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[A life together in love and troth]
Appears in 4 hymnals Composer and/or Arranger: Christoph Ernst Friedrich Weyse, 1774-1842 Tune Key: F Major or modal Incipit: 53143 25653 16554 Used With Text: A Life Together In Love And Troth
[A life together in love and troth]
Creator Spirit, by whose aid
Author: John Dryden Appears in 188 hymnals Used With Tune: WEYSE
Creator Spirit, by whose aid
A Life Together In Love And Troth
Author: Nikolai Frederik Severin Grundtvig, 1783-1872; Paul C. Paulsen Appears in 3 hymnals First Line: A life together in love and troth Lyrics:
1 A life together in love and troth
To man and woman is rich in blessing,
For joys are greater when shared by both,
And cares and sorrows are less distressing.
In love abiding, in God confiding:
In God confiding, the Lord is guiding
Your life in Him: your life in Him.
2 It is a blessing when large and small
In every home are as one in spirit,
When God is fearèd by one and all,
And they the love of each other merit.
In love abiding, in God confiding:
In God confiding, the Lord is guiding
Your hearth and home, your hearth and home.
3 It is a comfort to look and pray
To God, the fount of our consolation.
He will not leave us when we are gray;
His grace is new to each generation.
In love abiding, in God confiding;
In God confiding, the Lord is guiding
You with His grace, you with His grace.
4 It is so bitter for those to part
Who live together in love requited.
At home in Heaven, each lonely heart
With those it loves shall be reunited.
In love abiding, in God confiding:
In God confiding, the Lord is guiding
You with His grace, you with His grace.
Used With Tune: [A life together in love and troth] Text Sources: Tr.: Hymnal for Church and Home (Blair, Neb.: Danish Lutheran Publishing House, 1927)
A Life Together In Love And Troth
A Life Together In Love And Troth
Author: N. F. S. Grundtvig Hymnal: Hymnal for Church and Home #160 (1927) Meter: 9.10.9.10.5.5.5.5.4.4 Lyrics: 1 A life together in love and troth
To man and woman is rich in blessing.
For joys are greater when shared by both
And cares and sorrows are less distressing.
In love abiding,
In God confiding:
In God confiding,
The Lord is guiding
Your life in Him:
Your life in Him.
2 It is a blessing when large and small
In ev'ry home are as one in spirit,
When God is feared by one and all
And they the love of each other merit.
In love abiding,
In God confiding:
In God confiding,
The Lord is guiding
Your hearth and home:
Your hearth and home.
3 It is a comfort to look and pray
To God, the Fount of our consolation.
He will not leave us when we are gray,
His grace is new to each generation.
In love abiding,
In God confiding:
In God confiding,
The Lord is guiding
You with His grace:
You with His grace.
4 It is so bitter for those to part
Who live together in love requited.
At home in heaven each lonely heart
With those it loves shall be reunited.
In love abiding,
In God confiding:
In God confiding,
The Lord is guiding
You home to Him:
You home to Him.
5 Each bridal pair who their festal day
In Jesus' name shall be celebrating,
Tho' oft the world may their hearts dismay,
Shall find that God is with blessings waiting.
In love abiding,
In God confiding:
In God confiding,
The Lord is guiding
You with His love:
You with His love.
Topics: Marriage Languages: English Tune Title: [A life together in love and troth]
A Life Together In Love And Troth
A Life Together In Love And Troth
Author: N. F. S. Grundtvig Hymnal: Hymnal for Church and Home (2nd ed.) #160 (1928) Meter: 9.10.9.10.5.5.5.5.4.4 Lyrics: 1 A life together in love and troth
To man and woman is rich in blessing.
For joys are greater when shared by both
And cares and sorrows are less distressing.
In love abiding,
In God confiding,
In God confiding,
The Lord is building
Your life in Him,
Your life in Him.
2 It is a blessing when large and small
In ev'ry home are as one in spirit,
When God is feared by one and all
And they the love of each other merit.
