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THE CHRISTIAN NECK

The musical performances of the Neck are not any longer confined to secular music. The country people, in some parts of Sweden, assert that they have heard him occasionally playing sacred tunes on his golden harp. Thus we are told of a Neck near the Hornborga bridge, who used to play and to sing with a sweet voice: "I know, I know, I know that my Redeemer liveth!"

Some boys who happened to hear him, called out to him: "What good is it for you to be thus singing and playing? you will never enjoy eternal happiness!"

Then the poor Neck began to cry bitterly, and hid himself beneath the water.

A clergyman in Sweden, riding one evening over a bridge, heard most delightful sounds of some stringed instrument. He looked about, and saw on the surface of the water a youth wearing a little red cap, and with golden hair, long and wavy, which streamed over his shoulders. In his hand he held a golden harp. The clergyman knew at once that this must be a Neck; he, therefore, in his zeal, called out to him: —

"How canst thou play so cheerfully on thy harp? As likely is this dry staff, which I am carrying in my hand, to bud and blossom, as that thou shouldst inherit eternal life!"

The unhappy Neck sorrowfully threw his golden harp into the stream, and sat down on the water weeping most piteously.

The clergyman spurred his horse and continued on his way. But he had not proceeded far, when to his great surprise he saw that his old walking-staff began to put forth leaves; and soon there appeared between them flowers more beautiful than he had ever seen. This he understood to be a sign from Heaven that he should teach the consoling doctrine of reconciliation in a more liberal spirit than he had hitherto done. So he hastened directly back to the Neck, who was still sitting on the water sorrowfully complaining; and showing him the green staff, he said: —

"Dost thou see now my old staff is budding and blossoming, like a young plant in a garden of roses? thus also blossoms hope in the hearts of all created beings, for their Redeemer liveth!"

Consoled, the Neck took up again his golden harp, and heavenly sounds of joy resounded far over the water the whole night long, and many people heard them along the banks of the stream.

MAURICE CONNOR

Like the Siren, so does the female Neck enchant youths with sweet music, and draw them down into the water. Thus also Hylas, a king's son, is commemorated in Greek Mythology as having been drawn into the water by nymphs enamoured of the beautiful youth.

The Irish relate a somewhat similar story of a famous bagpiper, whose name was Maurice Connor, and who had the reputation of being the best piper in the whole province of Munster. One day, when he played on the sea coast, at a lonely place in the county of Kerry, a beautiful lady with green hair came up from the sea, singing and dancing most charmingly; and when she invited him to go with her, and to marry her, he could not resist. Thus Maurice Connor became the husband of the green-haired lady deep in the sea. The union evidently proved happy. For several years afterwards the sea-faring people often heard, on a still night, the sounds of a bagpipe off the coast, and some say they are quite sure that it was Maurice Connor's music which they heard.⁷³

WATER LILIES

The Water Lily (Nymphæa) is by the Germanic nations regarded as the flower of the Nixes, or Water Nymphs. These charming beings, it is said, are so fond of music and dancing that they occasionally come up from the water to the villages lying near their abode, especially at the celebration of a wake, to join in the festivity. But, if they tarry too long at these visits, and fail to return home before the crowing of the cock, they must forfeit their life, and on the glassy surface of the water, into which they have again descended, may be seen a tinge of blood.

One evening in the autumn, after the vintage was finished, the young folks of Jupille, in Belgium, were cheerfully dancing on the village-green, when three beautiful maidens suddenly approached from the banks of the Meuse, and joined the merrymakers. They were dressed in dazzling white garments; and on their blond, wavy hair, they wore wreaths of water-lilies just unfolded. Whether they walked or merely floated over the earth nobody could tell; but certainly never had the youths of Jupille had such aërial partners.

After dancing, all the company sat down in a circle, and the three maidens began to sing with voices so lovely that everyone listened with fixed attention, unconscious how fast the time was passing. However, as soon as the clock struck twelve, the three maidens whispered some words to each other, greeted all around, and vanished out of sight.

On the following evening, just as the moon had arisen, they came again. The youths directly hastened forward to invite them to dance. As the air was sultry, one of them drew off her gloves, and her partner took care of them for her. This evening, the dancing was carried on with even greater spirit than before, and they were still engaged in it when the clock struck twelve. Startled by the sound, the three maidens ceased dancing, and one of them asked hurriedly: "Where are my gloves?"

