Anatomy of a Hymn Exploring the skeleton of

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Anatomy of a Hymn Exploring the skeleton of a hymn, the choice of poetic

Anatomy of a Hymn Exploring the skeleton of a hymn, the choice of poetic feet, and an assortment of poetic devices

Prosody and Rhyme All poetry is organized into “feet, ” indicating that poetry “walks”

Prosody and Rhyme All poetry is organized into “feet, ” indicating that poetry “walks” or “marches. ” A foot consists of a group of two or more syllables with one accented and the others unaccented.

Iambic The most common form on English poetry is the iambic foot, consisting of

Iambic The most common form on English poetry is the iambic foot, consisting of an upbeat (weak) followed by an accent (strong). O God, our help in ages past, Our hope for years to come, Our shelter from the stormy blast, And our eternal home. Common Meter (C. M. ) is a convenient way of saying that there are eight syllables (actually four iambic feet) in lines one and three and six syllables (three iambic feet) in lines two and four. 8 6

Iambic Lovelace states that iambic movement is stately and noble and it best used

Iambic Lovelace states that iambic movement is stately and noble and it best used for those texts which are propositional in nature (exposition). O God, our help in ages past, Our hope for years to come, Our shelter from the stormy blast, And our eternal home. “The upbeat pattern before each accent allows time for an idea to start development and to reach its climax in a towering peak at the end of a series of rolling hills. It can also be likened to the roll of the ocean, a series of cresting waves ending in a gigantic wave pounding the shore. ” p. 13

Trochaic Hark! The herald angels sing “Glory to the newborn King; Trochaic is the

Trochaic Hark! The herald angels sing “Glory to the newborn King; Trochaic is the reverse or of iambic, consisting of “Christ the Lord is ris’n today!” an accent (strong) that is Saints on earth and angels say; followed by an upbeat (weak). Trochaic is more direct than iambic and is used where directness of thought and excitement are desirable.

Dactylic is quite rare in modern hymnody. Dactylic consists of one accent (strong) that

Dactylic is quite rare in modern hymnody. Dactylic consists of one accent (strong) that is followed by two upbeats (weak). Dactylic is challenging to set due to the two final unaccented syllables. Worship the Lord in the splendor of holiness. .

Anapaestic is closely related to dactylic. It consists of a by two upbeats (weak)

Anapaestic is closely related to dactylic. It consists of a by two upbeats (weak) followed by one accent (strong). Anapaestic is often altered by shortening a foot somewhere in the line. ‘ Twas the night before Christmas and all through the house Not a creature was stirring, not even a mouse. Immortal, invisible, God only wise (This feels dactylic after the initial “Im-” but technically anapaestic because it ends on a strong syllable. )

“eye” rhy mes false rhy mes h t r a e h / h

“eye” rhy mes false rhy mes h t r a e h / h t r a E d o o g / blood

These fa lse rhym es were p never no r o bably ticed by

These fa lse rhym es were p never no r o bably ticed by those sin “Come, T ging, hou Long -expecte d Jesus” s u e s a e l e r / s Jesu r e v e r o f / r e v i l de t i r e m / Spirit

“identitie s” are comb inations words w of hich have the same consona before

“identitie s” are comb inations words w of hich have the same consona before th nt e final ac cented v owel. y e b o / bay t a h t t n a n o s n o c e h t , e e m b y t h s r u e u m r l e w o In a t v d e t n e c c a e h precedes t. t n e r e f f di

d e t a e r c e r a ” s e m

d e t a e r c e r a ” s e m y h r f f o “ ” e c n a n o s n o c “ l e w o v d n a s t n a n o s n o c e h t ll a g in v a h y b l, a ic t n e id l e w o v d e t n sounds after the acce. t n e r e f if d ls e w o v d e t but having the accen heaven/given (eh and ih) cunning/winning (uh and ih ) Spirit/merit (ih and eh)

n a s a h ” e m y h r l e w

n a s a h ” e m y h r l e w o v “assonance” “ t u b , d n u o s l e w o v d e t n e c c a l a in f l a ic t iden. s d n u o s t n e u q e s b u s r dissimila bliss/is (s and z) praise/grace (z and s)

of lines single line verse series stanza

of lines single line verse series stanza

aabb & abab The star proclaims the King is here; In a four-line stanza,

aabb & abab The star proclaims the King is here; In a four-line stanza, the best poets will have two pairs of rhymes— rhyming couplets or cross rhyme. For He who offers heavenly birth But, Herod, why this senseless fear? Seeks not the kingdoms of this earth. (LSB 399: 1) Hail to the Lord’s anointed, Great David’s greater Son! Hail, in the time appointed, His reign on earth begun! (LSB 398: 1 a)

abcb Swiftly pass the clouds of glory, Heaven’s voice, the dazzling light; Moses and

abcb Swiftly pass the clouds of glory, Heaven’s voice, the dazzling light; Moses and Elijah vanish; It takes more skill to rhyme all pairs of lines Christ alone commands the height! and it is obviously (LSB 416: 1 a) easier to only rhyme O Lord, throughout these forty days lines two and four. Many hymn writers You prayed and kept the fast; take the “easy” way out. Inspire repentance for our sin, And free us from our past. (LSB 418: 1)

aaa A tercet is a three-lined stanza in which all the last words rhyme.

