Hymns for the Amusement of Children (1771) was the final work completed by English poet Christopher Smart. It was completed while Smart was imprisoned for outstanding debt at the King's Bench Prison, and the work is his final exploration of religion. Although Smart spent a large portion of his life in and out of debt, he was unable to survive his time in the prison and died soon after completing the Hymns.
Smart's Hymns are one of the first works of hymns dedicated to children, and they are intended to teach Christian virtues. Unlike some of the other works produced by Smart after his release from a mental asylum, such as A Song to David or Hymns and Spiritual Songs , this work was a success and went into many immediate editions. Part of the success of this work lies in the simplicity and accessibility of the text. However, Smart died before he ever saw the proceeds of the work and never learned of the book's success.
Smart was released from asylum in 1763 and published two religious works, A Song to David and Hymn and Spiritual Songs, soon after. These were quickly attacked by critics that declared Smart was still "mad" and subsequently failed to become popular. Smart continued to work on religious works as he struggled to publish and support himself. However, he quickly fell into debt and, on 20 April 1770, he was arrested and sent to Debtors' prison. [1]
On January 11, 1771, he was recommended to the King's Bench Prison. [2] Although he was in prison, Charles Burney purchased the "Rules" (allowing him some freedom) in order to help make Smart's final weeks peaceful although pathetic. [3] In his final letter, written to Rev. Mr. Jackson, Smart begged for three shillings in order to purchase food. [4] Soon after, Smart died, May 20, 1771, from either liver failure or pneumonia, after completing his final work, Hymns, for the Amusement of Children. [2]
It is unknown how many poems published in the Hymns were written before Smart was imprisoned or during his final days, but at least one, titled "Against Despair" was produced during this time. A different version of the poem was published after his death in the Gentleman's Magazine. This version included a note claiming, "Extempore by the late C. Smart, in the King's-Bench," which verifies that he was writing hymns throughout this time, or, at least, editing them to create a better version. [5]
Although five editions of the Hymns were published in the 18th century, only one edition was published before Smart died. [6] This edition was published by his brother-in-law, Thomas Carnan, and was announced in the Public Advertiser 27 December 1770. However, this edition did not list Smart as the author. [7] It is possible that there was a sixth edition of the Hymns, but that has since "disappeared"; there is also a possible pirated edition produced by Thomas Walker. Although the work made it as far as Boston, Massachusetts, as shown by an advertisement for selling the work in 1795, no Boston editions have been found, but such editions could exist in addition to the Philadelphia, Pennsylvania edition. [8]
Smart's first children's hymn was "A Morning Hymn, for all the little good boys and girls" in the Lilliputian Magazine in 1751. During this time, there were only two models for him to base his children's hymns on: the works of Isaac Watts and of Charles Wesley. Watts's work attempted to amuse children while Wesley's attempted to simplify morality for them. [9] It is possible that Smart's Hymns were not modelled on Watts's or Wesley's actual hymns or songs, but instead after a note in Watts's work the Divine Songs which says:
A Slight Specimen of Moral Songs, such as I wish some happy and condescending genius would undertake for the use of children, and perform much better... The sense and subjects might be borrow'd plentifully from the Proverbs of Solomon, from all the common appearances of nature, from all the occurrences in the civil life, both in city and country: (which would also afford matter for other Divine Songs.) Here the language and measures should be easy and flowing with chearfulness, and without the solemnities of religion, or the sacred names of God and holy things; that children might find delight and profit together. [10]
The work was dedicated "to his Royal Highness Prince Frederick, Bishop of Osnabrug, these hymns, composed for his amusement, are, with all due Submission and Respect, humbly inscribed to him, as the best of Bishops, by his Royal Highness's Most Obedient and Devoted Servant, Christopher Smart." [11] Although the prince, the second son of King George III, was only seven at the time, Smart was given special permission to dedicate the work to the boy through the intervention with the royal family by either Richard Dalton or the King's Chaplain, William Mason. [12]
In essence, the Hymns for the Amusement of Children is intended to teach children the specific virtues that make up the subject matter of the work. [13] While trying to accomplish this goal, Smart emphasizes the joy of creation and Christ's sacrifice that allowed for future salvation. However, he didn't just try to spread joy, but structured his poems to treat valuable lessons about morality; his subjects begin with the three Theological Virtues (Faith, Hope, and Charity), then the four Cardinal Virtues (Prudence, Justice, Temperance, and Fortitude) and adds Mercy. The next six hymns deal with Christian duties and are followed by ten hymns on the Gospels. The final works introduce the miscellaneous Christian virtues that were necessary to complete Christopher's original self-proclaimed "plan to make good girls and boys." [14]
All but three of the hymns were provided with a corresponding woodblock illustration. The original illustrations either represented the scene of the hymn or a symbolic representation of the hymn. However, later editions of the work sometimes included illustrations that did not match the corresponding hymn, which was the fault of "a general deterioration of standards in book production". [15] With such possibilities, it is hard to justify an exact relationship between any particular hymn and illustration. [16]
There are thirty-nine hymns included in Hymns for the Amusement of Children:
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Besides the hymns that are "expected" in a book of hymns, Arthur Sherbo points out that the collection contains hymns "on learning and on 'good-nature to animals'." [17] In particular, he emphasizes Hymn XXV "Mirth" as "showing anew the love for flowers that is a recurring characteristic of his poetry" as it reads: [17]
To Sherbo, this poem is "a good example of the artless quality" of the whole collection of Hymns. [17]
According to Moira Dearnley, Hymn XXIX "Long-Suffering of God" is "one of the more pathetic poems in Hymns for the Amusement of Children." [18] As a poem, it "restates Smart's certainty that the long-suffering God will eventually bestow his grace upon the barren human soul" [18] as it reads:
This final poem fittingly ends in "manic exultation" and shows "that for Smart, presentiments of the grace and mercy of God were inseparable from madness." [18]
Smart's final poem of the work, XXXIX "The Conclusion of the Matter", demonstrates to Neil Curry that the "joy and optimism of [Smart] are unwavering." [19] Smart "does not look back, he looks forward and the sequence ends on a note of triumph" [19] as it reads:
However, as Curry claims, "in this world Smart himself had won nothing." [19] Instead, Curry believes what Christopher Hunter stated about his uncle: "I trust he is now at peace; it was not his portion here." [19]
Although he wrote his second set of hymns, Hymns for the Amusement of Children, for a younger audience, Smart cares more about emphasizing the need for children to be moral instead of "innocent". [20] These works have been seen as possibly too complicated for "amusement" because they employ ambiguities and complicated theological concepts. [21] In particular, Mark Booth questions "why, in this carefully polished writing.... are the lines sometimes relatively hard to read for their paraphrasable sense?" [22] Arthur Sherbo disagreed with this sentiment strongly and claims the Hymns "are more than mere hack work, tossed off with speed and indifference. They were written when Smart was in prison and despairing of rescue. Into these poems, some of them of a bare simplicity and naiveté that have few equals in literature of merit anywhere..." [17] However, he does admit some of the argument when he claims that "Generosity", along with a handful other hymns, was "not so simple and surely proved too much for the children for whom they were bought." [23]
Not all critics agree that the work is too complex for children, and some, like Marcus Walsh and Karina Williamson, view that the works would have fit the appropriate level for children in the 18th century, especially with the short length of each hymn and a small illustration of the scene proceeding each one. [24] This is not to say that the works are "simple", because many words are complex, but, as Donald Davie explains, there is a "naiveté" in the work that allow them to be understood. [25] In particular, Moira Dearnley claims that the hymns contain a "high-spirited delight in the day-to-day life of children, the joy that characterizes the best the Hymns for the Amusement of Children." [26]
Cædmon is the earliest English poet whose name is known. A Northumbrian cowherd who cared for the animals at the double monastery of Streonæshalch during the abbacy of St. Hilda, he was originally ignorant of "the art of song" but learned to compose one night in the course of a dream, according to the 8th-century historian Bede. He later became a zealous monk and an accomplished and inspirational Christian poet.
Isaac Watts was an English Congregational minister, hymn writer, theologian, and logician. He was a prolific and popular hymn writer and is credited with some 750 hymns. His works include "When I Survey the Wondrous Cross", "Joy to the World", and "Our God, Our Help in Ages Past". He is recognized as the "Godfather of English Hymnody"; many of his hymns remain in use today and have been translated into numerous languages.
George Wither was a prolific English poet, pamphleteer, satirist and writer of hymns. Wither's long life spanned one of the most tumultuous periods in the history of England, during the reigns of Elizabeth I, James I, and Charles I, the Civil War, the Parliamentary period and the Restoration period.
Christopher Smart was an English poet. He was a major contributor to two popular magazines, The Midwife and The Student, and a friend to influential cultural icons like Samuel Johnson and Henry Fielding. Smart, a high church Anglican, was widely known throughout London.
Christopher Vane, 1st Baron Barnard was an English peer. He served in Parliament for Durham after his brother, Thomas, died 4 days after being elected the MP for Durham. Then, again from January 1689 - November 1690 for Boroughbridge. He served in the Commons as a Whig collaborator during the passage of the Bill of Rights which his father, Sir Henry Vane, the Younger had fought for religious and civil liberty before his beheading in 1662. He is known for his disputes with his heirs and for employing Peter Smart, father of the poet Christopher Smart, as a steward.
Rejoice in the Lamb is a cantata for four soloists, SATB choir and organ composed by Benjamin Britten in 1943 and uses text from the poem Jubilate Agno by Christopher Smart (1722–1771). The poem, written while Smart was in an asylum, depicts idiosyncratic praise and worship of God by different things including animals, letters of the alphabet and musical instruments. Britten was introduced to the poem by W. H. Auden whilst visiting the United States, selecting 48 lines of the poem to set to music with the assistance of Edward Sackville-West. The cantata was commissioned by the Reverend Walter Hussey for the celebration of the 50th anniversary of the consecration of St Matthew's Church, Northampton. Critics praised the work for its uniqueness and creative handling of the text. Rejoice in the Lamb has been arranged for chorus, solos and orchestral accompaniment, and for SSAA choir and organ.
Nationality words link to articles with information on the nation's poetry or literature.
Jubilate Agno is a religious poem by Christopher Smart, and was written between 1759 and 1763, during Smart's confinement for insanity in St. Luke's Hospital, Bethnal Green, London. The poem was first published in 1939, under the title Rejoice in the Lamb: A Song from Bedlam, edited by W. F. Stead from Smart's manuscript, which Stead had discovered in a private library.
Hymns and Spiritual Songs for the Fasts and Festivals of the Church of England, by Christopher Smart, was published in 1765, along with a translation of the Psalms of David and a new version of A Song to David. He wrote these poems while he was in a mental asylum and during the time he wrote Jubilate Agno.
The Parables of Our Lord and Saviour Jesus Christ Done into Familiar Verse, with Occasional Applications, for the Use and Improvement of Younger Minds was written by Christopher Smart and published in 1768. The Parables are a collection of parables from the Bible which includes lessons from both the Old and New Testament.
A Song to David, a 1763 poem by Christopher Smart, was, debatably, most likely written during his stay in a mental asylum while he wrote Jubilate Agno. Although it received mixed reviews, it was his most famous work until the discovery of Jubilate Agno.
The Hop-Garden by Christopher Smart was first published in Poems on Several Occasions, 1752. The poem is rooted the Virgilian georgic and Augustan literature; it is one of the first long poems published by Smart. The poem is literally about a hop garden, and, in the Virgilian tradition, attempts to instruct the audience in how to farm hops properly.
In 1752, Henry Fielding started a "paper war", a long-term dispute with constant publication of pamphlets attacking other writers, between the various authors on London's Grub Street. Although it began as a dispute between Fielding and John Hill, other authors, such as Christopher Smart, Bonnell Thornton, William Kenrick, Arthur Murphy and Tobias Smollett, were soon dedicating their works to aid various sides of the conflict.
The Hilliad was Christopher Smart's mock epic poem written as a literary attack upon John Hill on 1 February 1753. The title is a play on Alexander Pope's The Dunciad with a substitution of Hill's name, which represents Smart's debt to Pope for the form and style of The Hilliad as well as a punning reference to the Iliad. In "Book the First" of The Hilliad, Hillario is seduced by a Sibyl to give up his career as an apothecary and instead becomes a writer. However, his fortune quickly descends with Hillario ultimately turning into the "arch-dunce".
The English poet Christopher Smart (1722–1771) was confined to mental asylums from May 1757 until January 1763. Smart was admitted to St Luke's Hospital for Lunatics, Upper Moorfields, London, on 6 May 1757. He was taken there by his father-in-law, John Newbery, although he may have been confined in a private madhouse before then. While in St Luke's he wrote Jubilate Agno and A Song to David, the poems considered to be his greatest works. Although many of his contemporaries agreed that Smart was "mad", accounts of his condition and its ramifications varied, and some felt that he had been committed unfairly.
Hannah is an oratorio in three acts by Christopher Smart with a score composed by John Worgan. It was first performed in Haymarket theater 3 April 1764. It was supposed to have a second performance, but that performance was postponed and eventually cancelled over a lack of singers. A libretto was published for its run and a libretto with full score was published later that year.
Abimelech is an oratorio in three acts written by Christopher Smart and put to music by Samuel Arnold. It was first performed in the Haymarket Theatre in 1768. A heavily revised version of the oratorio ran at Covent Garden in 1772. Abimelech was the second of two oratorio librettos written by Smart, the first being Hannah written in 1764. Just like Hannah, Abimelech ran for only one night, each time. It was to be Smart's last work dedicated to an adult audience.
"The Hymn of Joy" is a poem written by Henry van Dyke in 1907 with the intention of musically setting it to the famous "Ode to Joy" melody of the final movement of Ludwig van Beethoven's final symphony, Symphony No. 9.
Divine Songs Attempted in Easy Language for the Use of Children is a collection of didactic, moral poetry for children by Isaac Watts, first published in 1715. Though Watts's hymns are now better known than these poems, Divine Songs was a ubiquitous children's book for nearly two hundred years, serving as a standard textbook in schools. By the mid-19th century there were more than one thousand editions.
"McAndrew's Hymn" is a poem by English writer Rudyard Kipling (1865–1936). It was begun in 1893, and first published in December 1894 in Scribner's Magazine. It was collected in Kipling's The Seven Seas of 1896. Some editions title the poem "M'Andrew's Hymn".