In the delightful experience of singing together, we often forget to appreciate the power of the lyrics.
This oversight is particularly striking given that the stories and inspirations of the hymn writers seldom cross our minds.
In my latest book, “A Joyful Noise,” I delve into the lives of 24 fascinating hymn authors who crafted their work during significant and often turbulent periods.
The trials and triumphs they faced shaped their writing, offering insights into the spiritual contexts from which their hymns emerged.
Historic Context of Hymn Writing
Interestingly, many aspects we now consider standard in worship weren’t always accepted.
For example, the Church of England banned hymns in church services until 1820, even though beloved hymns were already in existence, stemming from the medieval Latin tradition, the German Lutheran movement, and the innovative contributions of nonconformists like Isaac Watts.
Exploring the lives of these writers often shatters common myths.
Take Ambrose, a civil servant in 4th century Milan.
Initially hesitant to lead amidst the church’s internal strife, he found himself chosen for a unifying role.
Despite trying to evade forced baptism, Ambrose was eventually ordained and rose to prominence as a bishop, famously challenging Emperor Theodosius the Great in a world still steeped in paganism.
Influential Figures and Their Contributions
Fast forward a few centuries, and we meet Venantius Fortunatus, celebrated for his two poignant Passion hymns.
He began his journey as a wandering minstrel in the courts of Merovingian Europe, but was later convinced by St. Radegund to take on the responsibilities of a bishop.
Charles Wesley, known for his complicated relationship with his brother John, yearned for knowledge yet often found himself distracted.
His first year at Oxford was filled with diversions, making John’s insistence on seriousness feel burdensome.
Isaac Watts, a name synonymous with hymnody, built an international reputation but not without facing considerable criticism.
He was known for his playful spirit and ability to express himself in verse from an early age.
He humorously recounted amusing incidents during family prayers and jokingly vowed to cease his verse-writing—though he didn’t uphold that promise.
Another compelling figure is J. M. Neale, famed for his skillful translations of Latin hymns, who encountered fierce opposition due to his liturgical beliefs.
At a funeral in Lewes, he faced a violent mob, necessitating police intervention to help him escape into a nearby pub for safety.
The Evolution of Hymn Collections
The course of hymn writing transformed significantly with two landmark collections: “Hymns Ancient and Modern,” published in 1861, and the “English Hymnal,” released in 1906.
The latter was initially banned by the Archbishop of Canterbury but came about through the vision of Percy Dearmer, who sought to elevate the quality of hymns used in worship.
A creative force known for his distinctive style, Dearmer enlisted the then relatively unknown Ralph Vaughan Williams—a man with atheistic leanings—to curate a collection that paired exquisite hymns with beautiful melodies.
Dearmer’s distinct style extended beyond his literary efforts to his personal appearance.
G. K. Chesterton, a follower of his religious perspective, noted that on his pastoral visits, Dearmer combined traditional clerical robes with unique academic garb.
In one memorable encounter, he engaged local children in a discussion about religious history, explaining the attire of the notable reformer Latimer.
Whether those children grasped the intricacies of their religious heritage from that exchange is unknown.
However, my aim with “A Joyful Noise” is to shed light on this complex heritage through the voices of these hymn writers.
Authored by Charles Moseley, “A Joyful Noise: Some Authors, Their Times and Their Hymns,” is available in hardcover for £16.99.
Source: Christian Today