aaa A tercet is a three-lined stanza in which all the last words rhyme. For all the saints whom from their labors rest, Who Thee by faith before the world confessed, Thy name, O Jesus, be forever blest. Alleluia! (LSB 677: 1)

aabba Internal rhyme is another poetic device as occasionally a poet finds it possible

aabba Internal rhyme is another poetic device as occasionally a poet finds it possible to break up a long verse into two rhyming parts. One example is a limerick. There once was a lady of Niger Who smiled as she rode on a tiger. They returned from the ride With the lady inside And the smile on the face of the tiger.

aabccb Internal rhyme may be helpful to one’s memory, but it also runs the

aabccb Internal rhyme may be helpful to one’s memory, but it also runs the danger of making a text sound flippant. The foxes found rest, and the birds their nest In the shade of the forest tree; But Thy couch was the sod, O Thou Son of God, In the deserts of Galilee.

abcbadcd Stanzas of more than four lines offer a number of possibilities in rhyming

abcbadcd Stanzas of more than four lines offer a number of possibilities in rhyming schemes. Christ sits at God’s right hand, His saving work complete, To reign till ev’ry foe will lie Beneath His feet— All that the Father planned, The Son sought to fulfill, When first He said, “Lord here am I To do Your will. ” (LSB 564: 1)

ababccd Stanzas of more than four lines offer a number of possibilities in rhyming

ababccd Stanzas of more than four lines offer a number of possibilities in rhyming schemes. All Christians who have been baptized, Who know the God of heaven, And in whose daily life is prized The name of God once given: Consider now what God has done, The gifts He gives to ev’ryone, Baptized into Christ Jesus! (LSB 596: 1)

Masculine, feminine triple earth/birth. singing/ringing. holiness/lowliness.

Masculine, feminine triple earth/birth. singing/ringing. holiness/lowliness.

People are the final critics It is a book of devotion for the people

People are the final critics It is a book of devotion for the people and they are the final critics. ” p. 22

Poetry the handmaid of piety John Wesley, “Preface to a Collection of Hymns for

Poetry the handmaid of piety John Wesley, “Preface to a Collection of Hymns for the Use of the People Called Methodists. ” 1780

Iambic hymns Long Meter (8 8 8 8) The rhyme scheme is either aabb

Iambic hymns Long Meter (8 8 8 8) The rhyme scheme is either aabb (rhyming couplets) or abab (cross rhyming). Rhyming couplets can be sing-songy and tend to give a false sense of completion at the end of line two. Cross-rhyming carries the singer along with a sense of expectancy, even a guessing, for the final two lines. Jesus shall reign where’er the sun Does its successive journeys run; His kingdom stretch from shore to shore Till moons shall wax and wane no more. (LSB 832: 1) “How shall they hear, ” who have not heard, News of a Lord who loved and came; Nor known His reconciling word, Nor learned to trust a Savior’s name? (LSB 831: 1) (See page 1007 in Lutheran Service Book for metrical index of Long Meter tunes. )

Iambic hymns Long Meter (8 8 8 8) Long meter, with eight syllables for

Iambic hymns Long Meter (8 8 8 8) Long meter, with eight syllables for each line of poetry, lends itself to majestic subjects and stately treatment of a topic. Here is the Latin hymn by Ambrose and its translation. Splendor paternae gloriae, De lucem proferens, Lux lucis et fons luminis, Dies diem illuminans. Ambrose of Milan (340 -397) O Splendor of God’s glory bright, O Thou that bringest light from light, O Light of Light, O living spring, O Day, all days illumining: Alleluia! (LSB 874: 1) (See page 1007 in Lutheran Service Book for metrical index of Long Meter tunes. )

Long Meter (LM) 88 88 One of the most successful hymn writers in Long

Long Meter (LM) 88 88 One of the most successful hymn writers in Long Meter was Isaac Watts: “From All that Dwell Below the Skies” “Jesus Shall Reign” “When I Survey the Wondrous Cross” p. 23

Iambic hymns Long Meter variants (8 8 8 or 8 8 8) Variants of

Iambic hymns Long Meter variants (8 8 8 or 8 8 8) Variants of Long Meter are six eight syllables, either 8 8 8 with a rhyme scheme of ababcc or aabbcc and 8 8 8 with a rhyme scheme of aabccb. This metrical form is of sufficient length that the hymn writer can present an idea and develop a thought. Eternal Father, strong to save, Whose arm hath bound the restless wave, Who bidd’st the mighty ocean deep Its own appointed limits keep: O hear us when we cry to Thee For those in peril on the sea. (LSB 717: 1)