In love abiding,
In God confiding,
In God confiding,
The Lord is guiding
Your hearth and home,
Your hearth and home,
3 It is a comfort to look and pray
To God, the Fount of our consolation.
He will not leave us when we are gray,
His grace is new to each generation.
In love abiding,
In God confiding,
In God confiding,
The Lord is guiding
You with His grace,
You with His grace.
4 It is so bitter for those to part
Who live together in love requited.
At home in heaven each lonely heart
With those it loves shall be reunited.
In love abiding,
In God confiding,
In God confiding,
The Lord is guiding
You home to Him,
You home to Him.
5 Each bridal pair who their festal day
In Jesus' name shall be celebrating,
Though oft the world may their hearts dismay,
Shall find that God is with blessings waiting.
In love abiding,
In God confiding,
In God confiding,
The Lord is guiding
You with His love,
You with His love.
Topics: Marriage Languages: English Tune Title: [A life together in love and troth]
A Life Together In Love And Troth
A Life Together In Love And Troth
Author: Nikolai Frederik Severin Grundtvig, 1783-1872; Paul C. Paulsen Hymnal: The Cyber Hymnal #16133 First Line: A life together in love and troth Lyrics:
1 A life together in love and troth
To man and woman is rich in blessing,
For joys are greater when shared by both,
And cares and sorrows are less distressing.
In love abiding, in God confiding:
In God confiding, the Lord is guiding
Your life in Him: your life in Him.
2 It is a blessing when large and small
In every home are as one in spirit,
When God is fearèd by one and all,
And they the love of each other merit.
In love abiding, in God confiding:
In God confiding, the Lord is guiding
Your hearth and home, your hearth and home.
3 It is a comfort to look and pray
To God, the fount of our consolation.
He will not leave us when we are gray;
His grace is new to each generation.
In love abiding, in God confiding;
In God confiding, the Lord is guiding
You with His grace, you with His grace.
4 It is so bitter for those to part
Who live together in love requited.
At home in Heaven, each lonely heart
With those it loves shall be reunited.
In love abiding, in God confiding:
In God confiding, the Lord is guiding
You with His grace, you with His grace.
Languages: English Tune Title: [A life together in love and troth]
A Life Together In Love And Troth
N. F. S. Grundtvig
1783 - 1872 Author of "A Life Together In Love And Troth" in Hymnal for Church and Home Nicolai Frederik Severin Grundtvig was the son of a pastor, and was born at Udby, in Seeland, in 1783. He studied in the University of Copenhagen from 1800-1805; and, like some other eminent men, did not greatly distinguish himself; his mind was too active and his imagination too versatile to bear the restraint of the academic course. After leaving the university he took to teaching; first in Langeland, then (1808) in Copenhagen. Here he devoted his attention to poetry, literature, and Northern antiquities. In 1810 he became assistant to his father in a parish in Jutland. The sermon he preached at his ordination, on the subject "Why has the Lord's word disappeared from His house," attracted much attention, which is rarely the case with "probationers'" sermons. On his father's death, in 1813, he returned to Copenhagen, and for eight years devoted himself mainly to literature. The poetry, both secular and religious, that he produced, drew from a friend the remark that "Kingo's harp had been strung afresh." In 1821 King Frederik vi. appointed him pastor of Prasloe, a parish in Seeland, from which he was the next year removed to Copenhagen, and made chaplain of St. Saviour's church in Christianshavn. From the time of his ordination he had been deeply impressed with Evangelical church sentiments, in opposition to the fashionable Rationalism and Erastianism of the day; and adhered to the anti-rationalist teaching of Hauge, whose death at this time (1824) seemed to be a call to Grundtvig to lift up his voice. An opportunity soon presented itself; Professor Clausen brought out a book entitled Katholicismens og Protestantismens Forfatning, Ldre, og Ritus ("The condition, teaching, and