Überwindung der Todesfurcht (German Edition)

Gott Vater, Sohn und Geist! The translation is by the Rev. Taylor of Melbourne, Australia, somewhat altered. It was prepared for the Australian Lutheran Hymn-Book, The translation was prepared for The Lutheran Hymnal in My soul, now bless thy Maker! Was in mir ist, den Namen sein! Vergiss es nicht, o Herze mein! Nimmt dich in seinen Schoss,. Er hat uns wissen lassen. Sein herrlich Recht und sein Gericht,. Es mangelt an Erbarmung nicht. Straft nicht nach unsrer Schuld,. So fern der Ost vom Abend. Wie sich ein Mann erbarmet.

So tut der Herr uns Armen,. Und weiss, wir sind nur Staub,. Gleichwie das Gras von Rechte,. So ist es nimmer da: Also der Mensch vergehet,. Bleibt stet und fest in Ewigkeit. Die steht in seiner Furcht bereit. Die seinen Bund behalten. Er herrscht im Himmelreich. Ihr starken Engel, waltet. Seins Lobs und dient zugleich. Dem grossen Herrn zu Ehren.

Sein Lob an allem Ort. Martin Chemnitz, the great Lutheran theologian and one of the authors of the Formula of Concord, is given as authority for the statement that Johann Gramann Graumann; Poliander wrote this hymn in , based on Ps. It is without question one of our most majestic and most fervent hymns of praise, one that should be in the reportory of every Lutheran congregation. A fifth stanza, evidently not by Gramann, appeared in and was added to the hymn in a number of German hymnals. Sei Lob und Preis mit Ehren. Der woll in uns vermehren,. Dass wir ihm fest vertrauen,.

Von Herzen auf ihn bauen,. Drauf singen wir zur Stund: Martin Chemnitz relates that Graumann was requested to write this hymn in by the elector Albrecht, whose favorite Psalm was the rd. At all devotional meetings he requested that this hymn be sung last. How he joined in the singing of the beautiful text and was cheered with the many pious thoughts which he thus gathered! On this account the hymn is especially cherished also by me.

This hymn was sung at the Lutheran service conducted in the Church of St. Anna by Gustavus Adolphus after he had entered the city of Augsburg and restored the Augsburg Confession. Another translation was later made by Landstad. The first English translation was rendered by I. The version which appears in our Lutheran Hymnary is by Miss C. Winkworth and dates from the year Lindeman and appeared in in his Koralbog for den Norska Kirke, set to H.

It belongs, possibly, to the 13th century. It was not written for liturgical use, but it soon became very widely known. It was used by the Flagellants during the middle of the 14th century.

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Not before was it incorporated into the Missale Romanum. It was commonly used in redactions containing ten stanzas, but more stanzas have been found. Our cento in The Lutheran Hymnary is made up of several revised and combined strophes. There are many such free renderings of the original poem. It is not definitely known who wrote this stirring poem, picturing to us the mother of Christ standing beneath the cross—this poem with its deep sincerity of feeling, its beautiful rhythm, and its melodious feminine rime.

Jacopone di Benedetti from Todi , who died in , has commonly been mentioned as the probable author of this hymn. Pope Innocent III and others have also been mentioned. It is not known that this form of verse was used earlier than The hymnologist Mone is of the opinion that the original poem was written by Pope Innocent III and later revised and enlarged by Jacopone. In it was revised into current Danish by B. The melody Nicea by J. Dykes was composed for the first edition of Hymns Ancient and Modern, Dykes and appeared in Hymns Ancient and Modern, Isaac Watts published this hymn in the enlarged edition of his Hymns and Spirztual Songs, The text is slightly altered, chiefly in Stanza 4, Line 4, where Watts had.

And hopes her guilt was there. This change was made, with others not so happy, in the Wesleyan Hymn Book, A special edition of this hymn was published in The English translation of this hymn was made by Miss Winkworth and was included among the hymns in her Chorale Book for England, This hymn appeared first in Hymns of Faith and Hope, second series, It contained 12 four-lined stanzas. As a rule it appears in an abbreviated form. The first line is also found thus: It is used very extensively in these various versions.

Und hat das arme Fleisch. Hier ist der Mann, der Herr,. Der Furcht und Strafe stillt,. Des Weibes Same kommt: Der Stern aus Jakob funkelt,. Die alle Welt verdunkelt. Hier ist es, Israel,. Was du erwarten willt;. Worauf das alte Bild. Es hat sich Rat, Kraft, Held. Und wird ein schwaches Kind: Die Kindschaft ist erworben. Was unter dem Gesetz.

Und dessen Fluch verdorben,. Gott ruft den Frieden aus;. We have been unable to trace the authorship of this hymn. It is not found in many hymnals. The Rochlitzer Gesangbuch of is one of the few that have it. The translation is an altered form of that by Frederick W. Herzberger published in the Selah Song-Book. Now Christ is risen! Der Tag, der ist so freudenreich. Denn Gottes Sohn vom Himmelrelch.

Von einer Jumgfrau ist geborn. Was geschah so wumderlich? Gottes Sohn vom Himmelreich,. Der ist Mensch geboren. For the second verse, see: To us is born a little Child. James Mearns thinks it is of German origin. He further states that Luther spoke of this hymn as a work of the Holy Spirit. It is found in Latin and German versions, but the author and the original text cannot be determined. The German version is given by Wackernagel as a fifteenth-century translation from the Latin. Some of the various German versions have as rnany as thirteen stanzas.

Our translation is an altered form of what was prepared for The Lutheran Hymnal in It is found in M.

It had previously appeared in the hymnbook of the Bohemian Brethren by Michael Weisse, Ich habe num den Grund gefunden,. Wo anders als in Jesu Wunden? Da lag er vor der Zeit der Welt,. Der Grund, der unbeweglich steht,. Es ist das ewige Erbarmen,. Es sind die offnen Liebesarme. Dem allemal das Herze bricht,.

Wir kommen oder kommen nicht. Wir sollen nicht verloren werden. Gott will, uns soll geholfen sein;. Deswegen kam der Sohn auf Erden. Und nahm hernach den Himmel ein;. Durch Christi Tod verschlungen hat! Das heisst die Wunde recht verbinden,. Da findet kein Verdammen statt,. Dem will ich mich gekost vertraun. Nur bald nach Gottes Herzen schaun;.

Da findet sich zu aller Zeit. Wird alles andre weggerissen,. Darf ich von keinem Troste wissen. Ist die Errettung noch so weit;. Mir bleibet doch Barmherzigkeit. Muss ich an meinen besten Werken,. Darinnen ich gewandelt bin,. Doch ist auch dieser Trost bereit: Ich hoffe auf Barmherzigkeit. Es gehe mir nach dessen Willen,. Bei dem so viel Erbarmer, ist;. Er wolle selbst mein Herze stillen,. Damit es das nur nicht vergisst;. In, durch und auf Barmherzigkeit. Bei diesem Grunde will ich bleiben,.

Das will ich denken, tun und treiben,. Solange sich ein Glied bewegt. O Abgrund der Barmherzigkeit! Rothe is the author of this fine hymn. The following paragraph from Julian shows that there is uncertainty as to its exact date: This is probably a misprint for , and the hymn, as will be seen above, was in print in It was suggested by Heb. The translation is composite. THIS beautiful poem is one of the German hymns which is most popular, not only in Germany, but also in Norway, Sweden, and Denmark, and in the English-speaking countries as well.

It was later taken up in the hymn books of the Moravian Brethren. The original contains 10 stanzas. It was rendered into Danish by H. Brorson and appeared first in Nogle Psalmer om Troens Grund, This version with a few alterations entered into Landstads Salmebog. There are at least five other English renderings of this hymn.

Words from this hymn were heard from the lips of the pastors Edward Bickersteth and J. Fletcher as they lay upon their deathbeds. Skaar says that if Rothe had not written any hymns other than this one, it alone would have entitled him to rank among the best hymn-writers of the Church. From east to west. Ihr aber, meine Sinnen,. Auf, auf, ihr sollt beginnen,. Wo bist du, Sonne, blieben? Die Nacht hat dich vertrieben,. Die Nacht, des Tages Feind. Mein Jesus, meine Wonne,.

Gar heil in meinem Herzen scheint. Der Tag ist nun vergangen,. Wenn mich wird heissen gehen. Mein Gott aus diesem Jammertal. Der Leib eilt nun zur Ruhe,. Legt ab das Kleid und Schuhe,. Das Bild der Sterblichkeit;. Wird Christus mir anlegen. O Jesu, meine Freude,. Will Satan mich verschlingen,. So lass die Englein singen: Dies Kind soll unverletzet sein!

Auch euch, ihr meine Lieben,. Kein Unfall noch Gefahr. Ums Bett und seiner Helden Schar. The hymn has long been popular in the German-speaking church because of its truly childlike popular spirit, its naive simplicity of expression, its loftiness of thought, and its depth of Christian experience. During the period of Rationalism in Germany it became the object of much shallow wit, especially Stanza 1, of which it was said, How can the dead woods rest, which never are awake, and how can the world lie in slumber? We know that when one half of the world retires to sleep the other half awakes from it!

However, Richter, in his Biogr. It has often been the last prayer uttered on earth and in many districts of Germany is used at the close of the baptismal service to commend the dear little ones to the protection of their Lord Jesus. The omitted Stanzas 5, 6, and 7 read: Head, hands, and feet reposing. Are glad the day is closing,. That work came to an end;. Cheer up, my heart, with gladness!

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Ye weary limbs, now rest you,. For toil hath sore oppressed you,. And quiet sleep ye crave;. From which no man can wake you,. In your last narrow bed—the grave. My heavy eyes are closing;. When I lie deep reposing,. Soul, body, where are ye? To helpless sleep I yield Them,. Oh, let Thy mercy shield them,. Thou sleepless Eye, their Guardian be! It is one of the most beautiful and beloved of all the German hymns.

In a masterful manner the bodily and the spiritual, the temporal and the eternal, the terrestrial and the celestial are set over against each other in every stanza of the hymn. This union of lofty sentiment and childlike piety, simplicity, and homelike tone gives it a unique charm. According to an old legend, Gerhardt wrote this hymn one evening upon hearing this melody resound from the church tower.

One thing is certain, that in this hymn the poet has been exceptionally fortunate in striking proper chords in the popular religious consciousness. In homes where the closing hours of the day have been hallowed by prayer and devotion, this hymn has resounded from generation to generation, and in the case of many, it has become part of the never-to-be-forgotten heritage of childhood memories. Thus, in the case of the great German poet, Friedrich von Schiller, whose pious mother often sang him to sleep with this hymn.

The truly naive poetry of this hymn has not always been understood. On the other hand, it has even been ridiculed by those who were not familiar with the childlike piety of spirit out of which it has sprung. But with the faithful Christian this hymn will always retain its undying favor. It possesses something of the mild glow of the evening star, which gently breaks through the twilight of the day of life. Especially has the eighth stanza of the hymn the fourth stanza of our version been of great comfort and encouragement to thousands of souls.

It has often been the last prayer uttered on earth. Among the 16 or more English centos and translations, there are three in common use. Of these, the one by Miss Winkworth, , has been, with a few changes, adopted by The Lutheran Hymnary. Our version contains stanzas 1, 4, 6, 8, and 9 of the original.

A new translation was rendered by Landstad, Our present version employed in The Lutheran Hymnary is based upon Bible passages as follows: No passage for stanza 1; stanza 2: Nu singet und seyt fro! Und leuchtet als die sonne. Alpha es et O! Nach dir ist mir so we;. Trahe me post te! Wir weren all verloren. So hat er uns erworben. Nirgend mer denn da,. Da die engel singen. Und die schellen klingen.

The macaronic was rather, as Nelle says, the result of the delight which many people took in this type. Luther is credited, by Albert F. Fischer, with having changed the third stanza of the macaronic to its present form. Prior to that time this stanza overemphasized the place of the Virgin in the plan of salvation.

In dulci jubilo Nun singet und seid froh! Vnsers hertzen wonne leit in praesepio Vnd leuchtet als die sonne matris in gremio. Alpha es et o, Alpha es et o. Hymns of this type were common in Germany towards the close of the Middle Ages. These hymns were generally of a happy and joyous vein, and they were used chiefly on occasions like Christmas and Candlemas.

Eight versions of it have been gathered by the hymnologist Wackernagel. Peter of Dresden Peter Faulfisch , a school teacher and a follower of the Husites, has been mentioned as the author. He died in , as rector in Zwickau. But strong evidence points to a more remote date. According to the hymnologist Skaar, a Zwickau manuscript dating from the fourteenth century contains a sketch of the life of the Dominican monk, Heinrich Suso, and tells the following story: The story shows that even as early as the close of the fourteenth century this hymn was cherished very highly, hence the conception of its heavenly origin.

This hymn has brought heavenly comfort to others besides Suso. Especially has the longing for heaven, so beautifully expressed in this hymn, struck home to many hearts. Des sind wir froh, io, io! Ewig in dulci iubilo. Nun danket alle Gott. Der grosse Dinge tut. An uns und allen Enden,. Der uns von Mutterleib. Und noch jetzund getan! Der ewig reiche Gott. Woll uns bei unserm Leben. Und edlen Frieden geben. Erhalten fort und fort.

Und uns aus aller Not. Dem Vater und dem Sohne. Und dem, der beiden gleich. Als es im Anfang war. Und ist und bleiben wird. The first two stanzas of the hymn are evidently based on Ecclus. He grant us joyfulness of heart and that peace may be in our days in Israel forever; that He would confirm His mercy with us and deliver us at His time.

The translation is by Catherine Winkworth, Lyra Germanica, second series, Very likely it appeared also in the first edition of this book, Leipzig, , but of this no copies are extant. It is one of the most favored hymns of the Protestant churches. It was sung after the battle of Leuthen, , while the army of Friedrich II was yet upon the battlefield. A soldier began the hymn, and the whole army, even the mortally wounded, joined in the singing. It was sung during the festivities in connection with the opening of the Cathedral of Cologne, August 14, It was likewise used at the laying of the cornerstone for the new parliament building in Berlin, June 9, It was sung at the thanksgiving services in England at the close of the Boer War.

