It would, however, be just as bad to say, on the one hand, that Luther made no use whatever of the older version and had not even a copy of it to refer to in the Wartburg during his work on the New Testament or, on the other, as some have done, that Luther stole the best part of his work from earlier German translators.
When he wrote from the Wartburg that now he knew what it was to translate, and why, hitherto, no translator had dared to put his name to his work,[2127] he proves that he was aware that all previous German translations were anonymous, a fact which presupposes some acquaintance with them. Older translations cannot have been inaccessible to him at the Wartburg, and might well have been sent him by friends at Eisenach or Wittenberg, who, as we know, did occasionally send him books; when he had returned home, moreover, he could easily have found copies in his old monastery or at the University. Portions of the Bible, viz. the Plenaries, were doubtless within his reach from the first, and since he finished his translation of the New Testament in so short a time as three months, though all the while engaged on a number of other works, it is only natural to suppose that he lightened his labours by the use of other versions within his reach as any other scholar would have done, though undoubtedly he used his own judgment in his selection. That, in the work of revision at Wittenberg at a much later date, the mediæval text was employed, appears quite plain from the alterations introduced by Luther.
J. Geffcken was probably not far wrong when he wrote in 1855 in “Der Bilderkatechismus des 15. Jahrhunderts,” “that the similarity between Luther’s version and the old translations could not be merely fortuitous.”[2128]
The same was repeated with still greater emphasis by Krafft in 1883 after he had instituted fresh comparisons: “Whoever compares these passages can no longer doubt that the agreement between Luther’s work and the mediæval German Bible is not merely accidental.”[2129] The result of further research will probably be to confirm the guarded opinion expressed as long ago as 1803 by G. W. Meyer of Göttingen in his “Geschichte der Schrifterklärung”: to assume that “the older translation was not unknown to him,” “that he consulted it here and there,” and even “made his own some of its happy renderings,” is quite compatible with a high esteem for Luther’s translation.[2130]
Modern Protestant writers in this field are also somewhat sceptical about the theory of Luther’s complete ignorance of the older translation of the Bible, and the assertion that he made no use whatever of it. O. Reichert, for instance, in his new work “Luthers deutsche Bibel” makes the following remarks on Luther’s work in the Wartburg, with which we may fittingly conclude this section: “Although he probably was able to make use of Lang’s translation of 1521 in his rendering of Matthew, and as a matter of fact did have recourse to it, and though he most likely also had the old German translation at his elbow, as is apparent from many coincidences, nevertheless, what Luther accomplished is an achievement worthy of all admiration.”[2131]
[4. Luther’s Hymns]
Amongst the means to be employed for the spread and consolidation of the new Evangel Luther included, in addition to his Bible, German hymns for use in public worship.
In 1523 and 1524 especially, he busied himself in the making of verses. In his Formula Missæ (1523) he expresses the wish that as many German hymns as possible be introduced into the revised service of the Mass and sung, not only by the choir, but by the whole congregation, though, for the nonce, the customary Latin hymns might be used.[2132] With his wonted energy and industry he at once entrusted the work of composing hymns to some of his Wittenberg friends, and despatched letters so as to obtain help even from afar. He was particularly anxious to see the Psalms in a German dress. His translation of the Psalter, which he had just completed, naturally drew his thoughts to the Psalms which so admirably express all the religious emotions of the soul, especially its trusting reliance upon God. He was not very confident of his own powers of composition: “I have not the knack of doing this as well as I wish to have it done,” he writes to his old friend Spalatin at Nuremberg.[2133] He asks him and his other friends for an eminently simple, popular versification of the Psalms, in pure German, “free from the new-fangled words used at Court”; it should keep as closely as possible to the sense and yet not be stilted. For this Spalatin was qualified by “a rich flow of eloquence, and by many years’ experience.” Luther sends him at the same time a poetic effort of his own.
In view of the beauty and the deep albeit simple grandeur of the olden Catholic hymns the task Luther had undertaken of composing something new was naturally not an easy one. He himself had much to say in praise of the magnificent old hymns in which the faithful praised their Creator or poured forth their griefs before Him. “In Popery,” he once said in a sermon, “they used to sing some fine hymns: ‘He who broke the might of Hell,’ item ‘Jesus Christ to-day is risen.’ This comes from the heart.”[2134] “A beautiful sequence is also sung in Advent,” he says, thus paying tribute even to a Latin hymn, viz. the Mittitur ad Virginem. “It is well done and not too barbarous.”[2135]
Luther nevertheless persevered in his own efforts in spite of his misgivings, especially as the contributions of his assistants failed to reach his standards. Of the eight hymns contained in the so-called Wittenberg “Achtliederbuch” four were composed by Luther, while of the twenty-five in the Erfurt “Enchiridion” eighteen were his; the collection, however, which he characterised as having been started by himself, the “Geistliche Gesangbüchlein” of Johann Walther, consisting chiefly of translations or adaptations, contained thirty-two hymns, twenty-four of them being written by Luther. This was the result of his efforts up to the end of 1524.[2136]