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Herr Jesu Christ, wahr Mensch und Gott

Author: P. Eber, 1511-1569 Appears in 47 hymnals Topics: Death and Funeral Songs Lyrics: 1 Herr Jesu Christ, wahr Mensch und Gott, der du littst Marter, Angst und Spott, für mich am Kreuz auch endlich starbst, und mir des Vaters Huld erwarbst. 2 Ich bitt durchs bittre Leiden dein, du wollst mir Sünder gnädig sein, wenn ich nun komm in Sterbensnoth und ringen werde mit dem Tod. 3 Wenn mir vergehet mein Gesicht und meine Ohren hören nicht, wenn meine Zunge nicht mehr spricht und mir vor Angst mein Herz zerbricht. 4 Wenn mein Verstand sich nichts mehr b'sinnt und mir der menschen Hülf zerrinnt: so komm, Herr Christe, mir behend zu Hülf an meinem letzten End. 5 Und führ mich aus dem Jammerthal; verkürz mir auch des Todes Qual, die bösen Geister von mir treib, mit deinem Geist stets bei mir bleib. 6 Bis sich die Seel vom Leib abwendt, so nimm sie, Herr, in deine Händ; der Leib hab in der Erd sein Ruh, bis sich der jüngst Tag naht herzu. 7 Ein fröhlich Aufstehn mir verleih, am jüngsten G'recht mein Fürsprech sei und meiner Sünd nicht mehr gedenk, aus Gnaden mir das Leben schenk. 8 Wie du hast zugesaget mir in deinem Wort, das trau ich dir: "Fürwahr, fürwahr, euch sage ich: Wer mein Wort hält, und glaubt an mich, 9 Der wird nicht kommen ins Gericht, und den Tod ewig schmecken nicht, und ob er schon hier zeitlich stirbt, mit nichten er drum gar verdirbt; 10 Sondern ich will mit starker Hand ihn reissen aus des Todes Band, ihn zu mir nehmen in mein Reich, da soll er denn mit mir zugleich. 11 In Freuden leben ewiglich." Dazu hilf uns ja gnädiglich. Ach Herr, vergieb all unsre Schuld, hilf, daß wir warten mit Geduld. 12 Bis unser Stündlein kommt herbei, auch unser glaub stets wacker sei, dein'm Wort zu trauen festiglich, bis wir entschlafen seliglich.

Herr, wie du willst, so schick's mit mir

Author: C. Melissander, 1540-1591 Appears in 49 hymnals Topics: Death and Funeral Songs Lyrics: 1 Herr, wie du willst, so schick's mit mir, im Leben und im Sterben; allein zu dir steht mein Begier, laß mich Herr, nicht verderben; erhalt mich nur in deiner Huld, sonst wie du wilst, gieb mir Geduld, denn dein Will ist der beste. 2 Zucht, Ehr und Treu verleih mir, Herr, und Lieb zu deinem Worte; behüt mich, Herr, vor falscher Lehr, und gieb mir hier und dorte, was dient zu meiner Seligkeit; wend ab all Ungerechtigkeit in meinem ganzen Leben. 3 Soll ich einmal nach deinem Rath von dieser Welt abscheiden, verleih, o Herr, mir deine Gnad, daß es gescheh mit Freuden; mein Leib und Seel befehl ich dir, o Herr, ein selig End gieb mir, durch Jesum Christum, Amen.

