9. Lord, how shall I receive Thee. R. Massie, 1864, p. 93. The first hymn in the Psalmodia Germanica30 of Jacobi (1722) is a translation of Luther's "Nun kommt der Heiden Heiland" ("Now the Savior comes indeed"). The second place in the book is given to Gerhardt's “Wie soll ich dich empfangen" which is translated as "How shall I meet my Savior." In a rather quaint preface Jacobi writes: "The present Specimen hopes for a charitable Allowance from those, that may happen to use it. A Version of this Kind lies under various Disadvantages, known only to those, who in any degree are acquainted with any Poetical Translations of this Kind. A great Deal is lost of the Life and Spirit of an Hymn, when it appears in another Language." In this effort as well as in the case of "Befiehl du deine Wege" Jacobi has left out so much, and incorporated so many ideas of his own which are at variance with Gerhardt's theme that it is difficult to recognize its kinship with the original. The effect Gerhardt produces in the first line by the use of the direct form of address is entirely lost by Jacobi; also the translator creates an unpleasant impression by abruptly changing from the third person in the opening line to the second person in the next line. Bishop Ryle has altered the last quatrain to this form: I wait for Thy salvation; Grant me Thy Spirit's light, Thus will my preparation Again, the diction of stanza two is particularly strange, at least to modern readers. I'll raise with all my Powers More Notes than Unison, would be quite bewildering if we did not have at hand the German which is so forceful in its very simplicity: Mein Herze soll dir grünen In stetem Lob und Preis. It is plain that Jacobi had not much appreciation of the spirit of Gerhardt, for the distinctive touches of alliteration, repetition for emphasis, the prevailing note of joy and peace accompanying the Savior's advent are certainly not adequately reproduced. In fact the impression he leaves is almost one of gloom! Contrast with this the translation by A. T. Russell, a cento of which (stanzas 1, 2, 7, 8, 10) is given in most American hymnals. Far more cheer 30 Cf. p. 96 and note. ful and more appropriate for the Advent season than anything in Jacobi are such lines as: and My heart to praise awaking, Her anthem shall prepare, (stanza 2) That in the light eternal our Joyous home may be. (stanza 5) It is apt renderings like these that have won for Gerhardt a place in English hymnody. Kelly's rendering (1867) is characteristically accurate, but, excepting such lines as: and My heart shall blossom ever O'erflow with praises new (stanza 2) O come Thou Sun and lead us To everlasting light, (stanza 10) it is uninspired and lacking in fervor. Of the 20 hymns of Gerhardt which Miss Winkworth translated there are three for which she has made two renderings: "O Haupt voll Blut und Wunden," "Nun ruhen alle Wälder," and for this Advent hymn. The earlier version (1855) of the Advent hymn omits only the third stanza ("Was hast du unterlassen"). The later one (1863) is written in the original metre for church use to be sung to the traditional melody "Wie soll ich dich empfangen" by Johann Crüger31 (1653) and contains but six stanzas. As Miss Winkworth was so thoroughly at home in the German she was able to reproduce a surprising number of details. Even the alliteration and repetition for emphasis of which Gerhardt is so fond find in her poem at least a partially corresponding place: In heavy bonds I languished long (1855, stanza 3, 1) The original has been characterized as the best German Advent hymn and Miss Winkworth has transfused it in her earlier version undiminished into her own language so that it reads like an original poem. Her final quatrain is worthy of Gerhardt: 31 81 Cf. p. 2 f. O Sun of Righteousness! arise, To yon fair mansion in the skies Selected Stanzas: J. C. Jacobi, 1722, in Psalmodia Germanica. To the Tune: "COMMIT THY WAYS AND GOINGS." I. How shall I meet my Savior? How shall I welcome Thee? Is now requir'd of me? Lord, thine Illumination Set Heart and Hands aright, That this my Preparation Be pleasing in thy Sight. A. T. Russell, 1851, in his Psalms and Hymns.33 I. 2. 1932 O how shall I receive Thee, How meet Thee on Thy way; Blest hope of every nation, My soul's delight and stay? O Jesus, Jesus, give me Now by thine own pure light, To know whate'er is pleasing And welcome in Thy sight. Thy Zion palms is strewing, With branches fresh and fair; My soul in praise awaking, Her anthem shall prepare. Perpetual thanks and praises Forth from my heart shall spring. (*will) And to Thy Name the service Of all my powers I bring. (*3.) (Omitted.) (*4.) 3. Ye who with guilty terror Are trembling, fear no more: He comes, who contrite sinners Will with the children place, Miss Winkworth, 1855, in her Lyra Germanica. Stanza I. How shall I meet Thee? How my heart Desire of all the earth Thou art! My hope, my sole delight! Kindle the lamp, Thou Lord, alone, Half-dying in my breast, 32 Cf. p. 116. 83 An asterisk placed before the word indicates the form in the original. This altered cento of three stanzas is the one usually given in American hymn books. A beautiful but very free translation of the "Salve Caput Cruentatum," which is part VII of the "Rhythmica Oratio," 1153, ascribed to St. Bernard of Clairvaux.34 The Latin original follows: DE PASSIONE DOMINI: AD FACIEM. Gerhardt's version appeared in the 1656 ed. of Crü. Praxis, no. 156, in 10 stanzas of 8 lines; thence in Wackernagel: no. 22; Bachmann: no. 54; Unv. L. S.: 1851, no. 109. Cf. Koch, IV, 163; VIII, 47. In Koch VIII, 47, Lauxmann thus characterizes it: "Bernard's original is powerful and searching, but Gerhardt's hymn is still more powerful and profound, as redrawn from the deeper spring of evangelical Lutheran, Scriptural, knowledge, and fervency of faith." Stanza X Lauxmann traces not only to Bernard but to stanza II of "Valet will ich dir geben" of Herberger, and to Luther's words on the death of his daughter Magdalen "Who thus dies, dies well." The melody to which the hymn is sung, usually called "Passion Chorale," first appeared in Hans Leo Hassler's "Lustgarten," Nürnberg, 1601, set to a love song, beginning "Mein G'müth ist mir verwirret." The hymn has often been signally blessed. The story is told that a Roman Catholic from Bohemia on hearing this hymn sung in a Protestant church was so overpowered that he shed tears of joy, for he saw clearer than ever |