The standard must be expressed in terms which shall as certainly rule out objectionable verses as it rules in acceptable ones. The following may then be given as the indispensable qualities of a true hymn.

The

Nor is

1. It must be Scriptural, both in sentiment and expression. Beyond all question this is chief. hymn must be absolutely true to Scripture. it enough that its thought is not a violation of Scripture truth; the very form in which that thought is cast must be just as true to the Scripture as the thought itself. Otherwise we cannot be safeguarded in the offering of divine praise.

The abstract truth of Scripture is one thing; the spirit of Scripture-its tone and temper-is quite another. But both must be present in a correct transcription of Scriptural thought. The naked truth may be preserved while its spirit is violated; and on the other hand, its spirit may be presented while the statement of the truth is inaccurate. We cannot certainly save ourselves from both errors except by insisting on fidelity in both sentiment and expression.

"Spiritual reality" is imperative; but it is not enough. Some poems that aspire to be hymns, possess it, that are nevertheless trivial, misanthropic, uncharitable, or even vulgar. It is a very solemn responsibility which he accepts who undertakes to voice the praise of the Almighty and it is an almost equally solemn one which he assumes who invites others to engage in it. No one should ever venture

to do either who does not keep close to the Word of God.

It is not necessary, perhaps, to paraphrase consecutive verses of Scripture, as has been done in the versions of the Psalms, but nothing should be called a hymn, and nothing should ever be sung in our assemblies, which is not virtually a paraphrase—and that a very faithful one-of Scripture passages, whether they are immediately connected in the Holy Word or not.

If, now, we apply this rule to the hymns adopted in the usage of the church, we will find that it obtains. Take the first great hymn as an example, "Rock of Ages" is a Scriptural thought in Scriptural form. How often is Jehovah called a Rock! But in Isaiah xxvi. 4, where the King James version reads "In the Lord Jehovah is everlasting strength," the margin has "the Lord Jehovah is the Rock of Ages." The Revised Version has "the Lord Jehovah is an everlasting rock" with "A Rock of Ages" in the margin. Toplady, then, exhibited scholarship, poetry, and profound devotion in seizing the expression as the theme of his song, and all Christendom has responded. But as we proceed with the lines of his hymn we can verify them in like manner and the student is urged to apply the rule to other hymns.

Our psalm-singing brethren are right in general principles, though we may deny their limited application; and these principles should contain the first great, inviolable element whereby the true hymn shall be determined.

In this is

2. The true hymn must be devotional. included profound reverence and "liturgical propriety." Some other things are also included in the term. True devotion contemplates God in the various relations which he sustains towards his earthly creatures. The true hymn must therefore have a motion Godward. It is not exactly necessary that God should be directly addressed-indeed, the express form of address may be otherwise-but God must be uppermost in the thought even if not particularly conspicuous in the expression. The true hymn must tend towards God; bring him to mind; exalt his name and seek his glory. Those which are simply introspective, didactic, dogmatic, sentimental, egotistical, and the like, are not hymns. The Pharisee's utterances in the Temple, when he went up thither with the Publican, did not contain a single element of prayer. Some so-called hymns are like it-they do not contain a single element of praise.

Devotion is also worshipful. A hymn must contain nothing inconsistent with this, nothing that may not properly be uttered in approaching the Infinite, Adorable God. Those which are coarse, irreverent, trifling, or calculated to form an unworthy image in the mind should be severely excluded from our worship.

Let the student test the adopted hymns by this rule. "Jerusalem, my happy home," does not address God in a single stanza, but is adjudged a true hymn-its motion is distinctly Godward-the Saviour is set forth as the center and attraction of

the place. The same characteristic will be found in some others; all are grave and dignified; all express the adoration of the worshiper in reverential strains.

3. The true hymn must be lyrical. This means much more than that it may be set to music. The question should be asked, Is it improved by being set to music? If not, it is not a lyric. There must be, indeed, an interaction between the words and the music that is harmonious and reciprocal. The tune must be a help to the hymn and the hymn a help to the tune, else either tune or hymn is at fault-perhaps both.

The true lyric does not receive its best interpretation until it is sung; so that it is not enough to say, "It may be sung"-it must be sung. It is not well interpreted until it is sung. It does not express all its meaning nor exert all its power. We should rigidly reject, therefore, anything claiming to be hymn which is better said than sung. If a fine elocutionist can give it greater influence in declaiming it than a fine vocalist by singing it, it ought not to be called a hymn.

Apply this rule to the hymns adopted by the Church. It certainly applies to a very striking degree. Look again over the list of first lines given above; recall the tunes to which so many have been irrevocably wedded and their lyrical qualities will certainly appear.

These three rules are deemed sufficient. It does not appear that any other qualities are imperative.

Poetic language certainly adds to the merit of a hymn, but it is not indispensable. Some of the great hymns are not particularly great as poetry. Even Bishop Ken's Morning Hymn, ranking sixth in Anglican Hymnology and seventh in The Best Church Hymns, is not very far removed above good prose. But it is not thereby degraded in rank. At all events, if we take these three qualities, Scriptural, devotional, lyrical, as exhibited in the hymns generally adopted by the Church at large, we have a test sufficiently critical and comprehensive to apply to all poetic aspirants for hymnic honors.

With them, therefore, we proceed to our examination of the separate compositions.