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In "Christian Hymns of the First Three Centuries" by Ruth Ellis Messenger, readers are presented with a comprehensive collection of early Christian hymns dating back to the first three centuries of Christianity. Messenger meticulously examines the lyrical content and musical structure of these hymns, shedding light on the rich literary tradition of early Christian worship. This book provides a valuable resource for scholars and enthusiasts of early Christian literature, offering a unique insight into the religious fervor and spiritual expression of the early church. Messenger's scholarly approach delves into the historical and cultural context of each hymn, providing a deeper understanding of the theological themes and poetic devices employed by the earliest Christian poets. Her meticulous research and thorough analysis make this book an essential addition to any library of early Christian texts. Ruth Ellis Messenger, with her background in ancient languages and religious studies, brings a wealth of expertise to this study of early Christian hymnody. Her passion for the subject is evident in the thoroughness of her research and the clarity of her analysis. Readers who are interested in the origins of Christian liturgy and the development of Christian worship practices will find "Christian Hymns of the First Three Centuries" to be a valuable and enlightening read.
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Book Excerpt: ea, who "speak with tongues and magnify God" (Acts 10:45-46), or the Ephesians who "spake with tongues, and prophesied" (Acts 19:6), or perhaps the disciples on the Day of Pentecost (Acts 2:4). Irenaeus, a second century father of the Church and bishop of Lyons, referring to the scene at Pentecost, mentions the singing of a hymn on that occasion.[17] The nature of improvisations is fugitive. They arise from individual inspiration and, even if expressed in familiar phrases, are not remembered or recorded by the singer or hearer. To whatever degree improvisation played a part in early Christian hymnody, to that same degree we lack corresponding literary survivals. Possibly this is one explanation of the dearth of sources which we now deplore. On the whole, the hymnic evidence found in the New Testament points to a predominant Hebrew influence. Both in the use of psalms and other Old Testament hymns and in the phraseology of new hymns, the Christians found themselves more at hom Read More
Excerpt from Popular Hymns: Their Authors and Teaching Few things reveal the richness of our Christian inheritance and help us to realise the Communion of Saints more than the study of our Church hymns. They take us back into bygone centuries, introduce us to the saints and martyrs of our common faith, supply us with holy thoughts and burning words, and dispose us to join in the ministry of song. The Book of Psalms was the hymn book of our Blessed Lord and His Apostles. The Song of the Blessed Virgin, the Song of Zacharias, and the Song of Simeon, were the earliest New Testament hymns. The angels song, Glory to God in the highest, was the first Christian hymn sung after the birth of Christ; and there is evidence that the early Christians sang it daily, and gradually enlarged it for general use, that, with the angels, they might praise their God and Saviour. Pliny the younger, a heathen writer of the first century, says, Christians meet at anearly hour, before dawn, for worship, and sing a hymn of praise to Christ as God. In the Christian Church some of the Psalms soon became great favourites, especially the Hundredth, which alone bears the title, A Psalm of Praise, or Thanksgiving, it being all aglow with gratitude and adoration, for the creative power and goodness of our Lord. For, as The Speaker's Commentary says, This Psalm contains a promise of Christianity, as winter at its close contains a promise of Spring. The trees are ready to bud, the flowers are just hidden by the light soil, the clouds are heavy with rain, the sun shines in his strength; only a genial wind from the south is wanted to give a new life to all things. When that new life came through Christ Jesus, this Psalm was felt to express the Church's gratitude, and, in the Metrical Version so well known to us, it became the regular Hymn of Thanksgiving in all branches of the Reformed Church of Christ. It is one of the few Psalms to which Shakespeare refers in his plays. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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"From the first days of the church, Christians confessed their faith in Jesus Christ in both theological discussion and in popular hymns of devotion. After the major church councils from Nicaea to Chalcedon brought clarification and definition to Christological doctrines, the hymns began to express clearly this belief in Jesus as truly God and truly human." "Father Liderbach shows that pre-Nicaean hymns inductively held in tension both the full humanity of Jesus and his more-than-human status. Then during the councils from Nicaea to Chalcedon, deductive doctrine held sway in the new hymn compositions. But the final definition by Chalcedon encouraged new hymns in which humanity and divinity are once again held in experiential tension according to the "rule of faith" of the earliest period."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved