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to sustain a work of consistent excellence. Most successful of Kingo’s early poems are “Karsten Atke’s Farewell to Lion County”, a truly felt and finely expressed greeting to his friends, the Atkes, on their departure from their former home, and “Chrysillis”, a lovesong, written in a popular French style that was then very much admired in Denmark. Both poems contain parts that are surprisingly fine, and they attained an immense popularity. But although Kingo throughout his life continued to write secular poetry that won him the highest praise, that part of his work is now well nigh forgotten. It is truly interesting to compare the faded beauty of his secular poems with the perennial freshness of his hymns.

      It was inevitable that Kingo, with his high ambitions and undoubted ability should desire a larger field of labor. His salary was so small that he had to live in the home of his employer, a circumstance that for various reasons was not always pleasant. Pastor Worm had married thrice and had a large family of children of all ages from a babe in arms to a son at the university. This son, Jacob Worm, was a brilliant but irascible and excessively proud youth only a few years younger than Kingo. From what we know about him in later years, it is likely that Kingo’s contact with him during his vacations at home must have proved exceedingly trying. The bitter enmity that later existed between the two men probably had its inception at this time. In 1666, Kingo, therefore, applied for a waiting appointment to his home church at Slangerup, where the pastor was growing old and, in the course of nature, could be expected ere long to be called to his reward. The application was granted, and when the pastor did die two years later, Kingo at once was installed as his successor.

      Slangerup was only a small city, but it had a new and very beautiful church, which still stands almost unchanged. One may still sit in the same pews and see the same elaborately carved pulpit and altar which graced its lofty chancel during the pastorate of the great hymnwriter. A beautiful chandelier, which he donated and inscribed, still adorns the arched nave. In this splendid sanctuary it must have been inspiring to listen to the known eloquence of its most famous pastor as he preached the gospel or, with his fine musical voice, chanted the liturgy before the altar. The church was always well attended when Kingo conducted the service. People soon recognized his exceptional ability and showed their appreciation of his devoted ministry. The position of a pastor was then much more prominent than it is now. He was the official head of numerous enterprises, both spiritual and civic, and the social equal of the best people in the community. With many people the custom of calling him “Father” was then by no means an empty phrase. Parishioners sought their pastor and accepted his counsel in numerous affairs that are now considered to be outside of his domain. In view of Kingo’s humble antecedents, a position of such prominence might well have proved difficult to maintain among a people that knew his former station. But of such difficulties the record of his pastorate gives no indication. He was, it appears, one exception to the rule that a prophet is not respected in his own country.

      When he moved to Slangerup, Kingo was still unmarried. But about two years later he married the widow of his former superior, Pastor Worm, becoming at once the head of a large family consisting of the children of his wife and those of her first husband by his previous marriage. It was a serious responsibility to assume, both morally and financially. The parish was quite large, but his income was considerably reduced by the payment of a pension to the widow of the former pastor and the salary to an assistant. With such a drain on his income and with a large family to support, Kingo’s economic circumstances must have been strained. But he was happy with his wife and proved himself a kind and conscientious stepfather to her children who, even after their maturity, maintained a close relationship with him.

      Kingo’s happiness proved, however, to be but a brief interlude to a period of intense sorrows and disappointments. His wife died less than a year after their marriage; his father, whom he loved and revered, passed away the same year; and the conduct of his stepson, the formerly mentioned Jacob Worm, caused him bitter trouble and humiliation. The bright prospect of this brilliant but erratic youth had quickly faded. After a number of failures, he had been forced to accept a position as rector of the small and insignificant Latin school at Slangerup, thus coming under the immediate authority of Kingo, who, as pastor, supervised the educational institutions of the parish. Worm always seems to have thought of Kingo as a former assistant to his father, and his position as an inferior to a former inferior in his own home, therefore, bitterly wounded his pride. Seeking an outlet for his bitterness, he wrote a number of extremely abusive poems about his stepfather and circulated them among the people of the parish. This unwarranted abuse aroused the anger of Kingo and provoked him to answer in kind. The ensuing battle of vituperation and name-calling brought no honor to either side. Worm’s conduct toward his superior, the man who was unselfishly caring for his minor sisters and brothers, deserves nothing but condemnation; but it is painful, nevertheless, to behold the great hymnwriter himself employing the abusive language of his worthless opponent. The times were violent, however, and Kingo possessed his share of their temper. Kingo’s last act in this drama between himself and his stepson throws a somewhat softening light upon his conduct. Embittered by persistent failures, Worm continued to pour out his bitterness not only upon his stepfather, but upon other and much higher placed persons until at last he was caught and sentenced to die on the gallows for “having written and circulated grossly defamatory poems about the royal family”. In this extremity, he appealed to Kingo, who successfully exerted his then great influence to have the sentence commuted to banishment for life to the Danish colony in India.

       Chapter Four

      Kingo, the Hymnwriter

      Kingo’s first hymns appeared shortly before Christmas, 1673, in a small volume entitled Spiritual Song-Choir, Part I. The book contained fifteen morning and evening hymns and seven paraphrases of the psalms. Later editions were enlarged by seven “Morning and Evening Sighs” short hymns that belong to the very best in the collection.

      In a foreword addressed to the king, Kingo states that “he has written these hymns with the hope that they might serve to edify his fellow Christians, advance the teaching of the Gospel and benefit the royal household at those daily devotions which it is the duty of every Christian home to practice”. He prays, therefore, he continues, that “the king will graciously bestow the same approval upon this work that he has so kindly given to his previous efforts, and thereby encourage him to continue his endeavor until the Danes shall possess a hymnody that they have neither begged nor borrowed from other nations. For the Danish spirit,” he concludes, “is assuredly neither so weak nor so poor that it cannot fly as high toward heaven as that of other peoples without being borne upon strange and foreign wings”.

      Commenting on the content of the book, Kingo further explains that he expects sensitive readers will discover imperfections in his work which he himself has failed to see, and that it would please him to have such blemishes called to his attention so that they might be corrected in future issues. His choice of tunes will, he fears, provoke criticism. He has set a number of hymns to the melodies of popular songs in order that “those, who for the sake of its tune, now gladly listen to a song of Sodom may, if they be Christians, with the more pleasure use it with a hymn about Zion. By examining the work of other hymnwriters possible critics might assure themselves, however, that he had in this matter only followed their example.” But Kingo need not have apologized for his choice of tunes, for they were on the whole fine and were received without objection.

      It would be difficult to overstate the enthusiasm with which Kingo’s hymns were received. Within a few years they were printed in numerous editions and translated into several foreign languages. Their enthusiastic reception was well deserved. Viewed against the background of literary mediocrity that characterized the period, Kingo’s hymns stand out with amazing perfection. Danish hymnody contained nothing that could compare with them, and other countries, as far as morning and evening hymns were concerned, were in the same position. Paul Gerhardt’s fine hymn, “Now Rests Beneath Night’s Shadow”, which was written twenty years earlier, had been ridiculed into disuse; Ken’s famous morning hymn dates from twenty years later; and none of these are as fine as the best of Kingo’s.

      As might be expected, the hymns are not all of the same merit. Some of them are exceedingly fine; others show the defects of an imperfectly developed language and a deficient literary taste. In the matter of style and form the author had almost nothing

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