Herzlich thut mich verlangen

Author: C. Knoll, 1563-1621 Appears in 63 hymnals Topics: Death and Funeral Songs Lyrics: 1 Herzlich thut mich verlangen nach einem selgen End; weil ich hie bin umfangen mit Trübsal und Elend. Ich hab Lust abzuscheiden von dieser argen Welt; sehn mich noch ewgen Freuden: o Jesu, komm nur bald. 2 Du hast mich ja erlöset von Sünd, Tod, Teufel Höll; es hat dein Blut gekostet, drauf ich mein Hoffnung stell. Warum solt mir denn grauen vorm Tod und Höllgesind? Weil ich auf dich thu bauen, bin ich ein seligs Kind. 3 Wenn gleich süß ist das Leben, der Tod sehr bitter mir: will ich mich doch ergeben zu sterben willig dir. Ich weis ein besser Leben, da meine Seel fährt hin: deß freu ich mich gar eben; Sterben ist mein Gewinn. 4 Der Leib wird in der Erden von Würmern zwar verzehrt: doch auferwecket werden durch Christum schön verklärt; wird leuchten als die Sonne und leben ohne Noth in himmlisch Freud und Wonne; was schadt mir denn der Tod? 5 Ob mich die Welt auch reizet, länger zu bleiben hier, und mir auch immer zeiget Ehr, Geld, Gut, all ihr Zier: doch ich das gar nicht achte; es währt ein klein Zeit: das Himmel ich betrachte, das bleibt in Ewigkeit. 6 Wenn ich auch gleich nun scheide von meinen Freunden gut, das mir und ihn bringt Leide: doch tröst mir meinen Muth, das wir in großen Freuden zusammen werden kommn'n, und bleiben ungescheiden im himmelischen Thron. 7 Ob ich auch hinterlasse betrübte Waiselein, der'n Noth mich übermaße jammert im Herzen mein: will ich doch gerne sterben und trauen meinem Gott. Er wird sie wohl versorgen, retten aus aller Noth. 8 Was thut ihr so sehr zagen, ihr armen Waselein? Sollt euch Gott Hülf versagen, der speist die Raben kelin? Frommer Wittwen und Waisen ist er der Vater treu: trotz dem, der sie beleidet, das glaubt ohn alle Scheu. 9 Geseg'n euch Gott der Herre, ihr Vielgeliebten mein! Trauret nicht allzusehre über den Abschied mein. Beständig bleibt im Glauben! Wir werden in kurzer Zeit einander wieder schauen dort in der Ewigkeit. 10 Nun will ich mich ganz wenden zu dir, Herr Christ, allein: gieb mir ein seligs Ende, send mir dein Engelein; führ mich ins ewge leben, das du erworben hast durch dein Leiden und Sterben und blutiges Verdienst. 11 Hilf, daß ich ja nicht wanke von dir, Herr Jesu Christ; den schwachen Glauben stärke in mir zu aller Frist. Hilf ritterlich mir ringen, dein Hand mich halt in Acht, daß ich mag fröhlich singen: Gott Lob, es ist vollbracht!

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JOYFUL SONG

Meter: 12.10.12.10.11.10 with refrain Appears in 244 hymnals Composer and/or Arranger: Chester G. Allen, 1838-1878 Topics: Christ the King; Funeral Sacraments; Angels; Heaven; Holy Name of Jesus; Joy; Love of God for Us; Music; Paschal Mystery; Praise; Redemption; Refuge, Security; Sacrifice; Second Coming; Shepherd; Song; Victory over Sin and Death; Worship and Adoration Tune Key: G Major Incipit: 35132 32176 51351 Used With Text: Praise Him! Praise Him!

MACCABAEUS

Meter: 10.11.11.11 with refrain Appears in 138 hymnals Composer and/or Arranger: George Frederick Handel (1685-1759) Topics: Christ Risen Resurrection and Exaltation; The Church Celebrates Death and Grieving; Christian Year Easter; Funerals general; Multi-cultrual and World-church Songs Tune Sources: Judas Maccabaeus, 1746 Tune Key: E Major Incipit: 53451 23454 32345 Used With Text: Thine be the glory, risen, conquering Son

BETHANY

Meter: 6.4.6.4.6.6.6.4 Appears in 975 hymnals Composer and/or Arranger: Lowell Mason, 1792-1872 Topics: Transcending Mystery and Wonder Meditation and Mystical Songs; Death and Life; God, Goddess, and Spirit; The Living Tradition; Memorials and Funerals; Serenity Tune Key: F Major or modal Incipit: 32116 65132 32116 Used With Text: Nearer, My God, to Thee

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Instances

Published text-tune combinations (hymns) from specific hymnals

Ich armer Mensch doch gar nichts bin

Author: J. Leon; Ph. Melanchthon Hymnal: Evang.-Lutherisches Gesangbuch #621 (1872) Topics: Death and Funeral Songs Lyrics: 1 Ich armer Mensch doch gar nichts bin, Gotts Sohn allein ist mein Gewinn; daß er Mensch worden ist mein trost; er hat mich durch sein Blut erlöst. 2 O Gott Vater! regier du mich mit deinem Geist beständiglich; laß deinen Sohn, mein Trost und Leb'n, allzeit in meinem Herzen schweb'n. 3 Wenn mein Stündlein vorbanden ist, nimm mich zu dir, Herr Jesu christ! denn ich bin dein, und du bist mein; wie gern wollt ich bald bei dir sein. 4 Herr Jesu Christe, hilf du mir, das ich ein Zweiglein bleib an dir, und nachmals mit dir ausersteh, zu deiner Herrlichkeit eingeh. Languages: German

In Christi Wunden schlaf ich ein

Author: P. Eber, 1511-1569 Hymnal: Evang.-Lutherisches Gesangbuch #622 (1872) Topics: Death and Funeral Songs Lyrics: 1 In Christi Wunden schlaf ich ein, die machen mich von Sünden rein: ja Christi Blut und G'rechtigkeit, das ist mein Schmuck und Ehrenkleid: damit will ich vor Gott bestehn, wenn ich zum Himmel werd eingehn. 2 Mit Fried und Freud ich fahr dahin, ein Gotteskind ich allzeit bin. Dank hab, mein Tod, du führest mich; ins ewge Leben wandre ich mit Christi Blut gereinigt sein. Herr Jesu, stärk den Glauben mein! Languages: German

Wer weiß, wie nahe mir mein Ende!

Author: Aem. Juliane v. Schwarzb. Rud., 1637-1706 Hymnal: Evang.-Lutherisches Gesangbuch #623 (1872) Topics: Death and Funeral Songs Lyrics: 1 Wer weiß wie nahe mir mein Ende! Hin geht die Seit, her kommt der Tod. Ach wie geschwinde und behende kann kommen meine Todesnoth! Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 2 Es kann vor Nacht leicht anders werden, als es am frühen Morgen war, denn weil ich leb auf dieser Erden, leb ich in steter Todsgefahr. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 3 Herr, lehre mich mein End bedenken, und wenn ich einsten sterben muß, die Seel in Jesu Wunden senken und ja nicht sparen meine Buß. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut¡ 4 Laß mich bei Zeit mein Haus bestellen, daß ich bereit sey für und für, und sage frisch in allen Fällen: Herr, wie du wilst, so schicks mit mir:. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 5 Mach mir stets zuckersüß den Himmel, und gallenbitter diese Welt; gieb, daß mir in dem Weltgetümmel die Ewigkeit sey vorgestellt. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 6 Ach Vater, deck all meine Sünde mit dem Verdienste Christe zu, darinn ich mich vest gläubig winde, das giebt mir recht erwünschte Ruh. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 7 Ich weiß in Jesu Blut und Wunden hab ich mir recht und wohl gebett't, da find ich Trost in Todesstunden und Alles, was ich gerne hätt. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 8 Nichts ist, das mich von Jesu scheide, nichts, es sei leben oder Tod. Ich leg die Hand in seine Seite, und sage: Mein Herr und mein Gott! Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 9 Ich habe Jesum angezogen schon längst in meiner heilgen Tauf; du bist mir auch daher gewogen, hast mich zum Kind genommen auf. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 10 Ich habe Jesu Fleisch gegessen, ich hab sein Glut getrunken hier; nun kann er meiner nicht vergessen, ich bleib in ihm und er in mir. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 11 So komm mein End heut oder morgen, ich weiß, daß mir's mit Jesu glückt; ich bin und bleib in seinen Sorgen, mit Jesu Blut schön ausgeschmückt. Mein Gott, ich bitt durch Christi Blut, mach's nur mit meinem Ende gut! 12 Ich leb indeß in Gott vergnüget und sterb ohn alle Kümmerniß; mir gnüget wie es mein Gott füget, ich gläub und weiß es ganz gewiß: durch deine Gnad und Ciristi Blut machst du's mit meinem Ende gut. Languages: German

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People

Authors, composers, editors, etc.

Sarah Flower Adams

1805 - 1848 Person Name: Sarah Flower Adams, 1805-1848 Topics: Transcending Mystery and Wonder Meditation and Mystical Songs; Death and Life; God, Goddess, and Spirit; The Living Tradition; Memorials and Funerals; Serenity Author of "Nearer, My God, to Thee" in Singing the Living Tradition Adams, Sarah, nee Flower. born at Harlow, Essex, Feb. 22nd, 1805; died in London, Aug. 14, 1848, and was buried at Harlow, Aug. 21,1848. She was the younger daughter of Mr. Benjamin Flower, editor and proprietor, of The Cambridge Intelligencer; and was married, in 1834, to William B. Adams, a civil engineer. In 1841 she published Vivia Perpetua, a dramatic poem dealing with the conflict of heathenism and Christianity, in which Vivia Perpetua suffered martyrdom; and in 1845, The Flock at the Fountain; a catechism and hymns for children. As a member of the congregation of the Rev. W. J. Fox, an Unitarian minister in London, she contributed 13 hymns to the Hymns and Anthems, published by C. Fox, Lond., in 1841, for use in his chapel. Of these hymns the most widely known are— "Nearer,my God,to Thee," and "He sendeth sun, He sendeth shower." The remaining eleven, most of which have come into common use, more especially in America, are:— Creator Spirit! Thou the first. Holy Spirit. Darkness shrouded Calvary. Good Friday. Gently fall the dews of eve. Evening. Go, and watch the Autumn leaves. Autumn. O hallowed memories of the past. Memories. O human heart! thou hast a song. Praise. O I would sing a song of praise. Praise. O Love! thou makest all things even. Love. Part in Peace! is day before us? Close of Service. Sing to the Lord! for His mercies are sure. Praise. The mourners came at break of day. Easter. Mrs. Adams also contributed to Novello's musical edition of Songs for the Months, n. d. Nearly all of the above hymns are found in the Unitarian collections of Great Britain, and America. In Martineau's Hymns of Praise & Prayer, 1873, No. 389, there is a rendering by her from Fenelon: —" Living or dying, Lord, I would be Thine." It appeared in the Hymns and Anthems, 1841. -John Julian, Dictionary of Hymnology (1907)

