Hymns and Hymnwriters of Denmark - Jens Christian Aaberg (best e reader for academics .TXT) 📗

Gunni Busck, Grundtvig was too independent a spirit to adjust himself to the style and mode of others. His originals were much more successful. Among these we find such gems as “Mongst His Brothers Called the Little,” “Move the Signs of Grief and Mourning from the Garden of the Dead,” and “O Land of Our King,” hymns that rank with the finest he has written.

In 1835 Grundtvig at last wrote to Gunni Busck that he was now ready to commence the long deferred attempt to renew the hymnody of his church. Busck received the information joyfully and at once sent him a thousand dollars to support him during his work. Others contributed their mite, making Grundtvig richer financially than he had been for many years. He rented a small home on the shores of the Sound and began to prepare himself for the work before him by an extensive study of Christian hymnody, both ancient and modern.

“The old hymns sound beautiful to me out here under the sunny sky and with the blue water of the Sound before me,” he wrote to Busck. He did not spend his days day-dreaming, however, but worked with such intensity that only a year later he was able to invite subscriptions on the first part of his work. The complete collection was published in 1837 under the title: Songs of the Danish Church. It contains in all 401 hymns and songs composed of originals, translations and adaptations from Greek, Latin, German, Icelandic, Anglo-Saxon, English and Scandinavian sources. The material is of very unequal merit, ranging from the superior to the commonplace. As originally composed, the collection could not be used as a hymnal. But many of the finest hymns now used in the Danish church have been selected or adapted from it.

Although Songs for the Danish Church is now counted among the great books in Danish, its appearance attracted little attention outside the circle of Grundtvig’s friends. It was not even reviewed in the press. The literati, both inside and outside the church, still publicly ignored Grundtvig. But privately a few of them expressed their opinion about the work. Thus a Pastor P. Hjort wrote to Bishop Mynster, “Have you read Grundtvig’s Songs of the Danish Church? It is a typical Grundtvigian book, wordy, ingenious, mystical, poetical and full of half digested ideas. His language is rich and wonderfully expressive. But he is not humble enough to write hymns.”

Meanwhile the demand for a new hymnal or at least for a supplement to the old had become so insistent that something had to be done. J. P. Mynster who, shortly before, had been appointed Bishop of Sjælland, favored a supplement and obtained an authorization from the king for the appointment of a committee to prepare it. The only logical man to head such a committee was, of course, Grundtvig. But Mynster’s dislike of his volcanic relative was so deep-rooted that he was incapable of giving any recognition to him. And so in order to avoid a too obvious slight to his country’s best known hymnwriter, he assigned the work to an already existing committee on liturgy, of which he himself was president. Thus Grundtvig was forced to sit idly by while the work naturally belonging to him was being executed by a man with no special ability for the task. The supplement appeared in 1843. It contained thirty-six hymns of which six were written by Kingo, seven by Brorson, and one by Grundtvig, the latter being, as Grundtvig humorously remarked, set to the tune of the hymn, “Lord, I Have Done Wrong.”

Mynster’s influence was great enough to secure the supplement a wide circulation. The collection, nevertheless, failed to satisfy the need of the church. Dissatisfaction with it was so general that the pastors’ conference of Copenhagen appointed a committee consisting of Grundtvig, Prof. Martensen, Mynster’s own son-in-law, Rev. Pauli, his successor as Provost of the Church of Our Lady, and two other pastors to prepare and present a proposal for a new hymnal. It was an able committee from which a meritorious work might reasonably be expected.

Grundtvig was assigned to the important work of selecting and revising the old hymns to be included in the collection. He was an inspiring but at times difficult co-worker. Martensen recalls how Grundtvig at times aroused the committee to enthusiasm by an impromptu talk on hymnody or a recitation of one of the old hymns, which he loved so well. But he also recalls how he sometimes flared up and stormed out of the committee room in anger over some proposed change or correction of his work. When his anger subsided, however, he always conscientiously attempted to effect whatever changes the committee agreed on proposing. Yet excellent as much of his own work was, he possessed no particular gift for mending the work of others, and his corrections of one defect often resulted in another.

The committee submitted its work to the judgment of the conference in January 1845. The proposal included 109 hymns of which nineteen were by Kingo, seven by Brorson, ten by Ingemann, twenty-five by Grundtvig and the remainder by various other writers, old and new. It appeared to be a well balanced collection, giving due recognition to such newer writers as Boye, Ingemann, Grundtvig and others. But the conference voted to reject it. Admitting its poetical excellence and its sound Evangelical tenor, some of the pastors complained that it contained too many new and too few old hymns; others held that it bore too clearly the imprint of one man, a complaint which no doubt expressed the sentiment of Mynster and his friends. A petition to allow such churches as should by a majority vote indicate their wish to use the collection was likewise rejected by the Bishop.

Grundtvig was naturally disappointed by the rejection of a work upon which he had spent so much time and energy. The rejection furthermore showed him that he still could expect no consideration from the authorities with Mynster in control. He was soon able, however, to comfort himself with the fact that his hymns were becoming popular in private assemblies throughout the country, and that even a number of churches were beginning to use them at their regular services in defiance of official edicts. The demand for granting more liberty to the laymen in their church life, a demand Grundtvig long had advocated, was in fact becoming so strong that the authorities at times found it advisable to overlook minor infractions of official rulings. Noting this new policy, Grundtvig himself ventured to introduce some of the new hymns into his church. In the fall of 1845, he published a small collection of Christmas hymns to be used at the impending Christmas festival. When the innovation passed without objections, a similar collection of Easter hymns was introduced at the Easter services, after which other collections for the various seasons of the church year appeared quite regularly until all special prints were collected into one volume and used as “the hymnal of Vartov.”

The work of preparing a new authorized hymnal was finally given to Grundtvig’s closest friend, Ingemann. This hymnal appeared in 1855, under the title, Roskilde Convent’s Psalmbook. This book served as the authorized hymnal of the Danish church until 1899, when it was replaced by Hymnal for Church and Home, the hymnal now used in nearly all Danish churches both at home and abroad. It contains in all 675 hymns of which 96 are by Kingo, 107 by Brorson, 29 by Ingemann and 173 by Grundtvig, showing that the latter at last had been recognized as the foremost hymnwriter of the Danish church.