Bernard of Clairvaux, saint, abbot, and doctor, fills one of the most conspicuous positions in the history of the middle ages. His father, Tecelin, or Tesselin, a knight of great bravery, was the friend and vassal of the Duke of Burgundy. Bernard was born at his father's castle on the eminence of Les Fontaines, near Dijon, in Burgundy, in 1091. He was educated at Chatillon, where he was distinguished for his studious and meditative habits. The world, it would be thought, would have had overpowering attractions for a youth who, like Bernard, had all the advantages that high birth, great personal beauty, graceful manners, and irresistible influence could give, but, strengthened in the resolve by night visions of his mother (who had died in 1… Go to person page >
Jesu dulcis memoria. St. Bernard. [The Holy Name of Jesus.] This hymn has been generally (and there seems little reason to doubt correctly) ascribed to St. Bernard; and there are many parallels to it in his genuine prose works, especially that on the Canticles. It has been variously dated 1130, 1140 or 1153; but as positive proof is lacking that it is unquestionably the work of St. Bernard it is manifestly impossible to fix a date for its composition. The years 1130 and 1140 were very stormy times indeed with him, aud have nothing in common with the hymn. Possibly it was written shortly after the Second Crusade which he preached (1146), and for the disaster of which he was blamed. The most probable moment of his life would then be about 1150, when he was residing in retirement and was weary with the world. Dr. Schaff in his Christ in Song justly styles the hymn as "the sweetest and most evangelical... hymn of the Middle Ages." It is the finest and most characteristic specimen of St. Bernard's "subjective loveliness," and in its honied sweetness vindicates his title of Doctor mellifluus. It is, however, open to the charge of eddying round its subject, so that Abp. Trench says of it: " With all the beauty of the stanzas in particular, the composition, as a whole, lies under the defect of a certain monotony and want of progress." It is best known as the Joyful (or Jubilee) Rhythm of St. Bernard on the Name of Jesus; but sometimes by the title of In commemorationem dominicae passionis. The title Cursus de aeterna sapientia was probably suggested by Ecclesiasticus xxiv. (especially vv. 20,21; see Dr. Edersheim in the Speaker's Commentary on the " Apocrypha"); the Eternal Wisdom being Our Lord Jesus Christ.
I. Manuscript forms of the Text.
The earliest form of the text now known (and it may be added the best, and most probably the original) is contained in a manuscript of the end of the 12th century, now in the Bodleian, Oxford Laud Misc. 668 f. 101), in 42 stanza of 4 lines. …
Practically the same form is found in a 13th century manuscript in the Bodleian (Rawlinson, C, 510 f. 3 b i also beginning Dulcis Jesu); and in a manuscript of 1288 at Einsiedeln. The text of the Einsiedeln manuscript is printed by Morel, No. 109, the only important difference being that this manuscript does not contain stanza 39. The hymn is also found in a manuscript of the 15th century, in the Bibl. Nat., Paris (Fonds italien, 559 f. 106. This manuscript contains the poems of Jacobus de Benedictis, otherwise called Jacopone or Giacopone da Todi), in 43 stanzas. From a collation kindly supplied by M. Leopold Delisle, the chief librarian, it appears that in this manuscript stanza 27 is omitted and two stanzas added.
Among the St. Gall manuscripts the hymn is found in No. 1394, in a hand of 13th century; in No. 519 cir. 1439, and No. 520 of 1436. Herr Idtenson, the librarian, has kindly informed me that these three manuscripts all contain stanza 39; but that of the stanzas numbered 43-51 not one is found in No. 1394, and in Nos. 519, 520, only stanza 48. The variations of text are exceedingly numerous and very bewildering. The manuscripts, moreover, not only disagree as to the order of the stanzas, but often as to the order of lines (and of words) in the individual stanzas. As in the four earliest manuscripts none of the stanzas 43-51 are to be found (one, viz. stanza 48, is in Mone's Frankfurt ms. of the 14th century; the rest have not been traced earlier than the 15th century) it is hardly likely that they are by St. Bernard; and stanza 44 has not the quadruple rhyme. These stanzas are quite unnecessary to the hymn and break its course; though in themselves some of them are not at all unworthy of St. Bernard.***
