanzas of eight lines, headed by one of four lines. The book itself lies open before us and we find in it fifty-two stanzas of four lines as we have above stated, no more, no less. 34 H* a*ml 3Ceru0aIem insert at pages 36-39, the fourteen verses which in this C song portray the gor- geousness, the balmy atmosphere, and the fruitfulness of the Celestial Country, in order to bring them into juxtaposition at pages 4 1 et sequentes, with verses of a similar character in the hymn 'The Heavenly Jerusalem." The remaining thirty-eight verses will be found in the appendix, page 55; wherein Damiani's verses are indi- cated by an asterisk. e following copies of these old verses, are literal transcripts of the originals, save in one particular. The letter U, being a cursive form of the letter V, was used interchangeably with it by the printers of the seven- teenth century, so that in most of 35 these verses the V appears as U, and we have taken the liberty of substi- tuting the consonant V, as now in gen- eral use, in order to clarify, as we think it will, the reading of these lines to our twentieth century eyes. , tftg fogeg Dftune, jQo fogeg to 6e compar'D to tfcem: people filetteD to as tftine, J3o Cittg like 3feru(alem ttif * Cfiete, filuftering tointet netoet filotoeg, H3or @)ommet 9 s parcbing beatc Dotb ftatme: 3[t netiet (tee^etft tjjete, nor fnotoes C6e toeatftet etjer temperate toarme* Cfte trees Doe blottome, &tiD anD beare, tfie 15irD0 Doe etoer cftirpe anD fing: 36 Cfte friute 10 melloto all t&e petite, tftej? Imtie an etierlaffing fpring, fe * Cfte pleatant garDens, etoer keep Cfieit fjearbes anD flotoew ftell) anD greene: ail tort0 of Datntp plants anD friute0, at all times tbere, are to be Ceene* Cfte Hilli? tuftite anD ttiDDp Rote, Cbe Crimfon anD Carnation flotoers: Toe brntreD tftere toiti) ftonnp Deities, fteaticnlg Drops of golDen Cottiers* Pomgranat prince of fruite, tfte Peacfi, Cfte Dainty Date anD pleafant JFigge: Cfte aimonD, Q9u(caDeIl, anD rape, OBrceeDing gooD anD toonDrous ftigge. ni C6e JLemmon, flDrenge, Q^eDIer, ditfnce Cfte apricocbe anD gfnDian pfce: 37 lJeatimlp 3[eru0alem Cftc Cbcrrp, G3arDcn, plum anD Peare, Sgore fort0 ttmn toere in paraDfce, ftuitc mote tootf)4omc, fafre, Cftcn tbat tobicft gtcto on aDam'gttee: 2SJitt) tDftofe Delight afCailcD toerc, 2xat)erctoit j) fupprifD toere (Etie anD gee* Cbe Imeiling oDoti(etou0 0@o0t ftocctlp t&ere Dotb (toeate anD Drop: Cfte fruitefiill anD tiictorioti0 Palme, out ftet loftj? mounting top* Cbe Rper, tome rnoft perfect flotoe0, a^ote p leaf am t&en t6c ftonnp combe: Upon to&ofe banker tftc @ugar grotoe*, OEnclorD in EeeDeg of @>inamon. 38 JJ)cr toalles of 3[afper ttones be built ridb anD fapce tfnit etier toa0: ftreete0 anD ftoufcs pau'D anD gilt, toitt) goID more cleare tfecn CfttiftaU ffiattc. !&er gates In equall Diff ancc be, 3nD cacb a gliltting Sargante: commcr0 in fatte off map fee* glaDfome anD a glorious ftgbt, lj)cr intoatD Cftambcrs anD Dcligftt, 15e Dcckt toitl) peatle anD precious Rone: C&e Doote0 anD polternes all be tuijite 2Df torou0&t anD 6urnifiS)t 3[otp 6one tit * ler Sunne Dotft netier Clipfe nor clouDe, Der c@oone Dotb neber tear nor toane; Cfte Ham&e toitf) ligbt fnitf) fier enDueD, 2^ftofe glorp pen cannot erplaine. 