arrangement of the hymns follows in the main the order of the Lutheran catechism, covering not only every division but almost every subdivision of the
book. Brorson, it appears, must have written his hymns after a preconceived plan, a rather unusual method for a hymnwriter to follow.
The Rare Clenod of Faith fails as a whole to maintain the high standard of the Christmas hymns. Although the language, as in all that Brorson wrote, is pure and melodious, the poetic flight and fresh sentiment of his earlier work is lacking to some extent in the latter part of the collection. One reason for this is thought to be that Brorson, on locating at Tønder, had come into closer contact with the more extreme views of Pietism. The imprint of that movement, at least, is more
distinct upon his later than upon his earlier work. The great preponderance of his translated over his original hymns also affects the spirit of the collection. He was not always fortunate in the selection of the original material for his translations.
Some of these express the excessive Pietistic contemplation of the Savior’s blood and wounds; others are rhymed sermons rather than songs of praise.
Despite these defects, The Rare Clenod of Faith, still ranks with the great books of hymnody. It contains a wealth of hymns that will never die. Even the
less successful of its compositions present a true Evangelical message, a message that, at times, sounds a stern call to awake and “shake off that sinful sleep before to you is closed the open door” and, at others, pleads softly for a closer walk with God, a deeper understanding of His ways and a firmer trust in
His grace. There are many strings on Brorson’s harp, but they all sound a note of vital faith.
Judging Brorson’s original hymns to be far superior to his translations, some have deplored that he should have spent so much of his time in transferring the
work of others. And it is, no doubt, true that his original hymns are as a whole superior to his translations. But many of these are so fine that their elimination would now appear like an irreplaceable loss to Danish hymnody. The constant love with which many of them have been used for more than two hundred years
should silence the claim that a translated hymn must of necessity be less valuable than an original. A considerable number of the originals of Brorson’s most favored translations have long been forgotten.
As a translator Brorson is usually quite faithful to the originals, following them as closely as the differences in language and mode of expression permit. He is not slavishly bound, however, to his text. His constant aim is to reproduce his text in a pure and idiomatic Danish. And as his own poetic skill in most cases was superior to that of the original writer, his translations are often greatly superior to their originals in poetical merit.
Although the translation of a translation of necessity presents a very unreliable yard-stick of a man’s work, the following translation of Brorson’s version of the well-known German hymn, “Ich Will Dich Lieben, Meine Starke” may at least
indicate the nature of his work as a translator.
Thee will I love, my strength, my Treasure;
My heart in Thee finds peace and joy.
Thee will I love in fullest measure,
And in Thy cause my life employ.
Thee will I love and serve alone.
Lord, take me as Thine own.
Thee will I love, my Life Eternal,
My Guide and Shepherd on Life’s way.
Thou leadest me to pastures vernal,
And to the light of endless day.
Thee will I love, Whose blood was spilt
To cleanse my soul from guilt.
Long, long wert Thou to me a stranger,
Though Thou didst love me first of all,
I strayed afar in sin and danger
And heeded not Thy loving call
Until I found that peace of heart
Thou canst alone impart.
Lord, cast not out Thy child, returning
A wanderer, naked and forlorn.
The tempting world, I sought with yearning,
Had naught to give but grief and scorn.
In Thee alone for all its grief
My heart now finds relief.
Thee will I love and worship ever,
My Lord, my God and Brother dear!