Iambic hymns Long Meter Double (LMD) (8 8 8 8 ) Long Meter Double

Iambic hymns Long Meter Double (LMD) (8 8 8 8 ) Long Meter Double is eight-syllable lines: 8 8 8 8 with a rhyme scheme of aabbccdd. Lovelace writes that this rhyme scheme is “just too longwinded to find much popularity with hymnal editors or congregations. ” The tree of life with ev’ry good In Eden’s holy orchard stood, And of its fruit so pure and sweet God let the man and woman eat. Yet in this garden also grew Another tree, of which they knew; Its lovely limbs with fruit adorned Against whose eating God had warned. (LSB 561: 1)

Iambic hymns Common Meter (CM) (8 6 8 6) Common Meter is two eightsyllable

Iambic hymns Common Meter (CM) (8 6 8 6) Common Meter is two eightsyllable lines and two sixsyllable lines: 8 6 with a rhyme scheme of aabb or abab. Lovelace writes that Common Meter is the “workhorse of hymnody. ” In the Old English metrical psalters, it was the most “commonly” used meter since it resembled the popular ballad meter. God Moves in a Mysterious Way LSB 765 The Lord’s My Shepherd, I’ll Not Want LSB 710 God Our Help In Ages Past LSB 733 This Is the Spirit’s Entry Now LSB 591 O for a Thousand Tongues to Sing LSB 528

Iambic hymns Common Meter (CM) and Common Meter Double (CMD) Since CM is so

Iambic hymns Common Meter (CM) and Common Meter Double (CMD) Since CM is so “common” it is a treacherously and deceptively easy meter for poets to use. It rises to great heights in the hands of careful poets who know how to use the changes of poetic devices to prevent monotony. Even more difficult to handle without flippancy and monotony is Common Meter Double (CMD) 8 6 8 6. It can be used for strong texts if the tune is strong, e. g. KINGSFOLD No tramp of soldiers’ marching feet With banners and with drums, No sound of music’s martial beat: “The King of glory comes!” To greet what pomp of kingly pride No bells in triumph ring, No city gates swing open wide: “Behold, behold your King!” LSB 444: 1

Iambic hymns Other meters Phillips Brooks uses a slight variation of CMD (8 6

Iambic hymns Other meters Phillips Brooks uses a slight variation of CMD (8 6 7 6 8 6) in “Old Little Town of Bethlehem. ” Brooks skillfully uses inner rhyme in lines three and seven. Where Brooks is successful, a lesser poet would be in danger of flippancy created by this ballad meter and the limerick style of inner rhyme. O little town of Bethlehem, How still we see the lie! Above thy deep and dreamless sleep The silent stars go by; Yet in thy dark streets shineth The everlasting light. The hopes and fears of all the years Are met in thee tonight. LSB 361: 1

Iambic hymns Other meters Closely related to CMD is 7 6 D. It is,

Iambic hymns Other meters Closely related to CMD is 7 6 D. It is, in one sense, a feminization of the stronger CMD. Yet many CMD tunes fit 7 6 D metered texts equally well because both have a folksy, free-flowing style Instead of ending lines one and three with a strong beat, the last syllable is a falling one with the accent of CM missing: CM: strong weak strong 7 6: strong weak The night will soon be ending; The dawn cannot be far. Let songs of praise ascending Now greet the Morning Star! All you whom darkness frightens With guilt or grief or pain, God’s radiant star now brightens And bids you sing again. LSB 337: 1

Iambic hymns Short Meter (SM) 6686 Short Meter was at one time called the

Iambic hymns Short Meter (SM) 6686 Short Meter was at one time called the poulter’s measure because of his custom of giving twelve eggs for the first dozen and then thirteen or fourteen on the second dozen. Short Meter is made of two couplets, the first with twelve syllables, the second with fourteen. Of the three chief meters of the English psalters (CM, LM, and SM), it stands last in usage. The few syllables give the hymn writer little time for developing a substantial thought. Blest be the tie that binds Our hearts in Christian love; The fellowship of kindred minds Is like to that above. LSB 649: 1 O Christ, You walked the road Our wand’ring feet must go. You faced with us temptation’s pow’r And fought our ancient foe. LSB 424: 1

Iambic hymns Short Meter Double (SMD) 6686 Short Meter Double was a favorite meter