39 le full title of The ,Song of Mary the Mother of Christ is follows: 'The/ Song of/ Mary the Mo/ther of Christ/ Containing the story of/ his life and passion/ The tears of Christ in the gar- den :/ With/ The description of heav- enly/ lerusalem/ London/ Printed by E. Allde for William Ferbrand,/ dwell- ing neere Guilde-hall gate at the/ Signe of the Crowne/ 1 60 1 ' '/ Collation A-F in fours. Title as above, with printer's device in centre, a i (verso blank). The work A 2 F4. The verso of C 4 blank. He song, "lerusalem my happy home," begins on the thirty- eighth page and ends on theforty-first. In order to preserve intact the beauty and quaintness of the original hymn, we do not alter the orthography or 40 punctuation, or change the form of the nineteenth letter of the English alphabet, all of which add to the poem's charm in the eyes of an anti- quary. The second and fourth lines of each verse, almost invariably begin with a lower case letter, which, in our opinion, indicates that the song was written in the fourteen-syllable verse [5] used by Sternhold & Hopkins and Tate & Brady in their versions of the Psalms, and by Chapman in his translation of Homer's Iliad ; a metre often divided in this manner to suit the size of the page. Cfie l^eatienlp 3Ietufalem i IdErufalem mp Imppp Some, tofien tyall 3f come to tfiee: Kaften flwil mg forrotog babe an enD, tf)j> i opes tuljcn fl)all 31 41 - : ; ii 2D fiappp Cittp of tfce 6 ftucet anD pleafant fople! 3[n tfiee no forroto map 60 founD, no gricfe, no care, no tople* Hi Cftcrc is no Dampe not foggp mitt, no clotoDe nor Darbfome nigfjt: Cftere, etoerp @>atnt fljtncs If be t&e unnc, tftere @oD Inmfelfe giDe.s ligftt* iti 3in tftee no flcknefe map tie (ounD, no 6urt, no acfie, no fore: 31n tftec tOere is no DreaD of Dcatft, C&ere's life for etiermore* U Cfiere is no raine, no fleete, no fnoto, no filtft map tftere ftc founD : C&ere is no forroU), nor no care, all fop Dotf) tbcte afiounD, 42 Iya*nrt Jmuolem hi 31erufalem mg flmll 31 come to tfree: flmll mg torrotoes fmtoe an enD, Cfeg /opes toften fl)atl 31 fee. tiff toalle0 are all of precious ftone*, tt)j? ftreeteg patieD toith goIDe: Cftp gates are eke of precious pearle, mod glorious to beftolDe, ^ m tiiii ,,, ,\. . /. Cftp Pinacles anD Carbuncles, toitft DiamonDes Doe fl)ine: Cfty Routes cobereD are toiti) goIDe, mott perfect, pure anD fine* fc Cftp garDens anD tftp pleafant toalbes, continual!? are greene: Cfiere grotoes tfie ftoeet anD f aireft f lotoers, etier erft teas feene* 43 C&ere, Sinamon, tfiere, Citiet ftoeet, tbcrc TBalme rprings from tbe grounD JI3o tongue can tell, no Deart concetoe, tftc fogc0 tf)at tbere abound* (3fetu(alem) Doe 6at&e in enDlcffe b litre: jQone 6ut tfiofe ftletteD (oules, can tell ftotu great tbp glorp ts fit Cftrousfiout ffip ftteetes toftfi flitter ftreames, t&e flooD of life Dotfi flotoe; Upon toftofe faanbc0, on cucrj? fiDe, t6e toooD of life Dot6 ffrotoe* mi Cfiofe trees Doe etoermore fieare fruite, anD etiermore Doe tpring: Cfiere, etiermore tfie Saints Doe flt, anD etoermore Doe fing, 44 erusalem Cftere DatiiD ftanDs toitft IMrpe in ftanD, a0 Rafter of tfte Xuite: Cen tfcoufanD tj?mc0 tf)at man mere bleft, tgat migbt ft Is mufique fteate. fl) 2Dur LaDg flngg Qgagniffcat, uiitft tune turpatttng fUieet: all tfte CDirgins beare tftetr patts, fitting about fter feete Ce Deum Dotft Saint amfarofe fing, Saint augufline tfte like: fiDIDe Simeon anD gooD focftatie, ftabe not tfteit fongs to feeke* mi Cftere QgagDalen ftatft loft fter moane, anD fi)e liketoife Dotft fing ftaypp Saints, toftofe ftarmon? in etierg ftteete Dotft ring* 45 Cfiere all Doe Iftie in fuel) Dcltgbt, Utcj) plcalurc anD fucft phip: Clmt tijouIanD tftoufanD pears agoc, Dotf) fceme but 3[etufalem mp 6appp fjome, fljall 31 come to tftec: l|)all mp Cottotoeg ftatie an enD, tftg foge* tofien B^all 31 verses are mediaeval echoes, resounding through centuries past and gone, of those in- spired words in the Apocalypse of St. John the Divine, with which