Hymns and Hymnwriters of Denmark

The eight years that Brorson spent at Randrup where his father and grandfather had worked before him were probably the happiest in his life. The parish is located in a low, treeless plain bordering the North Sea. Its climate, except for a few months of summer, is raw and blustery. In stormy weather the sea frequently floods its lower fields, causing severe losses in crops, stocks and even in human life. Thus Brorson’s stepfather died from a cold caught during a flight from a flood that threatened the parsonage. The severe climate and constant threat of the sea, however, fosters a hardy race. From this region the Jutes together with their neighbors, the Angles and Saxons, once set out to conquer and settle the British Isles. And the hardihood of the old sea-rovers was not wholly lost in their descendants when Brorson settled among them, although it had long been directed into other and more peaceful channels.

The parsonage in which the Brorsons lived stood on a low ridge, rising gently above its surroundings and affording a splendid view over far reaches of fields, meadows and the ever changing sea. The view was especially beautiful in early summer when wild flowers carpeted the meadows in a profusion of colors, countless birds soared and sang above the meadows and shoals of fish played in the reed bordered streams. It was without doubt this scene that inspired the splendid hymn “Arise, All Things that God Hath Made.”

Brorson was happy to return to Randrup. The parish was just then the center of all that was dearest to him in this world. His beloved mother still lived there, his brothers were close neighbors, and he brought with him his young wife, Catherine Clausen, whom he had married a few days before his installation.

Nicolaj and Broder Brorson had, like him, joined the Pietist movement, and the three brothers, therefore, could work together in complete harmony for the spiritual revival of their parishes. And they did not spare themselves. Both separately and cooperatively, they labored zealously to increase church attendance, revive family devotions, encourage Bible reading and hymn singing, and minimize the many worldly and doubtful amusements that, then as now, caused many Christians to fall. They also began to hold private assemblies in the homes, a work for which they were bitterly condemned by many and severely reprimanded by the authorities. It could not be expected, of course, that a work so devoted to the furtherance of a new conception of the Christian life would be tolerated without opposition. But their work, nevertheless, was blest with abundant fruit, both in their own parishes and throughout neighboring districts. Churches were refilled with worshippers, family altars rebuilt, and a new song was born in thousands of homes. People expressed their love for the three brothers by naming them “The Rare Three-Leafed Clover from Randrup.” It is said that the revival inspired by the Brorsons even now, more than two hundred years later, is plainly evident in the spiritual life of the district.

Thus the years passed fruitfully for the young pastor at Randrup. He rejoiced in his home, his work and the warm devotion of his people. It came, therefore, as a signal disappointment to all that he was the first to break the happy circle by accepting a call as assistant pastor at Christ church in Tønder, a small city a few miles south of Randrup.

Chapter Nine

The Singer of Pietism

The city of Tønder, when Brorson located there, had about two thousand inhabitants. At one time it had belonged to the German Dukes of Gottorp, and it was still largely German speaking. Its splendid church had three pastors, two of whom preached in German and the third, Brorson, in Danish.

The parish Pastor, Johan Herman Schraeder, was an outstanding and highly respected man. Born at Hamburg in 1684, he had in his younger days served as a tutor for the children of King Frederick IV, Princess Charlotte Amalia and Prince Christian, now reigning as King Christian VI.

Pastor Schraeder was a zealous Pietist and a leader of the Pietist movement in Tønder and its neighboring territory. Like the Brorsons he sought to encourage family devotions, Bible reading and, especially, hymn singing. People are said to have become so interested in the latter that they brought their hymnals with them to work so that they might sing from them during lunch hours. He himself was a noted hymnwriter and hymn collector, who, shortly after Brorson became his assistant, published a German hymnal, containing no less than 1157 hymns.

Schraeder, we are told, had been personally active in inducing Brorson to leave his beloved Randrup and accept the call to Tønder. As Brorson was known as an ardent Pietist, Schraeder’s interest in bringing him to Tønder may have originated in a natural wish to secure a congenial co-worker, but it may also have sprung from an acquaintance with his work as a hymnwriter. For although there is no direct evidence that any of Brorson’s hymns were written at Randrup, a number of circumstances make it highly probable that some of them were composed there and that Schraeder was acquainted with them. Such a mutual interest also helps to explain why Brorson should leave his fruitful work at Randrup for an inferior position in a new field. It is certain that the change brought him no outward advantages, and his position as a Danish pastor in a largely German speaking community must have presented certain unavoidable difficulties.