Iambic hymns Short Meter Double (SMD) 6686 Short Meter Double was a favorite meter of Charles Wesley. Half of the SMD hymns that appear in The Methodist Hymnal are by him. It is successfully used in “Crown Him With Many Crowns” by Matthew Bridges and in a new text in LSB by Herman Stuempfle: “O Christ, Who Called the Twelve” (LSB 856) set to the tune TERRA BEATA. abcbdefe O Christ, who led the Twelve Among the desolate And broke as bread of life for all Your love compassionate: Lead us along the ways Where hope has nearly died. And help us climb the lonely hills Where love is crucified. LSB 856: 3

Iambic hymns 8’s and 6’s There are many ways to combine eights and sixes

Iambic hymns 8’s and 6’s There are many ways to combine eights and sixes in addition to the basic Short, Common, and Long meters. Lovelace writes that while such combinations may cause problems from a tune standpoint, they all tend to have a “refreshingly unsquare” feeling. At one time such meters were called “Peculiar Meter. ” 6 6 8 8 known as Hallelujah Meter with a rhyme scheme of ababcc Note this interesting variation by Samuel Crossman: My song is love unknown, My Savior’s love to me, Love to the loveless shown That they might lovely be. Oh, who am I That for my sake My Lord should take Frail flesh and die. LSB 430: 1

Iambic hymns 8’s and 6’s Our Father by whose name All fatherhood is known,

Iambic hymns 8’s and 6’s Our Father by whose name All fatherhood is known, F. Bland Tucker, translator and poet who helped edit The Hymnal Who dost in love proclaim 1940, has extended 6 6 8 8 by adding one more line of 8: Each family Thine own, 6 6 8 8 8. Bless Thou all parents guarding well, This is the same meter I chose for a hymn commissioned for the 2010 Michigan District LWML convention, a text called: “How Beautiful the Feet” also sung to the tune RHOSYMEDRE. With constant love as sentinel, The homes in which Thy people dwell. LSB 863: 1

Iambic hymns 8’s and 6’s A variation of Common Meter adds two additional lines:

Iambic hymns 8’s and 6’s A variation of Common Meter adds two additional lines: 8 6 so that the new meter is 8 6 8 6. O holy city seen of John, In this example, the rhyme scheme is abcbdb No night, nor need, nor pain, Where Christ the Lamb doth reign, Within those four-square walls shall come And where the tears are wiped from eyes That shall not weep again. Walter Russell Bowie

Iambic hymns 8’s and 6’s Another combination of 8’s and 6’s produces the new

Iambic hymns 8’s and 6’s Another combination of 8’s and 6’s produces the new meter of 8 8 6 found in LSB to a tune by Joseph Herl called KIRKWOOD. No temple now, no gift of price, No priestly round of sacrifice, Retain their ancient pow’rs. As shadows fade before the sun This was the meter and tune I chose for the baptism text written for our granddaughter Alina’s baptism, “Blest Be the Father of Our Lord, ” when she was baptized on All Saints’ Day of 2009. The day of sacrifice is done, The day of grace is ours. LSB 530: 1

Iambic hymns Other meters Now thank we all our God The meter of 6

Iambic hymns Other meters Now thank we all our God The meter of 6 7 6 6 was used by Martin Rinkart for “Now Thank We All Our God. ” The short lines, though unusual, work well. With hearts and hands and voices, Rhyme scheme is abcbdefe Who from our mother’s arms Who wondrous things has done, In whom His world rejoices; Has blessed us on our way With countless gifts of love And still is ours today. LSB 895: 1

Iambic hymns Other meters The meter of 6 6 8 4 D is unusual

Iambic hymns Other meters The meter of 6 6 8 4 D is unusual and divides the twelve syllables into different patterns. Here is the doxological stanza from “The God of Abraham Praise” set to the tune YIGDAL. The third and seventh lines (of eight syllables) provide adequate space for the thought to gather momentum and end on the climactic and compact foursyllabled ideas. Rhyme scheme is ababcdcd The whole triumphant host Gives thanks to God on high. “Hail, Father, Son and Holy Ghost!” They ever cry. Hail Abr’ham’s God and mine! I join the heav’nly lays: All might and majesty are Thine And endless praise! LSB 798: 9

Iambic hymns 8 7 and 10 10 Much like 7 6 was created by

Iambic hymns 8 7 and 10 10 Much like 7 6 was created by dropping one syllable from lines one and three of Common Meter, so also 8 7 is created by adding one syllable to lines two and four. Rhyme scheme is abab or abcb The King of love my Shepherd is, Whose goodness faileth never; I nothing lack if I am His And He is mine forever. LSB 709: 1 When shadows fall, I will not dwell On troubles that distress me, Nor let some painful memory Embitter and oppress me. LSB 885: 3

