INTRODUCTION.

WITHOUT intending to present an essay on Hymnology, I desire to offer a few explanatory remarks as to the volume now offered to the public, and the vast field, always white to the harvest, from which I have gleaned my little sheaves.

More than two years ago, a clerical friend, of rare culture and delicate taste,-who, moreover, always delights in sharing newly-discovered beauties with his friends and fellow-scholars,— brought to me a copy of the British edition of Neale's Hymns of the Eastern Church. We read it through with great delight in one happy evening. I had known Dr. Neale as the translator and collector of the Latin Medieval Hymns, but I had not before seen this little book; and although, doubtless, it is known to many students of hymnology, I found, in showing them to numerous friends, that no one had seen them: they have not, to my knowledge, been republished in America.

Preceded by a learned introduction on Greek Christian poetry, the hymns are chronologically arranged, and a short account is presented of each author and his age. They begin with the fifth century, represented by St. Anatolius. I have not seen the originals; but if the translations do them no more than justice, they are beautiful: if, as is almost always the case, there are vernacular beauties which cannot be rendered in another tongue, too much cannot be said in their praise. But, considered simply as English poems, the translations are admirable: the language

is simple, and the expression concentrated. The original rhythm is as far as possible retained, and thus to the energy of the Greek is added the pleasant ramble of the old English ballad. Of this the reader may judge by referring to almost any one of them. Take, for example, the "God of God," beginning,

“Fierce was the wild billow,"

or those beginning,

and

"Art thou weary, art thou languid ?"

"Safe home, safe home in port."

Some of them rise to an epic grandeur, as, for example, that of St. Joseph of the Studium, of which the first line is,—

"Stars of the morning, so gloriously bright!"

Ranging over the Christian Year, called by a clerical writer "the Zodiac of the Church," varied as they are in form, subject, and historic period, and yet catholic in tone, teaching, and spirit, they serve to show us of the modern age how the holy souls in all the centuries of Christianity, giving devout utterance in "psalms and hymns and spiritual songs," have made the same "melody in their hearts unto the Lord," so that when brought into our own speech we at once make them our own; we sing their songs as if we had always known them, and thank God for His goodness in their own beautiful words, which exemplify "diversities of gifts, but the same Spirit."

My first intention was merely to propose the reprinting of this little volume, that other Christian men and women should. share the pleasure which I had experienced; but, upon even a cursory examination of the hymnals and modern collections in my possession, I found large space for a new volume of Songs

INTRODUCTION.

11

of Praise, in which Neale's Eastern Hymns might be embodied, and other rare and beautiful Christian utterances presented.

And as the gift-days were coming, in commemoration of that greatest Gift of God to man, it was thought proper to prepare the book as a presentation-volume, by adorning the anthology of sacred poetry with the rare flowers of pictorial art. The result is this truly beautiful volume,-a Christmas chant to the newborn King in which the glorious diapason is sounded by Christian saints in all ages, without one discord to mar the catholic harmony. Thus much to avoid misunderstanding as to the character of the volume. It is not a general hymnal, but a choice collection of a few beautiful and not common hymns.

A hymnal proposing to present a historical picture of all the curious changes in Christian hymnology is, indeed, very much needed; but it would be a work of immense labor, demanding great erudition. It would clearly mark the great hymnic periods in the history of the Church, and the causes which produced them. It would show why the Western Church was still destitute of such songs in worship, while the Eastern Church had long used them, not only in her solemn services, but in the mouths of her children by the hearth-stone and in the harvestfield. It would take us back to St. Jerome at the monastery of Bethlehem, and to his great contemporary, Gregory of Nazianzen, who, doubtless, in their four years' residence together, discussed and promoted this great element of worship. It would inform us of the circumstances which in the fourth century spread these songs of praise throughout the world.

The history in such a hymnal would be rich and varied. Great occasions, great enlargements of mind, counsels and convocations, reforms general and national, have created a demand; and poets have sprung up from all ranks of life to supply the deficiency.

To the Fourth Council of Toledo, A. D. 633, is due the honor of having enacted that hymns should be used throughout the Western Church in public worship. When this was done, it was found that those of the Eastern Church were not easily translated, and that the West must prepare its own. Then emperors, kings, and popes vied with each other in this holy task. Charlemagne thought himself honored in composing hymns, and the churchmen, from pope to deacon, were prolific of sacred poetry. Popes like Innocent III., and bishops like Hilary of Poictiers, paid their tributes in beautiful verses; and St. Ambrose instituted choral singing in that Cathedral of Milan which was in after-days to become one of the wonders of Europe.

Thus were produced such poems as the Te Deum, the Dies Iræ, and the Stabat Mater. The Church in all ages since has embodied such strains in her holiest services, and thus has called upon old Judaism, which looked for Christ, and classic oracle, which groped for light, to acknowledge the might of Him who was at once King of the Jews and King of kings,

"Teste David cum Sybilla,"

Deep calling unto Deep in the soul of man, in all times and in all languages.

In such a hymnal, the increase and improvement of church music would be set forth, as a powerful instrument in awakening devotion. We should see how rhyming Latin conquered the ancient classic metres, and for a thousand years played an important part in the worship of God. These Latin hymns, ranging over this immense period, and the work of many gifted writers, were indeed encrusted with errors afterwards established by ecclesiastical edict; but underlying these were all the great truths of Christianity, expressed in fervid language, and shining through the gloom like diamonds in the dark mine.