The Story of Our Hymns Part 20

Rosenius was the son of a parish pastor in Norrland, Sweden. From the time of his birth, February 3, 1816, he was dedicated by his pious parents to the holy ministry. After having pursued studies for a short time at Upsala University, however, he became disgusted with the low moral and spiritual standards existing among the students, and for a while his own faith was severely shaken. During these spiritual difficulties he came in contact with George Scott, the Methodist evangelist in Stockholm, and eventually he began to hold meetings as a "lay preacher."

In 1842 Scott and Rosenius began the publication of _Pietisten_, a religious monthly that was destined to play a most important part in the spiritual revival in Sweden. When Scott was constrained the same year to leave Sweden because of violent opposition to his movement, Rosenius became his successor, not only as editor of _Pietisten_, but also as the outstanding leader among those who were trying to bring about the dawn of a new spiritual day.

Rosenius centered his activity in the Swedish capital, preaching and writing. He also traveled extensively throughout the country, and so the movement spread. Numerous lay preachers, known as "lasare," sprang up everywhere, holding private meetings in homes and in so-called "mission houses" that were built nearby the parish churches.

Agitation for separation from the Established Church found no sympathy with Rosenius, who stood firmly on the Lutheran doctrine and regularly took communion at the hands of its ordained ministers.

"How long do you intend to remain within the Church?" he once was asked.

"As long as Jesus is there," was the answer of Rosenius.

"But how long do you think He will be there?"

"As long as men are there born anew, for that is not the work of the devil."

In 1856 Rosenius, together with many earnest-minded ecclesiasts and leaders in the Established Church, organized the National Evangelical Foundation, which originally was intended to promote home and inner mission activities. It subsequently embraced the cause of foreign missions also and became one of the greatest spiritual influences emanating from Scandinavia. Rosenius died in 1868, at the age of fifty-two.

His hymns, like those of Lina Sandell, became known largely through the musical genius of Ahnfelt. Everywhere "Ahnfelt's Songs" were on the lips of the so-called "believers." Emigrants from Sweden to America brought them with them to the New World, where they were a source of solace and strength in the midst of spiritual and material difficulties. Perhaps no song verse was heard more often in their humble gatherings than the concluding stanza of Rosenius' hymn, "With G.o.d and His mercy, His Spirit, and Word":

O Shepherd, abide with us, care for us still, And feed us and lead us and teach us Thy will; And when in Thy heavenly fold we shall be, Our thanks and our praises, Our thanks and our praises we'll render to Thee.

Then there is that other hymn by Rosenius, so dear to thousands of pious souls, "I have a Friend, so patient, kind, forbearing," as well as that other one which Miss Anna Hoppe has so beautifully rendered into English:

O precious thought! some day the mist shall vanish; Some day the web of gloom shall be unspun.

A day shall break whose beams the night shall banish, For Christ, the Lamb, shall shine, the glorious Sun!

Although the songs of Lina Sandell and Rosenius do not attain to the poetic excellence and spiritual power of the n.o.ble hymns of Wallin's "Psalm-book," it is a significant fact that seven of Lina Sandell's and three of Rosenius' songs were included in an appendix adopted in 1920.

This appendix is the first authorized change in Archbishop Wallin's masterpiece in 102 years. The 500 hymns of the "Psalm-book" still remain unchanged, however, as they came from his hand in 1819. Although a number of commissions have endeavored since 1865 to make revisions of Wallin's work, their proposals have been consistently rejected. The addition of 173 hymns in the form of an appendix was a compromise adopted by the Church of Sweden in 1920. It was sanctioned by the king and authorized for tentative use in the churches beginning Nov. 27, 1921, thus being given precedence over a revision made by a commission and sanctioned by the church but indefinitely deferred.

In the 1921 appendix hymn-writers of the Reformed Church are represented for the first time in the Swedish "Psalm-book." Among the Reformed hymns found there may be mentioned Joachim Neander's "Lobe den Herren," Sarah Flower Adams' "Nearer, my G.o.d, to Thee," Henry Francis Lyte's "Abide with me, fast falls the eventide," John Marriot's "Thou, Whose almighty Word,"

and Lydia Baxter's "There is a gate that stands ajar." Cla.s.sical Lutheran hymns, such as Gerhardt's "O sacred Head, now wounded" and Luther's "Lord, keep us steadfast in Thy Word," have also been added, while other Lutheran writers, such as the great Danish hymnists, Brorson and Grundtvig, and the Norwegian psalmist, Landstad, are given recognition.

Then there is the beautiful Christmas hymn, "Silent night, holy night,"

by the Catholic priest, Joseph Mohr.

The more important of recent Swedish hymnists are Johan Alfred Eklund, bishop of Karlstad, who is represented by thirty-six hymns in the appendix; Svante Alin, pastor at Sventorp, eleven of whose hymns are included; the late Edvard Evers, pastor in Norrkoping and a writer of some note, who contributed twelve hymns, and Erik Soderberg, writer and publicist, who is the author of seven.

Eleven hymns by two of Finland's great poets, Johan Ludvig Runeberg and Zachris Topelius, are also found in the appendix.

Kingo's Sunrise Hymn

The sun arises now In light and glory, And gilds the rugged brow Of mountains h.o.a.ry; Be glad, my soul, and lift Thy voice in singing To G.o.d from earth below, Thy heart with joy aglow And praises ringing.

Like countless grains of sand, Beyond all measure, And wide as sea and land Is heaven's treasure Of grace which G.o.d anew Each day bestoweth, And which, like pouring rain, Into my soul again Each morning floweth.

Keep Thou my soul today From sin and blindness; Surround me on my way With loving-kindness, And fill my heart, O G.o.d, With joy from heaven; I then shall ask no more Than what Thou hast of yore In wisdom given.