II. Printed forms of the Text.
A form in 48 stanzas (viz. 1-42, 44-49) is found in the Benedictine edition of St. Bernard's Opera, Paris, 1719, and later editions. Daniel, i., No. 206, gives it in 48 stanza (from Bernard's Opera, Paris, 1690, G. Fabricius's Poetarum vet. eccles. opera Christiana, Basel, 1564, and other sources), viz. stanzas 1-42, 44-49, adding in his notes stanza 43 from Fabricius, and the readings of the Roman Breviary, 1722; while at iv. pp. 211-217 he gives further notes principally from Mone.
III. Ritual use of the Rhythm.
The length of the hymn and the fact that it was not specially appropriate for any of the usual offices of the Church made its use for some time limitedition In the Frankfurt manuscript, employed by Mone, of the 24 stanzas selected three are apportioned to each of the eight canonical hours of the day; and Fabricius arranges the 47 stanzas of his text according to a similar plan.
The form in 50 stanzas seems to have been used as a Rosary, being arranged in five decades and answering to the 50 Ave Marias of the Rosary. When a separate office of the Holy Name of Jesus came into general use, apparently about 1500, centos from this poem were embodied in it. Such an office appears to have been added to the Sarum Breviary about 1495 (certainly in the Paris edition 1499), and contains two centos, (i.) “Jesu dulcis memoria," for Matins, and (ii.) "Jesu, auctor clementiae." for Lauds…
[Rev. James Mearns, M.A.]
IV. Translations into English.
After giving an account of the full translations of the poem, we purpose dealing only with those centos which have been translated into English, and most of which are in common use at the present time.
V. Translations of the Full Form.
1. A full translation was given by E. Caswall in his Masque of Mary, 1858, and again in his Hymns & Poems, 1873, p. 139. In this he repeated several stanzas of his earlier translation from the Roman Breviary (see below), including four of the five stanzas which compose the Vesper hymn. This translation has been broken up into the following centos:
(i.) Jesu dulcis memoria=Jesu, the very thought of Thee. Usually the translation of the Roman Breviary text is followed here.
(ii.) Jesu Rex admirabilis = 0 Jesu, King most wonderful. This is generally given from the translation of the Roman Breviary text (see below). It is distinguished from that by stanza ii., "Stay with us, Lord; and with Thy light."
(iii.) Amor Jesus dulcissimus = Jesu, Thy mercies are untold. Composed of stanzas xii., xiii., xv., vii. in Hymns Ancient & Modern, 1875.
(iv.) Jesu decus angelicum=O Jesu, Thou the beauty art. This is usually taken from the Roman Breviary text. It is distinguished from this by stanza ii., “For Thee I yearn, for Thee I sigh."
2. In the translation of J. M. Horst's Paradise of the Christian Soul, edited by Dr. E. B. Pusey in 1847, The Rhythm is translation in five decades of varying metre, thus:—
(i.) Jesu, dulcis memoria = Jesu, who dost true joys impart.
(ii.) Mane nobiscum, Domine = Stay with us, Lord, and lift Thy gracious light.
(iii.) Qui Te gustant esuriunt = They who of Thee have tasted hunger more.
(iv.) Jam quod quaesivi video = Now what I sought do I behold.
(v.) Tu mentis delectatio = Thou art the mind's delight.
This translation is not in common use. It is vigorous and musical, and from it some excellent centos might be compiled. The translation used in the translation of The Paradise of the Christian Soul, published by Burns, 1850, is E. Caswall's as above, divided into five decades.