There are at least 12 English translations. The hymn is based upon the words of the high priest Simeon, Ecclesiasticus He giveth us the joy of our heart, that we may find peace in Israel as in the days of yore, thus He lets His loving kindness remain with us, and He will redeem us in our day.

The third stanza contains the ancient doxology, the Gloria Patri. Havergal wrote this evensong on October 17, , at Leamington. It appeared in Songs for Little Singers, The melody for the above-mentioned hymn is supposed to have been composed by Hartnack Otto Konrad Zinck This volume contained the melodies for The Evangelical Christian Hymnary. Luther adopted this Pentecost stanza and added the three following. It has found a place in all Lutheran hymn books.

Luther, who himself ordered it for use after communion, later included it among his funeral hymns. It has commonly been sung on Pentecost Day, but in many places it is used as a fixed hymn to be sung before the sermon every Sunday. This version was made use of in the first Danish-Norwegain hymn book by Guldberg. The first stanza here is as follows: The accepted Norwegian version is by Landstad. The first stanza is always used in our Church at the ordination of ministers. The melody is possibly as old as the first stanza of the hymn.

The oldest source is a Hussite cantionale from the 15th century. The hymn was sung to this tune to celebrate the Peace of Westphalia, December 10, , and has since been widely used for all celebrations of praise and tbanksgiving. The melody is one of the oldest of Lutheran origin. The melody was first published in Etlich Christlich Lieder, the so-called Achtliederbuch, It is very extensively used in Germany and in the Northern countries. It is said to have been written down by Luther from hearing it sung by a traveling artisan. It has not been definitely established that the melody for this hymn dates from the fourth century.

It was printed together with this hymn in the Geystliche Gesangk-Buchleyn and in the Erfurt Enchiridion, The original tune used with this hymn in was possibly written by Hans Kugelmann. This is found in The Lutheran Hymnary as the setting for Nos.

Gramann or by Johann Kugelmann, in whose Concentus Novi, etc. Isaac Watts first published this hymn in his Psalms of David Imitated, , as a metrical paraphrase of Ps. Felix dies, quam proprio. Felix dies, qua gestiit. Vix natus, ecce lacteum. Libamen es hoc funeris,. Intrans in orbem, iam Patris. Ex qua potest fit victima. Amore se facit reum,. Sub lege factus legifer,. A lege nos ut eximat. Tu, Christe, quod non est tuum. Qui natus es de virgine,. Iesu, tibi sit gloria. Cum Patre cumque Spiritu. It was published in the Sens Breviary, , in seven stanzas.

The omitted Stanza 5 reads: The wound He through the Law endures. Our freedom from that Law secures;. Henceforth a holier law prevails,. That law of love, which never fails. The translation is an altered form of the version by John Chandler, first published in his Hymns of the Primitive Church, Herr, heb auf mich dein Angesicht. Und deinen Frieden auf mich richt! The author of this hymn is Martin Behm, who first published it, in seven stanzas, in his Kriegesman, Das ist: Later, in Centuria secunda, etc. The translation is an altered form of that by Conrad H. Schuette, in the Ohio Lutheran Hymnal of In house and home.

Life and Full Salvation in Christ. The translation is by R. Massie in his Lyra Domestica, A large number of centos or excerpts from this hymn are in common use in England and America. Wohl einem Haus, da Jesus Christ. Allein das all in allem ist! Heil, wenn sich Mann und Weib und Kind. Zu dienen ihrem Herrn und Gott. Nach seinem Willen und Gebot! Und wenn sie Kind und Kindeskind. Die Eltern werden hoch erfreut,. Wie Gott die Seinen segnen kann. Samt meinem Hause diesen Bund: Ich und mein Haus stehn bei dem Herrn! On the Parents of Jesus. This cento contains Stanzas 1, 2, 6, 7, and 8.

Catherine Winkworth, in her Chorale Book for England, , translated this hymn, omitting Stanza 6 of the original our third above and combining the thoughts of Stanzas 3 and 4 into one. The omitted stanzas in her version are: Blest where their prayers shall daily rise. As fragrant incense to the skies,. While in their lives the world is taught. That forms without the heart are naught. Blest where the busy hands fufil. Their proper task with ready skill,.

While through their different works ye see. One spirit run of unity. The translation of Stanza 3 in the hymn, by an unknown writer, is from the Ohio Lutheran Hymnal of Originally it contained eight stanzas. In the Hymnal of the Ohio Synod two stanzas of her version have been left out and a translation of the sixth stanza has been added. This is the arrangement followed in our Lutheran Hymnary. This hymn is thought to have been written by a German Jesuit of the 17th century.