Although Brorson to our knowledge took no part in the endless contest between German and Danish, his personal preference was, no doubt, for the latter. It is thus significant that, although he must have been about equally familiar with both languages, he did not write a single hymn in German. He showed no ill will toward his German speaking compatriots, however, and worked harmoniously with his German speaking co-workers. But this strongly German atmosphere does constitute a peculiar setting for one of the greatest hymnwriters of the Danish church.

The congregation at Tønder had formed the peculiar custom of singing in German – even at the Danish service. It is self-evident, however, that such a custom could not be satisfactory to Brorson. He was a Pietist with the fervent longing of that movement for a real spiritual communion with his fellow Christians. But a custom that compelled the pastor and his congregation to speak in different tongues was, of necessity, a hindrance to the consummation of such a desire. And now Christmas was drawing near, that joyful season which Brorson, as his hymns prove, loved so well and must heartily have desired to share with his hearers, a desire which this mixture of tongues to a certain extent, made impossible. He and his congregation had to be one in language before they could wholly be one in spirit.

And so, shortly before the great festival in 1732, he published a small and unpretentious booklet entitled: Some Christmas Hymns, Composed to the Honor of God, the Edification of Christian Souls and, in Particular, of My Beloved Congregation during the Approaching Joyful Christmastide, Humbly and Hastily Written by Hans Adolph Brorson.

This simple appearing booklet at once places Brorson among the great hymnwriters of the Christian church. It contains ten hymns, seven of which are for the Christmas season. Nearly every one of them is now counted among the classics of Danish hymnody.

Brorson seems at once to have reached the height of his ability as a hymnwriter. His Christmas hymns present an intensity of sentiment, a mastery of form and a perfection of poetical skill that he rarely attained in his later work. They are frankly lyrical. Unlike his great English contemporary, Isaac Watts, who held that a hymn should not be a lyrical poem and deliberately reduced the poetical quality of his work, Brorson believed that a Christian should use “all his thought and skill to magnify the grace of God”. The opinion of an English literary critic “that hymns cannot be considered as poetry” is disproved by Brorson’s work. Some of his hymns contain poetry of the highest merit. Their phrasing is in parts extremely lyrical, utilizing to the fullest extent the softness and flexibility that is supposed to be an outstanding characteristic of the Danish tongue; their metres are most skillfully blended and their rhymes exceedingly varied. His masterly use of what was often considered an inconsequential appendage to poetry is extraordinarily skillful. Thus he frequently chooses a harsh or a soft rhyme to emphasize the predominating sentiment of his verse.

Brorson is without doubt the most lyrical of all Danish hymnwriters. Literary critics have rated some of his hymns with the finest lyrics in the Danish language. Yet his poetry seldom degenerates to a mere form. His fervid lyrical style usually serves as an admirable vehicle for the warm religious sentiment of his song.

In their warm spirit and fervid style Brorson’s hymns in some ways strikingly resemble the work of his great English contemporaries, the Wesleys. Nor is this similarity a mere chance. The Wesleys, as we know, were strongly influenced first by the Moravians and later by the German Pietists. Besides a number of Moravian hymns, John Wesley also translated several hymns from the hymnbook compiled by the well-known Pietist, Johan Freylinghausen. The fervid style and varied metres of these hymns introduced a new type of church song into the English and American churches. But Freylinghausen’s Gesang-Buch also formed the basis of the hymnal compiled by Johan Herman Schraeder from which Brorson chose most of the originals of his translations. Thus both he and the Wesleys in a measure drew their inspiration from the same source. The Danish poet and his English contemporaries worked independently and mediated their inspiration in their own way, but the resemblance of their work is unmistakable. In poetical merit, however, the work of Brorson far excels that of the Wesleys. But his Christmas hymns also surpass most earlier Danish hymns and even the greater part of his own later work.

One’s first impression of the booklet that so greatly has enriched the Christmas festival of Denmark and Norway, is likely to be disappointing. At the time of Brorson the festival was frequently desecrated by a ceaseless round of worldly amusements. People attended the festival services of the church and spent the remainder of the season in a whirl of secular and far from innocent pleasures. With his Pietistic views Brorson naturally deplored such a misuse of the season. And his first hymn, therefore, sounds an earnest call to cease these unseemly pleasures and to use the festival in a Christian way.

Cast out all worldly pleasureThis blessed Christmastide,And seek the boundless treasureThat Jesus doth provide.

But although such a warning may have been timely, then as now, it hardly expresses the real Christmas spirit. In the next hymn, however, he at once strikes the true festival note in one of the most triumphant Christmas anthems in the Danish or any other language.

This blessed Christmastide we will,With heart and mind rejoicing,Employ our every thought and skill,God’s grace and honor voicing.In Him that in the manger layWe will with all our might todayExult in heart and spirit,And hail Him as our Lord and KingTill earth’s remotest bounds shall ringWith praises of His merit.A little Child of Jesse’s stem,And Son of God in heaven,To earth from heaven’s glory cameAnd was for sinners given.It so distressed His loving heartTo see the world from God departAnd in transgression languish,That He forsook His home aboveAnd came to earth in tender loveTo bear our grief and anguish.Therefore we hymn His praises hereAnd though we are but lowly,Our loud hosannas everywhereShall voice His mercy holy.The tent of God is now with man,And He will dwell with us againWhen in His name assembling.And we shall shout His name anewTill hell itself must listen toOur Christmas song with trembling.And though our song of joy be fraughtWith strains of lamentation,The burden of our cross shall notSubdue our jubilation.For when the heart is most distressed,The harp of joy is tuned so bestIts chords of joy are ringing,And broken hearts best comprehendThe boundless joy our Lord and FriendThis Christmas day is bringing.Hallelujah, our strife is o’er!Who would henceforth with sadnessRepine and weep in sorrow soreThis blessed day of gladness.Rejoice, rejoice, ye saints on earth,And sing the wonders of His birthWhose glory none can measure.Hallelujah, the Lord is mine,And I am now by grace divineThe heir of all His treasure!

Equally fine but more quietly contemplative is the next hymn in the collection which takes us right to the focal point of Christmas worship, the stable at Bethlehem.

My heart remains in wonderBefore that lowly bedWithin the stable yonderWhere Christ, my Lord, was laid.My faith finds there its treasure,My soul its pure delight,Its joy beyond all measure,The Lord of Christmas night.But Oh! my heart is rivenWith grief and sore dismayTo see the Lord of heavenMust rest on straw and hay,That He whom angels offerTheir worship and acclaimFrom sinful man must sufferSuch scorn, neglect and shame.Why should not castles royalBefore Him open stand,And kings, as servants loyal,Obey His least command?Why came He not in splendorArrayed in robes of lightAnd called the world to renderIts homage to His might?The sparrow finds a gableWhere it may build its nest,The oxen know a stableFor shelter, food and rest;Must then my Lord and SaviorA homeless stranger be,Denied the simplest favorHis lowly creatures see.O come, my Lord, I pray Thee,And be my honored guest.I will in love array TheeA home within my breast.It cannot be a strangerTo Thee, who made it free.Thou shalt find there a mangerWarmed by my love to Thee.

Far different from this song of quiet contemplation is the searching hymn that follows it.

How do we exalt the FatherThat He sent His Son to earth.Many with indifference gatherAt His gift of boundless worth.

This is followed by another hymn of praise.

Lift up your voice once moreThe Savior to adore.Let all unite in spiritAnd praise the grace and meritOf Jesus Christ, the Holy,Our joy and glory solely.

And then comes “The Fairest of Roses”, which a distinguished critic calls “one of the most perfect lyrics in the Danish language”. This hymn is inspired by a text from the Song of Songs “I am the rose of Sharon and the lily of the valley”. It is written as an allegory, a somewhat subdued form of expression that in this case serves admirably to convey an impression of restrained fire. Its style is reminiscent of the folk songs, with the first stanza introducing the general theme of the song, the appearance of the rose, that is, of the Savior in a lost and indifferent world. The remainder of the verses are naturally divided into three parts: a description of the dying world in which God causes the rose to appear, a lament over the world’s indifference to the gift which it should have received with joy and gratitude, and a glowing declaration of what the rose means to the poet himself.

Many chapters have been written about the poetic excellencies of this hymn, such as the perfect balance of its parts, the admirable treatment of the contrast between the rose and the thorns, and the skillful choice of rhymes to underscore the predominating sentiment of each verse. But some of these excellencies have no doubt been lost in the translation and can be appreciated only by a study of the original. English translations of the hymn have been made by German-, Swedish-, and Norwegian-American writers, indicating its wide popularity. The following is but another attempt to produce a more adequate rendering of this beautiful song.

Now found is the fairest of roses,Midst briars it sweetly reposes.My Jesus, unsullied and holy,Abode among sinners most lowly.Since man his Creator deserted,And wholly His image perverted,The world like a desert was lying,And all in transgressions were dying.But God, as His promises granted,A rose in the desert hath planted,Which now with its sweetness endowethThe race that in sinfulness groweth.All people should now with sweet savorGive praise unto God for His favor;But many have ne’er comprehendedThe rose to the world hath descended.Ye sinners as vile in behaviorAs thorns in the crown of the Savior,Why are ye so prideful in spirit,Content with your self-righteous merit?O seek ye the places more lowly,And weep before Jesus, the Holy,Then come ye His likeness the nearest;The rose in the valley grows fairest.My Jesus, Thou ever remainestMy wonderful rose who sustainestMy heart in the fullness of pleasure;Thy sweetness alone I will treasure.The world may of all things bereave me,Its thorns may assail and aggrieve me,The foe may great anguish engender:My rose I will never surrender.

The last Christmas hymn of the collection is printed under the heading: “A Little Hymn for the Children”, and is composed from the text “Have ye not read, Out of the mouth of babes and sucklings thou hast perfected praise”. Said to be the oldest children’s hymn in Danish, it is still one of the finest. It is written as a processional. The children come hastening on to Bethlehem to find the new-born Lord and offer Him their homage. One almost hears their pattering feet and happy voices as they rush forward singing:

Here come Thy little ones, O Lord,To Thee in Bethlehem adored.Enlighten now our heart and mindThat we the way to Thee may find.We hasten with a song to greetAnd kneel before Thee at Thy feet.O blessed hour, O sacred night,When Thou wert born, our soul’s Delight!Be welcome from Thy heavenly homeUnto this vale of tears and gloom,Where man to Thee no honor gaveBut stable, manger, cross and grave.But Jesus, oh! how can it beThat but so few will think of TheeAnd of that tender, wondrous loveWhich drew Thee to us from above?O draw us little children nearTo Thee, our Friend and Brother dear,That each of us so heartilyIn faith and love may cling to Thee.Let not the world lead us astrayThat we our Christian faith betray,But grant that all our longings beDirected always unto Thee.Then shall the happy day once comeWhen we shall gather in Thy homeAnd join the angels’ joyful throngIn praising Thee with triumph song.We gather now about Thee closeLike leaves around the budding rose,O grant us, Savior, that we mayThus cluster round Thy throne for aye.

His Christmas hymns were so well received that Brorson was encouraged to continue his writing. During the following year he published no less than five collections bearing the titles: Some Advent Hymns, Some Passion Hymns, Some Easter Hymns, Some Pentecost Hymns, and Hymns for the Minor Festivals. All of these hymns were likewise kindly received and therefore he continued to send out new collections, publishing during the following years a whole series of hymns on various phases of Christian faith and life. In 1739, all these hymns were collected into one volume and published under the title: The Rare Clenod of Faith.

This now famous book contains in all 67 original and 216 translated hymns. The arrangement of the hymns follows in the main the order of the Lutheran catechism, covering not only every division but almost every subdivision of the book. Brorson, it appears, must have written his hymns after a preconceived plan, a rather unusual method for a hymnwriter to follow.

The Rare Clenod of Faith fails as a whole to maintain the high standard of the Christmas hymns. Although the language, as in all that Brorson wrote, is pure and melodious, the poetic flight and fresh sentiment of his earlier work is lacking to some extent in the latter part of the collection. One reason for this is thought to be that Brorson, on locating at Tønder, had come into closer contact with the more extreme views of Pietism. The imprint of that movement, at least, is more distinct upon his later than upon his earlier work. The great preponderance of his translated over his original hymns also affects the spirit of the collection. He was not always fortunate in the selection of the original material for his translations. Some of these express the excessive Pietistic contemplation of the Savior’s blood and wounds; others are rhymed sermons rather than songs of praise.

Despite these defects, The Rare Clenod of Faith, still ranks with the great books of hymnody. It contains a wealth of hymns that will never die. Even the less successful of its compositions present a true Evangelical message, a message that, at times, sounds a stern call to awake and “shake off that sinful sleep before to you is closed the open door” and, at others, pleads softly for a closer walk with God, a deeper understanding of His ways and a firmer trust in His grace. There are many strings on Brorson’s harp, but they all sound a note of vital faith.

Judging Brorson’s original hymns to be far superior to his translations, some have deplored that he should have spent so much of his time in transferring the work of others. And it is, no doubt, true that his original hymns are as a whole superior to his translations. But many of these are so fine that their elimination would now appear like an irreplaceable loss to Danish hymnody. The constant love with which many of them have been used for more than two hundred years should silence the claim that a translated hymn must of necessity be less valuable than an original. A considerable number of the originals of Brorson’s most favored translations have long been forgotten.

As a translator Brorson is usually quite faithful to the originals, following them as closely as the differences in language and mode of expression permit. He is not slavishly bound, however, to his text. His constant aim is to reproduce his text in a pure and idiomatic Danish. And as his own poetic skill in most cases was superior to that of the original writer, his translations are often greatly superior to their originals in poetical merit.

Although the translation of a translation of necessity presents a very unreliable yard-stick of a man’s work, the following translation of Brorson’s version of the well-known German hymn, “Ich Will Dich Lieben, Meine Starke” may at least indicate the nature of his work as a translator.

Thee will I love, my strength, my Treasure;My heart in Thee finds peace and joy.Thee will I love in fullest measure,And in Thy cause my life employ.Thee will I love and serve alone.Lord, take me as Thine own.Thee will I love, my Life Eternal,My Guide and Shepherd on Life’s way.Thou leadest me to pastures vernal,And to the light of endless day.Thee will I love, Whose blood was spiltTo cleanse my soul from guilt.Long, long wert Thou to me a stranger,Though Thou didst love me first of all,I strayed afar in sin and dangerAnd heeded not Thy loving callUntil I found that peace of heartThou canst alone impart.Lord, cast not out Thy child, returningA wanderer, naked and forlorn.The tempting world, I sought with yearning,Had naught to give but grief and scorn.In Thee alone for all its griefMy heart now finds relief.Thee will I love and worship ever,My Lord, my God and Brother dear!Must every earthly tie I severAnd naught but sorrow suffer here,Thee will I love, my Lord divine;O Jesus, call me Thine.

Equally characteristic of his work is his translation of the less-known but appealing German hymn “Der Schmale Weg Ist Breit Genug zum Leben”.

The narrow way is wide enough to heavenFor those who walk straight-forward and with careAnd take each step with watchfulness and prayer.When we are by the Spirit driven,The narrow way is wide enough to heaven.The way of God is full of grace and beautyFor those who unto Him in faith have turnedAnd have His way with love and ardor learned.When we accept His call and duty,The way of God is full of grace and beauty.The yoke of God is not too hard to carryFor those who love His blessed will and wayAnd shall their carnal pride in meekness slay.When we with Him in faith will tarry,The yoke of God is not too hard to carry.O Jesus, help me Thy blest way to follow.Thou knowest best my weak and fainting heartAnd must not let me from Thy way depart.I shall Thy name with praises hallow,If Thou wilt help me Thy blest way to follow.

But fine as many of his translations are, Brorson’s main claim to fame must rest, of course, upon his original compositions. These are of varying merit. His Christmas hymns were followed by a number of hymns for the festivals of the church year. While some of these are excellent, others are merely rhymed meditations upon the meaning of the season and lack the freshness of his Christmas anthems. The triumphant Easter hymn given below belongs to the finest of the group.