HYMNS .— 1. Classical Hymnody.— The word " hymn " (ii,uvos) was employed by the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

See also:

• CLEANTHES (c. 301-232 or 252 B.C.)

20 ("the hymns of See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

The thanksgiving prayer of the assembled disciples, recorded in Acts iv., is both in substance and in manner poetical; and in the See also:

• CANTICLES

Other See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

Both father and son wrote hymns, and set them to agreeable melodies, which acquired, and in the 4th century still retained, much See also:

• LOCAL

Its See also:

• PRINCIPAL

Riots followed, with bloodshed on both sides, and with some See also:

• PERSONAL

Pitra, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

They are now preserved only in a very small number of See also:

• MANUSCRIPTS

Some of his translations—particularly "The day is past and over," from Anatolius, and " Christian, dost thou see them," from See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

" Then," says Augustine, " it was first appointed that, after the manner of the Eastern churches, hymns and psalms should be sung, lest the people should grow weary and faint through sorrow; which See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

But to this See also:

• RULE

Sedulius and Elpis wrote very little from which hymns could be extracted; but the small number taken from their compositions obtained wide popularity, and have since held their ground. Gelasius was of nv great account as a hymn-writer; and the works of Ennodius appear to have been known only in Italy and Spain. The latter part of the 6th century produced Pope Gregory the Great and Venantius See also:

• FORTUNATUS
• FORTUNATUS, VENANTIUS HONORIUS CLEMENTIANUS (530-609)

There are also, in the hymns of the primitive period (even in those of Ambrose), anticipations--irregular indeed and inconstant, but certainly not accidental--of another great innovation, destined to receive important developments, that of assonance or rhyme, in the final letters or syllables of verses. Archbishop See also:

• TRENCH, RICHARD CHENEVIX (1807-1886)

These were followed by the " Chorus novae Hierusalem " (" Ye Choirs of New Jerusalem ") of Fulbert, bishop of See also:

• CHARTRES

The invention of " sequences " by Notker may be regarded as the beginning of the later medieval epoch of Latin hymnody. In the eucharistic service, in which (as has been stated) Sequences. hymns were not generally used, it had been the practice, except at certain seasons, to sing " laud," or " Alleluia," between the epistle and the gospel, and to fill up what would otherwise have been a long pause, by extending the See also:

• CADENCE (through the Fr. from the Lat. cadentia, from cadere, to fall)

In the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

Besides these, the 13th century produced the famous sequence " Lauda See also:

• SION [Ger. Sitten]

There were other distinguished Latin hymn-writers of the later medieval period besides those already mentioned. The name of St Bernard of Clairvaux cannot be passed over with the See also:

• MERE
• MERE, ADALBERT (1838-1909)

They retained for a time some of their old popularity among German Protestants, and were only gradually relinquished in France. A new " prose," in honour of St Maxentia, is among the compositions of See also:

• JEAN

The Parisian hymnary underwent three revisions—the first in 1527, when a new Psaltery with hymns " was issued. In this such changes only were made as the revisers thought Parisian justifiable upon the principle of correcting supposed revisions. corruptions of the original text. Of these, the transposition, " Urbs Jerusalem beata," instead of " Urbs beata Hierusalem," may be taken as a typical example. The next revision was in 167o-168o, under Cardinal Perefixe, See also:

• PRECEPTOR

It is a striking testimony to the merits of those writers that such accomplished translators as the Rev. See also:

• ISAAC (Hebrew for " he laughs," on explanatory references to the name, see ABRAHAM)

See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Weiss's " Funeral Hymn," " See also:

• NUN (O. Eng. nunne, from Lat. nonnus, nonna, familiar terms for an old man or woman)

The principal hymn-writers of the Lutheran school, in the latter part of the 16th century, were Nikolaus Selnecker, Herman and Hans See also:

• SACHS, HANS (1494-1576)
• SACHS, JULIUS VON (1832-1897)
• SACHS, MICHAEL (1808–1864)

In point of refinement and See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

The most copious, and in their day most esteemed,' hymn-writers of the first See also:

• HALF

They arc, with few exceptions, subjective, and speak the language of individual experience. They occupy a middle ground between the masculine simplicity of the old Lutheran style and the highly wrought religious emotion of the later pietists, towards whom they on the whole incline. Being nearly all excellent, it is not easy to distinguish among the 123 those which are entitled to the highest praise. Two, which were written one during the war and the other after the conclusion of peace, " Zeuch ein zu deinen Thoren " (" Come to Thy See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Scheffler adopted the name of " Angelus Silesius," and published in 1657 his hymns, under a fantastic title, and with a still more fantastic preface. Their keynote is divine love; they are enthusiastic, intense, exuberant in their sweetness, like those of St Bernard among medieval poets. An adaptation of one of them, by Wesley, "Thee will I love, my Strength, my Tower," is See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

