A Hymn Made Famous on a Battle Field

“Be not dismayed, thou little flock” will always be known as the “swan-song” of the Swedish hero king, Gustavus Adolphus.

No incident in modern history is more dramatic than the sudden appearance in Germany of Gustavus Adolphus and his little Swedish army during the critical days of the Thirty Years’ War. It was this victorious crusade that saved Germany, and probably all of northern Europe, for Protestantism.

The untimely death of the Swedish monarch on the battlefield of LÜtzen, November 6, 1632, while leading his men against Wallenstein’s host, not only gained immortal fame for Gustavus, but will always cause the world to remember the hymn that was sung by his army on that historic day.

When Gustavus Adolphus landed in Germany in 1630 with his small but well-trained army, it seemed that the Protestant cause in Europe was lost. All the Protestant princes of Germany had been defeated by Tilly and Wallenstein, leaders of the Imperial armies, and the victors were preparing to crush every vestige of Lutheranism in Germany.

The Margrave of Brandenburg and the Duke of Saxony, however, furnished a few troops to Gustavus, and in a swift, meteoric campaign the Swedish king had routed the army of the Catholic League and had marched all the way across Germany. In the spring of 1632 Gustavus moved into the heart of Bavaria and captured Munich.

The Imperial forces who had sneered at the “Snow King,” as they called him, and who had predicted that he would “melt” as he came southward, were now filled with dismay. The “Snow King” proved to be the “Lion of the North.”

Wallenstein rallied the Catholic forces for a last stand at LÜtzen, the battle that was to prove the decisive conflict.

On the morning of November 6, 1632, the two armies faced each other in battle array. Dr. Fabricius, chaplain of the Swedish army, had been commanded by Gustavus to lead his troops in worship. The king himself raised the strains of “Be not dismayed, thou little flock,” and led the army in singing the stirring hymn. Then he knelt in fervent prayer.

A heavy fog prevented the Protestant forces from moving forward to the attack, and, while they were waiting for the fog to lift, Gustavus ordered the musicians to play Luther’s hymn, “A mighty Fortress is our God.” The whole army joined with a shout. The king then mounted his charger, and, drawing his sword, rode back and forth in front of the lines, speaking words of encouragement to his men.

As the sun began to break through the fog, Gustavus himself offered a prayer, “Jesus, Jesus, Jesus, help me today to do battle for the glory of Thy holy name,” and then shouted, “Now forward to the attack in the name of our God!” The army answered, “God with us!” and rushed forward, the king galloping in the lead.

When his aid offered him his coat of mail, Gustavus refused to put it on, declaring, “God is my Protector.”

The battle raged fiercely. For a time the outcome seemed ominous for the Lutherans. At 11 o’clock Gustavus was struck by a bullet and mortally wounded. As he fell from his horse, the word spread quickly throughout the Swedish lines, “The king is wounded!”

It proved to be the turning point in the battle. Instead of losing heart and fleeing, the Swedish troops charged the foe with a fierceness born of sorrow and despair, and before the day was ended another glorious victory had been won. The Protestant cause was saved, but the noble Gustavus had made the supreme sacrifice.

The authorship of his famous “battle-hymn” has been the subject of much dispute. The German poet and hymnologist, Albert Knapp, has called it “a little feather from the eagle wing of Gustavus Adolphus.” Most Swedish authorities, too, unite in naming their hero king as the author. However, the weight of evidence seems to point to Johann Michael Altenberg, a German pastor of Gross Sommern, ThÜringen, as the real writer of the hymn. It is said that Altenberg was inspired to write it upon hearing of the great victory gained by Gustavus Adolphus at the battle of Leipzig, September 7, 1631, about a year before the battle of LÜtzen.

In any event, it is a matter of record that the Swedish king adopted it immediately, and that he sang it as his own “swan-song” just before he died at LÜtzen. Someone has aptly said, “Whether German or Swede may claim this hymn is a question. They both rightly own it.”

THE LUTHERAN TE DEUM

The last of the great Lutheran hymn-writers belonging to the period of the Thirty Years’ War was Martin Rinkart. Except for the time of the Reformation, this period was probably the greatest creative epoch in the history of Lutheran hymnody. But of all the glorious hymns that were written during those stirring years, there is none that equals Rinkart’s famous hymn, “Now thank we all our God.”

The date of this remarkable hymn is obscure. The claim has been made that it was written as a hymn of thanksgiving following the Peace of Westphalia, which in 1648 brought to an end the long and cruel war. This claim has been based on the fact that the first two stanzas are a paraphrase of the words of the high priest Simeon, recorded in the Apocryphal book Ecclesiasticus 50:29-32: “And now let all praise God, who hath done great things, who hath glorified our days, and dealeth with us according to His loving-kindness. He giveth us the joy of our hearts, that we may find peace in Israel as in the days of yore, thus He lets His loving-kindness remain with us, and He will redeem us in our day.” Inasmuch as this was the Scripture passage on which all regimental chaplains were ordered to preach in celebration of the conclusion of peace, it has been inferred that Rinkart was inspired to write his hymn at that time.

It is probable, however, that these circumstances were merely a coincidence, and that the hymn was written several years previous to 1648. In Rinkart’s own volume, “Jesu Hertz-Buchlein,” it appears under the title “Tisch-Gebetlein,” or a short prayer before meals, and many believe that it was originally written for Rinkart’s children. It will be noticed that, while the first two stanzas are based on the passage from Ecclesiasticus, the last stanza is the ancient doxology, Gloria Patri.

No hymn except Luther’s famous “A mighty Fortress is our God” has been used more generally in the Lutheran Church than Rinkart’s glorious paean of praise. In Germany, where it has become the national Te Deum, it is sung at all impressive occasions. After the battle of Leuthen, the army of Frederick the Great raised the strains of this noble hymn, and it is said that even the mortally wounded joined in the singing.