It has also been ascribed to Thomas Aquinas. The oldest copy that has been found is in a Roman Catholic Mainz Gesangbuch of It contains three stanzas with German and Latin text under the title: A Hymn concerning the True Bread from heaven. It is also found in Hymnia Sacra, Mainz, ; in the works of the hymnologist Daniel and in other collections.

There are nine English translations; the version found in The Lutheran Hymnary was rendered by Philip Schaff, , though somewhat changed.

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O Bride of Christ, rejoice! Fryd dig, du Kristi Brud,. Imod din Herre Gud! For Haanden er hani Naade,. Som dig Profeten spaade. Gak ud af dit Paulun,. Som dog en Herre er,. Hans Pral er saare ringe. I Sind og saa i Mod. Kristus ind til dig rid! Han agter die at gjeste,. Din Salighed til Bedste,. Og synge aandelige Salmer! Den ganske hele Skare. Skal synge uden Fare: Arrebo refers this hymn to an earlier period, and surely both the form and the melody of this hymn seem to belong rather to the pre-Reformation era.

Concerning these assertions Skaar says: AN Ascension hymn, dating from the seventh or the eighth century. It is found in three manuscripts: It is also found in the old Roman breviaries of Venice, as well as in those of York, Aberdeen, and other places. The printed text may be found in many hymnological works: Daniel, Mone, Cardinal Newman, and others. The translations into English have been rendered either from the Latin original see the opening lines in the title , or from the revised editions found in the Roman breviaries, with the first line: There are upwards of 25 English translations.

O Jesu Christe, wahres Licht,. Erleuchte, die dich kennen nicht,. Auch die, so heimlich fichtet an. In ihrem Sinn ein falscher Wahn! Und was sich sonst verlaufen hat. Lass sie am Himmel haben teil! Die nicht bekennen wollen frei,. Was ihres Herzens Glaube sei! Bring her, die sich von uns getrennt,. Versammle die zerstreuot gehn,. Mach feste die im Zweifel stehn! So werden sie mit uns zugleich. Auf Erden und im Himmelreich,. Hier zeitlich und dort ewiglich.

That it is a splendid missionary hymn the contents show. Here the cries of anguish of thousands, arising from the homes, from the streets, and from the fields of the beautiful country, have found an expression which is well-pleasing unto God; they have found the peace of prayer, through communion with the Lord How touchingly Heermann, in this hymn, prays for the enemies of the Church, for the weak, and for the faint-hearted!

He does not desire the destruction of his enemies, but their repentance and, above all, their salvation. The translation is an altered form of Catherine. Zur Zeit der Verfolgung und Drangseligkeit frommer Christen. Thomasius began a sermon on Missions and the Church by quoting the first stanza of this hymn. The Norwegian version was made by M. Christe, qui lux es et dies,. Defende nos in hac nocte;. Sit noblis in te requies,.

Ne gravis somnus inruat,. Nec hostis nos subripiat,. Nec caro illi consentiens. Nos tibi reos statuat. Cor ad te semper vigilet,. Famulos, qui te diligunt. Quos sanguine mercatus es. In isto gravi corpore;. Qui es defensor animae. Deo Patri sit gloria. Sancto simul cum Spiritu. Nunc et per omne saeculum. This ancient hymn dates from the sixth century or earlier.

The author is unknown. It has long been a favorite and has been translated into various languages. Copeland in his Hymns for the Week, I AM the light of the world: This evening hymn has also been ascribed to Ambrose, but no mention of it is made by the Benedictine authors. Some authorities claim that it was not written by Ambrose, and they point to certain irregularities in meter. But because of the position of it in Milanese tradition, we have a right to call it an Ambrosian hymn in a wider sense. Mone has it from the 8th century. In England it is found in a manuscript from and in three manuscripts from the 11th century British Museum.

The hymnologist Daniel gives it from two manuscripts of the 13th century. It was also taken up in many hymnological works and in a large number of breviaries, as the Sarum and York breviaries, by Wackernagel, Cardinal Newman, and others. It was translated, presumably by Hans Tausen, Venite, venite in Bethlehem;. Cantet nunc aula celestium,. Iesu, Tibi sit gloria: Most authorities place the origin of this hymn into the 17th or 18th century.

There are no manuscript copies earlier than the middle of the 18th century. Though written in Latin by an unknown author, it may be of English origin, as it made its first appearance in English Roman Catholic books. It is possible, because of its great popularity in France, that it originated there and was brought thence to England. The hymn has been ascribed to St. Bonaventura, prominent scholastic teacher of the 13th century, but without historical foundation.