Lowell Mason

1792 - 1872 Person Name: Lowell Mason, 1792-1872 Topics: Transcending Mystery and Wonder Meditation and Mystical Songs; Death and Life; God, Goddess, and Spirit; The Living Tradition; Memorials and Funerals; Serenity Composer of "BETHANY" in Singing the Living Tradition Dr. Lowell Mason (the degree was conferred by the University of New York) is justly called the father of American church music; and by his labors were founded the germinating principles of national musical intelligence and knowledge, which afforded a soil upon which all higher musical culture has been founded. To him we owe some of our best ideas in religious church music, elementary musical education, music in the schools, the popularization of classical chorus singing, and the art of teaching music upon the Inductive or Pestalozzian plan. More than that, we owe him no small share of the respect which the profession of music enjoys at the present time as contrasted with the contempt in which it was held a century or more ago. In fact, the entire art of music, as now understood and practiced in America, has derived advantage from the work of this great man. Lowell Mason was born in Medfield, Mass., January 8, 1792. From childhood he had manifested an intense love for music, and had devoted all his spare time and effort to improving himself according to such opportunities as were available to him. At the age of twenty he found himself filling a clerkship in a banking house in Savannah, Ga. Here he lost no opportunity of gratifying his passion for musical advancement, and was fortunate to meet for the first time a thoroughly qualified instructor, in the person of F. L. Abel. Applying his spare hours assiduously to the cultivation of the pursuit to which his passion inclined him, he soon acquired a proficiency that enabled him to enter the field of original composition, and his first work of this kind was embodied in the compilation of a collection of church music, which contained many of his own compositions. The manuscript was offered unavailingly to publishers in Philadelphia and in Boston. Fortunately for our musical advancement it finally secured the attention of the Boston Handel and Haydn Society, and by its committee was submitted to Dr. G. K. Jackson, the severest critic in Boston. Dr. Jackson approved most heartily of the work, and added a few of his own compositions to it. Thus enlarged, it was finally published in 1822 as The Handel and Haydn Society Collection of Church Music. Mason's name was omitted from the publication at his own request, which he thus explains, "I was then a bank officer in Savannah, and did not wish to be known as a musical man, as I had not the least thought of ever making music a profession." President Winchester, of the Handel and Haydn Society, sold the copyright for the young man. Mr. Mason went back to Savannah with probably $500 in his pocket as the preliminary result of his Boston visit. The book soon sprang into universal popularity, being at once adopted by the singing schools of New England, and through this means entering into the church choirs, to whom it opened up a higher field of harmonic beauty. Its career of success ran through some seventeen editions. On realizing this success, Mason determined to accept an invitation to come to Boston and enter upon a musical career. This was in 1826. He was made an honorary member of the Handel and Haydn Society, but declined to accept this, and entered the ranks as an active member. He had been invited to come to Boston by President Winchester and other musical friends and was guaranteed an income of $2,000 a year. He was also appointed, by the influence of these friends, director of music at the Hanover, Green, and Park Street churches, to alternate six months with each congregation. Finally he made a permanent arrangement with the Bowdoin Street Church, and gave up the guarantee, but again friendly influence stepped in and procured for him the position of teller at the American Bank. In 1827 Lowell Mason became president and conductor of the Handel and Haydn Society. It was the beginning of a career that was to win for him as has been already stated the title of "The Father of American Church Music." Although this may seem rather a bold claim it is not too much under the circumstances. Mr. Mason might have been in the average ranks of musicianship had he lived in Europe; in America he was well in advance of his surroundings. It was not too high praise (in spite of Mason's very simple style) when Dr. Jackson wrote of his song collection: "It is much the best book I have seen published in this country, and I do not hesitate to give it my most decided approbation," or that the great contrapuntist, Hauptmann, should say the harmonies of the tunes were dignified and churchlike and that the counterpoint was good, plain, singable and melodious. Charles C. Perkins gives a few of the reasons why Lowell Mason was the very man to lead American music as it then existed. He says, "First and foremost, he was not so very much superior to the members as to be unreasonably impatient at their shortcomings. Second, he was a born teacher, who, by hard work, had fitted himself to give instruction in singing. Third, he was one of themselves, a plain, self-made man, who could understand them and be understood of them." The personality of Dr. Mason was of great use to the art and appreciation of music in this country. He was of strong mind, dignified manners, sensitive, yet sweet and engaging. Prof. Horace Mann, one of the great educators of that day, said he would walk fifty miles to see and hear Mr. Mason teach if he could not otherwise have that advantage. Dr. Mason visited a number of the music schools in Europe, studied their methods, and incorporated the best things in his own work. He founded the Boston Academy of Music. The aim of this institution was to reach the masses and introduce music into the public schools. Dr. Mason resided in Boston from 1826 to 1851, when he removed to New York. Not only Boston benefited directly by this enthusiastic teacher's instruction, but he was constantly traveling to other societies in distant cities and helping their work. He had a notable class at North Reading, Mass., and he went in his later years as far as Rochester, where he trained a chorus of five hundred voices, many of them teachers, and some of them coming long distances to study under him. Before 1810 he had developed his idea of "Teachers' Conventions," and, as in these he had representatives from different states, he made musical missionaries for almost the entire country. He left behind him no less than fifty volumes of musical collections, instruction books, and manuals. As a composer of solid, enduring church music. Dr. Mason was one of the most successful this country has introduced. He was a deeply pious man, and was a communicant of the Presbyterian Church. Dr. Mason in 1817 married Miss Abigail Gregory, of Leesborough, Mass. The family consisted of four sons, Daniel Gregory, Lowell, William and Henry. The two former founded the publishing house of Mason Bros., dissolved by the death of the former in 19G9. Lowell and Henry were the founders of the great organ manufacturer of Mason & Hamlin. Dr. William Mason was one of the most eminent musicians that America has yet produced. Dr. Lowell Mason died at "Silverspring," a beautiful residence on the side of Orange Mountain, New Jersey, August 11, 1872, bequeathing his great musical library, much of which had been collected abroad, to Yale College. --Hall, J. H. (c1914). Biographies of Gospel Song and Hymn Writers. New York: Fleming H. Revell Company.