In his history of the Franco-Prussian War, Cassel tells of a stirring incident that took place on the day following the battle of Sedan, where the Germans had won a decisive victory over the French. A multitude of Prussian troops who were marching toward Paris were billeted in the parish church of Augecourt. They could not sleep because of the extreme excitement of the day. Suddenly a strain of music came from the organ, first very softly but gradually swelling in volume until the whole sanctuary shook. It was the grand old hymn—“Nun danket alle Gott!” Instantly men and officers were upon their feet, singing the stirring words. Then followed Luther’s “Ein feste Burg,” after which the terrible strain seemed relieved, and they laid themselves down to peaceful slumber.

It is recorded that the hymn was also sung at the opening of the magnificent Cathedral of Cologne, August 14, 1880, as well as at the laying of the cornerstone of the Parliament building in Berlin, June 9, 1884. It has also achieved great popularity in England, where it was sung as a Te Deum in nearly all churches and chapels at the close of the Boer War in 1902.

Rinkart’s life was a tragic one. The greater part of his public service was rendered during the horrors of the Thirty Years’ War. He was born at Eilenburg, Saxony, April 23, 1586. After attending a Latin school in his home town, he became a student at the University of Leipzig.

In 1617, by invitation of the town council of Eilenburg, he became pastor of the church in the city of his birth. It was at the beginning of the Thirty Years’ War, and, because Eilenburg was a walled city, it became a refuge for thousands who had lost everything in the conflict. Famine and pestilence added to the horror of the situation, and the other two pastors of the city having died, Rinkart was left alone to minister to the spiritual needs of the populace.

Twice Eilenburg was saved from the Swedish army through the intercession of Rinkart, first in 1637 and again in 1639. A levy of 30,000 thaler had been made on the city by the Swedish general to aid the Protestant cause. Knowing the impoverished condition of his townsmen, Rinkart went out to the Swedish camp to plead their cause, but to no avail. Turning to those who were with him, Rinkart exclaimed, “Come, my children, we can find no mercy with men, let us take refuge with God.” He then fell on his knees and uttered a fervent prayer, after which they sang the hymn of Paul Eber so much used in those trying days, “When in the hour of utmost need.” The scene made such an impression on the Swedish commander that he relented and reduced his demand to 2,000 florins or 1,350 thaler.

Rinkart lived only a year after the close of the bloody war. He died, a worn and broken man, in 1649.

PAUL GERHARDT, PRINCE OF LUTHERAN HYMNISTS

The greatest Lutheran hymnist of the seventeenth century, and perhaps of all time, was Paul Gerhardt.

Not even the hymns of Martin Luther are used so generally throughout the Christian world as those of Gerhardt. More of the beautiful lyrics of this sweet singer have found their way into the English language than the hymns of any other German writer, and with the passing of years their popularity increases rather than diminishes.

In the Lutheran church at LÜbden, in Germany, there hangs a life-size painting of Gerhardt. Beneath it is this inscription: Theologus in cribro Satanae versatus, “A divine sifted in Satan’s sieve.” That inscription may be said to epitomize the sad life-story of Germany’s great psalmist.

Gerhardt was born March 12, 1607, in GrÄfenhaynichen, a village near the celebrated Wittenberg. His father, who was mayor of the village, died before Paul reached maturity. When he was twenty-one years of age he began the study of theology at the University of Wittenberg. The Thirty Years’ War was raging, and all Germany was desolate and suffering. Because of the difficulty of securing a parish, Gerhardt served for several years as a tutor in the home of Andreas Barthold, whose daughter Anna Maria became his bride in 1655.

It was during this period that Gerhardt’s poetic gifts began to flourish. No doubt he was greatly stimulated by contact with the famous musician Johann CrÜger, who was cantor and director of music in the Church of St. Nicholas in Berlin. In 1648 many of Gerhardt’s hymns were published in CrÜger’s Praxis Pietatis Melica.

Through the recommendation of the Berlin clergy, he was appointed Lutheran provost at Mittenwalde, and was ordained to this post November 18, 1651. Six years later he accepted the position of third assistant pastor of the Church of St. Nicholas in Berlin. His hymns continued to grow in popularity, and his fame as a preacher drew large audiences to hear him.

The controversy between the Lutherans and Calvinists, which had continued from the days of the Reformation, flared up again at this time as the result of efforts on the part of Elector Friedrich Wilhelm of Prussia to unite the two parties. Friedrich Wilhelm, who was a Calvinist, sought to compel the clergy to sign a document promising that they would abstain from any references in their sermons to doctrinal differences. Gerhardt was sick at the time, and, although he had always been moderate in his utterances, he felt that to sign such a document would be to compromise the faith. Summoning the other Lutheran clergymen of Berlin to his bedside, he urged them to stand firm and to refuse to surrender to the demands of the Elector.

Soon after this the courageous pastor was deposed from office. He was also prohibited from holding private services in his own home. Though he felt the blow very keenly, he met it with true Christian fortitude.

“This,” he said, “is only a small Berlin affliction; but I am also willing and ready to seal with my blood the evangelical truth, and, like my namesake, St. Paul, to offer my neck to the sword.”

To add to his sorrows, Gerhardt’s wife and a son died in the midst of these troubles. Three other children had died previous to this, and now the sorely tried pastor was left with a single child, a boy of six years. In May, 1669, he was called to the church at LÜbden, where he labored faithfully and with great success until his death, on June 7, 1676.

The glorious spirit that dwelt in him, and which neither trials nor persecutions could quench, is reflected in the lines of his famous hymn, “If God Himself be for me,” based on the latter part of the eighth chapter of Romans:

Catherine Winkworth, who has translated the same hymn in a different meter under the title, “Since Jesus is my Friend,” has probably succeeded best in giving expression to the triumphant faith and the note of transcendent hope and joy in the final stanza:

Because of his own warm, confiding, childlike faith in God, Gerhardt’s hymns have become a source of special comfort to sorrowing and heavy-laden souls. They not only breathe a spirit of tender consolation but of a “joy unspeakable and full of glory.” We have a beautiful example of this in his Advent hymn, “O how shall I receive Thee”:

In Gerhardt’s hymns we find a transition to the modern subjective note in hymnody. Sixteen of his hymns begin with the pronoun, “I.” They are not characterized, however, by the weak sentimentality so often found in the hymns of our own day, for Gerhardt never lost sight of the greatest objective truth revealed to men—justification by faith alone. Nevertheless, because of his constant emphasis on the love of God and because his hymns are truly “songs of the heart,” they possess a degree of emotional warmth that is lacking in the earlier Lutheran hymns.

