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One cannot help fearing that the "intention" with which such a hymn would be sung in most congregations would not be unanimous!

Two beautiful hymns may be noted as almost peculiar to this collection: "Christ to the young man said," written by Longfellow for his brother's ordination, and "In the field with their flocks abiding," by Dean Farrar.

The Scotch, American, and Irish collections have each peculiar merits, and attention may well be drawn to hymns especially written by Mrs. Alexander for the last-named book. One of these, "The breast-plate of St. Patrick," is adapted from an old Irish hymn, and is a gem of which the Church of Ireland may well be proud. As it is little known to English readers, the quotation of one verse may be permitted:

I bind this day to me for ever,
By pow'r of faith, Christ's incarna-
tion;

His baptism in Jordan river;

His death on Cross for my salvation;
His bursting from the spiced tomb;
His riding up the heav'nly way;
His coming at the day of doom;
I bind unto myself to-day.

We have now to consider what steps the compilers of Hymns Ancient and Modern have taken to keep that widely known volume in the forefront of hymnals competing for the favor of English Churchmen.

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No better tribute to its hold upon popular affection could be found than the chorus of protest which upon the mere rumor that its contents had been tampered with; few were willing to concede the simple fact that it is the property of a body of private individuals, and not, of the Church as a whole. Granting, however, to the fullest extent that the compilers are within their legal and moral rights in adding, removing, and altering hymns at their own discretion, the public have an equal right to criticise freely

the treatment of a volume endeared to thousands by long association; and should they find that its character is materially deteriorated by such treatment, they can either demand that the old book should be still supplied to them (which it is rumored will be done), or, failing this, congregations will certainly desire the substitution of some more congenial hymnal in their public services.

We may consider the work in two portions: the translations from old breviaries and monkish authors, and the selection of original compositions. It has already been noted that Cranmer's intention to introduce English hymns, including translations from the ancient and medieval service-books, was largely superseded by the introduction of metrical psalms. The "Veni Creator," nevertheless, kept its place in the Ordination service, and many English hymns, without being translations, were evidently influenced by the ancient verses. Concurrently with the Tractarian attempt to revive the discipline and usages of the mediæval Church, came increased interest in its hymnody, and many translations from Greek and Latin originals were made by the Rev. J. M. Neale, the Rev. E. Caswall, and others.

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A number of these, varying in merit, were included in the first edition of Hymns Ancient and Modern, and those which, like "Jerusalem the golden" and "Hark! a thrilling voice is sounding," added poetic beauty to devotional sentiment, soon justly made way into the affections of the people. Others, whatever may have been their merit in their classical garb, were almost disregarded, and might have been omitted in the new edition without exciting a single protest. It is hardly too much to say that these very compositions appear to have been those which have received the most devoted attention from the present compilers, who

tell us, no doubt with perfect truth, that "immense labor has been spent on improving the translations." One can almost see these earnest students toiling with pen and paper, discussing minute points of scholarship, comparing their versions word by word and line by line, till they produce, not a song of praise nor a cry of penitence, but a sixth-form exercise corrected by a conscientious master. They have been digging in a mine instead of tending a garden.

Take, for instance, "Veni Redemptor gentium." How often was it sung in the former translation, and how far is the present version suited for use in an ordinary congregation?

It would be difficult to conceive a choir practising the new version of "A solis ortus cardine"-"From east to west, from shore to shore"; but the most extraordinary fate has befallen a rather pretty hymn from the Paris Breviary, "Divine crescebas Puer." This was efficiently rendered in the former book by the Rev. J. Chandler, the translation of the fourth verse being not devoid of beauty:

He whom the choirs of angels praise,
Bearing each dread decree,
His earthly parents now obeys
In deep humility.

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the new book. We can only note with sorrow that in her excursions through these pages Piety seems to have discarded her "handmaid" Poetry, and to have enlisted in her stead that clerkly retainer Scholarship, and we may be thankful that a certain number of translations have been left untouched by the hand of the reviser.

