Of the Father's heart begotten

‘Much altered by various hands’ is a typical phrase from one of several hymnologists who virtually give up trying to trace the development of this paraphrase. The Lat Corde natus ex Parentis is an extract from a late 4th-c poem by Prudentius born from fierce doctrinal debate. It was included in his Cathemerion; this was a ‘Daily Round’ of texts for monastic prayers beginning, ‘Give me a pen, lad, so that in faithful choruses I may sing with a sweet melodious song the illustrious deeds of Christ’. Here he introduces not only a new metre, but aims at showing the Christian faith to be in no way inferior to paganism in either philosophy or poetry, as the emperor Julian the Apostate had claimed. Routley prints 9 stzs (of which these represent 1, 2, and 4–6); much of the rest, he says, is less lyrical and more argumentative. The translations rely substantially on those of J M Neale from 1852 to 1861, and include lines from H W Baker (1861) and R F Davis (1905); ‘evermore and evermore’ is a near-universally repeated 7th line but comes only once in the Lat. Most current hymnals including the A&M series use ‘heart’ for ‘love’ in line 1; HTC pioneered a different approach in God of God, the uncreated, while many evangelical hymnals surprisingly bypass this strong doctrinal and devotional hymn. It is important to render 3.2 ‘filled with’ rather than ‘full of’; the Lat can be misleading, for Mary is not the source but the recipient of grace. ‘Priests and poets’ (4.1) feature here for the first time, replacing ‘sybil’ or ‘sages’ in other versions. This hymn was declared to be his favourite by Rowan Williams, Archbp of Canterbury from 2002; see also Joan Halmo in The Hymn, Oct 2002, and Gwilym Beechey in the Hymn Society Bulletin, Oct 2010.

The tune CORDE NATUS comes from a trope, or plainsong addition to the liturgy. It is found in the 1582 Piae Cantiones … but goes back at least to 12thc Italy and Germany. It is set there to the text Divinum Mysterium sometimes attributed to Aquinas; hence the tune’s alternative name. Like the words, it has undergone many variations; David Iliff arranged it, as here, for the 1986 Carols for Today. The Companion to Rejoice and Sing suggested that it ‘should be sung lightly and briskly with an uninterrupted rhythmic swing’.

b Vauxhall, S London, 1821; d Monkland, Herefs 1877. The eldest son of an Admiral and Baronet; Trinity Coll Camb (BA, MA), ordained (CofE) 1844. After a curacy at Great Horkesley nr Colchester, Essex, he became Vicar of the small parish of Monkland (pop c200), a few miles W of Leominster, from 1851 until his death at the age of 56. There being no vicarage, he had one built with space for a private chapel with a small organ; he then established Monkland’s first school. Within his opening few months he had also written his first hymn, published in an 1852 collection made by Francis Murray, Rector of Chislehurst; but greater things were soon afoot. From a crucial meeting at St Barnabas Pimlico, London, in 1858 (see also under Baring-Gould and Woodward) and a formal committee established in the following January, Baker became a founding father of what became Hymns Ancient and Modern. As the project‘s first chairman and its main driving force, he conducted much of the work at and from his vicarage, still in his 30s. After 2 ‘samplers’ in 1859 (the year he inherited his father’s baronetcy) with respectively 50 and 138 hymns, the first official edition including 33 of his own texts and translations appeared in 1861. After an early disappointment Baker never married; but the vicarage, presided over by Henry’s sister Jessy, was a hub of activity often filled with fellow-hymnologists, scholars, editors and workers. They also met regularly at Pimlico, the new railways between London, Leominster, and elsewhere proving a key factor in their work and personal contacts. Baker himself often had to handle tactfully, by post or otherwise, questions of Anglican doctrine, poetic style, copyright terms, payments and fees, textual alterations and (later) how to safeguard its future.