His hymns on the glories of nature have never been surpassed. In contemplating the beauty of created things he is ever praising the Creator. His famous evening hymn, “Nun ruhen alle WÄlder,” has been likened to the beauty and splendor of the evening star. In a marvelous manner the temporal and the eternal, the terrestrial and the celestial are contrasted in every stanza. It was a favorite hymn of the great German poet, Friedrich von Schiller, who first heard it sung by his mother as a cradle song. Probably no hymn is so generally used by the children of Germany as an evening prayer as this one. The most familiar English translation begins with the line, “Now rest beneath night’s shadow.” A more recent translation of rare beauty runs:

The tune to which this hymn is sung is as famous as the hymn itself. It is ascribed to Heinrich Isaak, one of the first of the great German church musicians. It is believed to have been composed by him in 1490, when he was leaving his native town, Innsbruck, to establish himself at the court of Emperor Maximilian I. It was set to the plaintive words, “Innsbruck, ich muss dich lassen.” According to tradition, Isaak first heard the beautiful melody sung by a wandering minstrel. Bach and Mozart regarded it as one of the sublimest of all chorales, and each is said to have declared that he would rather have been the composer of this tune than any of his great masterpieces.

Gerhardt wrote 123 hymns in all. In addition to the hymns already mentioned, probably his most famous is “O sacred Head, now wounded,” based on the Latin hymn of Bernard of Clairvaux. Other hymns in common use are “Immanuel, we sing Thy praise,” “Holy Ghost, dispel our sadness,” “O enter, Lord, Thy temple,” “Shun, my heart, the thought forever,” “Commit thou all thy griefs,” “All my heart this night rejoices,” “Beside Thy manger here I stand,” “Awake, my heart, and marvel,” “Go forth, my heart, and seek delight,” “O Saviour dear,” and “A pilgrim and a stranger.”

Only the briefest mention can be made of other German Lutheran hymn-writers of this period. One of these, Johan Rist, pastor in Wedel, was crowned poet laureate of Germany by Emperor Ferdinand III in 1644, and nine years later was raised to the nobility. Rist wrote some 680 hymns, but all are not of uniform excellence. Among those in common use to-day are “Arise, the kingdom is at hand,” “Help us, O Lord, behold we enter,” “Rise, O Salem, rise and shine,” “O Living Bread from heaven,” “O Jesus Christ, Thou Bread of Life,” “Father, merciful and holy,” which has also been translated “Soul of mine, to God awaking,” “O darkest woe,” and “Arise, arise ye Christians.”

Georg Neumark, court poet and secretary of archives under Duke Wilhelm II of Saxe-Weimar, has left us the hymn of trust in God: “Let, O my soul, thy God direct thee,” which is also known by the English translation, “If thou but suffer God to guide thee.” The hymn was written in 1641, at Kiel, when, after being robbed of practically all he possessed except his prayer-book, Neumark succeeded in obtaining employment as tutor in a wealthy family. He was a destitute student at the time.

Michael Schirmer, an educator and poet who lived in Berlin during the Thirty Years’ War and for two decades after its close, is the author of a number of beautiful hymns, among them the Pentecost hymn, “O Holy Spirit, enter in.” Because of poverty and afflictions suffered during a period of war and pestilence, he has been called “the German Job.”

Ahasuerus Fritsch, chancellor and president of the Consistory of Rudolstadt, is credited with the authorship of “Jesus is my Joy, my All,” a hymn that reflects the spirit of true evangelical piety. He died in 1701.

Caspar Neumann, another of Gerhardt’s contemporaries, has bequeathed to the Church the sublime hymn, “God of Ages, all transcending,” the last stanza of which is unusually striking in language:

Neumann, who was a celebrated preacher and professor of theology at Breslau from 1678 to 1715, was the author of some thirty hymns, all of which became very popular in Silesia. He was also author of a famous devotional book, “Kern aller Gebete.”

JOACHIM NEANDER, THE PAUL GERHARDT OF THE CALVINISTS

While all Germany during the latter half of the seventeenth century was singing the sublime lyrics of Paul Gerhardt, prince of Lutheran hymnists, the spirit of hymnody was beginning to stir in the soul of another German poet—Joachim Neander. This man, whose name will always be remembered as the author of one of the most glorious hymns of praise of the Christian Church, was the first hymn-writer produced by the Reformed, or Calvinistic, branch of the Protestant Church.

Hymnody in the Reformed Church had been seriously retarded by the iconoclastic views of Calvin and Zwingli. These Reformers at first frowned on church choirs, organs, and every form of ecclesiastical art. Even hymns, such as those used by the Lutherans, were prohibited because they were the production of men. God could be worshiped in a worthy manner, according to Calvin’s principles, only by hymns which were divinely inspired, namely, the Psalms of the Old Testament Psaltery.

This gave rise to the practice of versifying the Psalms. Calvin’s insistence that there should be the strictest adherence to the original text often resulted in crude paraphrases. The exclusive use of the Psalms explains the development of so-called “psalmody” in the Reformed Church as over against “hymnody” in the Lutheran Church.

Psalmody had its inception in France, where Clement Marot, court poet to King Francis I, rendered a number of the Psalms into metrical form. Marot was a gifted and versatile genius, but not inclined to piety or serious-mindedness. However, his versified Psalms became immensely popular with the French Huguenots and exerted a great influence in the struggle between the Protestants and the papal party. When Marot was compelled to flee to Geneva because of Roman persecution, he collaborated with Calvin in publishing the famous Genevan Psalter, which appeared in 1543.

Following the death of Marot in 1544, Calvin engaged Theodore de Beza to continue the work, and in 1562 the Genevan Psalter was published in completed form, containing all the Psalms in versified dress. The musical editor during the greater part of this period was Louis Bourgeois, to whom is generally ascribed the undying honor of being the composer of probably the most famous of all Christian hymn tunes, “Old Hundredth.”