Angelus Silesius

1624 - 1677 Person Name: Ang. Silesius, 1624-1674 Topics: Death and Funeral Songs Author of "Allenthalben, wo ich gehe" in Evang.-Lutherisches Gesangbuch Pen name of Johann Scheffler ======================================= Angelus Silesius, born in Selisia, in 1624, was the son of a Polish nobleman, and his true name was John Scheffler; but he adopted the name Angelus from a Spanish mystic of the 16th century--John ab Angelis--and added the name Silesius, because of his own country. He studied medicine, and obtained his degree of M.D. at Padua. While physician to the Duke Sylvius Nimrod--from 1649 to 1652--he had contention with the Lutheran clergy, and in 1653 entered the Romish Church. Subsequently he was physician to the Emperor Ferdinand III., but at length entered the priesthood and retired to the Jesuit monastery of S. Matthias, in Breslau, where he died in 1677. His hymns were mostly written before he joined the Romish Church, and were intended for private devotion; some, however, have been very acceptable for public use. "Several of them are among the deepest and most tender in the German language, and breathe a glowing love to the Saviour." --Annotations of the Hymnal, Charles Hutchins, M.A. 1872. ================================================= Scheffler, Johann (Angelus Silesius), was born in 1624 at Breslau in Silesia. His father, Stanislaus Scheffler, was a member of the Polish nobility, but had been forced to leave his fatherland on account of his adherence to Lutheranism, and had then settled in Breslau. The son was thus educated as a strict Lutheran. After passing through the St. Elisabeth's Gymnasium at Breslau, he matriculated at the University of Strassburg, on May 4, 1643, as a student of medicine. In the next year he went to Leyden, and in 1647 to Padua, where he graduated PH. D. and M.D. on July 9, 1648. Thereafter he returned to Silesia, and, on Nov. 3, 1649, was appointed private physician, at Oels, to Duke Sylvius Nimrod of Württemberg-Oels. The Duke was a staunch Lutheran, and his court preacher, Christoph Freitag, administered the ecclesiastical affairs of the district according to the strictest Lutheran churchly orthodoxy. Scheffler, who in Hollaud had become acquainted with the writings of Jakob Böhme, and had become a personal friend of Abraham von Frankenberg, the editor of Böhme's works, soon found that the spiritual atmosphere of Oels did not suit him. His own leanings at this time were distinctly to Mysticism and Separatism. He was at no pains to conceal his sentiments, and withdrew himself from public worship, from confession, and from the Holy Communion. When he wished to publish his poems, and submitted them for this purpose to Freitag, he was refused permission to print them on the ground of their mystical tendencies. He resigned his post in the end of 1652, and went to Breslau. Here he became acquainted with the Jesuits, who in that place were earnest students of the mystical works of Tauler (q.v.), and through them was introduced to the study of the mediaeval mystics of the Roman Catholic Church. On June 12, 1653, he was formally received into the Roman Catholic communion, and at his confirmation on that day at St. Matthias's Church in Breslau, he took the name of Angelus, probably after a Spanish mystic of the 16th cent, named John ab Angelis.* On March 24, 1654, the Emperor Ferdinand III. conferred on him the title of Imperial Court Physician, but this title was purely honorary, and Scheffler remained still at Breslau. On Feb. 27,1661, he entered the order of St. Francis; on May 21, 1661, was ordained priest at Neisse in Silesia, and in 1664 was appointed Rath and Hofmarschall to his friend Sebastian von Rostock, the newly created Prince Bishop of Breslau. After the Bishop's death in 1671 Scheffler retired to the monastery of St. Matthias in Breslau, where he died July 9, 1677, from a wasting sickness, during which he used this characteristic prayer, "Jesus and Christ, God and Man, Bridegroom and Brother, Peace and Joy, Sweetness and Pleasure, Refuge and Redemption, Heaven and Earth, Eternity and Time, Love and All, receive my soul." Of Scheffler, as a Convert and as a Controversialist, not much need be said. He certainly became more Roman than the Romans; and in his more than 50 controversial tractates, shows little of the sweetness and repose for which some have thought that he left the Lutheran church. In his Ecclesiologia, published at Glatz in 1677 [British Museum has the 2nd edition, published at Oberammergau and Kempten in 1735], he collected 39 of these treatises, of which e.g. No. 34 is entitled, "The Lutheran and Calvinistic Idol of the Understanding exhibited, laid bare, as well as the Likeness of the True God. In which also, at the same time, the attacks aud objections of adversaries are repelled. 