AMONG the departments of popular literature which have been made. the subject of illustrated art books, the write field of Hymnology has as yet been unrepresented. While collections of "Hymns" and of"Psalms and Hymns" for congregational use have been indefinitely multiplied, hardly a year passing without bringing its contribution to the general stock, the works of individual authors only have been selected from among the writers of sacred poetry for publication in an illustrated form. It is believed that the want has been frequently felt of a book of this kind, that shall fairly represent the various authors who, from the twelfth to the present century, have built up the beautiful temple of sacred song that stands forth as the ornament and pride of our English literature. To supply that want has been the object of the present volume. How far that object has been attained the public must judge. The commencement of the era of modern hymn writing is coincident with that of the Reformation, and, like the Reformation, is associated with the name of Martin Luther. The great German reformer, anxious to spread among the people the tidings of better things that had arisen, wrote thirty-seven sacred songs, some founded on the Psalms, like the celebrated “ Eine feste Burg ist unser Gott," others from old Latin hymns, others again from popular German songs, and not a few entirely original compositions. Thus he may be looked upon as the founder of congregational church singing; and in this, as in other departments of his work, he was assisted by the co-operation of a number of friends, and succeeded by many followers, such as Justus Jonas, Spengler, Kohler, Wehe, Mathesius, and others; and while the elders were thus enabled to express in song their belief and their aspirations, the younger lambs of the fold were not forgotten; witness the beautiful" Christmas Hymn for Children," written for the little ones by the great reformer himself. The rise of Hymnology in England dates from a period considerably later. While the Latin hymns were banished from our churches, no attempt was made for a long time to supply their place by sacred songs in the language of the people; but in 1563 appeared "The Whole Book of Psalms: Collected into English Metre by Thomas Sternhold, John Hopkins, and Others;" and the importance of this kind of literature as a vehicle of Christian instruction is recognized in.re:quaint old title-page, which announces that these songs are "set forth and allowed to be sung in all churches, of all the people together, before and after morning and evening prayer; nd also before and after sermons, and moreover in private houses, for their godly solace aut comfort; laying apart all ungodly songs and ballads, which tend sily to the nourishing of vice and corrupting of youth." With all is ruggedness and old-fashioned quaintness, this version of the old translators is not destitute of a certain grandeur, as in the following stanza: The Lord descended from above, and bowed the heavens high, And on the wings of mighty winds came flying all abroad.” The Elizabethan era was unfavourable to the development of hymn writing, and thus very few of the productions of that period have been incorporated into our collections. The style of writing was too fanciful and allegorical to obtain favour with the people generally, and this species of composition remained the elegant pastime of the few rather than the vehicle of instruction for the many. In the latter half of the seventeenth century Milton led the way, in a style combining massive grandeur with polished elegance, to a more general appreciation of the value of Hymnology; and in the eighteenth and the present centuries the subject has been worthily treated by writers whose genius was quickened by true piety and a fervent desire for the promotion of what was good and holy. Such writers were Ken, the faithful-minded bishop, Cowper, the gifted poet, the fervent Watts, the earnest-hearted Wesleys, and a multitude of others. This volume of selections from the treasures of British Hymnology is offered in the sincere hope that, as the before-mentioned quaint title-page has it, these hymns may be accepted in many "private houses, for their godly solace and comfort." |
