Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient PeoplesDickinson, Edward
History
Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient Peoples
Dickinson, Edward
Church music
All this, and much more of a similar sort, the product of vulgar error
and distorted thinking, cannot be gainsaid. But let us, with equal
candor, acknowledge that there is a bright side to this subject.
Corruption and falsehood are not altogether typical of the German
religious poetry of the Middle Age. Many Protestant writers represent the
mediaeval German hymns as chiefly given over to mariolatry and much
debasing superstition, and as therefore indicative of the religious state
of the nation. This, however, is very far from being the case, as a
candid examination of such a collection as Wackernagel’s will show. Take
out everything that a severe Protestant would reject, and there remains a
large body of poetry which flows from the pure, undefiled springs of
Christian faith, which from the evangelical standpoint is true and
edifying, gems of expression not to be matched by the poetry of Luther
and his friends in simplicity and refinement of language. Ideas common to
the hymnody of all ages are to be found there. One comes to mind in which
there is carried out in the most touching way the thought of John Newton
in his most famous hymn, where in vision the look of the crucified Christ
seems to charge the arrested sinner with his death. Another lovely poem
expresses the shrinking of the disciple in consciousness of mortal
frailty when summoned by Christ to take up the cross, and the comfort
that he receives from the Saviour’s assurance of his own sufficient
grace. A celebrated hymn by Tauler describes a ship sent from heaven by
the Father, containing Jesus, who comes as our Redeemer, and who asks
personal devotion to himself and a willingness to live and die with and
for him. Others set forth the atoning work of Christ’s death, without
mention of any other condition of salvation. Others implore the direct
guidance and protection of Christ, as in the exquisite cradle hymn of
Heinrich von Loufenberg, which is not surpassed in tenderness and beauty
by anything in Keble’s _Lyra Innocentium_, or the child verses of Blake.
Public-domain text, read in full here on John Shaqi.
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