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Anonymous
Person Name: Unknown Author of "Let every heart exulting beat" in Hymns and Songs of Praise for Public and Social Worship In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.
Anonymous
J. D. Chambers
1805 - 1893 Author of "Let Every Heart Exulting Beat" Chambers, John David, M.A., F.S.A., son of Captain Chambers of the R. N., was born in London in 1805, and educated at Oriel College, Oxford, graduating with honours, in 1827 (M.A. 1831). He was called to the Bar by the Inner Temple in 1831. In 1842 he published an elaborate treatise on the Jurisdiction of the Court of Chancery over the persons and property of Infants, and was appointed Recorder of New Sarum the same year. At Salisbury his attention was specially attracted to the Liturgical and other Ecclesiastical lore appertaining to the Cathedral, and to St. Osmund, its Bishop, 1078. St. Osmund compiled from different sources a series of Divine Offices, and Rules for their celebration within his diocese. These Rules were in two parts, the Ordinals, and the Consuetudinary.
The use of these Rules became very extensive; and although in certain parts the Uses of York, Hereford, Bangor, and Lincoln varied, yet John Brompton, the Cistercian Abbot of Jervaulx, writing within a hundred years after St. Osmund's death, eays that these Rules and Offices had been adopted throughout England, Wales, and Ireland.
About 1230 (after the opening of the New Cathedral at Salisbury) these Rules were collected and rewritten in a complete volume, entitled Tractatus de Officiis Ecclesiasticus (manuscript in the Cathedral Library). In the mean time the Ordinale had become partly welded into this Consuetudinary, and partly (especially that portion therein omitted from Maundy Thursdav to Easter Eve) incorporated in the Breviary, Missal, and Processional, which had assumed definite shapes. From these materials, together with the aid of several manuscripts and early printed Breviaries, Mr. Chambers published a translation of:—
The Psalter, or Seven Ordinary Hours of Sarum, with the Hymns for the Tear, and the Variations of the York and Hereford Breviaries, Lond. 1852. This was accompanied with a Preface, notes, and illustrations, together with music from a manuscript folio Antiphonary or Breviary of the early part of the 14th cent, (in the (Salisbury Cath. Lib.) collated with a similar ms. folio (Lansdowne, 463), both of Sarum Use. The hymns with their melodies, and the Canticles, were also collated with a MS. of the 14th cent. (Harl. 2951).
Mr. Chamber's subsequent publications include:
(1) The Encheiridion; or, Book of Daily Devotion of the Ancient English Church according to Sarum Use. Lond. 1860. To this a number of the appropriate Hymns and Collects were added. (2) A Companion for Holy Communion for Clergy or Laity; with a Prefatory Office for Confession, from the Ancient English Offices of Sarum Use, 3rd ed. 1855. This was accompanied with notes and authorities. (3) Lauda Syon, Ancient Latin Hymns of the English and Other Churches, Translated into corresponding Metres, Pt. i. 1857; Pt. ii. 1866. (4) An Order of Household Devotion for a Week, with Variations for the Seasons and Festivals, from the Ancient English of Sarum Use. Lond. 1854. (5) A Complete & Particular, yet concise account of the mode of conducting Divine Worship in England in the 13th and 14th centuries, contrasted with and adapted to that in use at the Present Time. Lond. 1877. (6) A translation from the original Greek of the genuine works of Hermes Trismegistus, the Christian Neoplatonist (A.D. 60), with notes and quotations from the Fathers.
Mr. Chambers's publications and translations have had no small part in stimulating the great change which has taken place in the mode of worship in the Church of England. His translations of Latin hymns are close, clear and poetical; they have much strength and earnestness, and the rhythm is easy and musical. Those in common use are mainly from the Lauda Syon. Greater use, however, might be made of these translations than has been done. Their earnestness and dignity would raise the tone of many collections. Died Aug. 22, 1893.
--John Julian, Dictionary of Hymnology (1907)
J. D. Chambers