Thou knowest best my needs, My sighs Thou heedest; Thy hand Thy children feeds, Thine own Thou leadest; What should I more desire, With Thee deciding The course that I must take Than follow in the wake Where Thou art guiding?

Thomas Kingo (1634-1703).

KINGO, THE POET OF EASTER-TIDE

Denmark's first great hymnist, Thomas Kingo, hailed from the land of Robert Burns. His grandfather, who also bore the name of Thomas, emigrated from Scotland to Denmark near the end of the 17th century to become a tapestry weaver for Christian IV.

The boy who was destined to become one of Denmark's most famous spiritual bards was born in Slangerup, December 15, 1634. At the age of six years he entered the Latin school of his native city, and ten years later became a student of the school in Frederiksborg. The princ.i.p.al of this inst.i.tution, Albert Bartholin, discovered unusual gifts in the lad and took him into his own home. After completing theological studies at the university, he returned in 1668 to his native city of Slangerup as Lutheran parish pastor.

About this time he began to attract attention as a writer of secular poetry. It was not until 1673, however, that his first collection of hymns appeared under the t.i.tle, "Spiritual Songs, First Part." The profound impression created by this production is evidenced by the fact that in 1677 he was elevated from an obscure parish to the bishopric of the diocese of Fyen.

Kingo had dedicated his "Spiritual Songs" to Christian V, and thus had attracted the attention of the Danish monarch. In his "address" to the king, Kingo deplored the fact that the Danish people in their worship had depended so largely upon hymns of foreign origin.

"The soul of the Danes," he added significantly, "is not so bound and impoverished but that it can soar as high toward heaven as that of other peoples, even if it be not upborne by strange and foreign wings."

The Second Part of his "Spiritual Songs" appeared in 1681, this collection being dedicated to the Danish queen. Many of Kingo's hymns were written to be sung to popular folk melodies. In justification of this practice the poet wrote:

"If a pleasing melody set to a song of Sodom delights your ear, how much more, if you are a true child of G.o.d, should not that same melody delight your soul when sung to a song of Zion!"

In his dedicatory address to Queen Charlotte, the poet of Scotch forebears gave expression to his great love for the Danish language, praised her for her heroic efforts to master the language before coming to Denmark as its queen, and ironically flayed certain foreign courtiers who for "thirty years had eaten the bread of the Fatherland in the service of the king without making an effort to learn thirty Danish words."

By this time the Danish people had come to a full realization that a poet of the first magnitude had risen in their midst. In June, 1679, Kingo was created a member of the n.o.bility, and in 1682 he received the honorary degree of doctor of theology. The following year came the royal appointment to prepare a hymn-book for the Church of Denmark. The king's decree specifically stated that Kingo should include a number of his own hymns, but he was directed to make few changes in the old, traditional hymns, and "under no circ.u.mstances to alter the meaning of Luther's hymns."

The first part of Kingo's new book appeared in 1689. It met with a storm of disapproval that was not altogether unmerited. Of the 267 hymns in this book, 136 were by Kingo himself. Members of the Danish court who had been objects of Kingo's merciless satire now found an opportunity to secure revenge. Kingo's book, which had been published at his own expense, was rejected, and Soren Jona.s.sen, dean of Roskilde, was appointed to take over the task. His work, which was completed in 1693, did not contain a single one of Kingo's hymns! It too was promptly disapproved. A commission was then appointed by the king to supervise the work, and again Kingo came into favor. The new hymn-book, which was officially approved in 1699, was based largely on Kingo's work, and contained 85 of his original hymns.

Although Kingo lived to see his life-work crowned with success, he never recovered from the indignity and humiliation he had suffered. His death occurred on October 14, 1703. The day before his death, he exclaimed: "Tomorrow, Lord, we shall hear glorious music."

Kingo has been called "the poet of Easter-tide." A biographer declares that Kingo was "in love with the sun," and that he regarded light as the "true element." This is reflected in his morning hymns, which are among the finest songs of praise ever written. It may also be seen in his Easter hymns, one of which begins with the words, "Like the golden sun ascending." However, Kingo could also dwell on the theme of Christ's pa.s.sion with gripping pathos:

Such a night was ne'er before, Even heaven has shut its door; Jesus, Thou our Sun and Light, Now must bear the shame of night.

And in this:

See how, in that hour of darkness, Battling with the evil power, Agonies untold a.s.sail Him, On His soul the arrows shower; And the gardens flowers are wet With the drops of b.l.o.o.d.y sweat From His anguished frame distilling-- Our redemption thus fulfilling.

When the commission appointed by the Danish king was revising his hymn-book, Kingo pleaded that his Lenten hymns might be retained. Among the most soul-stirring of these in the famous hymn, "Over Kedron Jesus treadeth." In its original form it contained fourteen stanzas. Although objective in character, Kingo's hymns never fail to make a strong personal appeal. Witness, for example, the following from his Good Friday hymn:

On my heart imprint Thine image, Blessed Jesus, King of grace, That life's riches, cares, and pleasures Never may Thyself efface; This the superscription be: Jesus, crucified for me, Is my life, my hope's foundation, And my glory and salvation.

Other hymns of Kingo that have been translated into English include "Praise to Thee and adoration," "Dearest Jesus, draw Thou near me," "He that believes and is baptized," "O dearest Lord, receive from me," "I come, invited by Thy Word," "Softly now the day is ending," and "The sun arises now."

Grundtvig, a later Danish hymn-writer, pays Kingo this tribute: "He effected a combination of sublimity and simplicity, a union of splendor and fervent devotion, a powerful and musical play of words and imagery that reminds one of Shakespeare."