In a foreword addressed to the king, Kingo states that “he has written these hymns with the hope that they might serve to edify5 his fellow Christians7, advance the teaching of the Gospel and benefit [32]the royal household at those daily devotions which it is the duty of every Christian6 home to practice”. He prays, therefore, he continues, that “the king will graciously bestow8 the same approval upon this work that he has so kindly9 given to his previous efforts, and thereby11 encourage him to continue his endeavor until the Danes shall possess a hymnody that they have neither begged nor borrowed from other nations. For the Danish spirit,” he concludes, “is assuredly neither so weak nor so poor that it cannot fly as high toward heaven as that of other peoples without being borne upon strange and foreign wings”.
Commenting on the content of the book, Kingo further explains that he expects sensitive readers will discover imperfections in his work which he himself has failed to see, and that it would please him to have such blemishes12 called to his attention so that they might be corrected in future issues. His choice of tunes13 will, he fears, provoke criticism. He has set a number of hymns to the melodies of popular songs in order that “those, who for the sake of its tune14, now gladly listen to a song of Sodom may, if they be Christians, with the more pleasure use it with a hymn1 about Zion. [33]By examining the work of other hymnwriters possible critics might assure themselves, however, that he had in this matter only followed their example.” But Kingo need not have apologized for his choice of tunes, for they were on the whole fine and were received without objection.
It would be difficult to overstate the enthusiasm with which Kingo’s hymns were received. Within a few years they were printed in numerous editions and translated into several foreign languages. Their enthusiastic reception was well deserved. Viewed against the background of literary mediocrity that characterized the period, Kingo’s hymns stand out with amazing perfection. Danish hymnody contained nothing that could compare with them, and other countries, as far as morning and evening hymns were concerned, were in the same position. Paul Gerhardt’s fine hymn, “Now Rests Beneath Night’s Shadow”, which was written twenty years earlier, had been ridiculed15 into disuse; Ken’s famous morning hymn dates from twenty years later; and none of these are as fine as the best of Kingo’s.
As might be expected, the hymns are not all of the same merit. Some of them are exceedingly fine; others show the defects of an imperfectly developed language and a deficient16 literary taste. In the matter of style and form the author had almost nothing to guide him. It is not surprising, therefore, that his work shows crudities which no present day writer would commit, but that it should contain so much that is truly beautiful, even when measured by the standards of today.
Kingo had the true poet’s ability to see things poetically17. To him the rays of the rising sun were not only shining but “laughing on the roof” of his home. His imagery is rich and skillfully applied18. Many of his hymns abound19 in striking similes20. Their outstanding characteristic, however, is a distinctive22, forceful realism. Kingo, when he chose to do so, could touch the lyre with enhancing gentleness, but he preferred the strong note and searched always for the most graphic23 expression, sometimes too graphic, as when he speaks of the “frothing wrath24 of God” and “the oozy25 slime of sin”. Yet it is this trait of robust26 reality that invests his hymns with a large part of their enduring merit. “When Kingo sings of God, one feels as though He were right there with him”, one of his commentators27 exclaims. Nor is that realism a mere28 literary pose. Like most great hymns, his best hymns are reflections of his own experiences. Kingo never attained29 a state of saintly serenity30. Whatever peace he found was gained only through a continuous [34]struggle with his own fiery31 and passionate32 nature. Few hymns convey a more vivid impression of a believing, struggling soul than Kingo’s.
His morning hymns are among his best. He loved light and gloried in the birth of each new day. The sun is his favorite symbol. Its rising signifies to him the final triumph of life over death, and the new day is a token thereof. It sounds a joyful33 call to wake and resume life anew.
“Awake, my soul, the sun is risen,
Upon my roof its rays now laugh,—”
Every Christian should rejoice in the newborn day and thank God for it:
I will sweetest music render
All my spirit with rejoicing
Thanks the Lord for rest and care
And, His grace and goodness voicing,
Wings its way to Him in prayer.
But the commencing day also calls for consecration37 lest its hours be wasted and its opportunities lost:
Grant me, Lord, that on this day
Now with light and grace beginning,
I shall not submit to sinning
Nor Thy word and way betray.
Over me, my Sun and Shield,
That I firm may stand and never
Unto sin and Satan yield.
And the passing hours must admonish39 the Christian to work while it is day and to prepare for the evening that is coming:
And the chiming bells remind me
But Thy life and gifts embrace.