Their book attracted much criticism for editorial changes, but weathered the storm to become the most popular hymn book ever, through main editions of 1868, 1904 (its least successful revision), 1923, 1950, 1983, and 2000. The latest edn, well over a century on, retains 11 of his original texts, versions and translations; 13 are included in the evangelical Anglican Hymn Book of 1965. Among his other writings was Daily Prayers for the Use of those who have to work hard—fittingly from the pen of a man of immense energy and versatility. Julian, who calls his editing labours ‘very arduous’, compares his ‘tender’ and ‘plaintive’ hymnwriting with that of H F Lyte, qv. Among other biographical treatments, he features in Bernard Braley’s Hymnwriters 2 (1989); the 150th anniversary of A&M was celebrated in Monkland and Leominster in 2011. Nos.23C, 371*, 435, 911*, 952*.

b at Lamb’s Conduit St, Bloomsbury, Middx (C London) 1818, d East Grinstead, Sussex 1866. He was taught privately and at Sherborne Sch; Trinity Coll Cambridge (BA 1840), then Fellow and Tutor at Downing Coll. On 11 occasions he won the annual Seatonian Prize for a sacred poem. Ordained in 1841, he was unable to serve as incumbent of Crawley, Sussex, through ill health, and spent 3 winters in Madeira. He became Warden of Sackville Coll, E Grinstead, W Sussex, from 1846 until his death 20 years later. This was a set of private almshouses; in spite of a stormy relationship with his bishop and others over ‘high’ ritualistic practices, he developed an original and organised system of poor relief both locally and in London, through the sisterhood communities he founded.

With Thos Helmore, Neale compiled the Hymnal Noted in 1852, which did much to remove the tractarian (‘high church’) suspicion of hymns as essentially ‘nonconformist’. Among his many other writings, arising from a vast capacity for reading, was the ground-breaking History of the Eastern Church and the rediscovery and rejuvenating of old carols (collections for Christmas in 1853 and Easter the year following). His untypical, eccentric but popular item Good King Wenceslas was a target for the barbs of P Dearmer, qv, who (like others since) voiced the hope in 1928 that it ‘might be gradually dropped’.

Neale and his immediate circle had a pervasive effect on many things Anglican, including architecture, furnishing and liturgy, which has lasted until our own day. He founded and led the Camden Society and edited the journal The Ecclesiologist in order to give practical local expression to the doctrines of the Tractarians. But his greatest literary work lay in his translation of classic Gk and Lat hymns. In this he pioneered the rediscovery of some of the church’s medieval and earlier treasures, and his academic scholarship blended with his considerable and disciplined poetic gifts which showed greater fluency with the passing years. Like Chas Wesley he was an extraordinarily fast worker, given the high quality of so much of his verse. His translations from Lat, mainly 1852–65, kept the rhythm of the sources; among his original hymns (1842–66) he was critical of his own early attempts to write for children. But he considered that a text in draft should be given plenty of time to mature or be improved; he voluntarily submitted many texts to an editorial committee. Even so, some were attacked by RCs because in translation he had removed some offensive Roman doctrines; others, because they leant too far in a popish direction. His own position was made clear by such gems as, ‘We need not defend ourselves against any charge of sympathising with vulgarity in composition or Calvinism in doctrine’.

Of his final Original Sequences and Hymns (1866), many were written ‘before my illness’, some over 20 years earlier, and ‘the rest are the work of a sick bed’—JMN, writing a few days before his death. His daughter Mary assisted in collecting his work, and many of his sermons were published. He was familiar with some 20 languages, and had a notable ministry among children, writing several children’s books. He had strong views on music, and was a keen admirer of the poetry of John Keble, qv. 72 items (most of them paraphrases) are credited to him in EH, and he has always been wellrepresented in A&M, featuring 30 times in the current (2000) edn, Common Praise. Julian gives him extended treatment and notes ‘the enormous influence Dr Neale has exercised over modern hymnody’. In A G Lough’s significantly titled The Influence of John Mason Neale (1962) and Michael Chandler’s 1995 biography, while the main interest of the writers lies elsewhere, there are interesting chapters respectively on his ‘Hymns, Ballads and Carols’ and his ‘Hymns and Psalms’. What Charles Wesley was with original texts, so was Neale with translations, not least in the sense that, as a contemporary put it, ‘he was always writing’. Nos.225, 297*, 338, 346, 371*, 407, 442, 472, 567, 881, 971.