Chapter X: Part III: Scandinavian Hymnody (2)

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 Jonassen, 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 passion 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 assail Him,
On His soul the arrows shower;
And the gardens flowers are wet
With the drops of bloody 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."

The Great White Host

Behold a host, arrayed in white,
Like thousand snow-clad mountains bright,
With palms they stand--who are this band
Before the throne of light?
Lo, these are they, of glorious fame,
Who from the great affliction came,
And in the flood of Jesus' blood
Are cleansed from guilt and blame;
Now gathered in the holy place
Their voices they in worship raise,
Their anthems swell where God doth dwell
'Mid angels' songs of praise.

Despised and scorned, they sojourned here,
But now, how glorious they appear!
These martyrs stand a priestly band,
God's throne forever near.
So oft, in troubled days gone by,
In anguish they would weep and sigh;
At home above, the God of love
The tears of all shall dry.
They now enjoy their Sabbath rest,
The paschal banquet of the blest;
The Lamb, their Lord, at festal board
Himself is host and guest.

Then hail, ye mighty legions, yea,
All hail! now safe and blest for aye;
And praise the Lord, who with His Word
Sustained you on the way.
Ye did the joys of earth disdain,
Ye toiled and sowed in tears and pain;
Farewell, now bring your sheaves, and sing
Salvation's glad refrain.
Swing high your palms, lift up your song,
Yea, make it myriad voices strong:
Eternally shall praise to Thee,
God, and the Lamb, belong!

Hans Adolph Brorson, 1763.

BRORSON, THE POET OF CHRISTMAS

No Scandinavian hymn has attained such popularity in recent years as "Behold a host." This sublime "glory song" was first given to the world after its writer, Hans Adolph Brorson, had gone to join the "host, arrayed in white" that sings "before the throne of light."

It was published by his son in a collection entitled "Hans Adolph Brorson's Swan-Song," which appeared in 1765, a year after the famous Danish hymn-writer had gone to his final rest. The collection contained seventy hymns, all written in the last year of the poet's life.

Brorson was a product of the Pietistic movement emanating from Halle, in Germany. Born June 20, 1694, at Randrup, Denmark, he early came under the influence of the great spiritual awakening which was then sweeping through the Lutheran Church.

Brorson's father was a Lutheran pastor, and all of his three sons, including the hymn-writer, entered the service of the Church. Brorson's first pastorate was in his native city of Randrup, a place he dearly loved and to which he often returned in later life when he found himself oppressed by manifold cares.

It was during his ministry in Randrup that Brorson began to write his first hymns. He speaks of the eight years spent at this place as the happiest in his life. In 1729 he was called to become Danish preacher at Tonder, where he labored side by side with Johan Herman Schrader, who was also a hymnist of some note. Because of the mixed Danish and German population of Tonder, a curious situation existed in the church worship. Although Brorson preached in Danish, the congregation sang in German! To remedy this, Brorson, in 1732, wrote a number of his famous Christmas hymns, among them 'Den yndigste Rose er funden,' one of the most exquisite gems in sacred poetry. A free rendering of four of its eleven stanzas by August W. Kjellstrand follows:

The sweetest, the fairest of roses
I've found. Among thorns it reposes:
'Tis Jesus, my soul's dearest Treasure,
Of sinners a Friend above measure.

E'er since the sad day when frail mortals
Were thrust from fair Eden's bright portals,
The world has been dark, full of terror,
And man dead in sin, lost in error.

Then mindful of promises given,
God sent from the gardens of heaven
A Rose, 'mid the thorns brightly blowing,
And freely its fragrance bestowing.

Wherever this Rose Tree is grounded,
The kingdom of God there is founded;
And where its sweet fragrance is wafted,
There peace in the heart is engrafted.

As Kingo was known among the Danes as "the poet of Easter," so Brorson from this time was hailed as "the poet of Christmas."

In 1747 Brorson was appointed by Christian VI to become bishop of the diocese of Ribe. It is said that the Danish monarch upon meeting Brorson at a certain occasion inquired of him if he was the author of the hymn, "Awake, all things that God has made." When the poet modestly answered in the affirmative, so the story runs, the king promised him the bishopric. When Erik Pontoppidan, later bishop of Bergen, was appointed to revise Kingo's hymnal, which for forty years had served the churches of Denmark and Norway, he found his task a comparatively simple one through the valuable assistance rendered by Brorson. Kingo's hymns were changed only slightly, and the greater part of the new material was from Brorson's pen.