our pages open. Again in the early years of the seventeenth century as though in- tended as a postlude the same mu- sical chord is struck, and the same ec- static strain caught up, in these broken 4 6 lines, as they were humbly called by their author, Giles Fletcher, in his poem " Christ's victorie and tri- umph in Heaven and Earth, over and after death/' verse 37. Cam- bridge, 1 6 10. [6] C6e Cittie celeftiall HTBout tbc ftolp Cittie rotolcs a flooD 2Df moulten cftryttciU, like a (ee of glatte, tufjicf) toeake It ream a ftrong tion stooD, DiamounD0 tljc btiilDi all things el0e, bcfiDcs itfclf, DID pane It)cr ftreete0 infteaD of It onc0 tftc ftatre0 DID pabe an D little pearle0 for D u ft , it feemeD to f)atoe tofnct) foft'ftreaming Q^anna, like pure fnotoe, DID 47 : T He Song by F. B. P. although not ranked as one of the seven great hymns of the Mediaeval Church, [7] is considered by the writer we have quoted, in the "Dictionary of Hymnology," to be one of the most important hymns in its Anthology, and he gives to its text and history, the exhaustive treatment that he deems it to deserve. This little quarto, entitled the "Song of Mary the Mother of Christ/' which ap- peared when the seventeenth century was but a twelve-month old, supplies us, it is true, with only a corrupted and incomplete version, of this Song of the joys of the Church Triumph- ant, as it was anglicized by the author from St. Augustine, Bishop of Hippo, "his booke/' but such as it is, this 4 8 little volume of forty-seven pages, enjoys the distinction of being nearly if not quite contemporaneous with the precious manuscript in the British Mu- seum, and the second known printed book, in which any portion of this metrical description of the Heavenly Jerusalem appeared two circum- stances, which aside from its extreme rarity, place it in the front rank, in any collection of early English literature. "^JITE close our brief and imper- -^^ feet sketch of this Sacred Song, the sweet and fragrant fruit of the poesy and the piety of the middle ages, as we began it, with an extract from Dr. Prime's loving and sympa- thetic study of its origin and geneal- ogy, under its other and, perhaps more, familiar title, "O ! mother dear Jerusalem/' 49 noblest/' he writes, "of our Sacred Songs, in its ori- gin, its genealogy and its subject, it will undoubtedly continue to be dear to the lips of those who are 'returning from the sad labour of this pilgrim- age' so long as the pilgrimage contin- ues, and no one of them will hear anything to surpass it, until he shall hear Mary and David and Ambrose sing the new song in the New City/' "3[Ha autem qiiae siirsum eft Jerufalem, If beta eft, quae eft mater noftra," dEptftola pauli aD alata0* Cap* 3[$ 26. in ligijt ana lobe, 31* mother of us all. jtlirty- eight verses f The Description of Heavenly Jerusa- lem from the Song of Mary. The remaining fourteen verses are given at page 36. if * & tbirftp (oule Deftres bet Draught, atbeatienlpfountaines to refreft): 8P prpfoneD minDe, tooulD fapne be out 2Df cbapnes anD fetters of tbe flefl), iff * loofeetb up unto tbe ftate, Jfrom tobence, fl)e Dotone b? finne DiD UiDe: mourneg tbe more tbe gooD fl)e loft, JFor prefcnt ebill fl)e Dotb abiDe, iti * longs, from rougb anD Daungcrou.s Co barbout in tbe bauen of blitte: 55 iK3bere fafelp ancbor at ber eafe, 3nD fljore of ftoeet contentment 10* ti * jFrom banifyment fye more anD more, Deffres to fee f)er countrg Deare: @>l)e flts anD tenD* bet %t)e0 before, li)er iope0 anD treafure0 all &e tbere, M^i^ tJi * jfrom TBafrilon fl)e tooulD returne, Onto f)er gome anD totonc of peace gjerutalem, tofiere