Iambic hymns 8 7 and 10 10 A typical German iambic meter is 8

Iambic hymns 8 7 and 10 10 A typical German iambic meter is 8 7 8 8 7. Like so much of German material, it can be classified as unsquare or asymmetrical in contrast to the balance of English hymnody. Rhyme scheme is ababccd The Son obeyed His Father’s will Was born of virgin mother; And God’s good pleasure to fulfill, He came to be my my brother. His royal pow’r disguised He bore; A servant’s form, like mine, He wore To lead the devil captive. LSB 556: 6

Iambic hymns 8 7 and 10 10 Another German masterpiece is Luther’s “A Mighty

Iambic hymns 8 7 and 10 10 Another German masterpiece is Luther’s “A Mighty Fortress. ” The meter is 8 7 5 5 5 6 7. A study of the music and text indicates that there is really one musical phrase and long textual idea running for fifteen syllables before a point of rest is reached. The first two groups of 15 are the exposition of the idea; the other short phrases are “defiant jabs, ending with a good uppercut seven, ” Rhyme scheme is ababccdde A mighty fortress is our God, A trusty shield and weapon; He helps us free from ev’ry need That hath us now o’ertaken. The old evil foe Now means deadly woe; Deep guile and great might Are His dread arms in fight; On earth is not his equal. LSB 656: 1

Iambic hymns 10 10 can be called the meter of the 19 th century.

Iambic hymns 10 10 can be called the meter of the 19 th century. Few are excellent hymns; most sound like poems that were set to tunes as an afterthought. Charles Wesley wrote many poems to this meter, but did not use it for any of his many hymns. The lines are too long, the thought process becomes too involved and the mind has long wandered before it reaches the end of the stanza. Two familiar hymns in this meter are “Here, O My Lord, I See Thee Face to Face” and “Abide With Me. ” Here, O my Lord, I see Thee face to face; Here would I touch and handle things unseen; Here grasp with firmer hand the_eternal grace, And all my weariness upon Thee lean. LSB 631: 1 (harder to memorize) Abide with me, fast falls the eventide. The darkness deepens; Lord, with me abide. When other helpers fail, and comforts flee, Help of the helpless, O abide with me. LSB 878: 1 (easier to memorize)

Iambic hymns 10 10 10 is quite rare. We have only two examples in

Iambic hymns 10 10 10 is quite rare. We have only two examples in Lutheran Service Book: (LSB 752) “Be Still My Soul” and (LSB 747) “No Saint on Earth Lives Life to Self Alone. ” No saint on earth lives life to self alone Or dies alone, for we with Christ are one. So if we live, for Christ alone we live, And if we die, to Christ our dying give. In living and in dying this confess: We are the Lord’s, safe in God’s faithfulness. LSB 747: 1

Iambic hymns 10 4 6 6 6 6 10 4 is another rare meter

Iambic hymns 10 4 6 6 6 6 10 4 is another rare meter and in Lutheran Service Book there is one example that is listed as 14 12 12 14. George Herbert’s classic text, “Let All the World in Every Corner Sing” is also written to this meter. Lift up your heads, you everlasting doors, And weep no more! O Zion’s daughter, sing, To greet your coming King; Now wave the victor’s palm And sing the ancient psalm: “Lift up your heads, you everlasting gates!” Your kings awaits! LSB 339: 1

Iambic hymns 11 10 The meter 11 10 is related to 10 10 but

Iambic hymns 11 10 The meter 11 10 is related to 10 10 but has a feminine ending for lines one and three. The same problem previously noted for the 10’s apply here. Such long texts are often better suited to devotional poetry than hymnody. Note the “triple rhyme” in the first example, lines 1 and 3. God of light, Your Word a lamp unfailing, Shall pierce the darkness of our earthbound way. And show Your grace, Your plan for us unveiling, And guide our footsteps to the perfect day. LSB 836: 1 (seems harder to memorize) Brightest and best of the stars of the morning, Dawn on our dakness and lend us thine aid; Star of the Eas, the horizon adorning, Guide where our infant Redeemer is laid. LSB 400: 1 (seems easier to memorize)

Trochaic hymns 65 65 The discussion of iambic meters was long, because so many

Trochaic hymns 65 65 The discussion of iambic meters was long, because so many hymns are created with this meter of the “rising foot” (weak/strong). Trochaic meters are created with the meter of the “falling foot” (strong/weak). Iambic metered hymns urge the sound and sense onward to a final strong point of accent and thought. Trochaic meter is abrupt; it comes to the point immediately. It commands our attention. It is decisive! Glory be to Jesus, Who in bitter pains Poured for me the lifeblood From His sacred veins! LSB 433: 1 Now the day is over; Night is drawing nigh; Shadows of the evening Steal across the sky. LW 491: 1