The later years of the poet were darkened by sad experiences. In the year that Brorson was elevated to the bishopric, his beloved wife died while giving birth to their thirteenth child. This and other troubles served to make him melancholy in spirit, but he did not cease to compose poems of rarest beauty. His thoughts, however, turned more and more toward heaven and the blessedness of the life hereafter. A celestial radiance is reflected in the hymns of his "Swan-Song." This is particularly true of "Behold, a host arrayed in white," a lyric that has become a favorite in America as well as in Europe through its association with Edvard Grieg's famous adaptation of a Norwegian folk song.

Brorson's earnest character and pious nature made him deeply concerned about the salvation of souls. Many of his poems and hymns contain solemn warnings touching on the uncertainty of life and the need of seeking salvation. His gripping hymn, "Jeg gaar i Fare, hvor jeg gaar," gave Archbishop Wallin, the great Swedish hymnist, the inspiration for his noble stanzas:

I near the grave, where'er I go,
Where'er my pathway tendeth;
If rough or pleasant here below,
My way at death's gate endeth.
I have no other choice;
Between my griefs and joys
My mortal life is ordered so:
I near the grave, where'er I go.

I go to heaven, where'er I go,
If Jesus' steps I follow;
The crown of life He will bestow,
When earth this frame shall swallow.
If through this tearful vale
I in that course prevail,
And walk with Jesus here below,
I go to heaven, where'er I go.

Other well-known hymns by Brorson are "Thy little ones, dear Lord, are we," "O Father, may Thy Word prevail," "O watch and pray," "Life's day is ended," "My heart, prepare to give account," "By faith we are divinely sure," "Children of God, born again of His Spirit," "O seek the Lord today," "I see Thee standing, Lamb of God," "Stand fast, my soul, stand fast," "Jesus, Name of wondrous grace," and "Who will join the throng to heaven?" Brorson's childlike spirit may be seen reflected in the first of these, a children's Christmas hymn:

Thy little ones, dear Lord, are we,
And come Thy lowly bed to see;
Enlighten every soul and mind,
That we the way to Thee may find.

With songs we hasten Thee to greet,
And kiss the dust before Thy feet;
O blessed hour, O sweetest night,
That gave Thee birth, our soul's delight.

Now welcome! From Thy heavenly home
Thou to our vale of tears art come;
Man hath no offering for Thee, save
The stable, manger, cross, and grave.

Jesus, alas! how can it be
So few bestow a thought on Thee,
Or on the love, so wondrous great,
That drew Thee down to our estate?

O draw us wholly to Thee, Lord,
Do Thou to us Thy grace accord,
True faith and love to us impart,
That we may hold Thee in our heart.

A Prayer to the Holy Spirit

Holy Spirit, come with light,
Break the dark and gloomy night
With Thy day unending;
Help us with a joyful lay
Greet the Lord's triumphant day
Now with might ascending.

Comforter, so wondrous kind,
Noble Guest of heart and mind,
Fix in us Thy dwelling.
Give us peace in storm and strife,
Fill each weary heart and life
With Thy joy excelling.

Make salvation clear to us,
Who, despite our sin and cross,
Are in Thee confiding.
Lest our life be void and vain,
With Thy light and love remain
Aye in us abiding.

Raise or bow us with Thine arm,
Break temptation's evil charm,
Clear our clouded vision.
Fill our hearts with longings new,
Cleanse us with Thy morning dew,
Tears of deep contrition.

Thou who givest life and breath,
Let our hope in sight of death
Blossom bright and vernal;
And above the silent tomb
Let the Easter lilies bloom,
Signs of life eternal.

Nikolai Grundtvig (1783-1872).

GRUNDTVIG, THE POET OF WHITSUNTIDE

Nikolai F. S. Grundtvig was the last and greatest of the celebrated triumvirate of Danish hymn-writers. As Kingo was the bright star of the 17th century and Brorson of the 18th century, so Grundtvig shone with a luster all his own in the 19th century. The "poet of Easter" and the "poet of Christmas" were succeeded by the "poet of Whitsuntide."

