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HORA NOVISSIMA
Meter: 7.6.7.6 D with refrain Appears in 18 hymnals Composer and/or Arranger: Rossini Hymnal Title: The Presbyterian Book of Praise Tune Key: D Major Incipit: 33332 35443 33432 Used With Text: All glory, laud, and honor
HORA NOVISSIMA
Jesus, King of glory
Author: Rev. W. Hope Davison Appears in 73 hymnals Hymnal Title: Alleluia Topics: Christ Conqueror; Christ Exaltation of; Kingdom of Christ; Rally Day Used With Tune: [Jesus, King of glory]
Jesus, King of glory
Forward! singing Glory
Author: Rev. Louis F. Benson Appears in 4 hymnals Hymnal Title: Gloria Used With Tune: PROGRESS
Forward! singing Glory
Jesus! blessèd Saviour
Appears in 12 hymnals Hymnal Title: Hymnal with Music for Children Used With Tune: BECKWITH
Jesus! blessèd Saviour
Jesus, King of glory
Author: Rev. W. Hope Davison Hymnal: Alleluia #82 (1916) Hymnal Title: Alleluia Topics: Christ Conqueror; Christ Exaltation of; Kingdom of Christ; Rally Day Languages: English Tune Title: [Jesus, King of glory]
Jesus, King of glory
Jesus, King of glory
Author: W. Hope Davison Hymnal: Elmhurst Hymnal #164 (1921) Meter: 6.5.6.5 D with refrain Hymnal Title: Elmhurst Hymnal Topics: Christ Conqueror; Christ Divinity; Christ Intercession of; Christ King; The Lord's Day; Prayer Children's Prayers; Prayer For Cleansing; Prayer For Forgiveness; Prayer and Aspiration Languages: English Tune Title: [Jesus, King of glory]
Jesus, King of glory
Forward! singing Glory
Author: Rev. Louis F. Benson Hymnal: Gloria #2 (1916) Hymnal Title: Gloria Languages: English Tune Title: PROGRESS
Forward! singing Glory
W. Hope Davison
1827 - 1894 Person Name: Rev. W. Hope Davison Hymnal Title: Alleluia Author of "Jesus, King of glory" in Alleluia Davison, W. Hope, was born at Sunderland, Nov. 27, 1827, and entered the Congregational Ministry in 1S52 as Pastor at Bolton, Lancashire. He published Psalms & Hymns, Bolton, various eds., the last in 1801; The Sabbath Hymnal for use in Schools; and The New Sabbath Hymnal, 1877. Also subsequently two Services of Song for Passiontide. From the latter his hymn "Jesus, King of glory, Throned above the sky" (S. S. Festival), in the Congregational Church Hymnal, 1887, is taken. He died in Aug. 1894.
--John Julian, Dictionary of Hymnology, Appendix, Part II (1907)
W. Hope Davison
Louis F. Benson
1855 - 1930 Hymnal Title: Hymns Author of "Forward! singing Glory" in Hymns Benson, Louis FitzGerald, D.D., was born at Philadelphia, Penn., July 22, 1855, and educated at the University of Penn. He was admitted to the Bar in 1877, and practised until 1884. After a course of theological studies he was ordained by the Presbytery of Philadelphia North, in 1888. His pastorate of the Church of the Redeemer, Germantown, Phila., extended from his ordination in 1888 to 1894, when he resigned and devoted himself to literary and Church work at Philadelphia. He edited the series of Hymnals authorised for use by the General Assembly of the Presbyterian Church in the U.S.A., as follows:—
(1) The Hymnal, Phila., 1895; (2) The Chapel Hymnal, 1898; and (3) The School Hymnal, 1899.
Dr. Benson's hymnological writings are somewhat extensive. They include:—
(1) Hymns and Verses (original and translations), 1897; (2) The Best Church Hymns, 1898; (3) The Best Hymns, 1898; (4) Studies of Familiar Hymns, 1903, &c.
Of his original hymns the following have come into American common use:—
I. In The Hymnal, 1895:—
1. O Christ, Who didst our tasks fulfil. For Schools and Colleges. Written in 1894.
2. O risen Christ, Who from Thy throne. For Installation of a Pastor. Written in 1894.
II. In The School Hymnal, 1899:—
3. A glory lit the wintry sky. Loneliness of Jesus. Written in 1897.
4. Happy town of Salem. Heaven.
5. Now the wintry days are o'er. Easter.
6. O sing a song of Bethlehem. Early Life of Jesus.
7. Open the door to the Saviour. Invitation.
8. Out of the skies, like angel eyes. Lullaby.
9. Who will teach me how to pray? Prayer. In Carey Bonner's Sunday School Hymnary, 1905:—
10. The sun is on the land and sea. Morning.
11. Our wilful hearts have gone astray. Penitence.
12. When I awake from slumber. Morning.
Of the above, Nos. 1-4, 10-12 are from Hymns and Verses, 1897. In the above collection by C. Bonner, Nos. 1, 4, and 6 are also found. Of Dr. Benson's translations from the Latin one only is in common use. See "Plaudite coeli, Rideat aether."
As a hymn writer Dr. Benson is not widely known, mainly through the recent publication of his verse. His hymns deserve attention, and will, no doubt, gain the public ear in due time; whilst his hymnological researches and publications are thorough and praiseworthy.