It is harder to discuss the original compositions included in the new book, as the power of hymns over the mind of man is largely influenced by association. There are hymns which we repeated as children, and whose words became dear to us almost before we grasped their meaning; hyinns which, sung by the village choir, brought to our childish faith visions of a happy land not far removed from the pleasant meadows which we crossed on our way to church; hymns which in the perplexities of youth whispered their messages of hope, of warning, of encouragement; hymns which ever remain to us as echoes of the gladness of the wedding-day or the mournful shadows of the tomb. There are the triumphant strains with which we greeted Christmas and Easter, and the solemn requiem with which we watched by Calvary.

As we glance through the new book and compare it with the volume so familiar to thousands during the past forty years, the thought cannot but arise that the changes have been made by men who have lost touch to a great extent with human sentiment, or who, in their anxiety to enforce Church doctrines, have forgotten the old couplet: A verse may find him who a sermon flies,

And turn delight into a sacrifice.

How else can we explain the omission of "O Paradise! O Paradise!" whose loss is lamented by numbers of men and women who seem to have clung to it as "the Lord's song in a strange

land?" What induced the excision of "Now, beloved Lord, Thy soul resigning"? and of Heber's hymn, instinct with poetry, "When through the torn sail the wild tempest is streaming"? Almost stranger than the omissions are the curious changes made in hymns added and retained. The compilers have wisely included for the first time Heber's beautiful "There was joy in heaven"; but why alter the closing lines? "The sheep that went astray" is more dramatic and more true to Scripture than "The soul that went astray," and the whole quatrain, as the author wrote it, is more consonant with the preceding verses. There is seldom an excuse for changing original words -certainly not those of a true poet like Bishop Heber.

"Outside a city wall," for Mrs. Alexander's "Without a city wall," in "There is a green hill," is another unpardonable alteration.

The crowning sin in the new edition is, however, the reversion to the original "Hark how all the welkin rings," which has been the occasion of so remarkable a burst of indignation. Consecrated by the usage of over a hundred years, "Hark! the herald-angels" had surely become a heritage in the Christian Church with which no man should have lightly interfered. It may be noted that this is the opening line of the hymn in the Methodist Hymnbook, and we need hardly be more Wesleyan than the Wesleyans. The defences put forward for the change are remarkable. One of the compilers is reported to have said that "heraldangels" was incorrect, as one angel was the herald and the others only joined in afterwards. If this purist had ever heard a proclamation by several heralds he might have discovered that one generally makes the announcement and his companions blow trumpets or otherwise express concurrence. But such an argument is akin to that

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of the Middle Ages concerning the number of angels who could dance on the point of a needle.

One or two hymns, such as "Crossing the bar" and "Alone Thou trodd'st the winepress," are welcome additions, but it is impossible to contend that the average of the newcomers is high, and this is the more to be regretted when there are so many fine hymns which have never found a place in the collection. To mention only two or three, there are Dean Milman's "Bound upon the accursed tree" and "Brother, thou art gone before us," Addison's "The spacious firmament on high," and a spirited hymn by Charles Wesley:

Christ the Lord is risen to-day.
Sons of men and angels say.

The revised volume is supposed to be especially strong in mission hymns; presumably it was too much to expect that room should be found for "There were ninety and nine" and "Jesus of Nazareth passeth by." Both these are in Sankey's collection; the former is included in Church Hymns and other hymnals.

Since two or three hymns for time of war find place in the new Ancient and Modern, what a grand addition would be Rudyard Kipling's "Hymn before Action"! The verse "Ah, Mary pierced with sorrow" must needs be omitted, but how true to the spirit of the Christian Warrior are the lines

From panic, pride, and terror,
Revenge that knows no rein,
Light haste and lawless error,
Protect us yet again.
Cloak Thou our undeserving,
Make firm the shuddering breath,
In silence and unswerving
To taste Thy lesser death!

It is stated in the preface to Hymns Ancient and Modern that in 1892 negotiations took place between the compilers and Convocation, probably with

a view to giving some kind of imprimatur to a volume founded on this collection. It is remarkable that, alone among the principal Reformed Churches of the Empire, the Church of England has no sort of authorized hymnal. In this it somewhat resembles the Roman Church in this country, whose collections of English hymns are used (chiefly at Benediction) at the discretion of individual clergy.

Twelve years spent in revision seem hardly to have rendered Hymns Ancient and Modern more fitted in popular estimation for official recognition, and the dignitaries of our Church may shrink from the almost impossible task of deciding what hymnal is best suited to the varying requirements of their flocks in both hemispheres. They will certainly be disinclined to comply with such demands as that of the Editor of the Historical Companion to Hymns Ancient and Modern, who wishes for a The Nineteenth Century and After.

book containing, first, all the ancient and medieval hymns of the Universal Church; and secondly, selected modern hymns, but only those which have "issued from a Churchman's heart and head." It is not quite clear whether Wesley's would be excluded under this rule, but it is certain that "Nearer, my God, to Thee," written by a Baptist, and "There's a friend for little children," by a Plymouth Brother, would be ostracised.

These questions, however, may be safely left to the discretion of our spiritual Fathers. In conclusion we would ask,-What is a true hymn? Is it not the voice of man's heart speaking to the Eternal Spirit in adoration, in supplication, in humble faith, expressed in words the most simple, yet the most dignified, the most musical, and the most truthful which the mind of man can conceive and the spirit which is in man inspire?

M. E. Jersey.

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Miss Vesta Swan to the Thalia and Erato Press, Ltd.

Dear Sirs, I am sending you by registered post the MS. of a volume of poems, entitled White Pinings, in the hope that you will like them sufficiently to undertake their publication. The poems are entirely original, and have never before (with one exception) been printed. It was once my intention to print them from time to time in the better class weekly papers, but after a while that idea was abandoned, The exception is the rondeau called "Coral Toes," which appeared in the Baby's Friend, but there would be no difficulty about copyright, I am sure. Yours truly, Vesta Swan.

The Thalia and Erato Press to
Miss Vesta Swan.

Dear Madam,-Our Reader reports that he has read White Pinings with much interest, and that in his opinion the book is in every way worthy of publication. Poetry is, however, as you perhaps are not unaware, not read as it used to be. This apathy is the result, some think, of the interest in the war, but according to others is due to the fashion of Bridge. Be it as it may, no great sale can be expected for such a book, and our Reader therefore suggests that you should combine with us in this enterprise. Of course if the book is successful your outlay would come back to you multiplied many

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Miss Vesta Swan to the Thalia and

Erato Press.

Dear Sirs,-I am glad to know that your Reader thinks so highly of my book. Would it be indiscreet to ask his name?-there are two or three points concerning the poems which I should like to put to him.

I am aware that the ordinary run of poetry is not profitable, but there are shining examples of success. I have just been reading the Life of the late Lord Tennyson, who seems to have been quite wealthy, although he wrote comparatively little; and I gather that the Brownings also were well-to-do. One of my friends considers my style not unlike a blend of both Robert and E. B., although (being a woman) naturally more like the latter. I understand also that both Mr. Swinburne and Sir Lewis Morris are quite comfortably off. So that there are excep

tions.

I should say also that W. P. is not, as you think, my first book. I published in 1896, through a firm at Winchester, a little collection called Heart Beats, a copy of which was sent to her late Majesty Queen Victoria.

None the less, as I believe in my work and wish others to have the opportunity of being cheered by it, I will pay the £50. Please put the book in hand at once, as I want it to come out with the April buds.

Yours truly,

Vesta Swan.

Miss Vesta Swan to the Reader of her MS.

Dear Sir, I should very much like to have your opinion of the "Lines written at midnight after hearing Miss Clara Butt sing "The Lost Chord.'" Do you think the faulty grammar in line 4 of stanza 2-"loud," the adjective, for "loudly," the adverb-is permissible? I have already spent some time in polishing this poem, but I have so high an opinion of your judgment that I am ready to begin again if you say I should. And do you think the title should be merely White Pinings or that it should have the sub-heading -"Sighs of a Priestess of Modernity?" One of my friends, a young journalist, favors the latter very warmly.

I might add that I have a very kind letter from the secretary of Sir Thomas Lipton, who read the poems in MS., praising them in no measured terms. Do you think it would do the book good if we were to print this letter in fac-simile at the beginning? I am. Yours truly, Vesta Swan.

[Several letters omitted.]

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