3. Jesu, how sweet those accents are. By W. J. Copeland, in his Hymns for the Week, &c, 1848, p. 137, reduced to 30 stanzas of 4 lines. In Darling's Hymns, &c, 1887, the following hymns are said to be based on this translation; but they have so little in common either with Copeland's translation or St. Bernard's original that Mr. Darling may claim them as his own. The most that can be said is that they were suggested by Copeland's translation:—
(1.) Lord Jesus, since the faith of Thee. (2.) To Thee, O Christ, our thoughts aspire. (3.) What name so full of melody?
4. Jesu, name of sweetest thought. By Dr. Edersheim, in his The Jubilee Rhythm of St. Bernard of Clairvaux, &c., 1867. This is a very spirited and musical translation, and from it some five or six centos of great excellence might be compiled. It has been strangely overlooked. It is in 48 stanzas of 4 lines.
5. Jesu, remembrance passing sweet. By T. G. Crippen, in his Ancient Hymns & Poems, 1868, p. 163, in 48 stanzas of 4 lines.
6. O Jesus, Thy sweet memory. By Mrs. Charles in her Voice of Christian Life in Song, 1858, in 19 stanzas of 4 lines. This translation is rarely quoted in the collections.
VI. Translations from the Sarum Uses.
In the Sarum Breviary there are two centos, and in the Sarum Gradual one, all of which have been rendered into English as follows:—
(i.) Jesu dulcis memoria. This is appointed for Matins on the Festival of the Holy Name in the Sarum Breviary, 1499, and is composed of the following stanzas: 1, 2, 3, 5, 9, 10, as above. This has been translated as:—
1. Jesu, the very thought is sweet. By J. M. Neale, in the Hymnal Noted, 1852, No. 18, with added doxology. This translation may be distinguished from Neale's translation from the Sarum Gradual (below) through stanza iv., which reads here "No tongue of mortal can express." This translation is found in a large number of hymn-books in Great Britain and America, the text, slightly altered, as in Hymns Ancient & Modern, being the most popular. In the Salisbury Hymn Book, 1857, it begins "Jesu! memorial name so sweet;” and in the Sarum Hymnal, 1868, " Jesu, sweet memories of Thy Name."
2. Jesu, how sweet Thy memory Within my, &c. By W. J. Blew, in his Church Hymn and Tune Book, 1852-55.
3. Jesu, how sweet Thy memory is! To every heart, &c. By J. D. Chambers, in his Lauda Syon, 1857, p. 244.
(ii.) Jesus, auctor clementiae. In the Sarum Breviary, 1499, this is the hymn for Lauds at the Festival of the Holy Name. It consists of stanzas 16, 22, 35, 37, 25,43, 45, and an additional stanza. Translated as:—
1. Jesu, Wellspring of all mercy. By W. J. Blew, in his Church Hymn and Tune Book, 1852-55, and again in Rice's Selection from the same, 1870.
2. Jesu, Thou Fount of mercy, hail. By J. D. Chambers, in his Lauda Syon, 1857, p. 245, and again in the Hymner, 1882, somewhat freely altered as "Jesu, of mercy Source alone."
(iii.) Jesu dulcis memoria. This longer extract from the poem appears in the Sarum Gradual, 1532, as a Sequence (commonly called the Rosy Sequence) for the Festival of the Holy Name. It consists of stanzas 1-7, 47, 48. It is translated as:—
Jesu, the very thought is sweet. By J. M. Neale, in the Hymnal Noted, 1854, No. 72, and a few other collections, including the People’s Hymnal, 1867. It is distinguished from Neale’s translation above by stanza iv., which begins " Jesu, Thou sweetness pure and blest," which is also the opening of No. 1474 in Kennedy, 1863, and others. In the Sarum Hymnal, 1868, No. 67, Pt. i. is composed of stanzas i.-v. from this translation, and stanzas vi.-viii. from the translation above, i. 1, also by Dr. Neale, and in both instances slightly altered; and Pt. ii. from this translation being stanzas viii., vi., vii. and ix., also altered.