1 Cor. viii. 4, Idolum nihil est, an idol is nothing." At an early age Scheffler had begun to write poems, and some of these occasional pieces were printed in 1641 and 1642. His most famous non-hymnological work is his Geistreiche Sinn- und Schlussreime, &c, published at Vienna in 1657, but better known by the title prefixed in the 2nd edition published at Glatz in 1675, viz. the Cherubinischer Wandersmann, [Both eds. in the British Museum]…. Scheffler's latest poetical work was the Sinnliche Beschreibung der vier letzten Dinge, zu heilsamen Schröken und Auffmunterung aller Menschen inn Druck gegeben. Mit der himmlischen Procession vermehrt, &c. Schweidnitz, 1675. [British Museum]… Scheffler's most important hymnological work is his Heilige Seelenlust, oder geistliche Hirten-Lieder, der in ihren Jesum verliebten Psyche, gesungen von Johann Angelo Silesio, und von Herrn Georgio Josepho mit aussbündig schönen Melodeyen geziert, &c. Of this the first edition appeared at Breslau, apparently in 1657, in three books, with Hymns 1-123, and a fourth—-separately paged—-book, with 32 hymns, apparently also at Breslau, 1657. In the 2nd ed., pub. at Breslau in 1668, the paging and numbering are consecutive; and a fifth book is added, with Hymns 166-205. [Both eds. in Royal Library, Breslau; 2nd ed. in British Museum] The first three books form a cycle of hymns, principally on the person and work of Our Lord, arranged according to the Christian Year, from Advent to Whitsuntide, and seem mostly to have been written before Scheffler left the Lutheran church. Those of the fourth book were probably written 1653 to 1656, and those of the fifth book between 1656 and 1668. In the first three books he is most clearly under the influence of his predecessors. That is, so far as the style and form are concerned, he was greatly influenced by the Pastorals of the Nürnberg Pegnitz Shepherds, and of Friedrich von Spee (q.v.) ; and in the substance of his poems—their longings for mystical union with Christ, and their clinging love to the Saviour—he was influenced on the one side by Böhme, and on the other by the earnest inner religious life which he had found in Holland. In his later hymns the tone is more manly, and the defects and excesses of his earlier style have, in great measure, disappeared. Scheffler's hymns were gladly received by the Lutheran Church as a welcome addition to the store of "Jesus Hymns," but many long passed current as anonymous; the I. A., for Johann Angelus, being often interpreted as Incerti Autoris, and vice versa. Through the Nürnberg Gesang-Buch, 1676; Freylinghausen's Gesang-Buch 1704 and 1714; Porst's Gesang-Buch, 1713; and Burg's Gesang-Buch, Breslau, 1746, a large number came into use among the Lutherans, more indeed than among the Roman Catholics. They were great favourites among the Moravians, after Zinzendorf had included 79 of them in his Christ-Catholisches Singe-und Bet-Büchlen, 1727 ; and, unfortunately, preciscly the worst were selected for imitation, so that Scheffler has the doubtful honour of being the model of tli8 spiritual-fleshly productions which disfigured the Moravian hymn-books between 1740 and 1755. Judging Scheffler's hymns as a whole one must give them a very high place in German hymnody. Only a small proportion of the hymns bear a distinctively Roman Catholic character. Of the rest, after setting on one side those in which Christ is set forth as the Bridegroom of the soul, with an excessive use of the imagery of Canticles; and those disfigured by the mannerisms of the Pastoral School, there remain a large number which are hymns of the first rank. These finer hymns are the work of a true poet, almost perfect in style and in beauty