The appellation given to Grundtvig was not without reason, for it was he, above all others, who strove mightily in Denmark against the deadening spirit of rationalism which had dried up the streams of spirituality in the Church. No one as he labored with such amazing courage and zeal to bring about the dawn of a new day.

Nor did Grundtvig strive in vain. Before his life-work was ended, fresh Pentecostal breezes began to blow, the dry bones began to stir, and the Church, moved by the Spirit of God, experienced a new spiritual birth.

The spirit of rationalism had worked havoc with the most sacred truths of the Christian religion. As some one has said, "It converted the banner of the Lamb into a blue-striped handkerchief, the Christian religion into a philosophy of happiness, and the temple dome into a parasol."

Under the influence of the "new theology," ministers of the gospel had prostituted the church worship into lectures on science and domestic economy. It is said that one minister in preaching on the theme of the Christ-child and the manger developed it into a lecture on the proper care of stables, and another, moved by the story of the coming of the holy women to the sepulcher on the first Easter morning, delivered a peroration on the advantages of getting up early! God was referred to as "Providence" or "the Deity," Christ as "the founder of Christianity," sin as "error," salvation as "happiness," and the essence of the Christian life as "morality."

Grundtvig's father was one of the few Lutheran pastors in Denmark who had remained faithful to evangelical truth. The future poet, who was born in Udby, September 8, 1783, had the advantage, therefore, of being brought up in a household where the spirit of true Christian piety reigned. It was not long, however, before young Grundtvig, as a student, came under the influence of the "new theology." Although he planned to become a minister, he lost all interest in religion during his final year at school, and finished his academic career "without spirit and without faith."

A number of circumstances, however, began to open his eyes to the spiritual poverty of the people. Morality was at a low ebb, and a spirit of indifference and frivolity banished all serious thoughts from their minds. It was a rude shock to his sensitive and patriotic nature to observe, in 1807, how the population of Copenhagen laughed and danced while the Danish fleet was being destroyed by English warships and the capital city itself was being bombarded by the enemy.

In 1810 he preached his famous probation sermon on the striking theme, "Why has the Word of God departed from His house?" The sermon produced a sensation, and from this time Grundtvig came to be known as a mystic and fanatic. His career as a pastor was checkered, but throughout his life he exerted a powerful influence by his literary activity as well as by his preaching. His poetry and hymns attracted so much attention that it was said that "Kingo's harp has been strung afresh."

Grundtvig's strongest hymns are those that deal with the Church and the sacraments. The divine character of the Church is continually stressed, for Christ not only founded it, but, as the Living Word, He is present in it and in the sacraments unto the end of time. "Built on the Rock, the Church doth stand" is probably his most famous hymn. Grundtvig was more concerned about the thought he was trying to convey than the mode of expression; therefore his hymns are often characterized by strength rather than poetic beauty. They are also so deeply tinged by national spirit and feeling that they lose much of the color and fragrance of their native heath when translated. That Grundtvig could rise to lyrical heights is revealed especially in his festival hymns. There is a charming freshness in the sweet Christmas hymn:

Chime, happy Christmas bells, once more!
The heavenly Guest is at the door,
The blessed words the shepherds thrill,
The joyous tidings, "Peace, good will."

O let us go with quiet mind,
The gentle Babe with shepherds find,
To gaze on Him who gladdens them,
The loveliest flower of Jesse's stem.

Come, Jesus, glorious heavenly Guest,
Keep Thine own Christmas in our breast,
Then David's harp-strings, hushed so long,
Shall swell our jubilee of song.

The Danish hymnologist Brandt has pointed out the distinctive characteristics of his country's three great hymnists by calling attention to their favorite symbols. That of Kingo was the sun, Brorson's the rose, and Grundtvig's the bird. Kingo extols Christ as the risen, victorious Saviour--the Sun that breaks through the dark shades of sin and death. Brorson glorifies Christ as the Friend of the spiritually poor and needy. They learn to know Him in the secret prayer chamber as the Rose that spreads its quiet fragrance. Grundtvig's hymns are primarily hymns of the Spirit. They laud the Holy Spirit, the Giver and Renewer of life, who bears us up on mighty wings toward the mansions of light.