VII. Translations from the Roman Use.
In the Roman Breviary, 1722, three centos were given for the 2nd Sunday after the Epiphany, being the Festival of the Holy Name of Jesus, as follows:—
(i.) Jesu dulcis memoria. This is appointed for Vespers, and is composed of stanzas 1, 2, 3, 5, and an added stanza, "Sis Jesu nostrum gaudium." Translated as:-—
1. Jesu, the very thought of Thee. By E. Caswall, in his Lyra Catholica, 1849, p. 56; and again in his Hymns & Poems, 1873, p. 31. This translation is the most widely used of any made from The Rhythm, and is usually given unaltered, except at times a slight change in stanza iv. In Kennedy, 1863, it is slightly altered, and stanza iii., lines 5-8, are added from Caswall's translation of "Jesu, Rex admirabilis."
2. Sweet and with enjoyment fraught. By Bp. Mant in his Ancient Hymns, &c, 1837, p. 50 (1871 edition, p. 90).
Other translations are:—
1. Thy sweet remembrance, Lord, imparts. R. Campbell. 1850.
2. 0 Jesu dear, bow sweet Thou art. F. S. Pierpoint in 2nd edition Lyra Eucharistica, 1864.
3. The memory sweet of Jesus' Name. J. D. Aylward in Shipley's Annus Sanctus, 1884, p. 45.
(ii.) Jesu, Rex admirabilis. This is appointed for Matins at the same Festival, and is composed of stanzas 9, 11, 4, 14, and the added stanza, "Te nostra Jesu vox sonet." Translated as:—
1. 0 Jesu, King most wonderful. By E. Caswall, in his Lyra Catholica, 1849, p. 57; and his Hymns & Poems, 1873, p. 32. This translation is widely used.
Other translations are:—
1. 0 Jesu, King of Saints adored. Bp. Mant. 1837.
2. Jesu, King o'er all adored. R. Campbell. 1850.
3. Jesu, the King all wonderful. W. J. Blew. 1852-55.
4. 0 Jesu, Lord, most mighty King. J. D. Aylward, in Shipley's Annus Sanctus, 1884, p. 46.
(iii.) Jesu, decus angelicum. This is appointed for Lauds in the same Festival, and is composed of stanzas 22, 20, 27, 10, 35. Translated as:—
1. 0 Jesu, Thou the beauty art. By E. Caswall, in his Lyra Catholica, 1849, p. 58; and his Hymns & Poems, 1873, p. 33. This also is in extensive use.
2. Jesu, highest heaven's completeness. By R. Campbell, in his Hymns & Anthems, 1850, p. 17, and in the People's Hymnal, 1867.
3. Crown of the angels, Thy sweet Name. By J. D. Aylward, in 0. Shipley's Annus Sanctus, 1884, p. 46.
VIII. Translations from the Paris Use.
In the Paris Breviary, 1736, the hymn for Lauds for the Festival of the Transfiguration is:—
Jesu dulcedo cordium. This is composed of stanzas 4, 10, 11, 18, 21, 44, of The Rhythm, and is translated as:—
1. Jesu, the heart's own Sweetness and true light. By I. Williams, in his Hymns translated from the Paris Breviary, 1839.
2. Jesu, delight of every heart. By J. D. Chambers, in his Lauda Syon, 1857.
IX. Various Centos.
The following hymns are translations of stanzas compiled from The Rhythm. They vary much in length and character. Some are in common use and others are worthy of that distinction:—
1. In Rorison's Hymns & Anthems, 1851, there are two centos arranged by Dr. Rorison from various translations, with additions of his own, as:—
1. "Jesu, how sweet the memories are."
2. "Jesu, the angels' Light and song."
2. In J. A. Johnston's English Hymnal, 2nd edition, 1861, portions of E. Caswall's translation of the full text, somewhat extensively altered, were given as two hymns, Nos. 65, 66, as:—
1. "0 Jesu, King adorable."
2. "0 Jesu, Thou the glory art."
3. In Dr. Kynaston's Occasional Hymns, 1862, there are two centos from The Rhythm, as:—
1. "Source of recollection sweet."
2. “Jesu, Bridegroom, Saviour, Friend."