But the youth wished to retain the gloves as a token of love, and the maiden was compelled to leave them and to hasten away with her companions. The youth followed the three maidens quickly; for he wished above all things to know where his beautiful partner lived. He pursued them further and further, until they reached the river Meuse. The three maidens threw themselves into the stream and vanished.

When, on the following morning the love-sick youth returned to the river where he had lost sight of his partner, he found the water at that place blood-red; and the three maidens have never appeared again.⁷⁴

IGNIS FATUUS

As regards the 'Will-o'-the-Wisp,' or 'Jack-in-a-Lanthorn,' there are various opinions prevailing in folk-lore. The Germanic races generally regard these fiery phenomena as wandering souls which, for some culpable cause, have not become partakers of the heavenly rest. Among these are especially classed the souls of covetous husbandmen, who in tilling their fields encroached upon the property of their neighbours; and also the souls of unbaptized children. A Dutch parson, happening to go home to his village late one evening, fell in with three Will-o'-the-Wisps. Remembering them to be the souls of unbaptized children, he solemnly stretched out his hand, and pronounced the words of baptism over them. But, what was the consequence? A thousand and more of these apparitions suddenly made their appearance, evidently all wanting to be baptized. They frightened the good man so terribly, that he took to his heels, and made for home as fast as he could.⁷⁵

On the ridge of the high Rhön, near Bischofsheim, where there are now two morasses, known as the red and the black morass, there stood formerly two villages, which sunk into the earth on account of the dissolute life led by the inhabitants. There appear on those morasses at night maidens in the shape of dazzling apparitions of light. They float and flutter over the site of their former home; but they are now less frequently seen than in the olden time. A good many years ago, two or three of these fiery maidens came occasionally to the village of Wüstersachsen, and mingled with the dancers at wakes. They sang with inexpressible sweetness; but they never remained beyond midnight. When their allowed time had elapsed, there always came flying a white dove, which they followed. Then they went to the mountain, singing, and soon vanished out of sight of the people who followed, watching them with curiosity.⁷⁶

THE FAIRY MUSIC OF OUR COMPOSERS

Ancient myths and miracles have always been favourite subjects for operas, and the lover of music does not need to be told that several of our dramatic composers have admirably succeeded in producing music of the fairies and of other aërial conceptions of the fancy. It is, however, not only in their great operatic works, but even in ballads with the accompaniment of the pianoforte, that we meet with exquisitely enchanting strains of fairy music. Take, for instance, Franz Schubert's 'Erl-King,' or Carl Lœwe's 'Herr Oluf.' Nor have some composers been less happy in music of this description entirely instrumental. Mendelssohn's overture to 'A Midsummer Night's Dream,' his first orchestral work of importance, and perhaps his best, seems to depict the fairies dancing in a ring on a moonlight night. But, probably no composer has written instrumental pieces which might be classed with the fairy music, so beautifully as has Beethoven. The Largo assai in his pianoforte Trio in D major, Op. 70, is a remarkable instance. Beethoven does not head this movement with words intimating that he intends to tell a fairy-tale in tones. Very possibly he did not even think of the fairies when he composed that wonderful music. Be this as it may, its tremulous chords with their tenderly-vibrating passages, descending the scale pianissimo, occasionally swelling to loudness and then subduing again into their former soft Æolian murmur – and, above all, its mysterious and unhomely modulations – convey an impression more analogous to the effect produced by some of our best fairy-tales than is the case with many musical compositions which avowedly were suggested by such stories.

SACRED SONGS OF CHRISTIAN SECTS

A collection of specimens of the sacred songs, with the tunes, used by the different Christian sects, would be very interesting, and might be instructive to the musician if it were compiled according to the following plan.

The collection should contain the most characteristic and favourite songs used at the present day in public worship and in family devotion. Probably at least a dozen specimens would be required from each sect, to exhibit clearly the characteristics of the common songs. But, besides these, specimens of the songs performed at religious festivals and suchlike extraordinary occasions, should be given.

The tunes should be rendered in notation exactly as they are usually sung. If the people sing them in unison, they should not be harmonized; and if they sing them in harmony, the several parts should be faithfully written down, however they may be, without any attempt at improvement, and without unwarranted additions.