Among Danes and Norwegians there are few hymns more popular than Grundtvig's hymn on the Church. The first stanza reads:

Built on the Rock the Church doth stand,
Even when steeples are falling;
Crumbled have spires in every land,
Bells still are chiming and calling;
Calling the young and old to rest,
But above all the soul distressed,
Longing for rest everlasting.

Other noted hymns by Grundtvig include "Love, the fount of light from heaven," "As the rose shall blossom here," "The Lord to thee appealeth," "Splendid are the heavens high," "A Babe is born in Bethlehem," "From the grave remove dark crosses," "O let Thy Spirit with us tarry," "Fair beyond telling," "This is the day that our Father hath given," "Hast to the plow thou put thy hand," "The peace of God protects our hearts," "O wondrous kingdom here on earth," "With gladness we hail this blessed day," "He who has helped me hitherto," and "Peace to soothe our bitter woes."

Because of his intensive efforts to bring about reforms in the educational methods of his day, Grundtvig became known as "the father of the public high school in Scandinavia."

In 1861, when he celebrated his golden jubilee as pastor, Grundtvig was given the title of bishop. The good old man passed away peacefully on September 2, 1872, at the age of eighty-nine years. He preached his last sermon on the day before his death.

A distinguished contemporary of Grundtvig's who also gained renown as a Danish hymn-writer was Bernhardt Severin Ingemann, author of the famous hymn, "Through the night of doubt and sorrow." Ingemann was born in Falster, Denmark, in 1789, the son of a Lutheran pastor, Soren Ingemann.

The father died when Bernhardt was 11 years old, but the mother made it possible for the gifted lad to receive a liberal education. At the age of 22 years he published his first volume of poems, and three years later his famous epic, "The Black Knights," appeared. A number of dramas followed, and in 1822 he was appointed lector of Danish language and literature at the Academy of Soro. Here he remained for forty years, writing novels, secular poetry and hymns. He was a warm friend of Grundtvig's, who constantly encouraged him in his literary efforts.

Ingemann's "Morning Hymns" appeared in 1822, and in 1825 his "Hymns of Worship" was published. In 1854 he was charged with the task of completing the "Psalm Book for Church and Private Devotion," edited by the ministerial conference at Roskilde.

A Norwegian Miserere

Before Thee, God, who knowest all,
With grief and shame I prostrate fall;
I see my sins against Thee, Lord,
The sins of thought, of deed, and word,
They press me sore, I cry to Thee;
O God, be merciful to me!

O Lord, My God, to Thee I pray:
O cast me not in wrath away,
Let Thy good Spirit ne'er depart,
But let Him draw to Thee my heart,
That truly penitent I be;
O God, be merciful to me!

O Jesus, let Thy precious blood
Be to my soul a cleansing flood;
Turn not, O Lord, Thy guest away,
But grant that justified I may
Go to my house with peace from Thee;
O God, be merciful to me!

Magnus Brorstrup Landstad, 1861.

LANDSTAD, A BARD OF THE FROZEN FJORDS

This is the story of a man whose chance purchase of two books at an auction sale for the sum of four cents was probably the means of inspiring him to become one of the foremost Christian poets of the North.

Magnus Brorstrup Landstad was a poverty-stricken student at the University of Christiania (now Oslo), Norway, when he happened to pass a house in which a sale of books was being conducted. Moved by curiosity, he entered the place just as a package of old books was being offered. We will let him tell the remainder of the story:

"I made a bid of four cents, the deal was made, and I walked home with my package. It contained two volumes in leather binding. One was 'Freuden-Spiegel des ewigen Lebens' by Philipp Nicolai. On the last few pages of this book four of Nicolai's hymns were printed. The other book was Bishop A. Arrebo's 'Hexaemeron, The Glorious and Mighty Works of the Creation Day.' In this manner two splendid hymn collections, one German and the other Danish-Norwegian, unexpectedly came into my possession. I was not acquainted with either of these works before. Nicolai's hymns made a deep impression on me, and I at once attempted to translate them.... My experience with these hymn collections, I believe, gave me the first impetus in the direction of hymn writing. Furthermore, it gave me a deeper insight into the life and spirit of the old church hymns."