fops afiounD, Continue ftill anD netier ceafe* glorious Sainw bet Dtoellerg be, 3fn numbers more tftan men can tbinfee: man? in a company as lobe in iikenes Dotb tbem linkt. mi * Cbe ftarres in brigbtnes tbep furpaffe, 3fn ftoiftnes arrotoes from a botoe: 56 S\n ftrengtfc, in f irmnes, fteele ot braffe 31n brigfnnes fire, in toftitenes fnouie, Cfteir cloatfting are more toft tften Hike, With gitDlc0 gilt ot beaten golDe: Cftcj? in t&eir 6anD0 as tofiite as milbe, SDf Palme triumphant branches Cftepr faces fining like tfte Sunne, Sfcoote fortt) tbeir glorious glaDfome beames: Cfte fielD is fougftt, tfie battle toonnc, Cfteir fteaos becrotoneD toitft DfaDemes* RcUnirD as ucrtue Different is, Deft i net tbcic /opes anD fiappines: T5ut eacft in /op of otftcrs bliffe, Dotb as ftis otone tfte (ame potCette. eacft in glorp Doe abounD, 3nD all tbeir glories Doe escell: 57 T6ut tofcereas all to eadb reDounD, can t&' esceeDfng glorp tell? Criumpfiant toarriers, pou map i)eare Recount tbcic Daungcrs tobicl) Doe ceafe: 3nD noble Citti?en0 etierg tofiere, Cbeir ftappp gainer of /op anD peace* HUH Cfte leatneD clerbc0 toitft l^atpeneD lint, Cftcpr makers toontJtou0 toorkes Do tell: Cfte 3|uDge0 grtiuc on bencftes fit, Co fiiDge tfte Cri&es of 3fftaelL miiii Cfie glorioug Courtiers etier tftere, attenD on perfon of tfieir fting, MJft!) angels /opneD in a -Ctitire, ^eloDious pratCe of ftpmmes to fing* mt IXueene Virgin, mot&er 3(nnocent, Cfien Saints anD angels more Ditoine: 58 Hike Sun amfD0t t&e firmament, t&e planets all Doe tyine. &e King tfiat fceatoenlp pallace rules, Dotb beate upon f)i0 golDen fl)icID, a Crone in figne of trpumpb ffiilc0, OBrecteD in a berDant fieID ^)i0 glorg fiicf) as Dotft fieftotie, in 6i0 manftooD for to tabe: oD^eaD eartt) anD beaben abobe, all tfnit Dtoell therein DID make, Hike fricnDs all partners are in ftliffc, fffllitt) Cftrift tfeeir HorD anD Rafter Deare: Like fpoufe* tfieg tfte lBriDe*ffroome kiffe, tofto feaftetft tfiem toitfi fieatoenlp cfteare. tree of life anD Qganna ftoeet, taftc, Dotf) fttcft a pleafure bring, 59 30 none to j uDge tftcrcof be meete, TBut tbep tobicb banquet toitb tbe ing* SBitb cberubin0 tfieft tarings tftep mootie, 3nD mount in contemplation ftge; e^itf) @>erapt)in0 tljcp burne in llotic, tt)e beamed of glorj? be 00 npgb* SD Ctaeet atpett, Difion of peace, bappp regarD anD beauenlp ttgbt! a) enDleffe fop toitbout furceate, perpetuall Dap tobicb batb no nigbt! 2D tuell of toeale, fotintaine of life ! a fpring of etierlafting bliffe: (Eternal Sunne, tefplenDent ligbt, anD eminent caufe of all tbat i0. of pleafure, Sea of Deligbt, gatDen of glorp etoer gteene: 60 2D glorious glaffc, anD mirroiir fcrigfit, therein all trutf) i$ clearlp Ceene ! mtnii * SD princelp pallace, ropall Court, 8@onarcfmll (eate, OBmperiall tfirone! &3f)ere ming of lyings, anD ^oucraig JLotD, for euer rulctf) all alone* mfe * 22Jftere all t&e glorious faints Doe fee tfie fecrew of tfie Dettp: C6e aoD*f)eaD one, in perfon tfiree, tfte fuperfiletteD Crinftp* vox * Cfte Deptfi of toffeDome moft profounD, all puifant ftigb fublimitp: Cbe brcDtb of lobe toitOout all fionD, in enDlette long eternitp* &&xi * beat)? eartf) belotoe 6p feinDc, alone afcenDs tfie mounting fire: 61 15e tftte tftc center of mg minDc, anD ioftj? fpfteare of fter Dcttcc. Cftc cimfeD Deare Dotfc take tbe topic, tbe tpreD I^arc, tfte tf)ickc0 anD toooD: IBe tftis tfie comfort of mg togle, mg refuse, ftopc, anD SoDcraigne gooD Cf)c C^crcbant cuts tf)e @>eag for gainc, tbe @oIDier fertiet!) for r en o tone Cftetpll*manplotoe tfiegrounDfor gratne, tie tt)t0 nig iog anD lading crotone* Cbe jfaiilbnct feekes to fee a flight* tbc !p an tec beate0 to tote to tbe game: ILong tfcou mg foul to fee tins figfit, anD labour to eniog tbc tame* I2o one, toitbout tome one Deligbt, fjc enDeabors to attaine: 62 tbou mp foulc botfi Dap anD nigbt, tbte one, tobicb etier fljall remafne* Cbis one containe0 all pleature true, all otbcr pleafure0 be but baine: tfiou tbe reft mp foule aDue, anD fccbe tfti0 one alone to game* count tbc grade upon tbe grounD, or SanDs tbat Ipe upon tbc fl)occ: tubcn pee Ijauc tbc number founD, tbc /opes bcrcof be manp more. a3orc tftoufanD tboufanD peare0 tbep hilt, loDgc tuitbin tbc bappp mpnDe: toftcn (o many peare0 be paft, more anD more be flill bcbinDc. jTarre more tbep be tben toe can toeene, Cbep Doe our juDgcmcnt mucb crcell: 63 eate 6at& ImiiD, or ej?e ftatf) Cccne, pen can toritc, no tongue can tell* I * an angels tongue cannot recpte, Cbc enDlefte JOP of beafccnlp blittc: being tofcolg infinite, all fpeacl) anD totiting to* li * can imagine but a tyaDe, 3ft nebet entreD into tftougftt: ffiaijat /opes 6e fiatf) enfopeD, tfiat maDe ail jopcs, anD tftem tbat fop of nought, lii * s@g foule cannot tfip fopes contapne, JLet bet HorD enter into t&em: Jfor etier toitS t&ee, to remapne JKHitfiin tfip totone 3ferufalem. Jfinis N. B. The verses not taken from Damiani's hymn are the ist, loth, i ith, I2th, I3th, I4th, i8th, 27th, 28th, and 29th. spinster* ana tty Knitter* in rtje ann 2E>iti u0r to c&ant it; Aken from Julian's "Dictionary of Hymnology," and other authorities. [ i ] " The total number of Christian hymns in the 200 or more languages and dialects in which they have been written or translated is not less than 400,000. When classified into languages the greatest number are found to be in German, English, Latin and Greek in the order named." [ 2 ] The "Meditations of St. Augustine," be- ing his treatise of the love of God, Soliloquies and manual " a pretious booke of heavenlie med- itations" is placed by the authorities of the British Museum among his supposititious works. In many editions of the " Liber Meditationum of St. Augustine," Cardinal Damiani's Hymn on Paradise, "Ad perennis vitae fontem/ ' is given as part of the Manual and has been frequently ascribed to St. Augustine. These "Meditationes," however, says Archbishop Trench, are plainly a cento from Anselm, Gregory the Great and many others besides Augustine. The hymn is Dami- ani's and quite the noblest he has left us. [ 3 ] Peter Damiani, called the austere reformer of the eleventh century, was born at Ravenna about 988. He was made Cardinal Bishop of Ostia by Pope Stephen IX in the year 1057. Died at Faenza, Italy, in 1072. 69 Xlotw [ 4 ] " Psalms & Hymns for Public or Private Devotions/' Sheffield, 1802. Known as the Eckington Church Choir Text. Only one copy of this book we are informed was known to the writer of the article on Jerusalem my happy home, in the "Dictionary of Hymnology;" the one in the Library of the Church House, West- minster. THE OLD FASHIONED FOURTEEN-SYLLABLE VERSE [ 5 ] The following specimens of this metre which show the wide extent the measure covers, are kindly furnished the writer by his friend, Mr. Beverly Chew, a student and collector of early English literature, to whom his brother bibliophiles instinctively turn when they have a knotty point connected with his favorite subject to unravel. I tell of things done long agoe, of many things in few; And chiefly of this Clyme of ours its Ac- cidents purfue. A. Warner's "Albion's England/' 3rd ed. 1592. Achilles banefule wrath refound,O God- delTe that impof d 70 Infinite forrowes on the Greekes, and many brave foules lofd. Chapman's "Iliad," 1611. The man is bleft that hath not bent to wicked read his eare; Nor lead his life as fmners doe, nor sat in fcorners chaire. The Whole Book of Psalms. Sternhold and Hopkins, 1635. Happy the Man whom ill Advice From Virtue ne'er withdrew; Who ne'er with Sinners ftood nor fat Amongft the fcoffing Crew. A new version of the Psalms, Tate and Brady, 1696. [ 6 ] Six of the nineteen cantos which compose this poem by Giles Fletcher, are pronounced by Dr. Neale the most beautiful original verses in a strictly religious poem which the English lan- guage possesses. [ 7 ] The seven great hymns of the Mediaeval Church are % i The Celestial Country Bernard of Cluny 7 1 2 TheDiesIrae Thomas de Celano 3 The Stabat Mater lacobus de Benedictus 4 Veni Sancte Spiritus Robert 1 1, son of Hugh Capet 5 Veni Creator Spiritus Charlemagne 6 Vexilla Regis Venantius Fortunatis 7 The Alleluiatic Sequence Godescalcus Bernard's Celestial Country is called by Dr. Neale, the most lovely, in the same way that the Dies Irce is the most sublime and the Stabat Mater the most pathetic of mediaeval poems. Postscript IT is the unexpected that happens in book- hunting quite as frequently as it does in other mundane pursuits. The printer's ink on the first signatures of this book was hardly dry, before Dr. Bonar's scarce little brochure. "The 72 New Jerusalem, A 'hymn of the Olden Time/' fell into our hands. As we have given on page 22 Dr. Neale's scathing criticism of the Covenanter, David Dickson, and his poetical works, even-handed justice requires that we should also reprint a few of the eulogistic words penned by one of his warm admirers. Therefore we quote this closing paragraph in Dr. Bonar's preface to his "elegant book" as Dr. Neale styles it a copy of which we have so unexpectedly secured. "Even though I could regard it in no higher light, than wiping off the duft from the picture of fome venerated kinfman, or clearing away the mofs from the infcription on some martyr's moorland grave, I ftill feel not a little fatiffied in having been able to give completer fhape to the breathings of a faint now gone up to the Jerufalem which he longed to fee." Kelso, Feb. 1852. Dr. Bonar shared in the prevalent belief of his time that the hymn, "O, mother dear Jeru- salem," was David Dickson's own, until he 73 learned of the manuscript volume in the British Museum. This, he tells us, he had an oppor- tunity of inspecting minutely, and from his full and interesting statement of what he found therein, and his deductions therefrom, we take the following paragraphs. "It is a thin quarto, fmall fize purchafed fome years ago at Mr. B right's fale and is No. 15,225. It has been bound fomewhat recently and is marked on the back, "Queen Elizabeth/' This date, however, is incorrect, as the follow- ing ftatement will fhow: There are references to King James, which prove that it belongs to his reign. There are two fongs in reference to the death of a Mr. Thewlis. The firft is at page 45; the heading runs thus: 'Here fol- loweth the fong Mr. Thewlis writ himself, to the tune of / The second is at page 49, and is thus headed: 'Here followeth the fong of the death of Mr. Thewlis, to the tune of Daintie, come thou to me/ We cannot extract the whole; but it begins thus: O God above, relent, And listen to our cry; O Christ, our woes avert, Let not thy children die. 74 It ends thus: O happie martyred saints, To you I call and cry, To heale us in our wants, O beg for us mercie. "It is evident that Thewlis was a Romanift; and in the lift of the twenty-four 'fecular clergymen' who fuffered death for treafon during the reign of James, one 'John Thulis' is given as having been executed at Lancaster* on the 1 8th of March 1616 [See Dodd's Church History of England, Vol. IV, p. 179]. And though there is a flight difference in the fpelling of the name from what we find in the manufcript, yet we can hardly doubt that the Mr. Thewlis of the manufcript is the John Thulis of the hiftorian. If fo, then this interefting volume muft be afligned to the reign of James the Firft. At the same time, it muft be remem- bered that this does not fix the date of the hymns, or ballads, or fongs contained in it, to that reign. Some of them are much older, going back even to an earlier period than Queen Elizabeth's reign. Several of the pieces in it do indeed refer to events of her time. There is, *Dr. Neale and the writer in the Dictionary of Hym- nology both state that this tragic scene was enacted at Manchester. 75 for inftance, at page 61, 'A song of four prieftes that fuffered death at Lancafter, to the tune of Daintie, come thou to me/ Now, as only three Romanifts in all were executed at Lancafter during the reign of James, and as thefe were not executed at once, but one (Lawrence Bailey) in 1604, and the other two (John Thulis and Roger Wrenno) in 1616; and as neither Bailey nor Wrenno were priefts, but fimple laymen; and as, moreover, we know that on two occafions four priefts were exe- cuted together in the reign of Elizabeth, we are inclined to date this fong fome time towards the clofe of the previous century, as it feems to be written not long after the event it refers to/' Dr. Bonar gives the titles of several other songs which this manuscript in the British Mu- seum contains, and arrives at the conclusion that it is a collection of already existing poems from various sources. The collector or tran- scriber, he believes, "muft have lived in the reign of James, but moft of the pieces collected are of an earlier date. Several of thefe anony- mous fcrap-books of thefeventeenth century have come to light, and in them are contained pieces which are to be found nowhere elfe. Unfortun- ately, they feldom give the names of the writers; and fuch is the cafe with the MS. we are refer- ring to. There is one piece, at page 3 1 , figned Thomas Hill; but this is the only author's name given throughout." Of the hymn "The New Jerusalem," Dr. Bonar thus writes: " It is a hymn of mingled fadnefs and triumph: more, however, of the latter than the former. It contains, no doubt, much of 'the fait of broken tears/ but it contains more of 'the joy unfpeakable and full of glory/ It is the fong of a prifoner, yet of one who, through his prifon-bars, fees afar off the bright flopes of his native hills. It is a folemn chaunt, nay, at times almost melancholy, were it not for the burfts of joy pervading it, like fragrance fcat- tered o'er the lone moorland, or like funfhine ftreaming in through the fhaken foliage on fome martyr's fo reft -grave." We would be glad to continue quoting from Dr. Bonar's learned treatise, but we must draw the line somewhere and the foregoing will suffice for our present purpose. No compiler of Mediaeval Hymns can omit to notice this song by F. B. P., and we were certain to find it included in Dr. Neale's "Hymns chiefly mediaeval on the Joys and 77 Glories of Paradise." The dedication of this little volume is so beautiful in sentiment and so chaste in expression, that we cannot refrain from quoting it before our final "explicit." TO THE EX-SUPERIOR OF s. MARGARET'S HOME THESE HYMNS BEARING REFERENCE TO THAT HOME OF WHICH EVERY RELIGIOUS HOUSE IS THE FAINT TYPE ARE AFFECTIONATELY DEDICATED