The hymn seems to have been composed in eight stanzas originally. The cento above contains Stanzes 1, 2, 7, and 8. It has been claimed that it dates from the 17th or the 18th century; that it is of French origin and thus belongs to the Latin hymnody of the French Church. And yet it has been established that it was used at an earlier date in England than in France. The hymn appears in three forms.

The oldest and, presumably, the most complete contains eight stanzas and is found in the Thesaurus Animae Christianae, Mechlin without date , and is there called a Second Sequence for Christmas, Ex Graduali Cistercienci. The English text or cento is found to be composed of stanzas 1, 2, 7, and 8! In France it was first printed in St. It has later been included in many French hymn books, and it is said that the hymn is so well known that these books print the title only. The English text dates as far back as and is found in a manuscript bearing the title: Cantus Diversi pro Dominicis et festis per annum, copied by Rev.

In the hymn was included in a church book, and in it was published in An Essay on the Church Plain Chant, London. Novello arranged the melody for church choirs, and the hymn with this stately setting became very popular in a short time. It has been established, however, that Reading did not compose the melody. This has also been called the Portuguese Hymn, and it has been claimed that a Portuguese musician, Marcas Portugal, wrote the tune. This has never been proved. Qui gemit in exilio.

Nascetur pro te, Israel. Veni, o Iesse Virgula;. Ex hostis tuos ungula,. De specu tuos tartari. Educ et antro barathri. Veni, veni, o Oriens;. Fac iter tutum superum,. Et claude vias inferum.

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In the Medieval Church it was customary to chant the great antiphons at evensong during Advent, from December 17 to Their address was to our Savior, and they reflect a joyful anticipation of His advent. They are therefore probably not of Roman origin, although they were introduced in Rome already before the 9th century.

Some unknown Latin writer of the twelfth century later versified five of the great antiphons, of which four compose the Latin text above. This hymn was put into English dress by Dr. Neale afterwards revised his translation for the trial copy of Hymns Ancient and Modern, , and the text above is his unaltered, but with the fifth stanza omitted. This stanza, without the refrain, reads: Oh, come, oh, come, Thou Lord of might,. In ancient times didst give the Law.

In cloud and majesty and awe. Modern hymn-books do not agree as to the merits of Dr. Some use a translation by Dr. Lacy, an Anglican theologian, who was a member of the editorial committee of the English Hymnal, The source material was not mentioned. Later it has been found in a supplement to Psalteriolum Cantionum Catholicorum, dating from A translation by Neale was published in Mediaeval Hymns. This rendering was included in Hymns Noted, There are several English revisions and one in the German: Ist das nicht zu beklagen?

Gott des Vaters einig Kind. Wird ins Grab getragen. Gott aelbst ist tot,. Am Kreuz ist er gestorben,. Da ist die Todeszelle, aus der heraus er noch immer das ganze Zuchthaus mit Nachrichten versorgte, [ Doch ab , Chruschtschow hat auf dem Schon bald werden Havemanns Vorlesungen von der Partei als revisionistisch abgestempelt. Doch Heym fordert einen schriftlichen Bescheid, den Kurella verweigert. Heyms ironisch-erotischer Anspielung hatte Kurella offensichtlich nichts entgegenzusetzen. Im Nachruf erinnert sich Heym an diese Zeit: Auch Wolf Biermann erinnert sich an lustvoll gemeinsam verbrachte Sommertage, an denen Heym mit einem eleganten Motorboot-Zweisitzer bei Robert angeflitzt [kam].

Immer dabei seine kluge Gattin Gertrude [ Es ist eine Generation, die nach Verfolgung und Krieg viel nachzuholen hat. Sie, die einer adeligen Offiziersfamilie entstammte, war Malerin und der beherrschende Einfluss auf den Sohn. Nach der Entlassung besucht er den Sohn in Prag. Weggerissen wurde der Vater mir, als ich vier Monate alt war. Er ist das Gesetz, nach dem ich angetreten bin. Wer spricht das wahre Wort? Dies ist der Auftakt zum Vorladung ins Innenministerium Der verbalen Kampfansage des Staates auf dem Plenum folgte kurz darauf die Androhung der Inhaftnahme.

Nur wenige Tage nach dem Plenum, es ist der Dieser Anblick machte mir Angst. Nun hatte ich keine Angst mehr, die Angst hatte mich. Die Frage stellt sich, inwiefern die von Biermann vorgenommene Kontrastierung Heyms und Havemanns stimmen mag? Bei der dritten Vorladung am Hatte sich Heym etwa erpressbar gemacht?

