Which is the greater hymn writer? That is a mooted question that need not be decided here. In Scriptural content the older man is superior, as, at his best, he is in majesty of style. For formal services of worship his hymns are more fitting and impressive. On the other hand, Wesley was superior in quantity and in the number of hymns of high quality. It must be granted that he is more poetical, more graceful, more suave and human. His range is more extensive, his emotion deeper and more noble. In immediate results on the lives of the people Charles Wesley is incomparably richer than Watts, for his hymns then and since turned multitudes unto righteousness.[7] VIII. THE ISSUES OF THE WESLEYAN HYMNS Space is wanting, and the profit would be slight, to give a catalogue of the sixty-four original issues of hymns that John published from 1737 to 1790, the mass of them for the use of the evangelistic campaign. They were largely occasional, issued to meet a pressing but only temporary need. They varied from a single sheet containing but a single hymn (Charles Wesley’s hymn praying for his brother’s long life) to the two volumes with two thousand and thirty short hymns on Scripture passages. It was not until 1780 that a regular hymnbook “for the use of the people called ‘Methodists’” was issued, containing five hundred and twenty-five hymns. IX. THE METHODIST TUNES So practical a mind as that of John Wesley, who had from childhood engaged in sacred song, would not be expected to overlook the great importance of the tunes to which the new hymns were to be sung. In 1742 he printed a _Collection of Tunes_ in which only three of the _Old Version_ tunes appeared. Tunes were freely borrowed from the musical _Supplement to the New Version_, six were secured from German Moravian sources, and a few were new. Tunes were later supplied by Handel and Lampe; popular melodies which the Wesleys picked up in their preaching tours were also adopted. Some twenty years later fugal tunes became popular among the churches, but became known as “Old Methodist Tunes,” although they had never been officially recognized and had first been written in Scotland. When we regard the quantity and quality of the Wesleyan hymns, or their adaptation to the spiritual and evangelistic purposes for which they were written, or the body of teaching they conveyed, or the spiritual fervor they created and are still creating in millions of souls, or the influence they exerted on all subsequent hymnody, we do not find the sweeping statement of Dr. James Martineau, the Unitarian divine and hymnbook editor, as exaggerated: “After the Scriptures, the _Wesley Hymn Book_ appears to me the grandest instrument of popular religious culture that Christendom has produced.” X. INFLUENCES OPPOSING THE WESLEYAN HYMNS