The Genevan Psalter was translated into many languages, and became the accepted hymn-book of the Reformed Church in Germany, England, Scotland, and Holland, as well as in France. In Germany the most popular version was a translation by Ambrosius Lobwasser, a professor of law at KÖnigsberg, who, oddly enough, was a Lutheran.

For more than 150 years Lutheran hymn-writers had been pouring out a mighty stream of inspired song, but the voice of hymnody was stifled in the Reformed Church. Then came Joachim Neander. His life was short—he died at the age of thirty—and many of his hymns seem to have been written in the last few months before his death; but the influence he exerted on the subsequent hymnody of his Church earned for him the title, “the Gerhardt of the Reformed Church.”

A ROMAN MYSTIC AND HYMN-WRITER

In Johann Scheffler we have the singular example of a man who forsook the Lutheran Church to become a Romanist, but whose hymns have been adopted and sung by the very Church he sought to oppose and confound.

Scheffler was a contemporary of Gerhardt and Neander. He was born in Breslau, Silesia, in 1624. His father, Stanislaus Scheffler, was a Polish nobleman who had been compelled to leave his native land because of his Lutheran convictions. Young Scheffler became a medical student at Strassburg, Leyden, and Padua, returning to Oels, Silesia, in 1649 to become the private physician to Duke Sylvius Nimrod of WÜrttemberg-Oels.

During his sojourn in foreign lands he had come in contact with the writings of various mystics and he began to lean strongly toward their teachings. At Oels he began to flaunt his separatist views by absenting himself from public worship and the Lord’s Supper. When the Lutheran authorities refused to permit the publication of some poems he had written, because of their strong mystical tendencies, Scheffler resigned his office and betook himself to Breslau, where he joined himself to a group of Jesuits. Here he pursued the study of the medieval mystics of the Roman Catholic Church, and in 1653 was confirmed as a member of that communion. At this time he took the name of Angelus Silesius, probably after a Spanish mystic named John ab Angelis.

HYMN-WRITERS OF THE PIETIST SCHOOL

Spiritual revivals in the Christian Church have always been accompanied by an outburst of song. This was true of the Reformation, which witnessed the birth of the Lutheran Church, and it was also characteristic of the Pietistic movement, which infused new life and fervor into that communion. The Pietistic revival, which in many respects was similar to the Puritan and Wesleyan movements in England, had its inception in Germany in the latter part of the 17th century and continued during the first half of the 18th century. It quickly spread to other Lutheran countries, particularly Scandinavia, and its influence has been felt even to the present time.

The leader of the movement was Philipp Jacob Spener, pastor of St. Nicolai Church, in Berlin. Spener, although a loyal and zealous son of the Lutheran Church, was not blind to the formalism and dead orthodoxy which had overtaken it following the Thirty Years’ War and which threatened to dry up the streams of spiritual life. To stimulate spiritual endeavor and personal piety, Spener and his followers organized Bible study groups. They also encouraged private assemblies for mutual edification. These were known as collegia pietatis, which gave rise to the name, “Pietists.”

August Hermann Francke, the foremost disciple of Spener, succeeded the latter as leader of the movement. The University of Halle, where Francke was called as professor in 1691, became the center of Pietism. Here Francke laid the foundations for the remarkable philanthropic and educational institutions that made his name known throughout the Christian world. It began in 1695 when the great-hearted man opened a room in his own house for the instruction of poor children. Within a few years he had established his great orphanage, a high school, and a home for destitute students. The orphans’ home was erected on a site where there had been a beer and dancing garden.

When Francke began he had no money, nor did he receive any support from the state, but as the marvelous work progressed funds poured in from all quarters. In the year of his death, 1727, more than 2,000 children were receiving care and instruction from 170 teachers. Altogether, some 6,000 graduates of theology left Halle during Francke’s career, “men imbued with his spirit, good exegetes, and devoted pastors, who spread their doctrines all over Germany, and in the early decades of the 18th century occupied a majority of the pulpits.”

Halle also became the cradle of the modern missionary movement. From this place, in 1705, Bartholomew Ziegenbalg and Henry PlÜtschau, were sent forth as the first missionaries to India, nearly a century before William Carey left England for the same field. At Halle the youthful Count von Zinzendorf became a pupil under Francke and received the inspiration that in later years led to the establishment of the far-reaching missions of the Moravians. To Halle the founder of Methodism, John Wesley, came in 1738, shortly after his conversion in London, in order to become more familiar with the teachings of Luther and the Pietists.

The secret of the marvelous success of Francke’s efforts may be read in the simple inscription on the monument erected to his memory in front of the famous orphanage at Halle. It reads: “He trusted in God.”

Neither Francke nor Spener were hymn-writers of note, although each composed a few songs. The Pietist movement, however, gave birth to a great revival in hymnody in Germany, both in Lutheran and Reformed circles. At Halle it was Johann Anastasius Freylinghausen who not only became the representative hymnist of the Pietists, but also succeeded Francke as head of the great Halle institutions.

Freylinghausen was a student at the University of Jena when he first heard the preaching of Francke. Shortly afterward he followed him to Halle, and in 1695 became Francke’s colleague. He preached at vesper services, conducted midweek meetings, taught classes in the orphanage school, and delivered lectures on homiletics. He served without salary for ten years, since Francke was obliged to use all his income for the support of his institutions of mercy. In 1715 Freylinghausen married Francke’s only daughter. At her baptism as an infant he had been her sponsor, and she had received his name, Johanna Anastasia. It was after Francke’s death in 1727 that the Halle institutions reached their highest development under the direction of Freylinghausen. When the latter died in 1739, he was buried beside his beloved friend.

Freylinghausen’s “Geistreiches Gesangbuch” became the standard hymn-book of the Pietistic movement. The first edition appeared in 1704 and contained 683 hymns. A second hymn-book was published in 1714, containing 815 additional hymns. The two collections were combined in 1741 by G. A. Francke and published as one hymn-book, containing 1,582 hymns and 600 tunes. Freylinghausen was the author of forty-four of these hymns, and is also said to have composed some of the melodies.

