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earlier than 1150, and the Sequence itself has not been found in any MS. earlier than 1200. Its ascription to King Robert II of France rests on no foundation, and the most probable author is Pope Innocent III.

365. This translation, an attempt to reproduce as closely as possible the verse structure of the original, is now printed for the first time.

366. This hymn has been very largely altered from the original text by various hands.

369 (46). This hymn was stated by the author to be an imitation and combination from the Latin hymns 'Tu Trinitatis Unitas' and 'Iam sol recedit igneus.' For the latter of these two hymns see note on p. 19; the former is itself a combination of one stanza from a hymn 'Tu Trinitatis Unitas' ascribed to Gregory the Great, and another from 'Aeterna caeli gloria' ascribed to St. Ambrose.

371. The Greek original on which this hymn is based was, Dr. Neale says, copied by him from a dateless Constantinopolitan book.' The English hymn, he says, contains 'little that is from the Greek'; and no Greek original in any way corresponding with it has been discovered in Dr. Neale's papers or elsewhere.

372. For the German original of this hymn see note on

p. 123.

375. No one has yet identified the Greek original used by Dr. Neale for this hymn.

377. This hymn has been translated into almost every European language, and into the languages of many distant lands.

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378. See note on p. 257. 'My servant asked what ailed me. I could only answer, "I have a work to do in England." I was aching to get home: yet for want of a vessel I was kept at Palermo for three weeks. .. At last I got off in an orange boat bound for Marseilles. We were becalmed a whole week in the Straits of Bonifacio. Then it was that I wrote the lines, "Lead, kindly Light" (June 16, 1833), which have since become well known.' (Newman, Apologia pro Vita Sua.) The meaning of the last two lines has been much discussed; but Cardinal Newman, when himself appealed to, wrote, 'I may plead that I am not bound to remember my own meaning, whatever it was, at the end of almost fifty years.' The hymn is in no way connected (as has sometimes been stated) with Newman's perplexity before leaving the Church of England ('as to leaving her, the thought never crossed my imagination,' loc. cit.); but deals with his state of mind just before the commencement of the Oxford Movement. 383. Written by Doddridge in 1737, and included in the Draft Scottish Paraphrases in 1745. In 1781 John Logan (who was not born till 1748) gave it with alterations in his Poems as his own; and in the same year Logan's text, with a new fifth verse, was given in the Scottish Translations and Paraphrases. This is the text here followed. The hymn was used at the midnight service at St. Paul's at the end of the nineteenth century.

387. The first of Addison's hymns in the Spectator, published July 26, 1712.

389. Perhaps the most famous of American hymns.

390. This hymn was sung at the funeral of Archbishop Benson in Canterbury Cathedral, and at the service at Wellington College on the same day.

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394. This hymn, says Dr. Neale, contains 'little that is from the Greek'; and no lines corresponding to the English have been found.

397. This mission hymn has been slightly altered to fit it for general use.

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410. Part of a long poem, beginning Glory to God, and praise and love,' written by Charles Wesley on the first anniversary of the great spiritual change which came upon him on May 21, 1738. The lines 'O for a thousand tongues to sing my dear Redeemer's praise' are said to have originated in the answer given by Peter Böhler the Moravian, when Wesley spoke to him of praising Christ-' Had I a thousand tongues, I would praise Him with them all.' The hymn, as arranged by John Wesley, is the opening hymn in the Wesleyan Hymn Book and in most Methodist collections.

411. A resetting by Sir R. Grant, in less quaint form, of Kethe's version of Psalm civ in the Old Version (p. 77). 414. The Latin original was used for the Epiphany, and is modelled on Psalm cxlviii.

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418. Entitled, and first published as, a ' Funeral Hymn.' 422. The second part of one of a series of nine hymns, entitled 'The Young Man's Meditation.' The first part of this hymn begins 'Sweet place, sweet place alone.'

424, 425. See note on p. 84. The hymn on p. 425 was sung at the evening service at Wellington College on the day of Archbishop Benson's funeral.

430. Said to have been suggested by the view of the Isle of Wight from Southampton Water.

431. Based on St. Mark vi. 31-46.

433. Now as they were going along and talking, they espied a Boy feeding his Father's sheep. The Boy

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was in very mean cloaths, but of a very fresh and
well favoured countenance, and as he sate by him-
self he sung.
"Hark," said Mr. Great Heart, "to
what the Shepherd's Boy saith." So they hearkened,
and he said-

"He that is down needs fear no fall."'

(Here follow the three stanzas.)

'Then said their Guide, "Do you hear him? I will dare to say that this Boy lives a merrier life, and wears more of that Herb called Hearts Ease in his Bosom, than he that is clad in Silk and Velvet."-The Pilgrim's Progress, Part II.

434. From the Christian Year, for St. John the Evangelist's Day, on which feast it was written in 1819.

435. Written for, and sung at, the unveiling of the monument to Archbishop Benson in Canterbury Cathedral, on July 8, 1899.

439. The original of this hymn (in six verses) was written by Dean Bullock in 1854. Of this Sir H. W. Baker took verses 1-4, altering them somewhat, and added three verses of his own. This text is here adopted, with the omission of verse 4.

444. Originally entitled 'Dedication of firstfruits'; applied as a hymn of prayer and praise for children in Gurney's Marylebone Collection.

APPENDIX.

TERMS USED IN THE PRECEDING NOTES.

BREVIARY. Breviaries are books containing services as used in the Western Church, and form one of the sources to which the English Prayer Book is indebted. Before they were compiled, various books were in use in the daily services, e. g. Psalter, Scriptures, Hymnal, Antiphonary,

and others; and a breviary is a single service book composed from these, and so called because it is a compilation of them in an abbreviated form. As sources of hymns the most important breviaries are —

1. The Roman Breviary, which was the growth of centuries and roughly took shape under Gregory VII (1073-1085). It received four main revisions, viz. in 1525, under Clement VII; in 1568, after the Council of Trent, under Pius V, who sanctioned and commanded its use by the Bull Quod a nobis; in 1602, under Clement VIII; and in 1632, under Urban VIII. There are at present about 160 hymns in the Roman Breviary, of which sixty have been added since the revision of 1632.

2. The Ambrosian Breviary, attributed to St. Ambrose, which is still in use in the diocese of Milan: it was largely revised by St. Charles Borromeo (d. 1584).

3. The Paris Breviary, which was revised by Archbishop Charles de Vintimille in 1736. To the hymns of this breviary Charles Coffin, Jean Baptiste de Santeuil, and Nicolas le Tourneaux were contributors.

4. The Cluniac Breviary.

PSALTERS, OR METRICAL VERSIONS OF THE PSALMS.

1. The two English Versions, the Old and New Versions. a. The Old Version was originated by Thomas Sternhold, Groom of the Robes to Henry VIII. His aim was to make sacred ballads for the people, and with one exception all his versions are in ballad metres. The first edition of Sternhold's Psalms contained nineteen versions, and was dedicated to Edward VI; the next contained thirty seven, and was published after Sternhold's death in 1549; the third, in 1551, contained seven fresh versions by John Hopkins, a disciple of Sternhold. In 1556 the Puritan party at Geneva brought out an order of service (approved by Calvin) containing these forty four psalms, with seven more versions

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