Ich sehe keinen Grund, jetzt anzufangen, Dinge zu sagen, die ich auch vorher nicht gesagt habe. Das Treffen fand am Auch hier berichtet Heym von der Vorladung ins Innenministerium Er habe sich rasiert, bemerkt, dass seine Knie nicht zitterten und sich dann von Gertrude verabschiedet: Wir nicken einander zu. Die erstaunliche Proliferierung von Heyms Versionen legt vor allem eines nahe: Doch mag ihn der Suizid des Vaters auch verfolgt haben im Sinne einer Wiederholungsangst an der eigenen Person. Heym stand im Dezember im Lebensjahr; sein Vater war 53 Jahre alt gewesen, als die Gestapo ihn verhaftete.

Bruch mit Havemann Nach dem Stefan Heym ist kein Rebell. Aus Sicht der vorliegenden Quellen gestaltet sich die Entscheidung Heyms, die Freundschaft zu Havemann zu beenden, weitaus vielschichtiger als von Biermann zugegeben. In seinem Leben habe er schon oft sehr einfache Arbeiten verrichtet, wie u. Nach Ansicht des H. Diese Haltung des H. Gelbin Scholarships on the Path of Dissent: Before them lay a series of events which would forever change their view of socialism: In this foreign land, she ended up broken by the impossibility of keeping her socialist dream in the face of real-world circumstances.

Stefan Heym , whose life spans all five political systems in 20th-century Germany - the Empire, the Weimar Republic, National Socialism, the divided German states of the Cold War, and German and European unity after , became one of the most versatile and widely-read German-speaking authors of the post-war era on both sides of the German-German divide. Like no other individual in separated Germany, Heym united literary meaning with real political commitment and thus became a prominent moral and political symbolic figure.

Heym was born the son of a Jewish merchant family in Chemnitz in As the publisher of an anti-war poem, the high school student was already forced to flee Chemnitz due to a brown mob. He travelled to Berlin and emigrated from there to Prague in Through her advertising work at Metro Goldwyn Mayer Hollywood Studios, she helped Heym to establish himself as a writer in the USA, as well as to connect with other intellectuals.

From , after becoming a US citizen, Heym served in the US army in the Ritchie Boys reconnaissance unit and from there advanced to a seargant for psychological warfare. In the GDR, Heym was immediately courted with material benefits for intellectuals. Gertrude Gelbin founded the sub-publication Panther Books with Liszt Verlag Leipzig, in which she printed the original works of English-speaking authors. In fact, Heym continually took an oppositional stance in relation to the powers that be as they were determined by the way of the world.

Such an outline would be too sleek, too simple and would barely correspond with the chequered life of its protagonist; it relies too much upon a claim indebted to the irreconcilable dichotomies of National Socialism and the Cold War, regarding clear lines, ideological unambiguity and moral absoluteness. Such a reading of Heym allows new conclusions on the role of Jews in GDR culture and politics by scrutinising the present theory of the generally loyal Jewish population within the GDR. Regarding accusations of collaborations with the GDR regime, Wolffsohn predominantly exempts authors of Jewish heritage who shifted to the West such as Jurek Becker, Wolf Biermann and Barbara Honigmann, yet does not sufficiently illuminate the individual routes of these authors.

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Such a constricted view seeks to expand the present factor of openly expressed Jewish particularity as political provocation, as viewed by GDR leaders - a strategy which Heym also increasingly deployed. In addition, there has been broader research on Jews in the history, politics and culture of the GDR and in the unified Federal Republic of Germany since , offering relevant insight into both the position of Jews in GDR politics and culture as well as the function of Jews in national political discourse.

They write the history of Jews in the GDR in the context of the history of Jewish communities, which nonetheless only covers a small portion of Jews living in the area as well as official discourse on National Socialism and Israel. Currently, there are also various investigations into the depiction of Jewish characters, specifically in GDR literature and film, as well as the relationships of individual Jewish authors and artists with their Jewish heritage.

However, such investigations often find it difficult to comprehend the communist and often radically assimilated attitudes of their subjects, even under Jewish auspices. During the Weimar Republic, in which Heym also grew up, many left-leaning Jews had subsumed these aspects of their self-presentation under the term cosmopolitanism, which was also posited as internationalism in accordance with Communist Party policy in the s. However, in the wake of the Stalinist terror, internationalism retreated gradually behind Soviet nationalism, until it became an anti-Semitic epithet analogous to Nazi ideology.

Many of them would once again leave this land in the mids in order to be saved from Stalinist persecution or at least escape political pressure. Others, such as Heym and his wife, stayed, although they felt Germany - even its Eastern side - to be the enemy territory due to the Holocaust. They assembled an international circle which has been hardly publicized until now, by means of lifting their Jewish sensibilities.

For Heym, aspects of an ethnic-Jewish self-image emerged which he had observed in the emigration of American Jews predominantly coming from Eastern Europe. Indeed, his wife Gertrude Gelbin also came from this environment. Heym, Havemann, Zuckermann and Hollitscher By the beginning of the s, his friendship with Robert Havemann would become the decisive political and personal alliance for Heym outside of his marital and working relationship with Gertrude Gelbin. He associated with Havemann through narrow political agreements in relation to their fundamental approval of the socialist idea and simultaneous growing criticism of the SED state.