4. The Rev. R. C. Singleton's translation in the Anglican Hymn Book, 1868, No. 258, "Jesu, how sweet the thought of Thee," is from the Roman Breviary, with an additional stanza (v.) from The Rhythm (x.).
5. In the Roman Catholic Hymns for the Year, 12 stanzas are given from The Rhythm, divided into three parts:—
1. "Jesu, the very thought of Thee." The 2nd stanza begins "No sound, no harmony so gay."
2. "Thee, then, I'll seek, retired apart."
3. "0 King of love, Thy blessed fire."
6. The hymn given in the American College Hymnal, N. Y., 1876, as, "0 Thou in Whom our love doth find," is from E. Caswall's full translation, stanzas 41, 11, 16, 18, very slightly altered.
7. The hymn, "0 Jesus, Lord of all below," in the American Hymns for the Church of Christ, Boston, 1853, is composed of E. Caswall's translation of the Roman Breviary form of " Jesu, Rex admirabilis," stanzas iii.—v. slightly altered.
8. The most popular cento in common use is, "Jesus, Thou joy of loving hearts," by Dr. Ray Palmer. It is composed of the translation of stanzas 4, 3, 20, 28, 10, of Daniel's text, and appeared in the American Andover Sabbath Hymn Book, 1858, No. 686. It is found in all the best English and American hymn-books now in common use, and is usually given in an unaltered form. In the Hymnary, 1872, it is altered to "0 Jesu, joy of loving hearts."
9. In the 1862 Appendix to the Hymnal Noted there are two centos: (1) "Tu mentis delectatio," translated by T. I. Ball as "Thou the spirit's pleasure," and (2) "Jesu, Tua dilectio" ("Tua, Jesu dilectio"), translated as "Jesu! the soul hath in Thy love."
10. Another cento, translation by Dr. J. W. Alexander, was published in Schaff’s Kirchenfreund, N. Y., April, 1859; and in Schaff’s Christ in Song, 1869 and 1870. It begins, "Jesus, how sweet Thy memory is! Thinking of Thee," &c.
II. In the Primers of 1684 and 1685, and in the Evening Office of 1725, there are the follow¬ing centos:—
1. "Thou, Jesus, art the admired King." (1684.)
2. " Jesus the only thought of Thee Fills with delight my memory." (1685.)
3. "If Jesus called to mind imparts." (1725.)
These centos are printed in full in 0. Shipley's Annus Sanctus, 1884; and the Primers, &c, are described in the Preface to the same.
12. In R. Beste's Church Hymns, 1849, there are 14 stanzas of 4 lines from The Rhythm, as: "Jesus, how sweet the thought of Thee."
13. Dr. J. Wallace gave 14 stanzas in 4 lines in his Hymns of the Church, 1874, as "Jesus, to think of Thee."
This elaborate and extensive use of St. Bernard's Rhythm is almost if not entirely unique in hymnody. A few hymns exceed it in the number of their translations into English, as the "Adeste fideles," the "Dies Irae," and the "Ein' feste Burg," but no other poem in any language has furnished to English and American hymn-books so many hymns of sterling worth and well-deserved popularity. [Rev. John Julian, D.D.]
X. Translations through the German. The hymn has been frequently translation into German. Four of these versions have passed into English, viz.:—
i. Ach Gott, wie manches Herzeleid (q. v.).