If instrumental accompaniment is used, it should not be arranged for any other instrument than that on which it is usually played; its original peculiarities should be strictly preserved.

There exist not unfrequently different readings of the same tune. Wherever this is the case, the most common reading should be given first; and, of the deviations or varieties of the tune, which may chance to be preferred by some congregations, the most usual ones ought to be indicated in small notes after the notation of the tune as it is most commonly sung.

Many of the tunes belonging to the songs are very old, and several of them have been derived from secular songs. Some historical account of these songs would greatly enhance the value of the collection. The alterations which they have undergone in the course of time might, where they are traceable, be shown in notation referring to different centuries or periods; and if the secular melody from which the sacred tune has been derived is still extant, it might likewise be given.

The specimens of songs appertaining to a sect should be prefaced by some account of the doctrines and religious ceremonies peculiar to the sect, and especially by a lucid explanation of the prevailing manner in which the music is executed.

Furthermore, the value of the collection would be increased by admitting also examples of the most popular instrumental pieces used in divine worship; or, at any rate, by giving a description of them, should they be too long for insertion. The field for research and selection of materials for the preparation of such a work is so extensive that much discernment would be required, in order to exhibit clearly the distinctive features of the music of each sect without enlarging the work to a size which would be inconvenient.

The immense number of hymn-books for congregational use, published with or without musical notation, which have appeared since the time of the Reformation, is almost overwhelming to the student, and rather increases than facilitates the labour of selecting the most noteworthy examples for a work like that in question. Here, however, valuable assistance might be obtained by a careful reference to certain works on hymnology by C. von Winterfeld, G. von Tucher, Hoffmann von Fallersleben, P. Wackernagel, and others.

Although congregational singing has been especially cultivated since the time of the Reformation, it is not foreign to the Roman Catholic Church; indeed, a very interesting collection might be made of old songs with the music occasionally performed by Roman Catholic congregations. With their spiritual songs and hymns in Latin, which were composed during the Middle Ages, they had sacred songs in their vernacular language dating from a period anterior to the Reformation. After having flourished, especially in Germany during the seventeenth century, the congregational singing of the Roman Catholic Church fell gradually more and more into disuse until the present century, when attempts to revive it have been made in some of the dioceses. The oldest known Roman Catholic hymn-book in German dates from the year 1517, and was compiled by Michael Vehe. It contains seventy-four tunes, some of which were especially composed for the book; the others were old and well-known tunes. However, the most comprehensive of the old collections of sacred songs for popular use dates from the year 1625, and was compiled by the Abbot David Gregorius Corner. Among the books of this description subsequently published are several which contain songs in the German language intended to be sung by the people at the principal church festivals, in processions, pilgrimages, and also at Holy Mass. On the last-mentioned occasion a hymn was sometimes introduced after the Transubstantiation. It was also not unusual on high festivals for the priest to sing in Latin, and the people to respond in German. The musical student would do well to acquaint himself with the modern publications of Roman Catholic songs, as for instance, 'Cantica Spiritualia,' Augsburg, 1825; 'Kirchen und religiöse Lieder aus dem 12 ten bis 15 ten Jahrhundert,' by J. Kehrein, Paderborn, 1853; the sacred songs collected by Freiherr von Ditfurth, Leipzig, 1855, and others.

Examples of elaborate vocal compositions, with or without instrumental accompaniment, generally performed by an appointed choir of singers and by professional musicians, would probably demand too much space in a compendium like that which has been suggested above; but, at all events, some account might be given of such compositions. Those belonging to the Roman Catholic Church are especially important. The most popular specimens should be pointed out. They are in many instances easily obtainable. True, the most popular ones are by no means generally also the best; but it would be desirable to ascertain accurately the popular taste of the present day.