ritual of Catholicism and Protestantism"). This book was replete with the Erastian Rationalism which was so especially distasteful to Grundtvig, who forthwith, in his Kirkens Gjenmsele ("The Church's Reply," 1825), strongly opposed its teaching, and laid down truer principles of Christian belief, and sounder views of the nature of the Church. This caused a sensation: Grandtvig (who had not spared his opponent) was fined 100 rixdollars, and the songs and hymns which he had written for the coming celebration of the tenth centenary of Northern Christianity were forbidden to be used. On this he resigned his post at St. Saviour's, or rather was forced to quit it by a sentence of suspension which was pronounced in 1826, and under which he was kept for 13 years. He took the opportunity of visiting England in 1829, 30, and 31, and consulting its libraries, mainly with a view to a further insight into Northern antiquities, and to help his studies in the early English tongue. His edition of Cynewulfs beautiful poem of the Phenix from the Codex Exoniensis, the Anglo-Saxon (so-called) text, with a preface in Danish, and a fri Fordanskning (free rendering in Danish), published in 1840*, is a result of this journey and enforced leisure. Tired of his long silence, his numerous friends and admirers proposed to erect a church for him, and form themselves into an independent congregation, but this was not permitted. He was allowed, however, to hold an afternoon service in the German church at Christianshavn. There ho preached for eight years, and compiled and wrote his hymn-book, Sang-Vdrk til den Danske Kirkce ("Song-work for the Danish Church"). He still worked on towards his object of raising the Christian body to which ho belonged from the condition of a mere slate establishment to the dignity of a gospel-teaching national church. In 1839 (the year of the death of King Frederik vr., and the accession of his cousin Chrisliem vni.) the suspension was removed, and he was appointed chaplain of the hospital Vartou, a position which he held till his death. In 1863 the king (Frederik vn.) conferred on him the honorary title of bishop. The good old man died suddenly, in his 89th year, on Sept. 2, 1872, having officiated the day before. As Kingo is the poet of Easter, and Brorson of Christmas, so Grundtvig is spoken of as the poet of Whitsuntide.
--John Julian, Dictionary of Hymnology,, p. 1001 (1907)
N. F. S. Grundtvig
John Dryden
1631 - 1700 Translator of "Creator Spirit, by whose aid" in Immanuel Hymnal Dryden, John. The name of this great English poet has recently assumed a new importance to the students of hymns, from a claim made on his behalf in regard to a considerable body of translations from the Latin published after his death (1701), in a Primer of 1706. The discussion of this point will preclude us from giving more than an outline of his life.
i. Biography.—John Dryden was the son of Erasmus, the third son of Sir Erasmus Dryden, and was born at Aid winkle, All Saints, Northants, Aug. 9, 1631. He was educated under Dr. Busby at Westminster, and entered Trip. College, Cambridge, in 1650. He took his B.A. in 1654, and resided nearly 7 years, though without a fellowship. He was of Puritan blood on both his father's and mother's side, and his training found expression in his first great poem, Heroic Stanzas on the death of Oliver Cromwell, 1658. In 1660, however, he turned, like the bulk of England, Royalist, and in his Astraea Redux, and in A Panegyric on the Coronation (1661), celebrated the Restoration. In 1663 he married Lady Elizabeth Howard. The marriage was apparently not a happy one; and there seems to be plain proof of Dryden's unfaithfulness. In 1670 he was made Poet Laureate and Historiographer Royal, and he retained these posts until the accession of William (1688). He had joined the Roman Church in 1685, and remained steadfast to it at the fall of James II. This change is of special significance, as will appear below, in regard to his translations from the Latin. It greatly straitened his means, and compelled him to great literary exertion in his closing years. He died May 18, 1701, and was buried in Westminster Abbey.