of rhythm, concise and profound; the fruits indeed it may be said of Mysticism, but of Mysticism chastened and kept in bounds by deep reverence and by a true and fervent love to the Saviour. Scheffler holds a high place in the first rank of German sacred poets, and is much the finest of the Post-Reformation Roman Catholic hymn-writers. A number of Scheffler's hymns are translations from the Latin…which have passed into English, are as follows. i. Ach Gott, was hat vor Herrlichkeit. God's Majesty. First published as No. 110 in Bk. iii., 1657, of his Heilige Seelenlust , in 6 st. of 8 1., entitled, "She [the soul] rejoices herself on the glory of Jesus." In the Herrnhut Gesang-Buch, 1735, No. 67. The translation in common use is:— Thy Majesty, how vast it is. This is a free translation of st. i.-iv. as part of No. 189 in the Moravian Hymn Book, 1789 (1886, No. 225). Another tr. is: "My God! how vast a Glory has," as No. 310 in the Moravian Hymn Book, pt. ii., 1743. ii. Der edle Schäfer, Gottes Sohn. The Good Shepherd . Translated as:— The true good Shepherd, God's own Son. This is a translation of st. i., v., by P. H. Molther, as No. 18 in the Moravian Hymn Book, 1789. In the 1826 and later eds. (1886, No. 22) it begins, "Christ the good Shepherd.” iii. Grosser König, dem ich diene. Love to God. First published as No. 161 in Bk. v., 1668, of his Heilige Seelenlust in 10 stanzas of 8 lines, entitled, "She presents to her Beloved her heart in diverse fashion as a morning gift." The translation in common use is:— Make my heart a garden fair. This is a tr. of st. viii., as st. ii. of No. 439 in the Moravian Hymn Book, 1789. Other trs. are: (1) "Lord, I come, Thy grace adoring," by J. D. Burns, 1869, p. 227. (2) "Almighty King, Eternal Sire," by G. Moultrie, in his Espousals of S. Dorothea, 1870, p. 69. iv. Jesus ist der schönste Nam'. Love to Christ. First published as No. 35 in Bk. i., 1657, of his Heilige Seelenlust in 9 stanzas of 6 lines, entitled, "She praises the excellency of the Name of Jesus." Tr. as:— Jesus is the highest name. This is a good tr. of st. i., ii., viii., ix., by A. T. Russell, as No. 69 in his Psalms & Hymns, 185. Another tr. is: "Jesus is the sweetest Name, Unto mortals," by J. C. Earle, in O. Shipley's Annus Sanctus, 1884, pt. ii. p. 43. v. Keine Schönheit hat die Welt. Love to Christ. A beautiful hymn on Christ in Nature. First published as No. 109 in Bk. iii., 1657, of his Heilige Seelenlust, in 16 stanzas of 4 lines, entitled, "She ponders His charmingness to the creatures." The trs. in common use are :— 1. Earth has nothing sweet or fair. This is a very good translation, omitting st. vi.—viii., x., xi., by Miss Cox in her Sacred Hymns from the German, 1841, p. 165 2. Nothing fair on earth I see. This is a somewhat free tr. of st. i.-v., ix., xii.-xiv., xvi., by Miss Winkworth in her Lyra Germanica, 1st Ser., 1855, p. 48; repeated, abridged and altered, in her Chorale Book for England, 1863, No. 158. Other translations are : (l) All the beauty we can find," as No. 457, in pt. i. of the Moravian Hymn Book 1754. (2) "Would you view the glorious face," in J. A. Latrobe's Psalms & Hymns ., 1841, No. 437. (3) "Whate'er of beauty I behold," by Lady E. Fortescue, 1843, p. 35. (4) " Earth has nothing bright for me," by Miss Manington, 1863, p. 168. (5) "The world with broadcast beauties sown," by E. Massie, 1867, p. 14. vi. Morgenstern der finstern Nacht. Love to Christ. First published as No. 26 in Bk. i., 1657, of his Heilige Seelenlust, in 6 st. of 5 1., entitled, "She wishes to have the little Jesus as the true Morning Star in the heaven of her heart." Another tr. is: "Morning Star in darksome night”, by Miss Winkworth, 1869, p. 250. vii. Nun nimm mein Herz, und alles was ich bin. Self-surrender to Christ. First published as No. 102 in Bk. iii., 1657, of his Heilige Seelenlust, in 4 stanzas of 6 lines, entitled, "She gives herself to her Bridegroom." The translation in common use is:— O take my heart, and whatsoe'er is mine. This is a tr. of st. i., iv., by F. W. Foster, as No. 267 in the Moravian Hymn Book, 1789. Another tr. is: "Now take my heart and all that is in me," by Miss Winkworth, 1858, p. 98. viii. Wollt ihr den Herren finden. Seeking of Christ. First published in Bk. iv., 1657, of