ii. 0 Jesu süss, wer dein gedenkt. Wackernagel, v. p. 449, gives this in 18 stanzas of 4 lines from the 1612 edition of Johann Arndt's Paradiss-Gartlein; and also gives a version in 52 stanzas from the It 11 edition of the Paradiss-Gartlein. According to Baumker, i. p. 385, the 18 stanza of 1612 form part of a version in 48 stanza in Conrad Vetter's Paradiess-vogel, 1613; Vetter in his preface stating that this version had been for some time in print. There does not appear to be any reason for assigning this translation either to Arndt, or, as has sometimes been done, to Martin Moller. A selection of 16 stanzas is No. 773 in the Unverfälschter Liedersegen, 1851. Translated as:—
When memory brings my Jesus to my sense. A very free translation in 41 stanzas of 4 lines. First published in A. W. Boehm's translation of Arndt's True Christianity, vol. i., 1712, p. 597. This was revised by J. C. Jacobi, reduced to L.M., and included in his Psalmodia Germanica, 1720, 5, 25 (1722, p. 130), beginning "When Thought brings Jesus to my sense." In Jacobi's edition, 1732, p. 17, it is altered to "Sweet Jesus! when I think on Thee." In the Moravian Hymn Book, 1754, pt. i., No. 236, is a cento of 17 stanzas from Jacobi, 1732; to which are added 3 stanzas from Isaac Watts (stanza v. of his "Far from my thoughts, vain world, be gone;" and stanzas iv., v. of his " 'Twas on that dark, that doleful night"), in all 20 stanzas. Centos, begin¬ning with stanza i., from the text of 1754, are found in Montgomery's Christian Psalmist, 1825, Surrey Chapel Hymn Book, 1858, &c. Other more or less altered forms of Jacobi are:—
1. Dear Jesus, when I think of Thee (Jacobi's stanza i. altered). Moravian Hymn Book, 1789 (1849, No. 465).
2. Of Him Who did Salvation bring (Jacobi's stanza iii.) in Madan's Psalms & Hymns, 1760, and in varying centos in the American Methodist Episcopal Hymns, lU9, Hymns & Songs of Praise, N. Y., 1874, &c.
3. Come all, and hear of Jesus' love (Jacobi’s stanza xl. altered), in Dr. Hawker's Collection, Plymouth, 1847.
iii. An Jesum denken oft und viel. By M. Rinkart, in his JesuHertzbüchlein. This work was completed in manuscript 1630, and first printed 1636. Only the 2nd edition, Leipzig, 1663, is now extant [Royal Library, Hannover], and there the translation, being broken up into sets of 3 stanzas, begins at p. 31 and ends p. 121. The complete text, in 48 stanzas, is in Dr. J. Linke's edition of Rinkart's Geistliche Lieder, 1886, p. 352. In the Lüneburg Stadt Gesang-Buch, 1686, No. 246 consists of stanzas 1, 2, 4, 12, 15, 28, 39, and this form is in the Berlin Geistliche Lieder, edition 1863. Translated as—
Sweet meditation on the Lord. A translation of stanzas 1, 2, 4, 12, 39, by H. L. Hastings, 1879, included in his Hymnal, 1880, and Songs of Pilgrimage, 1886.
iv. Jesu, deiner zu gedenken . A free translation, in 48 stanzas, by N. L. von Zinzendorf, included as No. 1148 in the 3rd edition, 1731, of his Sammlung geist- und lieblicher Lieder. Translated as "Jesu! on Thee to be thinking," as No. 237 in pt. i. of the Moravian Hymn Book, 1754. [Rev. James Mearns, M.A.]
--Excerpts from John Julian, Dictionary of Hymnology (1907)
Jesu dulcis memoria. After the sentence, "These stanzas are quite unnecessary to the hymn, &c," read thus before passing to the printed forms of the text:—
Since the notices here given were electrotyped four other manuscripts in the British Museum have been examined. Three of these present nearly the same text as that in Laud Misc .668, and confirm the belief that the 42 stanzas form of the text is the original. The fourth manuscript is also of the 14th century, but it presents an interpolated and corrupt text, in 53 stanzas, viz.:—1-42, 43, 45-48, 50 (12, 48, 50 being greatly altered); and also 5 stanzas not found in any other manuscript yet examined. These additional stanzas are:
52. Quern diu differs doleo.
53. Hunc affectum cum sentio.
54. In his plerumque gaudeo.
55. Tu moestorum solatium.
56. Ostende Patri vulnera.
It will thus be seen that sts. 43, 45, 48, 50, 52-56 are all at least as early as the 14th century, though there does not appear to be any reason to regard them as really by St. Bernard; while sts. 44, 49, 51, have not yet been found in manuscripts earlier than the 15th century. [Rev. James Mearns, M.A.]