Two of the hymns of Nicolai that Landstad attempted to translate were "Wachet auf, ruft uns die Stimme" and "Wie schoen leuchtet der Morgenstern," noble classics that have never been excelled. The young student was so successful in his rendering of the former hymn that it subsequently found a place in the Norwegian church hymnary.

Landstad was born October 7, 1802, in Maaso, Finnmarken, Norway, where his father was pastor of the Lutheran church. This parish is at the extreme northern point of Norway, and so Landstad himself wrote, "I was baptized in the northernmost church in the world." Later the family moved to Oksnes, another parish among the frozen fjords of the Norse seacoast.

"The waves of the icy Arctic," he writes poetically, "sang my cradle lullaby; but the bosom of a loving mother warmed my body and soul."

The stern character of the relentless North, with its solitude, its frozen wastes, its stormy waters and its long months of winter darkness, no doubt left a profound and lasting impression upon the lad whose early years were spent in such environments. The Napoleonic wars were also raging, and it was a time of much sorrow and suffering among the common people. When the boy was nine years old the family removed to Vinje. Although they continued to suffer many hardships, the natural surroundings at this place were more congenial, and in summer the landscape was transformed into a magic beauty that must have warmed the heart and fired the childish imagination of the future hymnist.

Magnus was the third in a family of ten children. Although sorely pressed by poverty, the father recognized unusual talent in the boy, and at the age of twenty years he was sent to the university in Christiania. During his first year at the institution two of his brothers died. Young Landstad was greatly cast down in spirit, but out of the bitterness of this early bereavement came two memorial poems that are believed to represent his first attempt at verse-writing.

In 1827 he completed his theological studies at the university and the following year he was appointed resident vicar of the Lutheran church at Gausdal. During his pastorate at this place he wrote his first hymn. In 1834 he became pastor at Kviteseid, where he continued the writing of hymns and other poems. Five years later he became his father's successor as pastor of the parish at Seljord. It was here, in 1841, that he published his first work, a book of daily devotions that has been highly prized among his countrymen.

For centuries Norway and Denmark had been closely connected politically and culturally. The Lutheran Church was, moreover, the state church of both countries. As a consequence of this relationship Norway had always looked to Denmark for its hymn literature, and no hymnist of any note had ever risen in the northern country.

Now, however, it began to dawn on the Norwegians that a native singer dwelt in their own midst. The political ties with Denmark having been broken as a result of the Napoleonic wars, the spirit of nationalism began to assert itself and the demand for a new hymn-book for the Church of Norway constantly grew stronger. In 1848 the Norwegian ecclesiastical authorities requested Landstad to undertake the task, but not until four years later could he be prevailed upon to assume the arduous duties involved in so great an endeavor.

In 1861 the first draft of his "Kirke-Salmebog" was published. It did not meet with universal approval. In defense of his work, Landstad wrote: "We must, above all, demand that our hymns possess the elements of poetic diction and true song. We must consider the historical and churchly elements, and the orthodox objectivity which shows respect for church tradition and which appreciates the purity, clearness, and force of confession. But the sickly subjectivity, which 'rests' in the varying moods of pious feelings and godly longings, and yet does not possess any of the boldness and power of true faith such as we find in Luther's and Kingo's hymns--this type of church hymn must be excluded. Finally, we must also emphasize the aesthetic feature. Art must be made to serve the Church, to glorify the name of God, and to edify the congregation of worshipers. But it must always be remembered that art itself is to be the servant and not the master."

Nevertheless, Landstad continued for several years to revise his own work, and in 1869 the hymn-book was finally published and authorized for use in the Church of Norway. Within a year it had been introduced into 648 of the 923 parishes of the country.

In 1876 Landstad retired from active service after the Norwegian parliament had unanimously voted him an annual pension of 4,000 crowns in appreciation of the great service he had rendered his country. He died in Christiania, October 9, 1880.

Among the hymns of Landstad that have been translated into English are, "I know of a sleep in Jesus' Name," "I come to Thee, O blessed Lord," "There many shall come from the East and the West," "When sinners see their lost condition," and "Before Thee, God, who knowest all."

Although Landstad's hymns do not attain to lofty poetic heights, they are marked by a spirit of unusual intimacy, deep earnestness, and a warmth of feeling that make a strong appeal to the worshiper.