his Heilige Seelenlust, entitled, "She gives notice where Jesus is to be found.” Translated as:— If you would find the Saviour. This is a free version, condensing st. iii., iv., as st. iii. in the Moravian Hymn Book, 1754, pt. i., No. 657. Included, greatly altered, and beginning, "Would you find the Saviour?" in J. A. Latrobe's Psalms & Hymns, 1841 and 1852. ix. Wo willt du hin, weils Abend ist. Evening. A beautiful hymn founded on the Narrative of Christ at Emmaus. The translation in common use is:— Where wilt Thou go! since night draws near. By A. Crull, in full, as No. 93 in the Ohio Lutheran Hymnal 1880. Another translation is: "Where wilt Thou go? the eve draws nigh," by Miss Manington; 1863, p. 154. Other hymns by Scheffler which have been rendered into English are:— x. Ach, sagt mir nicht von Gold und Schätzen. Love to Christ. The translations are (1) "Tell me no more of golden treasures," in the Supplement to German Psalmody, ed. 1765, p. 53; and Select Hymns from German Psalmody , Tranquebar, 1754, p. 84. (2) "0 tell me not of glitt'ring treasure," by Dr. H. Mills, 1845, p. 75. (3) "0 tell me not of gold and treasure," by Miss Burlingham, in the British Herald, August, 1865, p. 121, repeated as "Ah, tell me not," &c, in Reid's Praise Book, 1872. xi. Ach, was steh'st du auf der Au. Love to Christ. This form is tr. as "Jesus, end of my desires." xii. ‘Auf, auf, 0 Seel', auf, auf, zum Streit. Christian Warfare. The translations are (1) "Up! Christian man, and join the fight," by Miss Manington, 1863, p. 44. (2) "Up, Christian! gird thee to the strife," by Miss Burlingham, in the British Herald, July, 1865, p. 106. xiii, Dein' eigne Liebe zwinget mich. Love to Christ. Tr. as, "Thine own love doth me constrain," by J. Kelly, in the Family Treasury, 1878, p. 716. xiv. Die Sonne kommt heran. Morning. Translated as "The sun will soon appear," by J. Kelly, in the Family Trea¬sury, 1878, p. 716. xv. Ihr Engel, die das höchste Gut. Love to Christ. This form is tr. as, "Ye Seraphim, who prostrate fall," as No. 649 in pt. i. of the Moravian Hymn Book, 1754. xvi. Jesu, ew'ge Sonne. Love to Christ. Translated as "Christ the spring of endless joys," by J. Kelly, in the Family Treasury, 1878, p. 716. xvii. Kommt, meine Freund, und höret an. Eternal Life. Tr. as: "Come hither, friends, and hear me say," by J. Kelly, in the Family Treasury , 1879, p. 271. xviii. Meine Seele willt du ruh'n. Love to God. This form is tr. as "O my soul, desir'st thou rest." In the Supplement to German Psalmody, ed. 1765, p. 56. xix. Mein Lieb ist mir und ich bin ihm. Love to Christ. This is tr. as, "My Friend's to me, and I'm to Him," as No; 467 in pt. i. of the Moravian Hymn Book, 1754. xx. 0 du allerliebster Gott. Christ in Gethsemane. This form is tr. as "Jesus, O my Lord and God," by J. C. Earle, in O. Shipley's Annus Sanctus, 1884, p. 73. xxi. Schau', Braut, wie hängt dein Bräutigam. Passiontide. Tr. as, "O Bride! behold thy Bridegroom hangs," as No. 460 in pt. i. of the Moravian Hymn Book, 1754. xxii. Tritt hin, o Seel', und dank' dem Herrn. Thanksgiving. Tr. as "Come, O my soul, with thankful voice," by Dr. G. Walker, 1860, p. 70. xxiii. Weil ich schon seh' die gold'nen Wangen. Morning. The trs. are (1) "Because I see red tints adorning," by Miss Manington, 1863, p. 119. (2) "I see the golden light of morn," in the Family Treasury, 1877, p. 603. xxiv. Wie lieblich sind die Wohnungen. Eternal Life. Translated as "How lovely are the mansions fair," by J. Kelly, in the Family Treasury, 1879, p. 270. xxv. Zeuch mich nach dir, so laufen wir. Love to Christ. Translated as "Draw us to Thee, then will we flee," as No. 137 in pt. i. of the Moravian Hymn Book, 1754. It may be added that in some English books Scheffler appears as a composer of hymn-tunes. This is however a mistake, for the melodies in the Heilige Seelenlust are, as the title distinctly says, by Georg Joseph, a musician living at that time in Breslau. [Rev. James Mearns, M.A.] * In his later writings he styled himself Johann Angelus Silesius, adding this designation—the Silesian—in order to distinguish himself from the Lutheran theologian, Johann Angelus, of Darmstadt. --Excerpts from John Julian, Dictionary of Hymnology (1907)

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