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Louis F. Benson
Bernard, of Cluny
1100 - 1199 Person Name: Bernard of Cluny Hymnal Title: Northfield Hymns for Young People Author of "For thee, O dear, dear country" in Northfield Hymns for Young People Bernard of Morlaix, or of Cluny, for he is equally well known by both titles, was an Englishman by extraction, both his parents being natives of this country. He was b., however, in France very early in the 12th cent, at Morlaix, Bretagne. Little or nothing is known of his life, beyond the fact that he entered the Abbey of Cluny, of which at that time Peter the Venerable, who filled the post from 1122 to 1156, was the head. There, so far as we know, he spent his whole after-life, and there he probably died, though the exact date of his death, as well as of his birth is unrecorded. The Abbey of Cluny was at that period at the zenith of its wealth and fame. Its buildings, especially its church (which was unequalled by any in France); the services therein, renowned for the elaborate order of their ritual; and its community, the most numerous of any like institution, gave it a position and an influence, such as no other monastery, perhaps, ever reached. Everything about it was splendid, almost luxurious. It was amid such surroundings that Bernard of Cluny spent his leisure hours in composing that wondrous satire against the vices and follies of his age, which has supplied—and it is the only satire that ever did so—some of the most widely known and admired hymns to the Church of today. His poem De Contemptu Mundi remains as an imperishable monument of an author of whom we know little besides except his name, and that a name overshadowed in his own day and in ours by his more illustrious contemporary and namesake, the saintly Abbot of Clairvaux.
The poem itself consists of about 3000 lines in a meter which is technically known as Leonini Cristati Trilices Dactylici, or more familiarly—to use Dr. Neale's description in his Mediaeval Hymns, p. 69—" it is a dactylic hexameter, divided into three parts, between which a caesura is inadmissible. The hexameter has a tailed rhyme, and feminine leonine rhyme between the two first clauses, thus :—
" Tune nova gloria, pectora sobria, clarificabit: Solvit enigmata, veraque sabbata, continuabit, Patria luminis, inscia turbinis, inscia litis, Cive replebitur, amplificabitur Israelitis."
The difficulty of writing at all, much more of writing a poem of such length in a metre of this description, will be as apparent to all readers of it, as it was to the writer himself, who attributes his successful accomplishment of his task entirely to the direct inspiration of the Spirit of God. "Non ego arroganter," he says in his preface, "sed omnino humiliter, et ob id audenter affirmaverim, quia nisi spiritus sapicntiae et intellectus mihi affuisset et afftuxisset, tarn difficili metro tarn longum opus con-texere non sustinuissem."
As to the character of the metre, on the other hand, opinions have widely differed, for while Dr. Neale, in his Mediaeval Hymns, speaks of its "majestic sweetness," and in his preface to the Rhythm of Bernard de Morlaix on the Celestial Country, says that it seems to him "one of the loveliest of mediaeval measures;" Archbishop Trench in his Sac. Lat. Poetry, 1873. p. 311, says "it must be confessed that" these dactylic hexameters "present as unattractive a garb for poetry to wear as can well be imagined;" and, a few lines further on, notes "the awkwardness and repulsiveness of the metre." The truth perhaps lies between these two very opposite criticisms. Without seeking to claim for the metre all that Dr. Neale is willing to attribute to it, it may be fairly said to be admirably adapted for the purpose to which it has been applied by Bernard, whose awe-stricken self-abasement as he contemplates in the spirit of the publican, “who would not so much as lift up his eyes unto heaven," the joys and the glory of the celestial country, or sorrowfully reviews the vices of his age, or solemnly denounces God's judgments on the reprobate, it eloquently pourtrays. So much is this the case, that the prevailing sentiment of the poem, that, viz., of an awful apprehension of the joys of heaven, the enormity of sin, and the terrors of hell, seems almost wholly lost in such translations as that of Dr. Neale. Beautiful as they are as hymns, "Brief life is here our portion," "Jerusalem the Golden," and their companion extracts from this great work, are far too jubilant to give any idea of the prevailing tone of the original. (See Hora Novissima.)
In the original poem of Bernard it should be noted that the same fault has been remarked by Archbishop Trench, Dean Stanley, and Dr. Neale, which may be given in the Archbishop's words as excusing at the same time both the want, which still exists, of a very close translation of any part, and of a complete and continuous rendering of the whole poem. "The poet," observes Archbishop Trench, "instead of advancing, eddies round and round his object, recurring again and again to that which he seemed thoroughly to have discussed and dismissed." Sac. Lat. Poetry, 1873, p. 311. On other grounds also, more especially the character of the vices which the author lashes, it is alike impossible to expect, and undesirable to obtain, a literal translation of the whole. We may well be content with what we already owe to it as additions to our stores of church-hymns.
-John Julian, Dictionary of Hymnology (1907)
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Bernard of Cluny, p. 137, i., is best described thus: his place of origin is quite uncertain. See the Catalogue of the Additional MSS. of the B. M. under No. 35091, where it is said that he was perhaps of Morlas in the Basses-Pyrenees, or of Morval in the Jura, but that there is nothing to connect him with Morlaix in Brittany. [Rev. James Mearns, M.A.]
--John Julian, Dictionary of Hymnology, New Supplement (1907)
Bernard, of Cluny