Trochaic hymns 65 65 D Trochaic suits the sense of urgency in “Onward, Christian

Trochaic hymns 65 65 D Trochaic suits the sense of urgency in “Onward, Christian Soldiers. ” Lovelace believes that the “short lines sound as if they are being written down to children, yet with adult imperative pushiness. ” Onward Christian soldiers, Marching as to war, With the cross of Jesus Going on before. Christ, the royal master, Leads against the foe; Forward into battle See His banners go! LSB 662: 1

Trochaic hymns 55 55 D Trochaic suits the pentatonic nature of the Chinese tune

Trochaic hymns 55 55 D Trochaic suits the pentatonic nature of the Chinese tune L’PING. 5 5 D has all masculine endings which adds to the rhythmic pattern of the text. Greet the rising sun, Shining with bright force, Like an athlete strong, Set to the run the course; Birds soar high above, Wildflow’rs bloom below; With the day’s new light, Glad to work I go. LSB 871: 1

Trochaic hymns Sevens In one sense, 7 7 can be considered a variation of

Trochaic hymns Sevens In one sense, 7 7 can be considered a variation of Common Meter (8 6 ) with one syllable removed from the start of line one and added to line two. Or it can be considered a variation of Long Meter ( 8 8) with the upbeat omitted. 7 7 is by far the most common trochaic pattern. Charles Wesley’s Easter hymn, “Christ the Lord is Risen Today” has adequate room to express his ideas but retains the terseness of short lines and strong downbeats. Note the strong beginning words: Christ, Lives, Love’s Soar, Sons, Where, Fought, Raise… “Christ the Lord is ris’n today!” Saints on earth and angels say; Raise your joys and triumphs high; Sing, ye heavens, and earth, reply. Love’s redeeming work is done, Fought the fight, the battle won; Lo! Our Sun’s eclipse is o’er; Lo! He sets in blood no more. LSB 469: 1, 2

Trochaic hymns 77 77 D Among 7 7 D hymns, not an easy meter

Trochaic hymns 77 77 D Among 7 7 D hymns, not an easy meter as one needs to avoid monotony in rhythm and melody. Charles Wesley’s text “Jesus, Lover of My Soul” balances God’s strength and man’s need. Robert Grant’s “Savior, When in Dust to Thee” is another fine example of this meter. Savior, when in dust to Thee Low we bow the_adoring knee; When, repentant to the skies Scarce we lift our weeping eyes; O, by all thy pains and woe Suffered once for us below, Bending from thy throne on high, Hear our penitential cry! LSB 419: 1

Trochaic hymns 77 77 D Six sevens is another popular trochaic meter for hymns.

Trochaic hymns 77 77 D Six sevens is another popular trochaic meter for hymns. Consider these six-sevens hymn: “Rock of Ages, Cleft for Me, ” “Christ, Whose Glory Fills the Skies, ” and “Jesus, Lover of My Soul. ” Rock of Ages, cleft for me; Let me hide myself in Thee, Let the water and the blood, From Thy riven side which flowed, Be of sin the double cure: Cleanse me from its guilt and pow’r. LSB 761: 1

Trochaic hymns 7676 D Here is an example of a 7 6 that is

Trochaic hymns 7676 D Here is an example of a 7 6 that is trochaic and not iambic as one might expect: “Gentle Mary Laid Her Child. ” While the four sevens provide strength and directness, the four sixes soften the text by ending on a weak pulse, adding a touch of gentleness. Gentle Mary laid her child Lowly in a manger; There He lay, the Undefiled, To the world a stranger. Such a babe in such a place, Can He be the Savior? Ask the saved of all the race Who have found His favor. LSB 374: 1

Trochaic hymns 8336 D The trochaic pattern seems to invite some unusual metric designs

Trochaic hymns 8336 D The trochaic pattern seems to invite some unusual metric designs that use inner rhyming. Consider this example also from the Christmas season. All my heart again rejoices As I hear Far and near Sweetest angel voices “Christ is born!” their choirs are singing Till the air Everywhere Now with joy is ringing. LSB 360: 1

Trochaic hymns 8 7 and 8 7 D The iambic pattern of 8 7

Trochaic hymns 8 7 and 8 7 D The iambic pattern of 8 7 : Where streams of living water flow, Joyful, joyful we adore Thee, God of glory, Lord of love! Heart unfold like flow’rs before Thee, Praising Thee, their sun above. My ransomed soul He leadeth, Melt the clouds of sin and sadness, And, where the verdant pastures grow Drive the gloom of doubt away, With food celestial feedeth. differs from the trochaic pattern of 8 7 and 8 7 D: Giver of immortal gladness, Fill us with the light of day. LSB 803: 1

Trochaic hymns 87 87 87 The trochaic pattern of 8 7 8 7 has

Trochaic hymns 87 87 87 The trochaic pattern of 8 7 8 7 has the same general characteristics of strength. Because of the direct and terse nature of trochaics, few hymns are found with longer lines than 8’s and 7’s. The rhyme scheme of a b c b d b along with a tune that repeats the major theme in the second phrase with a climaxing third phrase all help to make the hymn strong and memorable. Let all mortal flesh keep silence And with fear and trembling stand; Ponder nothing earthly minded, For with blessing in His hand Christ our God to earth descending Our full homage to demand. LSB 621: 1

Dactylic and Anapaestic Where a poet wished to cover ground rapidly, the movement needs

Dactylic and Anapaestic Where a poet wished to cover ground rapidly, the movement needs to lighten, so they naturally to dactylic and anapestic.