As regards the Chorales of the Lutheran Church, it would be necessary to trace the alterations which they have undergone in the course of time. For this purpose the best Chorale books published in Germany during the 16th and 17th centuries would require especial attention; as for instance, those by Spangenberg, 1545; Prætorius, 1604; Hassler, 1607; Schein, 1627; Schütz, 1628; Crüger, 1640, and others. The division of Germany into many little principalities may be the chief cause of the enormous number of published collections of songs for congregational use, since every petty sovereign liked to have in his dominion something exclusive, and the people liked it too. Thus, there is no hymn-book which is universally adopted in the Lutheran Church of Germany, and many publications of the kind are but poor compilations, – at any rate, as far as the music is concerned. The noble Chorale of the time of Luther has gradually lost, by tamperings with its harmony and its rhythmical flow, much of its original dignity and impressiveness. It has suffered especially by the objectionable interludes which the organists introduced, and still introduce, not only between the verses, but also at every line which terminates with a pause in the musical notation. These interludes, which not unfrequently are extempore effusions of the organist, may afford him an opportunity to display his skill in counterpoint, and perhaps his manual dexterity; but they are for this reason all the more out of place in a Chorale. Still, as they constitute one of the characteristics of certain congregational musical performances of the present day, some examples of them should be given in the work.

Likewise the notation of a Chorale with a figured bass should not be omitted. A considerable number of Chorale books containing only the tunes with the bass, the harmony produced by the tenor and alto being indicated by figures, have been published chiefly for the use of organists, who of course may be supposed to be familiar with thorough-bass. In the year 1730, Georg Philip Telemann, in Hamburg, published his 'Fast allgemeines Evangelisch-Musicalisches Lieder-Buch,' which contains 433 Chorales; the different readings of the same tune, in use at that time, are indicated by small notes, and the tunes have a figured bass, with some instruction at the end of the book for inexperienced thorough-bass players.

The Chorales of the Hussites are especially deserving of investigation. Luther appreciated them highly, and several of them were adopted by the Protestants at the time of the Reformation. The Enchiridion, anno 1524, which has already been mentioned in another place,⁷⁷ contains two from this source. The earliest published collections of the Chorales of the Hussites, in which the poetry is in the Czech language, are: Jona Husa, Cantional, 1564; Girjka Streyce, Chorales with Goudimel's harmony, 1593; D. K. Karlsperka, Chorales, 1618. Noteworthy are likewise the songs of the Hussites collected and published by K. J. Erben, Prague, 1847. Also the following in German: A Chorale book of the Bohemian and Moravian Brethren, edited by Michael Weiss, 1531. The same enlarged by Johann Horn, 1596. A Chorale book of the Herrnhut Brethren, edited by Christian Gregor, 1784. Gregor, who was organist as well as bishop in Herrnhut, is the inventor, or originator, of the peculiar construction of the organ generally adopted by his sect, in which the player is seated so as to face the congregation. His publication, which contains 467 Chorales with figured basses, was the first work of its kind printed for the Herrnhut Brethren, and constituted the musical portion of their song-book printed in 1778.

Turning to the sacred poetry of the Reformed Church in Switzerland and France, we find a famous collection of metrical psalms in French, written at the request of Calvin by Clément Marot and Théodore de Bèze, to which tunes were composed or adapted, by Bourgeois, in 1547, and by Goudimel, in 1565. Some musical historians assert that Bourgeois and Goudimel derived their tunes from a German collection by Wilhelm Franck, published in Strassburg in the year 1545, so that their merit consists only in having set them in four-part harmony. It would certainly be desirable to have the tunes properly traced to their original source.

Several of these old Chorales were gradually adopted by various denominations in different countries. A collection with the poetry in the Czech tongue, edited by G. Streyce in 1593, which has already been alluded to, corresponds exactly with a French edition published in Paris in the year 1567, which bears the title 'Les CL. Pseaumes de David, mis en rime Francoise par Clément Marot et Théodore de Bèze,' and in which the syllables of the Solmisation are printed with the notation of the tunes. On Marot's poetry with Goudimel's music is also founded the German Cantional entitled 'Psalter des Königlichen Propheten David,' by Ambrosius Lobwasser, Leipzig, 1574, a publication which was highly thought of in Germany, Switzerland, and Holland, and which retained its popularity until the eighteenth century.

Also the Italian Chorale book, entitled 'Sessanta Salmi di David, tradotti in rime volgari italiene, etc. De la stampa di Giovanni Battista,' Pinerolo, 1566, contains, besides a number of new tunes, several which have evidently been borrowed from the French work.