The poems of Dryden show high excellence in fields widely different from another. He was for years the leader of the English stage, as a writer of tragedy, comedy, and tragi-comedy. The specialities of his plays were a large substitution of the heroic couplet for blank verse, in imitation of Corneille, plots full of exaggerated passion, intrigue, and rant, and a catchword dialogue. These features were caricatured by Buckingham and others in the Rehearsal (acted 1671). The gross immorality of his dramas has long made them unreadable; but his influence on poetry has been enduring. No metre so long dominated style as his heroic couplet, which, though inferior to Pope's in polish and precision, excels it in resonance, freedom and audacity, "The long resounding march and energy divine." He was the first to make poetry a lucid vehicle for political and religious discussion, in the Religio Laid (1682), and The Hind and Panther (1687). The finest satires in English are Absalom and Acnitophel (Part i., 1681; Part ii., 1682, to which he contributed only a portion, the rest being by Nahura Tate), The Medal, and Mac Flecknoe (1682). He gave a new energy and fulness of meaning to the work of translation through his classical reproductions, of which his Virgil is the finest specimen (published in 1697). Alexander's Feast remains one of the most brilliant English odes. His prefaces and dedications had a large influence on our prose style, and are the first material efforts in the province of poetical criticism. The salient points of his genius are a transcendent literary force continually exerting itself in fresh forms; and that narrowing of the work of poetry to matters of political, social, human interest, which ruled supreme in Pope and his followers. (See Dryden by Mr. G. Saintsbury, Men of Letters Series.)
ii. Hymn Translations. — Until recently, Dryden's known contributions to hymnody consisted of only three pieces. The best known of these is the translation of “Veni Creator," published in vol. iii. of his Miscellanies, in 1693. Sir Walter Scott, in his Life of Dryden, 1808, published a translation of the "Te Deum " ("Thee Sovereign God our grateful accents praise"), and a translation of "Ut queant laxis," the hymn at Evensong for St. John the Baptist's Day (Scott calls it "St. John's Eve") ("O sylvan Prophet ").
Mr. W. T. Brooke has pointed out one or two facts that slightly shake Scott's attribution of these two pieces to Dryden. He has discovered the translation of the "Te Deum” in Dodd's Christian's Magazine, 1760, contributed by J. Duncombe, and attributed to Pope. And Scott's account of the two pieces is confused. He received them from a Mrs. Jackson, who told him that they were mentioned in Butler's “Tour through Italy," and that after Butler's death they passed into the hands of the celebrated Dr. Alban, and so came to hers. They are not however mentioned in the published edition of Butler's Tour; and "Butler" and "Dr. Alban" are the same person—-Dr. Alban Butler, author of The Lives of the Saints. Alban Butler's Tour was edited and published by Charles Butler, his nephew, who also wrote a Life of Alban Butler. The confusion cannot now be unravelled: but is not enough to discredit Scott's decision, which may have rested on the handwriting. The translation of the "Te Deum" is not like Pope, and has a Drydenesque Alexandrine in it, and other marks of Dryden's manner. One great Roman Catholic poet was perhaps confused with the other.
These three pieces, however, with slight variation of text, have been discovered independently by Mr. Orby Shipley and Mr. W. T. Brooke, in The Primer, or Office of the B. V. Mary, in English, 1706; and the discovery has led them to a strong conviction that the bulk of the 120 translations of Latin hymns in this book are also Dryden's. It is shown under Primers, that there are remarkable evidences of unity of hand in these translations. Is this hand Dryden's? The case for Dryden is a constructive one, and may be thus summarised:—
The translation in Scott, "0 sylvan Prophet," is in a metre unknown to previous editions of the Primer; and there are altogether 11 translations generally representing Latin Sapphics, in the book in this metre. Five of these translations have a further internal link in having the same gloria, three in having another common gloria. The presumption is irresistible that they are all by the author of "0 sylvan Prophet." Again, the translation of the "Te Deum " (also in Scott) is one of 8 pieces in Dryden's great metre, which is also new to the Primers' heroic couplets. Though not linked by common glorias, the tone of all these is Drydenesque, especially the translation of "Sacris Solemniis," which has these characteristic lines, "They eat the Lamb with legal rites and gave Their mother synagogue a decent grave," and closes with an Alexandrine. The translation "Creator Spirit, by Whose aid" is followed by two others in the same metre, which have a variation (in a single word) of its gloria. The three known hymns of Dryden are thus heads of groups presumptively of the same parentage. Proceeding further in the book, the large group of 8-syllable hymns exhibits 35, which are curiously marked as by a single band through their glorias (see Primers). They have several Drydenesque phrases (e.g. "noon of night,” “gleamy white," a technical use of "yielding," “liquid," "equal"), turns of expression and cadences, and a significant link with the translation of the "Te Deum" in the term “vocal blood" (cf. "vocal tears" in 2 other translations) found in the translation of "Deus tuorum militum." This technical method of inquiry when applied still further to other groups linked by a single gloria certainly points in the same direction; Drydenisms, links with groups already named, an occasional appearance of layman freedom of expression, and in one case (“Audit tyrannus" tr.), an echo of the heroic plays, emerge. The least characteristic group is that containing translations of "Ave maris stella" and "Jesu dulcis memoria," in C.M.; and the latter translation ("Jesu, the only thought of Thee"), beautiful as it is, is in the main only the translation from the Primer of 1685 recast in C.M. But the adoption of C.M.—-a new metre in these Primers—-would be natural in one previously long familiar with the metrical Psalms; the translation of “Ave maris stella" has the recurrent use of "equal," which is a mannerism of Dryden: and the word "way " in the translation of "Jesu dulcis memoria" is used similarly in that of "Immense coeli conditor."
The result of a minute investigation, purposely conducted on somewhat mechanical lines, is a presumption almost amounting to proof, that the bulk of these 120 translations are not only by the same hand, but by the hand of Dryden. A measure of doubt must however attach to the least characteristic pieces, from the following considerations:—
(1) The translations of "Stabat Mater " and "Dies Irae" are reprinted from the Primer of 1687. This fact is of course not decisive against their parentage by Dryden, as it may be argued, that the Primer of 1687 also contains Dryden translations. But (2) the translation of the "Dies Irae "seems to be, notwithstanding some Drydenesque phrases, by Lord Roscommon. It is found in a text considerably varied from that of 1706 in Tate's Miscellanea Sacra 1696 and 1698); and is there attributed to Lord Roscommon. It appears also, but in a text identical with that of 1706, in Tonson's Poems by The Earl of Roscommon, 1717, which professes to give only the "truly genuine" poems of the Earl. If this translation is not Dryden's, others also may not be his. And (3) the Primer of B. V. M. in which these translations are found did not appear till five years after Dryden's death; and may have been edited by some one else. Mr. W. T. Brooke has drawn attention to variations in the text of Scott from that of the Primer; which may be accounted for by editorial revision; and the editor may have had blanks to fill in which Dryden had left.
It would be most natural to suppose that the Primer would be edited by a priest; but the fact that it is difficult to say whether the text in Scott or in the Primer is the more characteristic of Dryden either points to the existence of two authentic texts of the poet, or a revision by someone thoroughly intimate with Dryden's manner, e.g. (as Mr. Brooke acutely conjectures), Charles Dryden, who may have taken his father's manuscripts with him to Rome.
The argument in favour of Dryden is presented with great force and skill by Mr. Orby Shipley in the Dublin Review, October, 1884, and in the preface to his Annus Sanctus.
In corroboration of the evidence given above, Mr. Shipley has collected some Roman Catholic traditions, which ascribe to Dryden "a considerable number" of Latin translations “Jesu dulcis memoria" and "Dies Irae" are said to have been translated as penances. These traditions are however very indefinite; in some cases they do not date earlier than the present century; and in some (see Preface to Annus Sanctus) they are mistaken. He seeks a further corroboration of the theory from the appearance of several of these translations in editions of The Manual of Prayers, 1750, and The Garden of the Soul, 1737. But it is shown under Primers that these books afford no real evidence on this subject. [Rev. H. Leigh Bennett, M.A.]
- John Julian, Dictionary of Hymnology (1907)
John Dryden
C. E. F. Weyse
1774 - 1842 Composer of "WEYSE" in Immanuel Hymnal Weyse, Christoph Ernst Friedrich; b. Mar. 5, 1774, Altona (now in W. Germany), d. Oct. 8, 1842, Copenhagen; Danish composer of German extraction
C. E. F. Weyse