Dactylic is quite rare in modern hymnody. Dactylic consists of one accent (strong) that

Dactylic is quite rare in modern hymnody. Dactylic consists of one accent (strong) that is followed by two upbeats (weak). Dactylic is challenging to set due to the two final unaccented syllables. Worship the Lord in the splendor of holiness. .

Dactylic consists of one accent (strong) that is followed by two upbeats (weak). My

Dactylic consists of one accent (strong) that is followed by two upbeats (weak). My faith looks up to Thee, Thou Lamb of Cal-va-ry, My coun-try ‘tis of thee, Sweet land of lib-er-ty, .

Anapaestic is closely related to dactylic. It consists of a by two upbeats (weak)

Anapaestic is closely related to dactylic. It consists of a by two upbeats (weak) followed by one accent (strong). Anapaestic is often altered by shortening a foot somewhere in the line. ‘ Twas the night before Christmas and all through the house Not a creature was stirring, not even a mouse. Immortal, invisible, God only wise (This feels dactylic after the initial “Im-” but technically anapaestic because it ends on a strong syllable. )

Anapaestic O how hap-py are they Anapaestic is closely who the Sa-vior o-bey, related

Anapaestic O how hap-py are they Anapaestic is closely who the Sa-vior o-bey, related to dactylic. It And have laid up their consists of a by two -sure a-bove! upbeats (weak) followed by one accent (strong). trea

poetic devices “Poetic devices are the sinew and muscle which surround the skeletal meter,

poetic devices “Poetic devices are the sinew and muscle which surround the skeletal meter, but if the rippling muscles and effects are obvious and distracting, the cleverness of the poet kills the spiritual intent of the hymn. ” Austin Lovelace

poetic devices Allegory A story used to explain or teach an idea. “The vision

poetic devices Allegory A story used to explain or teach an idea. “The vision of his skeptic mind Was keen enough to make him blind…” to describe Thomas’ doubt that Jesus had been raised from the dead

poetic devices Alliteration Repetition of the same first letter or sound in a group

poetic devices Alliteration Repetition of the same first letter or sound in a group of words. “Thy strength in this sad strife. ” “And grant to me Thy grace. ” “When death is at my door; ”

poetic devices Anadiplosis Using words or ideas that end one stanza and start the

poetic devices Anadiplosis Using words or ideas that end one stanza and start the next stanza. “To spread through all the earth abroad, The honors of Thy name. ” 3. “Jesus! The name that charms our fears, That bids our sorrows cease…”

poetic devices Anaphora Repetition of a word at the start of successive lines. “Born

poetic devices Anaphora Repetition of a word at the start of successive lines. “Born that man no more may die Born to raise the sons of earth, Born to give them second birth. ”

poetic devices Anaphora Repetition of a word at the start of successive lines. “Born

poetic devices Anaphora Repetition of a word at the start of successive lines. “Born that man no more may die Born to raise the sons of earth, Born to give them second birth. ”

poetic devices Antanaclasis Repetition with a slight difference in meaning or a change in

poetic devices Antanaclasis Repetition with a slight difference in meaning or a change in direction of thought. “Who sacrificed Thy life for lifeless mortals: Be my life in death and bring…”

poetic devices Antistrophe Repetition of a phrase in reverse. “Three in One and One

poetic devices Antistrophe Repetition of a phrase in reverse. “Three in One and One in Three”

poetic devices Antithesis Sharply contrasted ideas set in balance. “Mine, mine was the transgression,

poetic devices Antithesis Sharply contrasted ideas set in balance. “Mine, mine was the transgression, But Thine the bitter pain. ”

poetic devices Apostrophe Addressing inanimate objects or things. “O perfect life of love” “O

poetic devices Apostrophe Addressing inanimate objects or things. “O perfect life of love” “O day of rest and gladness” “O little town of Bethlehem”

poetic devices Chiasmus The crossing of lines or phrases, from the Greek letter “chi”

poetic devices Chiasmus The crossing of lines or phrases, from the Greek letter “chi” or X. “Just and Holy is Thy Name; I am all unrighteousness, False and full of sin I am; Thou are full of truth and grace. ”

poetic devices Climax Ideas arranged in an ascending order of intensity. “Peace in our

poetic devices Climax Ideas arranged in an ascending order of intensity. “Peace in our hearts, where sinful thoughts are raging, Peace in Your Church, our troubled souls assuaging, Peace when the world its endless war is waging, Peace in Your heaven. ”

poetic devices Echphonesis The use of an exclamation point for emphasis. “Alas! And Did

poetic devices Echphonesis The use of an exclamation point for emphasis. “Alas! And Did My Savior Bleed” “Hark! The Herald Angels Sing” “Jesus Lives! The Victory’s Won” “ ‘Away From Us!’ The Demon Cried”

poetic devices Epanadiplosis Beginning and ending a line (hymn) with the same word (line).

