![]() The melodic form is ABABCDE and is presented in a major tonality utilizing diatonic (contained in the major scale of the home key) notes with the exception of one raised fourth. The tune which accompanies “Dear Christians, One and All, Rejoice” is Nun freut euch which is based on the 15 th century folk song, “ Sie gleicht wohl einem Rosenstock.” Analysis of the tune is more technical in nature and likely not as easily understood by the musically untrained. The references provided for LSB 556 are Ps. Other examples of poetic devices that you may be more familiar with are alliteration, metaphor, paradox, personification, rhetorical question, simile, etc.Ī helpful tool in Lutheran Service Book is the Scripture reference provided for each hymn. LSB 556 Example: “The Son obeyed His Father’s will, Was born of virgin mother And God’s good pleasure to fulfill, He came to be my brother.” (Stanza 6 1 st through 4 th phrase) Tautology-Repeating the same thing in other words LSB 556 Example: “His royal pow’r disguised He bore A servant’s form, like mine, He wore” (Stanza 6 5 th and 6 th phrase) Oxymoron-Combining for special purposes words which seem to be contradictory LSB 556 Example: “Fast bound in Satan’s chains I lay Death brooded darkly o’er me.” (Stanza 2 1 st and 2 nd phrase) “Though He will shed My precious blood, Me of my life bereaving,” (Stanza 8 1 st and 2 nd phrase) ![]() Hypotyposis-A vivid description designed to bring a scene clearly before the eyes LSB 556 Example: “But daily deeper still I fell My life became a living hell, So firmly sin possessed me.” (Stanza 2 5 th through 7 th phrase) Because Luther’s style is very direct and the hymn is not of modern times, I did not find an abundance of devices used however, I will share some that I did observe:Ĭlimax-Ideas and syntax arranged in ascending order of intensity Lovelace provides twenty-eight examples of different poetic devices in his book and admits his list is by no means exhaustive. There are countless types of metaphors, rhetorical devices, figures of speech, and forms of repetition which are to be found in abundance in the hymnal.” To say this is not to disparage or discourage the use of poetic devices, for great hymnody could not exist without them. Poetic devices are sinew and muscle which surround the skeletal meter, but if the rippling muscles and effects are obvious and distracting, the cleverness of the poet kills the spiritual intent of the hymn. In The Anatomy of Hymnody, Austin Lovelace describes: “There is more subtlety and craftsmanship in great hymns than meets the eye (or the ear). Hymn analysis becomes more complex when searching for poetic devices. The rhyme scheme Luther subscribes to is ABABCCD (the last syllable of each ‘A’ phrase rhymes, as do the ‘B’ phrases, etc.). ![]() This unsquare or asymmetrical format is typical of German material in contrast to the usual balance found in English hymnody. The syllabic meter is 87 87 887 (the first phrase has eight syllables, the second has seven, and so forth). ![]() The poetic meter of “Dear Christians, One and All, Rejoice” is iambic because it follows the alternating pattern of an unstressed syllable followed by a stressed syllable. This is the appointed Hymn of the Day for Easter 5 (one-year lectionary) and Easter 6 (three-year lectionary). The basic thought and theological implications of the hymn include justification by faith the saving sacrifice and work of Jesus and freedom in Christ. It appears as the first hymn in the first published collection of Lutheran hymns, Etlich Cristlich lider of 1523/24-known as the “Achtliederbuch” because it contained eight hymns-four of which were written by Luther. In 1523 Martin Luther wrote his first hymn for congregational use, “Dear Christians, One and All, Rejoice” ( LSB 556). ![]()
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