"Jesus, still lead on, Till our rest be won; And although the way be cheerless; To our Fatherland. "If the way be drear, If the foe be near, Let not faithless fears o'ertake us, To our home we go. "When we seek relief From a long-felt grief, Show us that bright shore "Jesus, still lead on, Till our rest be won; Heavenly Leader, still direct us, Still support, console, protect us, In our Fatherland. Other hymns by Count Zinzendorf in common use are: "Glory to God whose witness train," translation by John Wesley; and "Jesus thy blood and righteousness," also translated by Wesley. CARL JOHANN SPITTA Rev. Carl Johann Spitta, D.D., is considered the greatest German hymn-writer of the nineteenth century. He was born at Hanover, August 1, 1801. His father died when he was only four years of age, and his mother, discouraged by the feebleness of his constitution, abandoned the idea of training him for a profession and apprenticed him to a watch-maker. But it was soon discovered that he was not fitted for such work, and he was permitted to prepare for the ministry. He was educated at the University of Göttingen, ordained December 10, 1828, and settled as pastor at various places. He died September 28, 1859. The poetic instinct manifested itself in Spitta in early childhood. He composed verses when he was After his conversion he wrote only eight years old. to a friend, "In the manner in which I formerly sang, To the Lord I consecrate my life likewise my song. I sing no more. and my love and He gave to me him." Many of Spitta's songs have been rendered into English. The most familiar is "O Jesu meine Sonne," translated by Richard Massie: "I know no life divided, O Lord of life, from thee: For all mankind and me; "I fear no tribulation, Since, whatsoe'er it be Between my Lord and me. If thou, my God and Teacher, "If, while on earth I wander, My heart is right and blest, In perfect peace and rest? A kingdom our reward. The name of Rev. Benjamin Schmolck should be added to those above. His fine hymn, "Mein Jesu wie du willst," is quoted on page 531, in connection with the name of its translator. Benjamin Schmolck was born in Silesia, December 21, 1672; was graduated from the University of Leipsig, 1697; returned to Silesia, where he spent his life. He died February 12, 1737. Many of his hymns are in use. The most acceptable one after that noted begins, "Light of Light enlighten me." CHAPTER IV PSALMODY The term "psalmody" is applied to that body of sacred song which is composed of metrical versions of the psalms, wherein they are adapted to modern methods of singing. It generally includes, also, similar paraphrases of other portions of Scripture. The subject is an immensely large one of itself, and its literature most extensive. Julian, in his Dictionary of Hymnology, gives a list of three hundred and twenty-six separate publications, of substantially the entire Psalter, in English alone; besides about one hundred and twenty minor versifications. To these must be added, before exhausting the catalogue, similar attempts in other languages and also the vast number of songs ranking simply as "hymns," but virtually belonging to psalmody. We are compelled by our limits to treat only of the most important versions, as they are known to-day, specially those in the English language. CLEMENT MAROT Psalmody, in its modern sense, began with Clement Marot of France, court-poet to King Francis I. The time and circumstances should be carefully noted. Francis reigned from 1515 to 1547. These years cover the most momentous events in modern history, the Reformation, the rise of Spanish ascendency under Charles V., and all else that was associated therewith. Marot was writing his psalms while Francis and Charles were engaged in bitter warfare over their respective claims to the control of Italy, while Luther was stirring all Christendom with his attacks upon the papacy, while the Huguenots were struggling for the control of France, while Cardinal Wolsey was running his eccentric but influential course in England. It is not strange that such work as his in psalmody in such an age should have been productive of permanent results. Marot became valet de chambre to Marguerite de Valois at the age of twenty-one. Her influence over him was so great that he espoused the Huguenot faith, though his religion does not seem to have become particularly vital. His character is variously represented by Catholic and Huguenot. He was certainly a gay, witty, and volatile soul, and his poems are for the most part short pieces-ballads, epigrams, and the like. Yet he suffered again and again for his Protestant principles, though we are tempted to believe it was chiefly because his Protestantism was so largely displayed in his satires upon the Roman clergy, even though these alternate with expressions of simple, unaffected faith. King Francis seems to have promoted him in his own persistent attempt to use anything or anybody who would serve his cause against the emperor. But even Charles V. subsequently admired his gifts and richly rewarded him for his work. |