The hymns of Freylinghausen are the most worthy of all those produced by the Pietistic school. They are marked by genuine piety, depth of feeling, rich Christian experience, and faithfulness in Scriptural expression. The tunes employed, however, were often a distinct departure from the traditional Lutheran chorales, and were not always suited to congregational worship. Freylinghausen’s most famous hymn, “O Jesus, Source of calm repose,” was greatly admired by John Wesley, who translated it into English in 1737. The so-called “Jesus hymns,” which reached their greatest development among the Pietists, find their sweetest expression in Freylinghausen’s:

It is not strange that from Halle, from whence such mighty missionary influences flowed, should also go forth the first Protestant missionary hymn. It was in 1750 that Karl Heinrich von Bogatzky, while working among the orphans of the Franckean institutions, wrote his famous hymn, “Awake, thou Spirit, who didst fire.”

Bogatzky, who came from a noble Hungarian family, was disowned by his father when he chose to enroll as a theological student at Halle rather than to prepare for a career as an army officer. His health failed him, however, and he was unable to enter the ministry. For many years he devoted himself to hymn-writing and devotional literature. He also traveled as a lay preacher. Because of his noble birth he was able to exert a considerable influence in the higher circles of German society. From 1746 to his death in 1774, he lived at the Halle orphanage. He was the author of some 411 hymns, but few of them possess the poetic and spiritual fire of his missionary hymn. Two of its glorious stanzas read:

Johann Jacob Rambach was another important hymn-writer of this period. The son of a cabinet maker of Halle, young Rambach attended the free school established by Francke and came under the direct influence of the great Pietist leader.

Like many a youth, however, he felt that his education was complete at the age of thirteen years, at which time he left school to work in his father’s shop. The Lord, on the other hand, seems to have had other plans for the lad, and it was not long before young Rambach suffered a dislocated ankle. Confined to his bed for several weeks, he again turned to his books, and, before he had recovered, the desire to resume his studies took possession of him.

Rambach eventually became one of the outstanding theologians of Halle, as well as preacher at the school church. In 1731 he removed to Giessen to become superintendent and first professor of theology. Here he found conditions vastly different from those at Halle. He was particularly grieved over the fact that his preaching did not seem to bear fruit. Often his efforts to bring about healthier spiritual conditions met with opposition and scoffing on the part of his adversaries. He died in 1735 at the early age of forty-two years—from intense sorrow over the spiritual indifference of his flock, so it has been said.

Rambach wrote many splendid hymns, among them the confirmation hymn, “Baptized into Thy Name most holy.” His fame rests principally on his work as a hymnologist, however. During his life-time he published a number of collections from all sources. These hymns were chosen with fine discrimination, and Rambach was the first hymn editor to make a distinction between hymns for congregational worship and those particularly suited for private devotion.

The beautiful Advent hymn, “Rejoice, all ye believers,” as well as the Epiphany hymn, “O Saviour of our race,” also date from the Pietistic period. Both hymns apparently were written in 1700 by Laurentius Laurentii, cantor and director of music in the Lutheran cathedral at Bremen. Laurentii was not only a splendid musician, but also a hymn-writer of high order, and no less than thirty-four of his hymns were included in the Freylinghausen collections.

Other hymnists of the Pietistic school include Christian Scriver, writer of the famous devotional book, “Seelenschatz;” Gottfried Arnold, a noted church historian; Ernst Gottlieb Woltersdorf, founder of an orphanage at Bunzlau, and Christian Richter, a pious physician and an associate of Francke. Few of their hymns, however, are in common use today.

THE WÜRTTEMBERG HYMN-WRITERS

The Pietistic movement quickly made its influence felt in all parts of Germany. In some quarters, especially in the latter stages of the movement, it assumed more radical forms. Sometimes it developed into emotionalism and mysticism. The hymns were often of a subjective type, which led the worshiper to think more about his own inner processes and feelings than to direct his thoughts to Him alone who can redeem and sanctify.

Some of the Pietistic hymnists, notably Woltersdorf, were given to the use of inordinate language and even sensuous descriptions for the purpose of arousing intense emotion. In one of Woltersdorf’s passion hymns, he dwells morbidly on every detail of the physical sufferings of Christ, and in another hymn he borrows Scheffler’s figure which likens the soul to a bee deriving sustenance from the crimson wounds of Christ.

On the other hand, the Pietistic hymn is exemplified in its highest and noblest form in the writings of the so-called WÜrttemberg school of hymnists, the chief exponent of which was Philipp Friedrich Hiller. WÜrttemberg was blessed with the famous scholar and theologian, Johann Albrecht Bengel, whose sound doctrinal views and profound understanding of human nature not only led to a healthy development of Pietism in southern Germany, but also left a lasting impression on all the theological students who came under his influence at the training schools at Denkendorf, near Esslingen. Hiller was one of these.

HOW A GREAT ORGANIST INSPIRED TWO HYMNISTS

While all the hymn-writers of Germany in the early part of the eighteenth century were more or less influenced by the Pietistic movement, there were some who nevertheless refused to be carried away by the emotional extravagances of which some of the Halle song-writers were often guilty. In the hymns of these more conservative psalmists we find a happy blending of objective teaching and a warm, personal faith that reminds us of the earlier hymns of Gerhardt.

The chief representatives of this more typical Lutheran school were Benjamin Schmolck, a beloved pastor and a poet of rare ability, and Erdmann Neumeister, creator of the Church Cantata. It was the age in which John Sebastian Bach lived and wrought, and this prince of Lutheran organists, whose title of “high priest of church music” has never been disputed, gave of his musical genius to help make the hymns of Schmolck and Neumeister immortal.

Next to Gerhardt, there is no German hymnist whose name is so frequently found in hymn-books today as that of Schmolck. Born at Brauchitzdorf, Silesia, where his father was pastor, he was sent to school at Lauban at the age of sixteen. After an absence of five years the young man returned home and was invited to fill his father’s pulpit. The sermon he preached so pleased the father that he determined to send him to the University of Leipzig to study for the ministry. In 1697 he returned to Brauchitzdorf to be ordained as his father’s assistant.