This he did, while suffering persecution from the elders of his own church for some other religious practices, which he had also learnt from Spener's example. As a poet, he is sometimes deficient in art; but there is feeling, warmth and sweetness in many of his " Bundeslieder "or " Songs of the See also:

• COVENANT
• COVENANT (an O. Fr. form, later convenant, from convenir, to agree, Lat. convenire)

Tersteegen (1697-1769),who never formally tee- separated himself from the " Reformed " communion, gen. in which he was brought up, but whose sympathies were with the Moravians and with Zinzendorf, was, of all the more copious German hymn-writers after Luther, perhaps the most remarkable man. Pietist, mystic and missionary, he was also a great religious poet. His 111 hymns were published in 1731, in a volume called Geistlicher Blumengdrtlein inniger Seelen. They are intensely individual, meditative and subjective. Wesley's adaptations of two—" Lo! God is here; let us adore," and " Thou hidden Love of God, whose source "—are well known. Among those translated by Miss Winkworth, " 0 God, 0 Spirit, Light of all that live," and " Come, brethren, let us go," are specimens which exhibit favourably his manner and power. Miss See also:

• COX, DAVID (1783-1859)
• COX, JACOB DOLSON (1828-1900)
• COX, KENYON (1856– )
• COX, RICHARD (I3oo ?–1581)
• COX, SAMUEL (1826–1893)
• COX, SAMUEL HANSON (1793-1880)
• COX, SIR GEORGE WILLIAM (1827-1902)

Wesley's "Jesus, Thy See also:

• BLOOD

Fouque survived till 1843. Fouque. In his hymns there is the same deep flow of feeling, richness of imagery and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

(See also:

• OCTOBER

Marot's Psalter, appearing thus opportunely, was introduced into his new system of worship, and appended to his See also:

• CATECHISM (from Gr. Karnxeiv, teach by word of mouth)

In the meantime, the Books of Common Prayer, of 1549, 1552 and 1559, had been successively established as See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

No inference can justly be See also:

• DRAWN

In 1636 it was republished, and was attached to the famous Scottish service-book, with which the troubles began in 1637. It need hardly be added that the king did not succeed in bringing this Psalter into use in either kingdom. When the Long See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

Sir See also:

• WALTER, HUBERT (d. 1205)
• WALTER, JOHN (1738/9-1812)

Of the hymns in this " supplement," one (" While shepherds watched their flocks by night ") greatly exceeded the rest in merit. It has been ascribed to Tate, but it has a character of simplicity unlike the rest of his works. The relative merits of the " Old " and New " versions have been very variously estimated. Competent See also:

• JUDGES, THE BOOK OF

At the end, indeed, of many Prayer-books, till about the middle of the 19th century, there were commonly found, besides some of the hymns sanctioned by that order in council, or of those contained in the book of 1562, a sacra-mental and a Christmas hymn by See also:

• DODDRIDGE, PHILIP (1702-1751)

Next come the two hymns of " The new Jerusalem," by an English Roman Catholic priest See also:

• SIGNING

They included hymns for every day in the week (founded, as those contributed nearly a century afterwards by Charles Coffin to the Parisian Breviary also were, upon the successive works of the days of creation); hymns for all the church seasons and festivals, including saints' days; hymns for various public occasions; and hymns of prayer, meditation and instruction, for all sorts and conditions of men, under a great variety of circumstances — being at once a " Christian Year " and a manual of practical piety. Many of them rise to a very' high point of excellence,—particularly the " general invitation to praise God " (" Come, 0 come, in pious lays "), with which Hallelujah opens; the thanksgivings for peace and for victory, the .Coronation Hymn, a Christmas, an Epiphany, and an Easter Hymn, and one for St See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

See also:

• HOPTON, RALPH HOPTON, BARON (1598-1652)

They are mystical, florid, stiff, Patrict didactic and seldom poetical, and deserve the neglect into which they have fallen. Bishop Patrick's hymns were chiefly translations from the Latin, most of them from Prudentius. The best is a version of " Alleluia dulce carmen." Addison. Of the five attributed to Addison, not more than three are adapted to public singing; one (" The spacious See also:

• FIRMAMENT

The English See also:

• INDEPENDENTS

In his better works he is distinguished by a graceful and pointed, sometimes even a noble style. His " Hark, the glad sound, the Saviour comes " (which is, indeed, his masterpiece), is as sweet,- vigorous and perfect a composition as can anywhere be found. Two other hymns, " How gentle God's commands," and that which, in a form slightly varied, became the " O God of See also:

• BETHEL (Heb. " House of God ")

After his secession, Ralph Erskine published two paraphrases of the " Song of See also:

• SOLOMON, ODES OF
• SOLOMON, PSALMS OF

The Wesleyans had Charles Wesley, Robert Seagrave and Thomas Olivers; the Moravians, John Cennick, with whom, perhaps, may be classed John See also:

• BYROM, JOHN (1692-1763)

Byrom, whose name we have thought it convenient to connect with these, though he did not belong to the Moravian community, was the author of a Christmas hymn (" Christians awake, salute the happy morn ") which enjoys great popularity; and also of a short subjective hymn, very fine both in feeling and in expression, " My spirit longeth for Thee within my troubled See also:

• BREAST (a word common to Teutonic languages, cf. the Ger. Brust, possibly connected with an O. Sax. brustian, to bud)

Morrison's " The See also:

• RACE

Among its earliest fruits was the Lyra apostolica, containing hymns, sonnets and other devotional poems, most of them originally contributed by some of the leading authors of the Tracts for the Times to the British See also:

• MAGAZINE

Among them are " Hark, my soul, it is the Lord," " There is a See also:

• FOUNTAIN (Late Lat. fontana, from ions, a spring)

He comes, let all adore Him," and " Through the day Thy love hath spared us," have a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

The more modern " See also:

• MOODY, DWIGHT LYMAN (RYTHER) (1837-1899)

Luther's verses were adapted sometimes to ancient church melodies, sometimes to tunes of secular songs, and sometimes had music composed for them by himself and others. Many rhyming Latin hymns are of earlier (late whose tunes are identified with them, some of which tunes, with the subject of their Latin text, are among the Reformer's appropriations; but it was he who put the words of praise and prayer into the popular mouth, associated with rhythmical music which aided to imprint the words upon the memory and to enforce their enunciation. In See also:

• CONJUNCTION (from Lat. conjungere, to join together)

See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Daniel, Thesaurus hymnologicus (Leipzig, 5 vols., 1841-1856) ; J. M. Neale, Hymni ecclesiae et sequentiae (London, 1851-1852) ; and Hymns of the Eastern Church (1863). The dissertation prefixed to the second volume of the Acta sanctorum of the See also:

• BOLLANDISTS

Pauly, Hymni breviarii Romani (See also:

• AIX

M. Neale, Latin dissertation prefixed to Daniel's Thesaurus, vol. 5; and D. J. Donahoe, Early Christian Hymns (London, 1909). IL Medieval.—Walafrid Strabo's treatise, ch. 25, De hymnis, &c.; Radulph of Tongres, De psaltario observando (14th century); Clichtavaens, Elucidatorium ecclesiasticum (Paris, 1556) ; Faustinus Arevalus, Hymnodia Hispanica (Rome, 1786) ; E. du Merit, Poesies populaires latines anterieures an XIIIe siecle (Paris, 1843) ; J . See also:

• STEVENSON, ADLA1 EWING (1835- )
• STEVENSON, ROBERT (1772-1850)
• STEVENSON, ROBERT LEWIS BALFOUR (1850-1894)

Wackernagel, Das deutsche Kirchenlied von der altesten Zeit bis zum Anfang des 17. Jahrhunderts, vol. i. (Leipzig, 1864) ; E. Diimmler, Poetae See also:

• LATINI, BRUNETTO (c. 1210-C. 1294)

(1894); the " Hymnodia Gotica," Mozarabische Hymnen -des altspanischen Ritus, vol. See also:

• XXVII

Cox, Sacred Hymns from the German (London, 1841); Massie, Lyra domestica (186o); Appendix on Scottish Psalmody in D. Lains edition of See also:

• BAILLIE, JOANNA (1762-1851)
• BAILLIE, LADY GRIZEL (1665-1746)
• BAILLIE, ROBERT (1602-1662)
• BAILLIE, ROBERT (d. 1684)

Schtick, Svensk Literaturhistoria (Stockholm, 189o); See also:

• RUDOLF (otherwise known as Basso NOROK and Gannon)