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 67 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 68 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.

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.

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.

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

This is followed by another hymn of praise.

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.

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:

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 74 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.

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

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.

Brorson’s other hymns are too numerous to permit a more than cursory review. Beginning with the subject of creation, he wrote a number of excellent hymns on the work and providence of God. Best known among these is the hymn given below, which is said to have so pleased the king that he chose its author to become bishop. The hymn is thought to have been written while Brorson was still at Randrup. But whether this be so or not, it is evidently inspired by the natural scenery of that locality.

The Pietist movement is known for its fervid glorification of the Savior, and particularly of His blood and wounds, a glorification which at times appears objectionable because of the too-familiar and realistic terms in which it is expressed. Brorson did not wholly escape the excesses of the movement in this respect, 78 especially in his translations. In his original hymns the excesses are less apparent. However faithful he might be to the movement he possessed a wholesome restraint which, when he was not following others, caused him to moderate its most inappropriate extravagances. What can be more reverent than this beautiful tribute to the Savior:

Or more expressive than this jubilant hymn of adoration:

Most beautiful is also his hymn to the Lamb of God, translated by Pastor D. G. M. Bach.

Though Brorson made a number of excellent translations of hymns to the Spirit such as the beautiful, “Come, Rains from the Heavens, to Strengthen and Nourish the Languishing Field,” he wrote no outstanding Pentecost hymns of his own composition. It remained for Grundtvig to supply the Danish church with a wealth of unexcelled hymns on the Holy Ghost.

Aside from his Christmas hymns, Brorson’s greatest contribution to hymnody is perhaps his revival hymns, a type in which the Lutheran church is rather poor. The special message of the Pietist movement was an earnest call to awake, and Brorson repeated that call with an appealing insistence and earnestness. The word of God has been sown, but where are its fruits?

It is, therefore, time for all Christians to awake.

Many are heedless, taking no thought of the day when all shall appear before the judgment of God. Such people should arouse themselves and prepare for the rendering of their account.

He realizes that many continue in their sin because of ignorance, and with these he pleads so softly:

And the day of salvation is now at hand.

Orthodoxy had instilled a formal, but often spiritless faith. Pietism aimed to awaken the great mass of formal believers to a new life, a living and active faith. This is strongly expressed in the very popular hymn below.

Although Brorson knew that—

he holds that

But a Christian must be steadfast and persevering, as he admonishes himself and others in the following very popular hymn. The translation is by Pastor P. C. Paulsen.

Therefore children of God should rejoice.

But even a child of God must not expect to escape from the common trials and perils of life. God promises assistance but not exemption to those who love Him. In the following striking hymn, Brorson vividly pictures both the trials and the comfort of a child of God.

Unlike Kingo and Grundtvig, Brorson wrote no outstanding hymns on the sacraments. Pietism was in the main a revival movement and placed no special emphasis on the means of grace. And although Brorson remained a loyal son of the established church, he wrote his finest hymns on those phases of Christianity most earnestly emphasized by the movement to which he belonged. While this is only what could be expected, it indicates both his strength and limitation as a hymnwriter. He was above all the sweet singer of Pietism.

The hymns of Brorson that appeared during his lifetime were all written within the space of four years. In that brief period he composed a volume of songs that rank with the finest in the Christian church, and just as he might have been expected to produce his finest work, he discontinued his effort. The hymns of the Swan-Song—which we shall discuss later—though written for his own edification, indicate what he might have attained if he had continued to write for publication. His reason for thus putting aside the lyre, which for a little while he had played so appealingly, is unknown. Some have suggested that he wrote his hymns according to a preconceived plan, which, when completed, he felt no inclination to enlarge; others have surmised that the new and ardent duties, bestowed upon him about this time, deprived him of the leisure to write. But as Brorson himself expressed no reason for his action, no one really knows why this sweet singer of Pietism so suddenly ceased to sing.