Again, the first edition of metrical psalms with musical notation for the Church of England, by Sternhold and Hopkins, London, 1562, contains several tunes derived from the Calvinists and Lutherans on the Continent. This edition has merely the melodies without any harmonious accompaniment, not even a bass. They were intended, as the title-page informs us, "to be sung in churches of the people together, before and after evening prayer, as also before and after sermon; and moreover in private houses, for their godly solace and comfort, laying apart all ungodly songs and ballads, which tend only to the nourishment of vice and corrupting of youth." In an edition dating from the year 1607 the syllables of the Solmisation are annexed to the musical notation, as we find it in Marot's version with Goudimel's music. This was intended as an assistance to unmusical singers; or, as the English publisher says, "that thou maiest the more easily, by the viewing of these letters, come to the knowledge of perfect solfayeng whereby thou mayest sing the psalms the more speedilie and easilie." Even the tablature of the lute is used in combination with the notation, in a curious English book entitled 'Sacred Hymns, consisting of fifty select Psalms of David and others, paraphrastically turned into English Verse, and by Robert Tailovr set to be sung in five parts, as also on the Viole and Lute or Orpharion. Published for the vse of such as delight in the exercise of Mvsic in hir original honour,' London, 1615.

The 'Chorale Book for England,' edited by W. S. Bennett and O. Goldschmidt, London, 1865, contains in a Supplement some tunes of English composers of the seventeenth and eighteenth centuries; while the great majority of the tunes of which the work is compiled have been taken from the famous old Chorale books of the Lutheran Church. It rather shows how, in the opinion of the compilers, the congregational music of the Church of England ought to be, than how it actually is at the present day. At all events, it cannot be regarded as a repository of the most favourite tunes of the majority of the congregations. The tunes preferred are often without originality, rather morbidly-sentimental, not unlike modern secular airs of a low kind. The collection of the tunes used by a congregation is not unfrequently a compilation by the organist. Many of the organists are but superficial musicians, while the clergymen generally know nothing about music. Performances of elaborate compositions are attempted, which would tax the power of well-trained professional musicians, and which the congregations would not think of attempting if they possessed musical knowledge. In fact, the only vocal music which a congregation is competent to perform in an edifying manner is a simple tune in a small compass, like the old Chorales, sung in unison, – or, more strictly speaking, sung by male and female voices in octaves, – while the organ accompanies in four-part harmony. To execute a tune well even thus, is more difficult than many imagine; but, if it is accomplished by the whole congregation, the effect is very solemn and impressive. The inquirer ought, of course, to examine the most popular collections of the present day, such as 'Hymns Ancient and Modern;' 'Church Hymns with Tunes,' edited by A. Sullivan, published under the direction of the Tract Committee of the Society for Promoting Christian Knowledge; and the comprehensive 'Hymnary' edited by J. Barnby. Moreover, regard should be taken to the preference given to certain kinds of musical performances by the several congregations of worshippers belonging to the Anglican Church, such as the High, the Low, the Broad Church-men.

The admission of secular tunes into the hymnology, which in the Anglican Church finds advocates even in the present century, has caused the publication of several curious collections of sacred poetry set to melodies taken from secular compositions of Haydn, Mozart, Beethoven, and other celebrated musicians, and often painfully distorted to adapt them to the metre of the verses. True, the adaptation of secular melodies for sacred songs is not a new expedient. It was resorted to by our estimable composers of chorales and promoters of congregational singing at the time of the Reformation. The old secular songs from which some of the chorales have been derived are still known, and it appears probable that several chorales, the origin of which is obscure, likewise emanated from this source. The secular origin of such old tunes does not detract from their suitableness for devotional service, since their secular ancestors are no longer popular, and also because three hundred years ago there was not the difference between the style of sacred and secular music which exists in our day. It is a very different thing to apply to sacred words a modern secular tune the secular words of which are well known.

Still, something similar was done by the Netherlandish composers of church music even long before chorales were constructed from secular tunes. These composers introduced the airs of popular songs into their Masses, to render their labours in counterpoint more attractive to the multitude.

