The hymns of the eighteenth century are almost without exception by writers of the Dissenting, Methodist, or Evangelical schools. In the nineteenth century the tide turns, and though the Nonconformists are not without hymn-writers of distinction, the great hymns are by Anglicans. Henry Francis Lyte in the first half of the century, Bishop Bickersteth, Charlotte Elliott, and Miss Havergal in the second, represent the Evangelical school. Heber was a typical Anglican, but he was not of the Tractarian type, and died before the publication of the Christian Year. Keble and Newman were the poets of the Oxford Movement, and gave a distinctive tone to much of the later Church hymn-writing; but Heber, more than any other man, did for the Church of England what Watts had done for the Nonconformists.
Reginald Heber (1783-1826) was a scholar and a gentleman, his churchmanship was unimpeachable, and his life and death alike served to win acceptance for hymns whose intrinsic worth must have secured the widest recognition. His hymns, like those of Herbert, Keble, and many of our sweetest singers, are hymns of the country parsonage, and seem all to have been written whilst he held the family living of Hodnet, to which he was welcomed by the people as ‘Master Reginald.’ He was little better satisfied with Tate and Brady than Watts had been with Barton, and at one time contemplated using the Olney hymns in his church. Then he projected a more ambitious scheme, and hoped, with the help of Milman, Southey, and Walter Scott, to provide a book which might, perhaps under episcopal sanction, become the authorized hymnal of the Church. But he felt the proposal a bold one, and tried to prepare the way by the publication in the Christian Observer of a few hymns which he described as ‘part of an intended series appropriate to the Sundays and principal holy days of the year, connected in some degree with their particular collects and gospels, and designed to be sung between the Nicene Creed and the sermon.’ Like other reformers, he indulges in criticisms of the hymns then in use, and is especially severe in censuring those which address our Lord ‘with ditties of embraces of passion.’ The hymn-book was duly compiled, and specimens were submitted to Bishop Howley in the hope that he might give it an episcopal benediction. It is curious to note the apologetic tone in which Heber writes.
The evil, indeed, if it be one, of the admission of hymns into our Churches has, by this time, spread so widely, and any attempt to suppress it entirely would be so unpopular, and attended with so much difficulty, that I cannot help thinking it would be wiser, as well as more practicable, to regulate the liberty thus assumed, instead of authoritatively taking it away. Nor can I conceive any method by which this object might be better obtained than by the publication of a selection which should, at least, have the praise of excluding whatever was improper in diction or sentiment; and might be on this, if on no other ground, thought not unworthy a licence of the same kind as that which was given to the psalms of Tate and Brady. I have the vanity to think that even my own compositions are not inferior in poetical merit to those of Tate; and my collection will contain some from our older poets, which it would be mockery to speak of in the same breath with his. There are a few also which I have extracted from the popular collections usually circulated, which, though I have not been able to learn their authors, possess considerable merit and much popularity, and are entirely free from objectionable expressions.[171]
The Bishop criticized freely, generally approved and advised the completion of the project; but Heber was called to Calcutta, and the collection was not published until after his death. It contained fifty-seven hymns of his own, twelve of Milman’s, and twenty-nine others. His object had been to obtain ‘a well-selected and sanctioned book of hymns for the Church of England, to supersede the unauthorized and often very improper compositions now in use.’ He did not secure this, but he prepared the way for something better, and may justly be regarded as the first of the modern Anglican hymn-writers. His best hymns are too well known to need comment, and of the rest comparatively few are of special value in public worship. His hymns owe more to the inspiration of the Gospels than the Psalms. The collect or gospel for the day often explains and throws new light upon a hymn, as in this for the Second Sunday after Trinity, the gospel being the Parable of the Great Supper. It is usually regarded as a Communion hymn.
Forth from the dark and stormy sky,
Lord, to Thine altar’s shade we fly;
Forth from the world, its hope and fear,
Saviour, we seek Thy shelter here:
Weary and weak, Thy grace we pray;
Turn not, O Lord, Thy guests away!