In 1702 Schmolck became pastor of Friedenskirche at Schweidnitz, in Silesia. According to the terms of the Peace of Westphalia in 1648, all of the churches in this district had been turned over to the Catholics, and only a “meeting-house,” built of timber and clay and without tower or bells, was allowed to the Lutherans. Here Schmolck labored patiently for thirty-five years under the most trying circumstances, not even being permitted to administer communion to the dying except by consent of the Catholic authorities.

Schmolck’s hymns and spiritual songs, numbering 1,183 in all, brought him fame all over Germany. Many have been translated into English. His fervent love for the Saviour is beautifully reflected in the hymn:

“Light of light, enlighten me,” a noble hymn of praise and adoration, has been happily wedded to a glorious chorale by Bach. Other hymns that have won renown throughout the Christian world include “Open now thy gates of beauty,” “Welcome, Thou Victor in the strife,” “Blessed Jesus, here we stand,” “What our Father does is well,” “My God, I know that I must die,” “Hallelujah, Lo, He wakes,” “My truest Friend abides in heaven,” and “Precious Word from God in heaven.” The joyous spirit in many of Schmolck’s hymns may be seen reflected in the beautiful temple hymn:

Neumeister followed the example of Schmolck in becoming an ardent champion of the older, conservative Lutheranism. Although he was greatly influenced as a youth by the writings of Francke, he later became convinced that there were dangerous tendencies in the Halle and Herrnhut movements, and he did not hesitate to issue violent polemics against them.

His hymns, on the other hand, offer a curious contrast to his other writings. Often they reveal a warmth and tenderness of feeling that would have merited a place for them in any Pietistic hymn-book. This may be seen in the hymn, “Jesus sinners doth receive,” which has also been translated “Sinners may to Christ draw near:”

Neumeister became pastor of St. James church in Hamburg in 1715, where he remained for forty-one years until his death in 1756. His fame does not rest merely upon his hymns, although he wrote 650 in all, but Neumeister will also be remembered as the originator of the Church Cantata. In this new field of musical art he was fortunate in having the coÖperation of such a genius as Bach.

Bach belonged to the fifth generation of a remarkable family of musicians. As many as thirty-seven of the family are known to have held important musical positions. John Sebastian, who is by far the greatest musician the Protestant Church has produced, was born in Eisenach, on March 21, 1685. The greater part of his life was spent in Leipzig, where he labored from 1723 until his death in 1750 as cantor of the Thomas school and director of music at the Thomas and Nicolai churches.

Bach’s devotion to the Lutheran Church has been likened to that of Palestrina to the Catholic Church. There is no loftier example of musical genius dedicated to the service of the Christian religion than we find in the life of Bach. He felt that his life was consecrated to God, to the honor of his Church, and to the blessing of mankind. Although it was the age when the opera was flourishing in Europe, Bach gave no attention to it, but devoted all his remarkable talent to church music.

As master of the organ, Bach has never been equaled. His chorales and passion music also belong in a class by themselves. A famous critic has written: “Mozart and Beethoven failed in oratorio, Schubert in opera; the Italian operas of Gluck and Handel have perished. Even in the successful work of these men there is a strange inequality. But upon all that Bach attempted—and the amount of his work is no less a marvel than its quality—he affixed the stamp of final and inimitable perfection.”

With the passing of years, Bach’s genius is being recognized more and more throughout the Christian Church. The performance of his cantatas by the Catholic Schola Cantorum of Paris “is one of the many testimonies to the universality of the art of this son of Lutheranism.” There is something in his mighty productions that touches the deepest chords of religious emotion, regardless of creed or communion.

GERHARD TERSTEEGEN, HYMN-WRITER AND MYSTIC

While Benjamin Schmolck must be regarded as the greatest of Lutheran hymn-writers in Germany during the eighteenth century, Gerhard Tersteegen holds the same distinction among German Reformed hymnists. Except for the Wesleys in England, no man during his age exerted so great a spiritual influence in evangelical circles of all lands as did Tersteegen. In some respects his religious views bordered on fanaticism, but no one could question his deep sincerity and his earnest desire to live the life hidden with Christ in God.

Born at MÖrs, Rhenish Prussia, November 25, 1697, Tersteegen was only six years old when his father died. It had been the plan of his parents that he should become a Reformed minister, but the death of the father made it impossible for the mother to carry out this purpose. At the age of sixteen he was apprenticed to a merchant, and four years later entered business on his own account.

Although he was only twenty years old at this time, he began to experience seasons of deep spiritual despondency. This lasted for nearly five years, during which time he changed his occupation to that of silk weaving, since he desired more time for prayer and meditation. It was not until the year 1724, while on a journey to a neighboring town, that light seemed to dawn on his troubled soul, and he was filled with the assurance that God’s grace in Christ Jesus was sufficient to atone for all sin. In the joy and peace which he had found, he immediately wrote the beautiful hymn, “How gracious, kind and good, my great High Priest, art Thou.”

From this time until the close of his life, Tersteegen began to devote his energies more and more to religious work and literary activities. An independent religious movement known as “Stillen im Lande” had begun about this time, and he soon became known as a leader among these people.

Tersteegen had already ceased to associate with his friends in the Reformed Church, and had gone over to religious mysticism. In one of his strange spiritual moods he wrote what he called “a covenant between himself and God” and signed it with his own blood.

Finally he gave up business pursuits entirely, and his home became the refuge of multitudes of sick and spiritually troubled people. It came to be known as the “Pilgrim’s Hut,” from the fact that many found a temporary retreat there, as well as spiritual help and guidance. Tersteegen also traveled extensively in his own district, and made frequent visits to Holland to hold meetings there.

Tersteegen never married, and for this reason he was accused of teaching celibacy. Several sects, including the Moravians, sought to induce him to become one of their number, but he steadfastly refused to identify himself with any organized church body. He died at MÜlheim, April 30, 1769.