About the middle of the sixteenth century, some noteworthy metrical versions of the psalms in Dutch were published in Antwerp. All the tunes of these psalms, given in notation, are derived from secular popular Dutch songs. Of this description is Symon Cock's publication, entitled 'Souter Liedekens ghemaect ter eeren Gods op alle die psalmen van David;' anno 1540. The most important work of the kind, however, was brought out by Tielman Susato. It probably comprises most of the secular airs and dance-tunes which were popular in the Netherlands during the sixteenth century. Tielman is supposed to have been a native of Soest, a town in Westphalia, Germany, which the citizens called in Latin Susatum; hence his adopted name Susato. His work consists of six small volumes, in oblong octavo, containing in all 245 tunes. The first volume is entitled: 'Het ierste musyck boexken mit vier Partyen daer inne begrepen zyn XXVIII. nieuue amoreuse liedekens in onser neder duytscher talen, gecomponeert by diuersche componisten, zeer lustig om singen en spelen op alle musicale Instrumenten. Ghedruckt Tantuuerpen by Tielman Susato vuonende uoer die nieuue vuaghe Inden Cromhorn. Cum Gratia et Privilegio. Anno MCCCCCLI.' ("The first Music Book, in four parts, wherein are contained 28 new lovely songs in our Low Dutch language, composed by different composers, very pleasant to sing and to play upon all kinds of musical instruments. Printed at Antwerp by Tielman Susato, dwelling in the Cromhorn over against the new Weighing house, anno 1551.") The Cromhorn (German, Krummhorn; Italian, Cormorne), an old wind-instrument of the bassoon family, was evidently used by Tielman Susato as a sign for his office, just as we find with the English music-sellers some centuries ago the sign of the "Base Viol," the "Golden Viol," &c. Volume II. contains likewise secular songs in four-part harmony. Volume III. contains a collection of dance tunes, called on the title-page "Basse dansen, Ronden, Allemaingien, Pauanen, Gaillarden," etc., and appeared with the preceding ones in the year 1551. The old Dutch dances were generally walked, or trodden, and the dancers sang at the same time.

Volume IV. bears the title: 'Sovter Liedekens, I. Het vierde musyck boexken mit dry Parthien, waer inne begrepen syn die Ierste XLI. psalmen van Dauid, Gecomponeert by Jacobus Clement non papa, den Tenor altyt houdende die voise van gemeyne bekende liedekens; Seer lustich om singen ter eeren Gods. Gedruckt Tantwerpen by Tielman Susato wonende voer die Nyeuwe waghe Inden Cromhorn. Anno 1556.' ("Sweet Songs, I. The fourth music book, in three parts, wherein are contained the first 41 Psalms of David, composed by Jacobus Clement non papa, the Tenor always having the air of commonly-known songs; very pleasant to sing to the honour of God. Printed at Antwerp, by Tielman Susato, dwelling in the Cromhorn over against the New Weighing house, anno 1556.") The other volumes likewise contain psalms with secular tunes arranged in the same way. Clement was a celebrated musical composer, who obtained the addition of non papa to his name, to guard against the possibility of his being mistaken for Pope Clement VII. his contemporary. The secular song from the air of which the three-part music has been constructed, is always indicated in the heading, by the first line of the secular song. For instance: 'Den eersten Psalm, Beatus vir qui non, etc.; Nae die wyse, Het was een clercxken dat ginck ter scholen.' ("To the air: He was a little scholar who went to school.") 'Den XVIII. Psalm; Nae die wyse, Ick had een ghestadich minneken.' ("To the air: I had a stately sweet-heart.")

Moreover, not only secular music, but also sometimes the poetry of a popular secular song, was altered for sacred use. H. Knaust published, in the year 1571, in Frankfurt: 'Gassenhawer, Reuter vnd Berglidlin Christlich moraliter vnnd sittlich verendert,' etc. ("Low Street Songs, Soldiers' and Miners' Songs, altered into Christian and moral Songs.")

No sect probably has been more extraordinary in the adoption of secular tunes than the Muggletonians in England. Lodowicke Muggleton and John Reeve founded this sect, in the year 1651. Macaulay, in his History of England, (London, 1854, Vol. I., Chap. 2) notices the former in terms by no means complimentary. He says: "A mad tailor, named Lodowicke Muggleton, wandered from pothouse to pothouse, tippling ale, and denouncing eternal torments against those who refused to believe, on his testimony, that the Supreme Being was only six feet high, and that the sun was just four miles from the earth." In the year 1829 Joseph and Isaac Frost published in London 'Divine Songs of the Muggletonians, in grateful praise to the Only True God the Lord Jesus Christ.' Many of the hymns are written to secular tunes, such as —By a prattling stream on a midsummer's eve; —When I spent all my money I gained in the wars; —Cupid, god of soft persuasions; —Dear Cloe, come give me sweet kisses; etc. The following commencements of a few of the hymns will suffice to show their character: —