GERMAN HYMNODY
The history of German hymnody after 1500 may be divided into five periods: 1) the foundation period, including the time of the Reformation and down to the close of the sixteenth century; 2) the period of prosperity, from about 1600 to about 1700; 3) the period of subjectivism, embracing the time from 1700 to 1750; 4) the period of decline, from 1750 to about 1820; 5) a time of renovation and general development, from about 1820 to about 1900.
To present a clear, yet reasonably complete, survey of the history of the church hymn in Germany during the century of the Reformation, is not an easy task. The period is rich in victories and reverses. It embraces not only the first victories of the new Church but also the Counter-Reformation with its regaining of lost ground. It includes the sad story of the internal struggles of the early Lutheran Church, which resulted in dissension and weakness, bitterness and discouragement. All this is reflected in the hymnody of the Church. The sixteenth century produced many great hymnists, to whom we are greatly indebted. Luther’s hymns alone would form a valuable little hymn book. But it would be still more valuable, if we included in it the best Lutheran church hymns of the entire century. A hymn book containing all the great Lutheran church hymns of the sixteenth century—a remarkable Lutheran hymn book.
The Reformation hymnody possesses a preponderatingly objective character. Definite and true evangelical faith is its keynote. Christ’s redemption and the sinner’s justification by faith are the outstanding expressions in this hymnody. The human and the individual, the subjective, receives a secondary place. In fact there is hardly any indication in this hymnody of a proper coalescence of the subjective and the objective. A great many of the hymns are translations of old Greek and Latin hymns. But the thoughts are hearty, vigorous, powerful, and serious. The outward form is simple, even faulty at times. Yet it is the song of earnest and sincere Christians.
The foremost hymnist of this period is, of course, Martin Luther. Other great hymnists of this period are Justus Jonas, Paul Eber, Paul Speratus, Nikolaus Decius, Lazarus Spengler, Nikolaus Hermann, Barthol. Ringwaldt, and Nikolaus Selnecker. Michael Weiss of Bohemia belongs to this period, because he produced a number of excellent German translations of church hymns which had been in use among the followers of John Huss.
The second period of German hymnody, the seventeenth century, may be regarded as one of great prosperity. In it the objective and the subjective seem to attain a fine balance. The church hymn now comes more directly from the soul of the communion of the faithful. In form and expression there is healthy progress. A very fine type of lyrical poetry develops. During the first years of this period we note such excellent hymnists as L. Helmbold, Martin Schalling, Valerius Herberger, and Philipp Nicolai. Among hymn writers during the hard times of the Thirty Years War, who produced excellent hymns of consolation, powerful hymns, we note especially John Heermann, Paul Fleming, J. M. Meyfart, Martin Rinkart, John Rist, and Simon Dach. The objective-subjective hymnody of the seventeenth century, in its purest and noblest form, is to be found in the hymns of Paul Gerhardt, writer of more than one hundred hymns, in which the ardor and fervor of Christian subjectivity attained a most happy union with the firm evangelical faith and the noble popular elements of the Reformation period. He is one of the greatest German hymn writers, if not the greatest. With him we note Georg Neumark, J. Franck, and M. Schirmer.
The third period, from the end of the seventeenth century to about 1750, may be called the age of subjective hymnody. To this period belong such great hymn writers as Johann Scheffler (Angelus Silesius) and Countess Ludemilia Elisabeth of Schwartzburg-Rudolstadt. Both of these hymn writers are quite strongly inclined towards sound Mysticism. At the opening of the eighteenth century, Pietism brought about a great awakening in hymn writing. Several of the followers of Spener and Francke produced a large number of devotional hymns which are full of sound and sincere piety in simple and noble form. To this group of hymn writers belong Samuel Rodigast, Gottfried Arnold, Johann Freylinghausen, Herrnschmidt, Richter, Countess Emilie Juliane of Schwartzburg, J. J. Rambach, and Woltersdorf. In this connection we must also mention Gerhard Tersteegen, a preacher without a church, and a leader among “awakened souls.” The followers of J. A. Bengel, or the so-called Bible Theologians, produced a number of fine devotional hymns. Leading hymn writers in this group are Johann Mentzer and Phillip Friedrich Hiller. Count Zinzendorf, the great leader among the Herrnhuters, or Moravian Brethren, wrote a number of excellent hymns. Besides these hymnological fruits of Pietism, the orthodox tendency did not remain unproductive. Pietism exerted considerable influence upon the orthodox hymnody. To this group of orthodox hymn writers belong Erdmann Neumeister, Benjamin Schmolck, and Salomo Franck. Towards the middle of the eighteenth century a dull and degraded Pietism began to react upon sacred poetry. A sound and vigorous tone was superseded by the subjective and lyrical effusions of the individual. The hymns began to treat more and more of personal feelings and soul experiences, of events and situations in private life. A number of poor hymn books appeared. Public taste for the right kind of church song was spoiled. This paved the way for a hymnological revolution, brought about mainly by Rationalism, during the last half of the eighteenth century.
The fourth period, the era of decline, includes the last half of the eighteenth century and the first decades of the nineteenth. This is the time of the destructive influences of Neologism or Rationalism in Germany. German hymnody suffered. Rationalism is a denial of positive Christian life, and lacks sympathy for the primitive, the simple, and the popular. It cannot attend to the needs of the common people. It possesses a character of superficial and heartless intellectualism. Reason was made the highest authority in all religious matters. Genuine hymn writing could not grow up in a soil which was destitute both of poetry and of true Christianity. The dominion of rationalism in German hymnody began about the middle of the eighteenth century with a revision of the old church hymns in accordance with the new ideas of the age, an age of enlightenment and illumination. To begin with this hymnological revision was mainly in the interest of form. Severity, irregularity and archaism in expression and style, in rhyme and meter, etc., had to be eliminated from the church hymns. Up-to-date language had to be used. The revision of form was soon followed by a revision of content. Old ideas in the hymns had to be removed. The church hymns had to be in harmony with the new ethical ideas of the age. A great work in hymnological vandalism was in progress. It was not sufficient to merely improve the old hymns. Most of the grand old church hymns were dropped and new ones produced—new hymns which were in perfect harmony with the new ideas of the age. The new hymn book was to be a kind of textbook in moral philosophy. The new hymn book should instruct the people in many useful things. Hymns were written on such subjects as profitable economy, extravagance, superstition, scepticism, quiet and peaceful life, contentedness, integrity, the right use of pleasure, commerce, agriculture, vaccination, sleep, etc. The direction was not heavenward so much as worldward.
The leading hymnological revisor or editor was Friedrich Gottlieb Klopstock (1724-1803). He also wrote a few original hymns. One of the best hymn writers of this hymnological era was Christian Fuerchtegott Gellert (1715-1769). He wrote a number of excellent hymns. Johann Casper Lavater (1741-1801) was perhaps the greatest hymn writer of this period.
The fifth period of German hymnody, an era of renovation, from about 1825 to about 1910, is known not so much for original hymn writing as for its general return to the best of old German hymnody. The neological hymn books of the preceding period were condemned and rejected. New hymn books were published, which contained the best church hymns of all times. Outstanding hymnological compilers and editors are Dr. Hermann Adalbert Daniel, Dr. Carl Eduard Philipp Wackernagel, and Stip. Albert Knapp and Dr. Carl Johann Spitta are important German hymnists of this period. Important English translators are Miss Catherine Winkworth, Miss Frances Elizabeth Cox, Miss Jane Borthwick and her sister—Mrs. Findlater, Rev. Richard Massie, and Rev. A. Tozar Russell.