We must note also the following additional translations:—
i. From the Full Form.
From E. Caswall's translation there are also the following in common use:-
1. O Jesu, Light of all below.
2. O Jesu, Lord, hear thou the sighs.
3. Jesu, in mercy, hear the sighs.
4. Jesu, my soul hath in Thy love.
ii. From the Sarum Use.
1. Jesu dulcis memoria.
Chambers's translation first appeared in his Order of Home-hold Devotion, 1854, p. 370.
2. Jesus, auctor clementiae.
(1) Jesu, of mercy source alone. In the Antiphoner and Grail, 1880.
(2) Chambers's tr. first appeared in his Order of Household Devotion, 1854, p. 371.
iii. From the Roman Breviary Use.
1. Jesu dulcis memoria.
(1) Primer, 1706, p. 533; Evening Office, 1748, p. 50; F. C. Husenbeth, 1841, p. 73; F. Trappes, 1865, p. 30.
2. Jesu, Rex admirabilis.
(1) O Jesu! King of wondrous might. Office Hymn Book 1889. This is partly from Neale.
3. Jesu, decus angelicum.
(1) Jesu, delight of angel-hosts. Office Hymn Book, 1889.
iv. From the Paris Breviary Use.
This form of the text appeared in the Paris Breviary in 1680.
1. Jesu dulcedo cordium.
(1) Jesu, Thy sweetness to the heart. D. T. Morgan, 1880, p. 211.
v. Additional Centos.
1. O Jesu! to my soul most dear. In J. A. Johnston's English Hymnal, 1856.
2. Jesu! most high, most wonderful. A. T. Russell in his Psalms & Hymns, 1851.
3. O Jesu! Thou of heaven the joy. A. T. Russell, 1851.
4. Jesus, our fainting spirits cry. By R. P. Dunn in the American Sabbath Hymn Book, 1858. In some collections, including the Methodist Episcopal Hymnal, 1878, it begins with st. ii., "We sinners, Lord, with earnest heart." From Nutter's Hymn Studies, 1884, p. 162, we find that in Dr. S. L. Caldwell's Memorial of Dr. Dunn, this tr. begins "Jesus, Whose name the angel-host," and that the Sabbath Hymn Book text begins with stanza ii. of the full form.
5. Jesu, Thou sweetness, pure and blest. This hymn in the East Grinstead St. Margaret's Hymnal, 1875, is a cento from “Jesu, dulcis memoria," beginning with stanza xxi., "Jesu, summa benignitas." The first stanza of the translation is st. iv. of “Jesu! the very thought is sweet," by Dr. Neale, and the rest, also by Neale, are new. This is a distinct cento from Kennedy, 1863, No. 1474, which begins with the same stanza .
6. Thou! Hope of all the lowly. By H. M. Macgill in his Songs of the Christian Creed and Life, 1876.
7. More glorious than the sun to see. This is in the St. Margaret's Hymnal [East Grinstead], 1875. Of this, st. ii., is from Neale's translation, 1852, and the rest are new, also by him.
8. O Jesu, King of wondrous might. In the St. Margaret's Hymnal, 1875. This is by Neale, st. i., being from his 1852 translation, and the rest new.
9. Jesus, in thought alone to greet. By G. S. Hodges in his The County Palatine, 1876.
10. Jesus, to think of Thee. By J. Wallace, in his Hymns of the Church, 1874.
11. O Jesus! name to mem'ry dear. D. French, 1839, p. 2.
12. J. D. Chambers, in his Encheiridion, 1860, pp. 363-174, gives a set of versions from the centos in the " Horae de aeterna sapientia." These are part of his version of the Sarum Encheiridion, 1528, f. ccxiiii., " Hours of the Most Sweet Name of Jesus." These centos number eight in all.
--Excerpts from John Julian, Dictionary of Hymnology, Appendix I (1907)