The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-03-06
THE CHEST HYMN"

Rev. Robert Collyer is quoted in a current
paragraph as recalling a conversation on
the subject of hymns in which Holmes and
Emerson took part, both decIa ring the "su-
preme hymn" to be the one beginning:
Thou hidden Love of God, whose height,
Whose depth, unfathbmed. no man knows,
L see from far thy beauteous light;
lnly L sigh for thy repose.
My heart is panied, nor can it be
AT rest, till it find rest in thee
This hymn was written by German poet
of two hundred years ago, and was trans
lated by Wesley. The other stanzas express
in varying phrase the same sentiments of
longing, OF aspiration and alteration, and
together, make it an expression of feeling
so genuine that ii must often meet the need
of the religious SOUL seeking an outlet for
its emotion But with due respect to the
eminent personages who classified it as su-
preme, it cannot be admitted that their
stamp settles its status. There will be
many hymn lovers, at all events to dispute
the claim. AS matter of fact, no single
hymn can rightfully be given place above
all others. To have this it must be fault
less in its literary workmanship and at the
same time utter the thought that prevails
in the highest type of the devout mind-if
such a prevalence exists, which is hardly
to be believed. Even If the religious nature
were continually on plane where one SEN
timent served for its full expression, would
it be hymn that SPOKE of pain and rest
lessness and unattained blessing? Would
it not rather be one OF joy and ecstasy and
hope? or might it not be an utterance Of
| complete faith and trust? But in reality
the needs of cody souls vary, if the testi-
mony of saints and of the hymn-makers
themselves is to be accepted. The hymns
that live are those that best express the
emotions ofsthe eartll-born and earth bound
human creature struggling toward the spir-
itual life. He feels fear and hope; humility
and despair alternate with joy; the pres
sure of life's sorrows or the sense of his
| own frailties now casts him to the depths,
and again he is lifted up by a faith that
| shows him a sudden glimpse of glory pres
| ent and to come. The moods and emotions
of the saint, if more edifying, are as many
as those of the sinner, and all the hymns
| that have fixed themselves in the hearts
and memories are the outcome of these
moods. Accordingly as they harmonic
| with the feeling of the reader or singer, or
are capable of inspiring him with their
| thought, by that measure are they rated in
his mind, and according to their power of
| lifting him above the level of daily care
and toll into higher realm are they
to be classed as great. Sometimes the
tune becomes, by sacred association so
much part of the hymn that without it
the words lose their best meaning; some
times the lines themselves speak but feeble
sentiment, like some so familiar in modern
collections OF gospel hymns" but some
thing in the pathos of the music touches
the popular heart and gives the feeble
| words value. But there are hymns that
read well, that are genuine poems as we'll
as expressions of pious thought, of prayer
and praise, and among them are those that
at least rival the supreme hymn of EN-
erson and Holmes. There is Faber's rejoic-
/ ino