Jane Laurie Borthwick (9 April 1813, Edinburgh, Scotland; 7 September 1897, Edinburgh, Scotland) was hymn writer, translator of German hymns and a noble supporter of home and foreign missions. [1] [2] [3] She worked closely with her sister, Sarah Laurie Findlater. [4] She published under the pseudonym: H. L. L. (Hymns from the Land of Luther). [2] [5] Jane Laurie Borthwick is best known for the Hymns from the Land of Luther; her most famous translation today is Be still, my soul and her most known original text is Come, labor on. [2] Like Catherine Winkworth and Frances Elizabeth Cox, [6] [7] she greatly contributed to English-language hymnody by mediating German hymnody.
Jane Laurie Borthwick was born 9 April 1813 in Edinburgh (Scotland) as a daughter of James Borthwick, insurance manager of the North British Insurance Office. [2] [8] [9] Jane had at least one sister, Sarah (* 26 November 1823, † 25 December 1907, Torquay, England), who married Rev. Eric Findlater, minister of the Free Church of Scotland (1843-1900). [10] [2] [11] The Borthwicks were members of Free Church of Scotland, which separated from the Church of Scotland in 1843. [12] [13]
It was while Jane Borthwick was residing for a time in Switzerland that her attention was drawn by Baron de Diesbach to the study of German hymns. [14] After returning to Scotland, her father suggested that she might translate for him some of the hymns of which she spoke in such high praise, that set her and her sister to translate German hymns. [14]
Jane, who never married, published her earliest translations and numerous poems under the signature "H.L.L." in the Family Treasury, a religious periodical; the Hymns from the Land of Luther supplied these initials. [15] [14] She used this pseudonym as she preferred to preserve her anonymity. [16] A number of the translations and original poems in the Family Treasury were collected and published in the 1857 as Thoughtful Hours. [2] [17] In 1867 an enlarged edition of the Thoughtful Hours appeared. [2]
Together with her sister Sarah, Jane worked several years on translating German hymns and eventually brought out the Hymns From the Land of Luther. The total number of translated hymns was 122: 69 by Jane and the other 53 by Sarah. [2] It was first published in 1853 and republished later several times. [18] [19] The Hymns from the Land of Luther was attributed to H.L.L., a pseudonym. [2] She was apparently quite unhappy when her real identity was revealed by the hymn compiler Charles Rogers in Lyra Britannica, a Collection of British Hymns (1867). [14] Jane and Laurie translated hymns of various German poets like Paul Gerhardt (1607–1676), Ernst Lange (1650–1727), Joachim Neander (1650–1680), Laurentius Laurenti (1660–1722), Benjamin Schmolck (1672–1737), Gerhard Tersteegen (1697–1769), Nicolaus Zinzendorf (1700–1760), Ehrenfried Liebich (1713–1780) and Karl Johann Philipp Spitta (1801–1859). As such they confined themselves mostly to 17th- and 18th-century German pietistic poets. [20] In 1875, while living in Switzerland, Jane Laurie Borthwick produced another book of translations, the Alpine Lyrics. [21] In this book she translated German poems of Meta Heusser-Schweizer. [22] [2] The Alpine Lyrics were incorporated in the 1884 edition of the Hymns from the Land of Luther. [2]
Jane Laurie Borthwick was a generous woman. Jane supported a homeless shelter, the Edinburgh House of Refuge. [23] She also supported foreign missions efforts of the Free Church of Scotland, the Church Missionary Society in Singapore, and the Moravian Church (Mission in Labrador). [24] [14] About her missionary activities she wrote Missionary Evenings at Home (1866), Missionary Enterprise in Many Lands; a Book for the Family (1872) and Lives of Great Missionaries (1883). Besides these books on her missionary activities she also wrote books with religious instruction for children: The story of four centuries, sketches of early Church history for youthful readers (1864), Lessons on the Life of Christ for the Little Ones at Home (1871) and Light by the way: a daily Scripture text-book for little children (1879). She died on 7 September 1897 in Edinburgh (Scotland). [25]
By their efforts Jane and Sarah contributed greatly to English-language hymnody in the 19th century by mediating German hymnody to Britain like their contemporaries Catherine Winkworth and Frances Cox. [26] [27] [2] The translations in the Hymns from the Land of Luther, which represent relatively a larger proportion of hymns for the Christian life, and a smaller for the Christian year than one finds in Catherine Winkworth, have attained a success as translations and their acceptance in hymnals was only second to Catherine Winkworth's. [2] Since the mid-1850s hardly a hymnal in England or America has appeared without containing some of these translations. [2] However, sometimes stanzas were omitted and texts were altered. [28] In more recent years, the hymns seem to be declining in popularity in Britain, as they do appear in the most recent hymnals with the exception of the translations of those by Schlegel (Be Still, my soul!), Zinzendorf and Spitta (How blessed, from the bonds of sin). [28]
Hymns
Translations
Hymnbooks
Other books and contributions to books and periodicals
A hymn is a type of song, and partially synonymous with devotional song, specifically written for the purpose of adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The word hymn derives from Greek ὕμνος (hymnos), which means "a song of praise". A writer of hymns is known as a hymnist. The singing or composition of hymns is called hymnody. Collections of hymns are known as hymnals or hymn books. Hymns may or may not include instrumental accompaniment. Polyhymnia is the Greco/Roman goddess of hymns.
The Finlandia hymn refers to a serene hymn-like section of the patriotic symphonic poem Finlandia, written in 1899 and 1900 by the Finnish composer Jean Sibelius. It was later re-worked by the composer into a stand-alone piece. With words written in 1940 by Veikko Antero Koskenniemi, it is one of the most important national songs of Finland. Although not the official national anthem of Finland, it has been continuously proposed as such.
A hymnal or hymnary is a collection of hymns, usually in the form of a book, called a hymnbook. They are used in congregational singing. A hymnal may contain only hymn texts ; written melodies are extra, and more recently harmony parts have also been provided.
Catherine Winkworth was an English hymnwriter and educator. She translated the German chorale tradition of church hymns for English speakers, for which she is recognized in the calendar of the Evangelical Lutheran Church in America. She also worked for wider educational opportunities for girls, and translated biographies of two founders of religious sisterhoods. When 16, Winkworth appears to have coined a once well-known political pun, peccavi, "I have Sindh", relating to the British occupation of Sindh in colonial India.
Hymns Ancient and Modern is a hymnal in common use within the Church of England, a result of the efforts of the Oxford Movement. The hymnal was first published in 1861. The organization publishing it has now been formed into a charitable trust, Hymns Ancient and Modern Ltd, and As of 2022 it publishes a wide range of hymnals as well as other theological and religious books and magazines, under imprints including the acquired publishers Canterbury Press and SCM Press.
Charlotte Elliott was an English evangelical Anglican poet, hymn writer, and editor. She is best known by two hymns, "Just As I Am" and "Thy will be done".
A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part harmony, a fast harmonic rhythm, with or without refrain or chorus.
"Wachet auf, ruft uns die Stimme" is a Lutheran hymn written in German by Philipp Nicolai, first published in 1599 together with "Wie schön leuchtet der Morgenstern". It appears in German hymnals and in several English hymnals in translations such as "Wake, Awake, for Night Is Flying", "Wake, O wake! with tidings thrilling", and "Up! Awake! From Highest Steeple". Johann Sebastian Bach based a chorale cantata on the hymn, Wachet auf, ruft uns die Stimme, BWV 140, one of its many musical settings.
"Praise to the Lord, the Almighty" is a Christian hymn based on Joachim Neander's German-language hymn "Lobe den Herren, den mächtigen König der Ehren", published in 1680. John Julian in his A Dictionary of Hymnology calls the German original "a magnificent hymn of praise to God, perhaps the finest creation of its author, and of the first rank in its class."
"Es ist das Heil uns kommen her" is a Lutheran hymn in 14 stanzas by Paul Speratus. It was first published as one of eight songs in 1524 in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Speratus, and one by Justus Jonas. The same year it appeared in Erfurt in Eyn Enchiridion. Its hymn tune, Zahn No. 4430, was already known in the 15th century.
"Aus tiefer Not schrei ich zu dir", originally "Aus tieffer not schrey ich zu dir", later also "Aus tiefer Noth schrei' ich zu dir", is a Lutheran hymn of 1524, with words written by Martin Luther as a paraphrase of Psalm 130. It was first published in 1524 as one of eight songs in the first Lutheran hymnal, the Achtliederbuch, which contained four songs by Luther, three by Paul Speratus, and one by Justus Jonas, and also appeared the same year in the Erfurt Enchiridion. It is part of many hymnals, also in translations. The text inspired vocal and organ music from the Renaissance to contemporary, including composers such as Johann Sebastian Bach, who based a chorale cantata on it, Felix Mendelssohn and Max Reger.
Howell Elvet Lewis, widely known by his bardic name Elfed, was a Welsh Congregational minister, hymn-writer, and devotional poet, who served as Archdruid of the National Eisteddfod of Wales from 1924 to 1928.
Paul Speratus was a Swabian Catholic priest who became a Protestant preacher, reformer and hymn-writer. In 1523, he helped Martin Luther to create the First Lutheran hymnal, published in 1524 and called Achtliederbuch.
Bartholomäus Ringwaldt was a German didactic poet and Lutheran pastor. He is most recognized as a hymnwriter.
Edward Wilton Eddis was a poet and prophet in the Catholic Apostolic Church at Westminster, London and co-author of the Hymns for the Use of the Churches, the hymnal of the Catholic Apostolic Church.
Rev. John Brownlie D.D. was a Scottish hymnodist best known for his translations of early Greek and Latin hymns into English. He was born in Glasgow, Scotland. He received his higher education at the University of Glasgow and the Free Church College. He was licensed by the Presbytery of Glasgow in 1884. In 1885 became assistant minister of Trinity Free Church in Portpatrick, Wigtonshire, Scotland and succeeded the senior pastor there upon his death in 1890. He became a governor of Stranraer High School in 1897, and chairman of the governors in 1901. Glasgow University awarded him an honorary D.D. degree in 1908 for his work in hymnology. He died in Crieff, Perthshire, Scotland and was buried in Portpatrick.
"Christ the Lord Is Risen Again!" is a German Christian hymn published by Michael Weiße in 1531 based on an earlier German hymn of a very similar name. It was translated into English in 1858 by Catherine Winkworth.
"Die güldne Sonne voll Freud und Wonne" is a Lutheran hymn by Paul Gerhardt. It is a morning hymn which was first published in 1666, with a four-part setting by Johann Georg Ebeling. Gerhardt created an unusual hymn metre for its 12 stanzas.
"Our Father, Thou in Heaven Above" is a Lutheran Christian hymn based on The Lord's Prayer originally written in German in 1539 by Martin Luther and translated in 1863 into English by Catherine Winkworth.
Church music during the Reformation developed during the Protestant Reformation in two schools of thought, the regulative and normative principles of worship, based on reformers John Calvin and Martin Luther. They derived their concepts in response to the Catholic church music, which they found distracting and too ornate. Both principles also pursued use of the native tongue, either alongside or in place of liturgical Latin.