Greek and Latin Hymnody

The very word hymn comes from the Greek hymnos, which means a song of praise to a god or hero. Adapting this pagan practice for their own use, early Christians wrote many hymns that have become models for hymn writers over the centuries. The hymns of both early Greek and Latin Christians are represented in the most recent American hymnals by the inclusion of five to eighty selections. These hymns reflect the faith and thought of many of the most well-known early Christian leaders and theologians.

Early Greek Hymnody

The Christian hymn of the New Testament church and the early church was distinctively a song of praise to Christ as God. This fact has been verified in the well known letter of Pliny the Younger to Emperor Trajan in which Pliny, speaking of the Christ followers, states that “they were accustomed to come together on a regular day before dawn and to sing a song alternately to Christ as a god” (M. Alfred Bishsel, “Greek and Latin Hymnody,” in Hymnal Companion to the Lutheran Book of Worship [Philadelphia: Fortress Press, l981], 4).

Moreover, the Apostolic Constitutions of the fourth century mention a number of Greek hymns for morning and evening services. One such liturgical morning hymn was an expansion of the Greater Doxology, with one stanza which was later included in the Te Deum. And one of the evening hymns combined the opening of Psalm 113, a paraphrase of the Gloria in Excelsis, and the text of the Song of Simeon. Another Greek hymn found in the liturgies of Clementine, St. Mark, St. James, and St. John Chrysostom and which is still sung today is the Trisagion (Thrice Holy Hymn) based upon the opening verses of Isaiah 6. Of particular importance to early Christians was the hymn Doxa Patri, which is identical to the Latin Gloria Patri—“Glory be to the Father, and to the Son, and to the Holy Spirit, now and ever and unto ages of ages. Amen.” This Trinitarian statement came to be used in both Greek and Latin liturgies in order to give a Christian interpretation to the reading and singing of psalms.

This first period of Greek hymnody took place during the time of St. Clement of Alexandria, who lived from about a.d. 170 until about a.d. 220. His work combined the ideals of Greek poetry and Christian theology. An example from this period, which is still in common usage, is the devotional song “Lord Jesus, Think on Me”, written by Synesius (c. a.d. 375–c. 414 ). The most familiar song of the Liturgy of St. James of Jerusalem is the Christmas hymn “Let All Mortal Flesh Keep Silent.” Another hymn that is still sung at evening services is “O Gladsome Light” (Phos Hilaron), composed by an anonymous poet of the Alexandrian School.

During the second period of Greek hymnody (the most brilliant period) St. John of Damascus (c. a.d. 670–c. 780) was the leading writer of Greek canons. Each canon consisted of nine odes (eight in actual practice), and each ode consisted of from three to twenty stanzas. It was not until the nineteenth century that St. John of Damascus’ brilliant poems were translated into English. After twelve years of work, John Mason Neale, the first and leading translator of Greek hymns, published in 1862 his collection, Hymns of the Eastern Church. In that book we find “The Golden Canon” or “Canon for Easter Day,” which is still sung today on Easter Sunday.

Latin Hymnody

The number of hymns in current American hymnals representing the development of the Latin hymn ranges from five to eighty. The earliest of these hymns were written after the Council of Nicaea (a.d. 325) and the adoption of the Nicene Creed. They became the means of combating Arian theology, which was propagated in the sermons, poems, and hymns of Arius of Alexandria, who had been excommunicated from the church by the Council of Nicaea.

One early hymn writer was St. Hilary, the Bishop of Poitiers (c. a.d. 310–366), who became familiar with the singing of hymns by Greek Orthodox believers during his four-year exile in Asia Minor. Upon his return to Poitiers he immediately began to write hymns in a decided effort to combat false doctrine and to reinforce Trinitarian theology.

It was also the goal of Ambrose, Bishop of Milan (a.d. 341–397) to use hymn singing to combat Arianism. Sensitive to the need for immediate acceptance of the hymns, he chose the popular folk rhythm, long meter form. This, too, followed the practice of hymn singing in Eastern churches. His work is represented in a number of contemporary hymnals by the Trinitarian hymn, “O Splendor of God’s Glory Bright.”

Another prolific writer of Latin hymns was the lawyer Prudentius (a.d. 348–413). He, too, was determined to fight Arianism and to present the Orthodox doctrine of the two natures in Christ. In his retirement, he devoted much of his time and energy to the writing of spiritual songs in Rome. Many Christians know and love his magnificent Christmas hymn, “Of the Father’s Love Begotten.”

During the succeeding centuries there appeared other accomplished Latin poets. Fortunatus (a.d. 530–609), later Bishop of Poitiers, wrote four hymns still in current usage. “The Royal Banners Forward Go” and “Sing My Tongue” are often sung during Lent. His two Easter hymns are the lengthy “Welcome Happy Morn” and the triumphant “Hail Thee Festival Day.” The familiar Palm Sunday text, “All Glory, Laud, and Honor,” was the work of Theodulph of Orleans (c. 760–821), a student of Prudentius. The hymn of the Holy Spirit, “Come Holy Spirit, Our Souls Inspire,” has been attributed to Maurus (d. 856). And finally, one morning hymn by St. Gregory (540–604), “Father, We Praise Thee,” also is also incorporated in some contemporary hymnals.

In the latter part of the Middle Ages a number of monasteries that exerted an enormous influence on religious life throughout Europe for some three hundred years were established. The most influential leader at the beginning of this important movement was Bernard of Clairvaux (c. 1091–1153). In his own lifetime, some 162 monasteries were established, and within the next eighty-five years the number rose to five hundred. The chief emphasis of Bernard’s texts was his own personal cry for holiness. The highly reflective and deeply devotional character of these texts is quite evident in a thoughtful reading of “O Sacred Head Now Wounded,” “Jesus the Very Thought of Thee,” and “Jesus, Thou Joy of Loving Hearts,” subjective prayers arising out of his personal relationship with the Savior.

In contrast to the devotional focus of these hymns, Bernard of Cluny’s 3,800-line poem, “Jerusalem the Golden,” spoke out against the many evils of his time. The thirteenth century is represented also by Saint Francis of Assisi’s hymn of praise, “All Creatures of Our God and King.” Three other Latin hymns still widely known and treasured are the Advent prayer “O Come, O Come Emmanuel,” the Christmas hymn “O Come All ye Faithful,” and the Easter song, “O Sons and Daughters.”