Even in a personal respect, there were deep affinities which cemented their association until its sudden termination by Heym in In his recently published autobiography, Wolf Biermann born , who became the third member of this friendship band from , accuses Heym implicitly of cowardice. However, Havemann was an ambivalent political hero, in a far greater measure than Heym may have known. As we know today, after the National Socialists seized power, the young Communist Havemann had made occasional dubious remarks about the Jews before he converted himself into an insurgent.

Also in , he founded the European Union Resistance Group with three other men, which chiefly supplied persecuted Jews with concealment and forged papers. Allegedly, of those affected, only one women had survived in Auschwitz.

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Due to his knowledge as a chemist being vital to the war, Havemann alone was spared from the execution. After his release, Havemann returned to the KWI, now lying in the American zone of West Berlin; in , he also acquired a professorship in physical chemistry at the Humboldt University in the Soviet zone of occupation. In , after his abrupt release from the KWI on the grounds of his protests against the American hydrogen bomb, he was relocated to the GDR. Here, he was appointed Director of the Institute for Physical Chemistry at the Humboldt University and obtained a series of high political offices.

Returning from British exile first to Vienna, he had been studying the relationship between Marxist theory and physics as director of the Institute for Philosophy at the Humboldt University since Also on the panel was Leo Zuckermann, whom Heym also knew from his exile in New York and who now worked together with Havemann at the university. This, according to Zuckermann, had been a kind of international emergency group in which they could let off steam about the state of the GDR in private company.

According to Zuckermann, Heym had already launched heavy criticisms of the current situation in the GDR from the beginning of his time there. We came together and discussed anything and everything. He would go on rants. Basically, it was awful that people who had other things to discuss were discussing such rot. It was also an internationally mixed society. And it was a very nice society, but it was more ingrained, it was more a kind of emergency group. His journey took him via France to Mexico, where he had already spent his exile from National Socialism.

Walter Hollitscher was arrested by the Stasi in and later turned up in his home city of Vienna once more, under mysterious circumstances. Much like Zuckermann, Kantorowicz also eventually escaped unfolding political persecution for West Berlin in There is the cell on death row from which he always supplied the entire prison with news, [ To that end, he also questioned Havemann, how could provide him with important internal details as an insider of GDR nomenclatura. By , Day X was finally finished. He produces writings from memory and hauls a tape recorder along with him to debates and events in order to hold functionaries to their word.

He sneaks into events by socialist writing associations, to which he was excluded, in order to take their word. And he responds to rejections of his manuscript and the public attacks by functionaries with peppered letters which he addresses to those involved personally. He fights with the word of his typewriter, but in vain: Almost in parallel to this in the mids, Havemann begins his transition to dissent. In , Havemann is expelled from the SED; in , he loses his professorship. Heym draws on Havemann, among other things, in his efforts with Day X.

Robert Havemann also receives a copy. Heym clearly wishes to spread this manuscript around these people to cause the functionaries to change their minds. Heym, however, offers a written reply refusing Kurella. No matter for women?. Many beautiful women appear in the book. However, to his surprise, it emerges that Heym has also invited reinforcement, arriving in the form of Havemann. In January , Heym delivered an additional manuscript to Havemann only a few days before he travelled to West Germany; it was likely to do with Day X, which Havemann was to bring along to discussions with interested Western parties.

But these men were also connected via close personal interests which, among others, consisted of their tendency towards whiling away hours in the country. In Nachruf, Heym recalls this period: Even Wolf Biermann fondly remembers these summer days spent together, when Heym mit einem eleganten Motorboot-Zweisitzer bei Robert angeflitzt [kam]. His clever wife Gertrude always beside him [ Belligerence, spirit, an appetite for contradiction, a hunger for truth. It is a generation with a lot of catching up to do following persecution and war.

This applies particularly to Havemann, Heym and Biermann, who all experienced a loss of rights, impotence and also damaged manhood due to this persecution. They gain a response from German women who had often experienced a damaged childhood and youth in a shower of bombings, had lost their fathers and, in their view, have something to catch up on and something to forget. Damaged Father Figures in the Name of the Holocaust The portrayals of wounds torn by the Holocaust in relation to fathers are among the most particularly moving points in the autobiographies of Heym and Biermann.

From Havemann, in contrast, there is only a cursory glimpse of his nationally-disposed yet apolitical parents. Originating from a noble military family, she was a painter and the dominating influence on her son. In his autobiography, Havemann, having become a radical Communist after the arrival of the National Socialists into power, opts to withdraw from this bourgeois environment.