Tersteegen’s hymns, as well as his other writings, reflect his spirit of mysticism. His soul was imbued with the sense of the nearness of God, and, through a life of spiritual communion and a renunciation of the world, he developed a simplicity of faith and a child-like trust that found beautiful expression in his hymns.

Two of these, “Thou hidden love of God whose height” and “Lo, God is here, let us adore,” made a deep impression on John Wesley, who translated the former during his visit to Georgia in 1736. Wesley became familiar with Tersteegen’s hymns through contact with Moravian pilgrims who were crossing the Atlantic on the same ship on which he sailed. “Lo, God is here, let us adore” has several English versions, including “God is in His temple” and “God Himself is present.”

Another of Tersteegen’s hymns, “God calling yet! shall I not hear?” is one of the most stirring calls to repentance in all the realm of Christian hymnody. It was rendered into English by Mrs. Sarah Borthwick Findlater in the series of translations known as “Hymns from the Land of Luther.”

Other noted hymns by Tersteegen include “Jesus, whom Thy Church doth own,” “O Love divine, all else transcending,” and “Triumph, ye heavens,” the latter a Christmas lyric of exultant strain.

Tersteegen’s conception of the high place which hymnody should occupy in Christian worship is revealed in his writings. He says: “The pious, reverential singing of hymns has something angelic about it and is accompanied by divine blessing. It quiets and subdues the troubled emotions; it drives away cares and anxieties; it strengthens, refreshes and encourages the soul; it draws the mind unconsciously from external things, lifts up the soul to joyful adoration, and thus prepares us to worship in spirit and in truth. We should sing with the spirit of reverence, with sincerity, simplicity and hearty desire.... When you sing, O soul, remember that you are as truly communing with the holy and omnipresent God as when you are praying. Consider that you are standing in spirit before the throne of God with countless thousands of angels and spirits of the just and that you are blending your weak praises with the music of heaven. Serve the Lord with fear, and rejoice with trembling.”

ZINZENDORF AND MORAVIAN HYMNODY

The church of the Moravian Brethren is famous for two things: its missionary zeal and its love for church music. It owes both of these distinguishing characteristics to its great founder and patron leader, Nicolaus Ludwig, Count von Zinzendorf. Not only was this very unusual man a gifted writer of hymns, but he was also an ardent exponent of foreign missions.

Zinzendorf was only ten years old when his soul was fired with a passionate desire to do something to help win the world for Christ. He was a pupil at the famous Pietist school of Francke at Halle, Germany, at the time, and through his endeavors a mission society known as “The Order of the Grain of Mustard Seed,” was organized among the lads of his own age.

A few years later he chanced to see a copy of Sternberg’s masterpiece, “Ecce Homo,” depicting Christ wearing His crown of thorns before Pilate and the Jewish mob. Beneath the famous picture were inscribed the words:

From that moment Zinzendorf took as his life motto: “I have but one passion, and that is He and only He.” On his wedding day, in 1722, he and his young bride decided to renounce their rank and to dedicate their lives to the task of winning souls for Christ.

TWO FAMOUS HYMNS AND SOME LEGENDS

Every hymn has a story. Ofttimes, however, the origin is obscure, and it is difficult to trace its birth out of the misty past. Again there are so many legends that have gathered around the great lyrics of the ages, many of them generally accepted, that it becomes a painful process to get rid of these excrescences. Two beautiful German hymns, “SchÖnster Herr Jesu” and “Stille Nacht! Heilige Nacht!” may serve to illustrate these difficulties.

In innumerable hymn-books the former hymn, sometimes translated “Beautiful Saviour” and sometimes “Fairest Lord Jesus,” is designated as “The Crusaders’ Hymn.” The hymn was first introduced to American worshipers by Richard Storrs Willis, who included it in his “Church Chorals and Choir Studies,” published in 1850. It was accompanied with this explanation: “This hymn, to which the harmony has been added, was lately (1850) discovered in Westphalia. According to the traditionary text by which it is accompanied, it was wont to be sung by the German knights on their way to Jerusalem. The only hymn of the same century which in point of style resembles this is one quoted by Burney from the Chatelaine de Coucy, set about the year 1190, very far inferior, however, to this.”

In a London hymn-book, “Heart Melodies” by Morgan and Chase, the same error is repeated. There it is referred to as “Crusader’s Hymn of the Twelfth Century. This air and hymn used to be sung by the German pilgrims on their way to Jerusalem.”

“For these statements,” writes James Mearns, “there does not seem to be the shadow of foundation, for the air referred to has not been traced earlier than 1842, nor the words than 1677.”

The hymn appeared anonymously in the “MÜnster Gesangbuch” of 1677, where it was published as the first of “Three beautiful selected new hymns.” In a book of Silesian folk songs, published in Leipzig in 1842, the text is found in altered form and the beautiful melody to which it is now sung is given for the first time. Both text and melody, it is explained in this book, were taken down from oral recitation in the district of Glaz, in lower Silesia. From these facts we are compelled to draw the conclusion that this glorious hymn of adoration to the Saviour probably dates back to the seventeenth century, while the melody is undoubtedly a Silesian folk song of much later origin.

The English translation, “Beautiful Saviour,” has come to us from the pen of Joseph A. Seiss, the noted Lutheran preacher of Philadelphia.

“Silent night, holy night” also is a hymn around which numerous legends have clustered. The most unfortunate of these deals with its origin. According to this story, the hymn was written on a Christmas Eve by a “Mr. Mohr,” whose wife that very day had gone to celebrate Christmas in heaven. In an adjoining room the grief-stricken husband and father could see his little motherless children sleeping. Outside the house of mourning the stillness of the night was broken suddenly by the singing of Christmas carolers. They were singing the very songs his wife and children used to sing. Now, he thought, she is blending her voice with the angels. Then came the inspiration for the hymn, and in a few moments he had penned the now famous “Stille Nacht.”

This is a very touching story, but its fatal defect lies in the fact that “Mr. Mohr” was a Roman Catholic priest.