poetic devices Epanadiplosis Beginning and ending a line (hymn) with the same word (line). “Hide me, O my Savior, hide” “The tree of life with ev’ry good. ”

poetic devices Epimone A refrain. “Rejoice! Emmanuel shall come to thee, O Israel!” “Lift

poetic devices Epimone A refrain. “Rejoice! Emmanuel shall come to thee, O Israel!” “Lift high the cross, the love of Christ proclaim Till all the world adore His sacred name. ”

poetic devices Epizeuxis Immediate repetition of a word or phrase in a line. “I’ll

poetic devices Epizeuxis Immediate repetition of a word or phrase in a line. “I’ll never, no never, forsake!” “How great Thou art!”

poetic devices Hyperbole A figure employing exaggeration. “Oh, for a thousand tongues to sing”

poetic devices Hyperbole A figure employing exaggeration. “Oh, for a thousand tongues to sing” “Were the whole realm of nature mine, ”

poetic devices Hypotyposis A vivid description designed to bring the scene clearly before the

poetic devices Hypotyposis A vivid description designed to bring the scene clearly before the eyes. “See from His head, His hands, His feet Sorrow and love flow mingled down!” “See, His blood now marks our door; Faith points to it; death passes o’er, ”

poetic devices Mesodiplosis Repeating a phrase in the middle of successive lines. “In Christ

poetic devices Mesodiplosis Repeating a phrase in the middle of successive lines. “In Christ we are forgiven. ” “In Christ the saints arise!” “In Christ, our risen Lord. ”

poetic devices Metaphor A word or phrase normally meaning one thing used of another

poetic devices Metaphor A word or phrase normally meaning one thing used of another to suggest a likeness; comparison. “The sower sows; his reckless love Scatters abroad the goodly seed, ”

poetic devices Metonymy Substitution of one term for another closely associated with it. “This

poetic devices Metonymy Substitution of one term for another closely associated with it. “This miracle of life reborn (baptism) Comes from the Lord of breath; ” (Spirit)

poetic devices Oxymoron Combining for special purpose words which seem to be contradictory. “He

poetic devices Oxymoron Combining for special purpose words which seem to be contradictory. “He by death has crushed His foes. ” “For the sheep the Lamb has bled, ” “The Lord of earth and heaven Rode on in lowly state”

poetic devices Paradox A statement containing two opposite ideas. “The Master pays the debt

poetic devices Paradox A statement containing two opposite ideas. “The Master pays the debt His servants owe Him. ” “And for His death They thirst and cry. ”

poetic devices Parenthesis or a Dash Explaining, qualifying or completing information. “You know our

poetic devices Parenthesis or a Dash Explaining, qualifying or completing information. “You know our grief, You hear our sighs— In mercy dry our tear-stained eyes. ” “All human thought must falter— Our God stoops low to heal,

poetic devices Personification Abstractions treated as if they had human attributes. “Rise, my soul,

poetic devices Personification Abstractions treated as if they had human attributes. “Rise, my soul, to watch and pray; From your sleep awaken!” “My heart for very joy must leap; ”

poetic devices Rhetorical question A question whose answer is obvious or for which no

poetic devices Rhetorical question A question whose answer is obvious or for which no answer is expected. “Oh, who am I That for my sake My Lord should take Frail flesh and die? ”

poetic devices Simile Unlike objects are compared in one aspect. “Shall we not yield

poetic devices Simile Unlike objects are compared in one aspect. “Shall we not yield Him in costly devotion, Fragrance of Edom and off’rings divine, Gems of the mountain and pearls of the ocean, Myrrh from the forest and gold from the mine? ” (This entire stanza is one long rhetorical question!)

poetic devices Synechdoche A part used instead of the whole. “O sacred Head, now

poetic devices Synechdoche A part used instead of the whole. “O sacred Head, now wounded” “O come, all ye faithful, ” “Faith embarked with this discernment: ”

poetic devices Tautology Repeating the same thing in other words. “Lo, how a rose

poetic devices Tautology Repeating the same thing in other words. “Lo, how a rose e’er blooming… Isaiah ‘twas foretold it, The rose I have in mind; “I come in half-belief, (I am) A pilgrim strangely stirred: ”