And when dawns my final morrow,
Let me go to Thee for aye,
Let my sin and care and sorrow
With my dust be put away.
Finest of all Kingo’s morning hymns is the splendid “The Sun Arises Now in Light and Glory”. This hymn presents all the finest [35]traits of Kingo’s poetry, its vivid imagery, forceful style and robust faith. The following translation is by the Rev10. P. C. Paulsen.
The sun arises now
In light and glory
Rejoice, my soul, and lift
Thy voice in singing
To God from earth below,
And praises ringing.
And beyond measure,
As wide as sea and land
So is the treasure
Of grace which God each day
Anew bestoweth
And which, like pouring rain,
Into my soul again
Each morning floweth.
Preserve my soul today
From sin and blindness;
Surround me on my way
With loving kindness.
Embue my heart, O Lord,
With joy from heaven;
I then shall ask no more
Than what Thou hast of yore
In wisdom given.
Thou knowest best my needs,
My sighs Thou heedest,
Thy hand Thy children leads,
Thine own Thou feedest.
What should I more desire,
With Thee deciding
The course that I must take,
Than follow in the wake
Where Thou art guiding.
Evening naturally inspires a different sentiment than morning. The rising sun calls for activity, the setting sun for reflection. As the sun sets, as work ceases and the busy day merges47 into the quiet night the soul begins to take account of its gains and losses, its assets and liabilities. The dying day also conveys a sense of insecurity, of approaching death and the need for pardon and protection. All these sentiments, so different from the hopes and [36]prospects of the morning, are wonderfully portrayed49 in Kingo’s evening hymns, as for instance:
Vanish now all sinful dreaming,
Let the joy from heaven streaming
Occupy my soul and mind.
Watch, my spirit, and prepare thee,
While the noise of day is ceasing,
Lean upon thy Savior’s breast.
Quiet, peaceful, happy, blest.
In the last line with its crescendo55 of peace and happiness one almost sees the night merge48 into the final rest.
Among his evening hymns now available in English, the following, perhaps, is the best known.
Softly now the day is ending,
Night o’er hill and vale descending56,
I will kneel before Thee, Lord.
Unto Thee my thanks I render
That Thou didst in mercy tender
Life and peace to me accord.
May Thy church Thy peace inherit,
Guide our leaders by Thy spirit,
Grant our country strength and peace.
To each Christian faint or weary
Keep me, Jesus, while I slumber!
Shield me, Master, in Thy might,
That, released from sin and sorrow,
I may sing this song tomorrow:
Jesus was my Sun this night.
The publication of these hymns firmly established Kingo’s reputation as the foremost poet of his country. Expressions of appreciation61 poured in upon him from high and low. The king, to whom the hymns were dedicated62, so greatly appreciated the gift that, only three years later, he called their otherwise obscure author to become bishop63 of Fyn, one of the largest and most important dioceses of the country.
[37]
Kingo was only forty-two years old when he assumed his new position. His quick elevation64 from an obscure parish to one of the highest offices within the church might well have strained the abilities of an older and more experienced man. But there can be no doubt that he filled his high position with signal ability. He was both able and earnest, both practical and spiritual. His diocese prospered65 under his care and his work as a bishop, aside from his renown66 as a poet, was outstanding enough to give him an enviable reputation in his own generation.
But since his permanent fame and importance rest upon his achievement as a hymnwriter, his appointment as bishop probably must be counted as a loss, both to himself and to the church. His new responsibilities and the multifarious duties of his high office naturally left him less time for other pursuits. He traveled, visited and preached almost continuously throughout his large charge, and it appears like a miracle that under these circumstances, he still found time to write hymns. But in 1684, only two years after his consecration as bishop, he published the second part of Spiritual Song-Choir.
This book bears a dedication67 to the queen, Charlotte Amalia. She was German by birth and a pious68, able and distinguished69 woman in her own right. Kingo praises her especially for her effort to learn and speak the Danish language. In this respect, he declares, “Her Majesty70 put many to shame who have eaten the king’s bread for thirty years without learning to speak thirty words of Danish, because they hold it to be a homespun language, too coarse for their silky tongues”.
Spiritual Song-Choir, Part II contains twenty hymns and seventeen “sighs”, thus outwardly following the arrangement of Part I. But the content is very different. The hymns are songs of penitence71, repentance72 and faith. They show mastery of form, a wealth of imagery, a facility for concentrated expression and a range of sentiment from stark73 despair to the most confident trust that is, perhaps, unequalled in Danish poetry. It is an embattled soul that speaks through these hymns, a soul that has faced the abyss and clung heroically, but not always successfully, to the pinnacle74 of faith. One feels that the man who penned the following lines has not merely imagined the nearness of the pit but felt himself standing21 on the very brink75 of it.
Mountains of transgressions76 press
On my evil burdened shoulders,
[38]
Sin pollutes both soul and flesh,
Law and justice are proclaiming
Hell’s eternal fires are flaming,
Of an even darker mood is the great hymn: “Sorrow and Unhappiness”, with the searching verse:
Is there then no one that cares,
Is there no relief to borrow,
Is there no response to prayers,
Is the fount of mercy closing,
Is the Lord my plea opposing,
Is His heart to sinners cold?
The poet answers his questions in the following stanzas83 by assuring himself that the Sun of God’s grace can and will pierce even his “cloud of despair”, and that he must wait therefore in quietness and trust:
O my soul, be quiet then!
Jesus will redress thy sadness,
Jesus will restore thy gladness,
Jesus will thy help remain.
Jesus is thy solace ever
And thy hope in life and death;
Jesus will thee soon deliver;
Thou must cling to that blest faith.
The uncertainty84 of life and its fortunes furnished a favored theme for many of his hymns, as for instance in the splendid—
Sorrow and gladness oft journey together,
Trouble and happiness swift company keep;
Luck and misfortune change like the weather;
Sunshine and clouds quickly vary their sweep.
which is, poetically at least, one of his finest compositions. The poet’s own career so far had been one of continuous and rather swift advancement85. But there was, if not in his own outward fortune, then in the fortunes of other notables of his day, enough to remind him of the inconstancy of worldly honor and glory. Only a few months before the publication of his hymns, Leonora Christine Ulfeldt, the once beautiful, admired and talented daughter [39]of Christian IV, had been released from twenty-two years of imprisonment86 in a bare and almost lightless prison-cell; Peder Griffenfeldt, a man who from humble87 antecedents swiftly had risen to become the most powerful man in the kingdom, had been stript even more swiftly of all his honors and thrown into a dismal88 prison on a rocky isle89 by the coast of Norway; and there were other and well known instances of swift changes in the fortunes of men in those days when they were subject not only to the ordinary vicissitudes90 of human existence but to the fickle91 humor of an absolute monarch92. It is, therefore, as though Kingo at the height of his own fortune would remind himself of the quickness with which it might vanish, of the evanescense and vanity of all worldly glory. That idea is strikingly emphasized in the following famous hymn:
Vain world, fare thee well!
I purpose no more in thy bondage to dwell;
I cast now aside with their troubles and care.
’Tis vanity all!
What merit and worth
Hath all that the world puts so temptingly forth!
’Tis vanity all!
O honor and gold,
’Tis vanity all!
O carnal desire,
Consigning112 the victim to sorrow and shame,
’Tis vanity all!
Then, fare thee farewell,
Thy splendor and joy are designed for the grave
Of Abraham’s arm!
[40]
There shall all my years
I bloom like the lily when summer appears;
There day is not ruled by the course of the sun
Nor night by the silvery light of the moon;
Lord Jesus shall shine as my sun every day
In heaven for aye.
This is an eloquent117 farewell, clothed in all the expressive118 wealth of language and imagery of which Kingo was such a master. One cannot repress the feeling, however, that it presents a challenge rather than a farewell. A man that so passionately119 avows120 his repudiation121 of the world must have felt its attraction, its power to tempt and enthrall. He fights against it; the spirit contends with the flesh, but the fight is not easy. And it is in part this very human trait in Kingo that endears his song to us. What Christian does not recognize some of his own experiences in the following characteristic song:
Ever trouble walks beside me,[2]
Ever God with grace provides me,
Ever have I fear and grief,
Ever Jesus brings relief.
Ever sin my heart accuses,
Ever Jesus help induces,
Ever am I weighed with care,
Ever full of praise and prayer.
So is joy by grief attended,
Fortune with misfortune blended;
Is the measure of my life.
But, O Jesus, I am crying:
Help that faith, on Thee relying,
Over sin and grief alway
Shall prevail and gain the day.
Some statements in this hymn have frequently been criticized as contradictory124, for how can one be “always” full of care and “always” full of praise and prayer? The terms cancel each other. But are not such contradictions expressive of life itself? Few—if any—are wholly one thing or wholly another. People are complex. Their joys struggle with their sorrows, their most earnest faith with their doubts and fears. It brings Kingo nearer to us to know that he shared that struggle. His songs have appealed to [41]millions because they are both so spiritual and so human. How expressive of human need and Christian trust are not the following brief lines:
Lord, though I may
The whole long day
Find no relief from sorrow,
Yea, should the night
Afford no light
To ease my plight—
Thou comest on the morrow.
[2]Another translation:
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hymn
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| n.赞美诗，圣歌，颂歌 | |
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hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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paraphrases
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psalms
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| n.赞美诗( psalm的名词复数 )；圣诗；圣歌；(中的) | |
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edify
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| v.陶冶；教化；启发 | |
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Christian
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| adj.基督教徒的；n.基督教徒 | |
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Christians
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| n.基督教徒( Christian的名词复数 ) | |
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bestow
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| v.把…赠与，把…授予；花费 | |
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kindly
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| adj.和蔼的，温和的，爽快的；adv.温和地，亲切地 | |
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rev
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| v.发动机旋转，加快速度 | |
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thereby
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| adv.因此，从而 | |
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blemishes
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| n.（身体的）瘢点( blemish的名词复数 )；伤疤；瑕疵；污点 | |
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tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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ridiculed
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| v.嘲笑，嘲弄，奚落( ridicule的过去式和过去分词 ) | |
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deficient
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| adj.不足的，不充份的，有缺陷的 | |
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poetically
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| adv.有诗意地，用韵文 | |
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applied
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| adj.应用的；v.应用，适用 | |
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abound
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similes
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| （使用like或as等词语的）明喻( simile的名词复数 ) | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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distinctive
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| adj.特别的，有特色的，与众不同的 | |
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graphic
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| adj.生动的，形象的，绘画的，文字的，图表的 | |
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wrath
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oozy
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robust
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commentators
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| n.评论员( commentator的名词复数 )；时事评论员；注释者；实况广播员 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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serenity
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| n.宁静，沉着，晴朗 | |
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fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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passionate
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| adj.热情的，热烈的，激昂的，易动情的，易怒的，性情暴躁的 | |
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joyful
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| adj.欢乐的，令人欢欣的 | |
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forth
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splendor
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wondrous
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consecration
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hover
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| vi.翱翔，盘旋；徘徊；彷徨，犹豫 | |
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admonish
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fleeting
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bind
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gilds
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| 把…镀金( gild的第三人称单数 )； 给…上金色； 作多余的修饰（反而破坏原已完美的东西）； 画蛇添足 | |
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rugged
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| adj.高低不平的，粗糙的，粗壮的，强健的 | |
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hoary
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| adj.古老的；鬓发斑白的 | |
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aglow
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countless
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| adj.无数的，多得不计其数的 | |
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merges
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| （使）混合( merge的第三人称单数 )； 相融； 融入； 渐渐消失在某物中 | |
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merge
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| v.(使)结合，(使)合并，(使)合为一体 | |
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portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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foe
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| n.敌人，仇敌 | |
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repose
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| v.(使)休息；n.安息 | |
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appeasing
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| 安抚，抚慰( appease的现在分词 )； 绥靖（满足另一国的要求以避免战争） | |
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somber
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| adj.昏暗的，阴天的，阴森的，忧郁的 | |
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slumber
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| n.睡眠，沉睡状态 | |
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crescendo
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| n.(音乐)渐强，高潮 | |
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descending
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| n. 下行 adj. 下降的 | |
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dreary
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| adj.令人沮丧的，沉闷的，单调乏味的 | |
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solace
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peril
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| n.(严重的)危险；危险的事物 | |
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perils
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| 极大危险( peril的名词复数 )； 危险的事（或环境） | |
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appreciation
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| n.评价；欣赏；感谢；领会，理解；价格上涨 | |
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dedicated
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| adj.一心一意的；献身的；热诚的 | |
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bishop
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| n.主教，（国际象棋）象 | |
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elevation
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| n.高度；海拔；高地；上升；提高 | |
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prospered
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| 成功，兴旺( prosper的过去式和过去分词 ) | |
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renown
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| n.声誉，名望 | |
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67
dedication
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| n.奉献，献身，致力，题献，献辞 | |
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pious
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| adj.虔诚的；道貌岸然的 | |
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69
distinguished
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| adj.卓越的，杰出的，著名的 | |
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70
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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71
penitence
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| n.忏悔，赎罪；悔过 | |
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72
repentance
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| n.懊悔 | |
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73
stark
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| adj.荒凉的；严酷的；完全的；adv.完全地 | |
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74
pinnacle
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| n.尖塔，尖顶，山峰；(喻)顶峰 | |
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75
brink
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| n.(悬崖、河流等的)边缘，边沿 | |
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76
transgressions
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| n.违反，违法，罪过( transgression的名词复数 ) | |
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77
guilt
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| n.犯罪；内疚；过失，罪责 | |
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78
boulders
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| n.卵石( boulder的名词复数 )；巨砾；（受水或天气侵蚀而成的）巨石；漂砾 | |
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79
judgment
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| n.审判；判断力，识别力，看法，意见 | |
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80
dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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81
redress
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| n.赔偿，救济，矫正；v.纠正，匡正，革除 | |
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82
bondage
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| n.奴役，束缚 | |
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83
stanzas
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| 节，段( stanza的名词复数 ) | |
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84
uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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85
advancement
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| n.前进，促进，提升 | |
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86
imprisonment
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| n.关押，监禁，坐牢 | |
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87
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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88
dismal
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| adj.阴沉的，凄凉的，令人忧郁的，差劲的 | |
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isle
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| n.小岛，岛 | |
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90
vicissitudes
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| n.变迁，世事变化；变迁兴衰( vicissitude的名词复数 )；盛衰兴废 | |
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91
fickle
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| adj.(爱情或友谊上)易变的，不坚定的 | |
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monarch
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| n.帝王，君主，最高统治者 | |
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93
enticed
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| 诱惑，怂恿( entice的过去式和过去分词 ) | |
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94
spurn
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| v.拒绝，摈弃；n.轻视的拒绝；踢开 | |
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95
allurements
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| n.诱惑( allurement的名词复数 )；吸引；诱惑物；有诱惑力的事物 | |
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96
lure
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| n.吸引人的东西，诱惑物；vt.引诱，吸引 | |
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97
tempt
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| vt.引诱，勾引，吸引，引起…的兴趣 | |
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98
appall
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| vt.使惊骇，使大吃一惊 | |
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99
tempting
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| a.诱人的, 吸引人的 | |
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100
naught
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| n.无，零 [=nought] | |
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101
cymbals
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| pl.铙钹 | |
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102
shrill
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| adj.尖声的；刺耳的；v尖叫 | |
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103
brass
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| n.黄铜；黄铜器，铜管乐器 | |
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104
enthrall
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| vt.迷住，吸引住；使感到非常愉快 | |
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105
idols
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| 偶像( idol的名词复数 )； 受崇拜的人或物； 受到热爱和崇拜的人或物； 神像 | |
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106
behold
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| v.看，注视，看到 | |
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107
affluence
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| n.充裕，富足 | |
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108
deception
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| n.欺骗，欺诈；骗局，诡计 | |
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109
wither
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| vt.使凋谢，使衰退，(用眼神气势等)使畏缩；vi.枯萎，衰退，消亡 | |
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110
treacherous
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| adj.不可靠的，有暗藏的危险的；adj.背叛的，背信弃义的 | |
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111
scorches
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| 烧焦，烤焦( scorch的第三人称单数 )； 使（植物）枯萎，把…晒枯； 高速行驶 | |
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112
consigning
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| v.把…置于（令人不快的境地）( consign的现在分词 )；把…托付给；把…托人代售；丟弃 | |
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113
gall
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| v.使烦恼，使焦躁，难堪；n.磨难 | |
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114
glamorous
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| adj.富有魅力的；美丽动人的；令人向往的 | |
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115
wiles
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| n.（旨在欺骗或吸引人的）诡计，花招；欺骗，欺诈( wile的名词复数 ) | |
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116
yearn
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| v.想念；怀念；渴望 | |
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117
eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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118
expressive
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| adj.表现的，表达…的，富于表情的 | |
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119
passionately
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| ad.热烈地，激烈地 | |
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120
avows
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| v.公开声明，承认( avow的第三人称单数 ) | |
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121
repudiation
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| n.拒绝；否认；断绝关系；抛弃 | |
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122
blessings
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| n.（上帝的）祝福( blessing的名词复数 )；好事；福分；因祸得福 | |
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123
strife
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| n.争吵，冲突，倾轧，竞争 | |
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124
contradictory
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| adj.反驳的，反对的，抗辩的；n.正反对，矛盾对立 | |
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