The true story of the origin of the hymn has much less of the emotional appeal. The author, Joseph Mohr, was born at Salzburg, Austria, December 11, 1792. He was ordained as a priest at the age of twenty-three, becoming assistant at Laufen, near his native city. It was here, three years later, that the beautiful Christmas carol was written.

It seems that a shipowner at Oberndorf named Maier and his wife had invited the young priest to be their guest at a pre-Christmas party. As a special surprise for the priest, Maier had invited some wandering minstrels to stage a crude representation of the Christmas story as recounted in the Bible. The thoughtful hospitality of the Maier couple and the touching simplicity of the festival play so stirred the heart of Mohr that, instead of going straightway home, he climbed the so-called “Totenberg,” (mountain of the dead) overlooking Oberndorf, and stood in silent meditation.

The silence of the night, the starry splendor of the winter sky, the murmur of the Salzach river thrilled his soul. Quickly he descended to his parish house, and late that night wrote the words of “Stille Nacht.” The next day he hurried to his friend and co-worker, Franz Gruber, organist and school teacher, and asked him to write music for his lines. The latter eagerly embraced the opportunity, and thus was given to the world one of the most exquisite of Christmas carols.

HYMNODY IN THE AGE OF RATIONALISM

In religion, as in other things, the pendulum often swings from one extreme to the other. Scarcely had the Pietistic movement run its course before the rationalistic tendencies which had thrown religious thought into confusion in France and England began to make their appearance in Germany. Rationalism was an attempt to subject all revealed religion to the test and judgment of the human reason. That which seemed to contradict reason was rejected as superstitious and untrue.

Strangely enough, the University of Halle, which had been the citadel of Pietism, became the stronghold of Rationalism in Germany. Christian Wolff and Johann Semler, noted philosophers of Halle, were leaders in the movement. It was not their purpose to establish a new religion of reason, but to “purge” Christianity of the things that seemed unreasonable. But the results of the movement were devastating. The miracles of the Bible that could not be explained by natural causes were rejected as “fables.” Christ was robbed of His glory as a divine Saviour and was regarded only as a teacher of morals. Religion became merely the knowledge of God and the pursuit of virtue. What remained of Christianity was a mere shadow: a hypothesis concerning God and immortality, and a teaching of external morality, the attainment of which was largely a matter of man’s own efforts.

Rationalism cast its blight over the hymnody of all Europe, but particularly in Germany. It was the golden age of German literature, but such geniuses as Goethe, Schiller, Lessing and Wieland were not filled with the Christian zeal of earlier poets, and they wrote no hymns. Most of the hymns that were produced were so tinged with the spirit of the “new theology” that they contained no elements of vitality to give them permanent value.

The Rationalists were not satisfied with criticizing the Bible; they also sought to “purge” the hymn-books. The old hymns of Luther, Heermann, Selnecker, and Gerhardt were so completely altered that a noted German hymnologist, Albert Knapp, was moved to observe ironically: “The old hymns were subjected to a kind of transmigration of soul by which their spirits, after having lost their own personality, entered into other bodies.”

Only a few writers, such as Friedrich Gottlieb Klopstock, Balthasar MÜnter, Christian Gellert and Matthias Claudius, wrote hymns of any abiding worth.

Klopstock, the German Milton, whose epic, “Messiah,” thrilled Germany as had no other poetic work in centuries, essayed to write a few hymns, but he soared too high. His hymns lacked simplicity of style and were too emotional and subjective to be used for public worship. Only two English translations are familiar—“Blessed are the heirs of heaven,” a funeral hymn, and “Grant us, Lord, due preparation,” a communion hymn.

Klopstock spent nearly twenty years of his life at the Danish court, having been invited there by King Fredrik V through the influence of Count von Bernstorff, who had become greatly interested in the epic, “Messiah.” The Danish monarch gave the poet an annual pension in order to assist him in completing his famous poem without being oppressed by financial worries. In 1770 Klopstock returned to Hamburg, where he died in 1803.

Gellert, who was born in Hainichen, Saxony, July 4, 1715, intended to become a Lutheran pastor. After completing his theological course at the University of Leipzig, however, he found it difficult to deliver sermons without the use of a manuscript, and therefore decided to take up teaching. In 1745 he became a member of the faculty of the University of Leipzig, where he remained until his death in 1769. Among his pupils were many famous men of Germany, including Goethe and Lessing.

Gellert’s hymns, although influenced by the age in which he lived, are singular for their genuine, evangelical utterance. It is said that he never attempted to write a hymn except when he was in the proper frame of mind, and only after a season of prayer. His Easter hymn, “Jesus lives! thy terrors now,” has gained great popularity, both in England and in America. In the former country it has been sung at the funerals of some of England’s greatest churchmen. His communion hymn also breathes a spirit of true faith in Christ:

Matthias Claudius, the author of the splendid hymn, “We plow the fields and scatter,” like Gellert, had intended to prepare himself for the Lutheran ministry. While attending the University of Jena, however, the Rationalistic teachings with which he came in contact caused him to lose interest in religion, and he decided to take up journalism instead. In 1777 he became editor of a newspaper at Darmstadt, at which place he became acquainted with Goethe and a group of freethinking philosophers.

Stricken by a serious illness, Claudius began to realize something of the spiritual emptiness of the life he had been living, and in his hour of need he turned again to his childhood faith. When he had recovered, he gave up his position and removed to Wandsbeck, where he edited the “Wandsbecker Bote” in a true Christian spirit.

In the life-story of Claudius we may discern something of the reaction that was already taking place in many quarters against the deadening influence of Rationalism. Men were hungering for the old evangel of salvation, and there were evidences everywhere of the dawn of a happier day. Although Claudius’ poems were not essentially Church hymns, they were lyrics that seemed to strike anew some of the strings of Gerhardt’s harp. This is seen especially in his surpassingly beautiful ode to evening, “The silent moon is risen,” written in the same spirit and meter as Gerhardt’s famous evening hymn. The first stanza has been translated:

Another stanza, reflecting something of Claudius’ own spiritual groping and, at the same time, confessing the futility of all human efforts to attain moral perfection, reads: