Thomas Kingo Society

Comment by Craig Johansen on June 24, 2008 at 2:15pm

Kingo, Thomas H., 1634-1703

Thomas Hansen Kingo, born in Slangerup, Denmark, December 15, 1634, was the son of a linen weaver, Hans Thomesøn Kingo. His father came, at an early age, to Denmark from Scotland. Thomas Kingo spent his boyhood years in Slangerup and in Fredriksborg, where he attended the Latin school. In 1654 he passed the examen artium and, after four years’ study at the university, completed his course for the ministry in 1658. After serving for some time as private tutor, he became assistant pastor with Peder Jakobssøn Worm, and remained with him seven years. Worm died in 1668, and in the same year, in August, Kingo became pastor in his native city of Slangerup. By this time he had become known as a poet. In 1665 appeared his Sæbygaards Koklage and subsequently, among others, the famous pastoral poem - Chrysillis, which became very popular. His rank as a poet was thus established even before he appeared as a hymn writer. Therefore, Bishop Wandal, in his preface to Kingo’s first hymn book, called him “our most famous Danish bard.” At Christmas, 1673, his collection of spiritual songs, Aandelig Sjungekors første Part (Spiritual Songs, First Part) appeared. This contained only twenty-one hymns: fourteen morning and evening hymns, and seven of the penitential Psalms of David. While his other poetry followed the style of his times and has but little of present-day interest, his hymns have exceptional vigor and beauty. His morning psalms are like the morning dawn itself, presaging the coming of a new day for Danish poetry. In 1670 he was appointed bishop of the diocese of Fyen, which at that time included also Lolland and Falster. He performed the duties of his office faithfully and did not spare those who were neglectful of their work, while at the same time he proved a friend and helper to all who were conscientious in the performance of their duties. On the 15th of June, 1679, Kingo was made a member of the Danish nobility, and in 1682 he was created doctor of theology.

In 1681 appeared the second part of Aandelig Sjungekor. This contained twenty hymns and sixteen prayers. Of the hymns six deal with confession and sanctification; four with the Lord’s Supper; five with the vanity of the world and the providence of God; three are table hymns; a devotional for travelers; and a hymn for sea-farers. In poetic beauty and force this edition was fully equal to the first part. Kingo now ranked as the first poet of Denmark. He supplied melodies for his hymns, and some hymns were composed directly to secular melodies (folksongs). To justify this latter practice he directs an appeal to “the courteous and fairminded reader,” in which he calls attention to the fact that he thereby desires to make these tuneful and pleasant melodies more heavenly and more devotional: “If you through some pleasing melody enjoy a song of Sodom, how much more ought you not, as a true child of God, to enjoy a song of Zion with the same melody.” King Christian V, under whose directions the ritual of the church was being prepared, desired also to have a new hymn book to take the place of Hans Thomissøn’s, which had been in use since 1569. This hymnal (Thomissøn’s) had been reprinted many times with but few changes up to the middle of the 17th century. From that time, however, it was to a large extent supplanted by various editions, especially by the publications of the firms of J. Moltke, Kr. Cassuben, Kr. Geertsøn, and Dan. Paulli, publishers of Copenhagen. The many editions which appeared contained the hymns of Thomissøn’s Hymnal, but included also a great amount of material borrowed from various devotional writings and poor translations. In many cases the original hymn book made up the smaller part of the editions. Complaints began to be made that almost every congregation, “nay, almost every church-goer carried a different hymn book.” Furthermore, so many misprints and errors appeared that the old, familiar hymns could scarcely be recognized. Hence, when Kingo’s Spiritual Songs appeared, it was only natural that the desire for better hymnaries made itself felt. It was also natural that King Christian V, in casting about for a better hymn collection, turned his thought toward Kingo’s edition. By the royal rescript of March 27, 1683, Kingo was ordered to prepare a new hymn book to contain “the best of the old, familiar hymns and a good number of his own compositions, so that more variety of selection might be possible in the future.” Kingo was further ordered to retain without change the principal hymns sung before the sermon on Sundays. A change in these would not be tolerated except in cases where a new word here or there might actually improve the hymn. Under no circumstance should there be any change in the thought of any of Luther’s hymns. With respect to the arrangement of material, each Sunday was to have its own series of hymns, “not too long, and according to the best and most familiar church melodies.” When this new book had been approved and accepted, Kingo should publish it and possess the sole right of sale, at a popular price, for fifteen years. Churches and schools were to be required to buy it, and the use of any other hymnal was to be strictly forbidden.

Six years later, in 1689, the first part appeared. This was called The Winter Part (from Advent to Easter) and contained 267 hymns. Of these, 136 were by Kingo. It was approved January 25, 1690, and ordered to be introduced in all the churches of the kingdom. The order should take effect upon the first Sunday in Advent of that year. But on the 22nd of February the king cancelled this order and also Kingo’s rights of publication. This was a hard blow to him, but not wholly undeserved, as he had not followed the prescribed method of procedure. The greater number of the hymns, except those by Kingo himself, were not well suited for church use. The task was now given to Søren Jonassøn, dean of Roskilde, but the collection which he delivered in 1693 did not contain a single one of Kingo’s hymns, and for that reason could not be approved. Kingo then sent a petition to the king, and the result was that a commission was appointed to prepare a new hymnal based upon the outline of Kingo’s hymn book. The developments, however, proved disappointing to Kingo. In the new hymnal only 85 of his hymns appeared and in the book of family devotions, prepared at the same time, only 21 hymns from the first part of Spiritual Songs were made use of, and 3 from the second part. On July 21, 1699, the hymn book popularly known as Kingo’s was introduced in all the churches of Denmark. But the adversity which he encountered in connection with the hymnary was not the only incident which cast a gloom over his later years. His successor in office, Bishop Müller, accused Kingo of misappropriation of funds, but after a long and bitter court trial, Kingo was exonerated. The charge of avariciousness, which by some has been placed against him, has never been substantiated. He was recognized as an able and energetic bishop, and his secular poems were praised very highly. But his fame rests mainly on his immortal hymns. A Danish author says of him: “He showed rare genius in moulding language into beautiful rhythm, in unfolding deeply religious thought in clear and striking pictures. New and melodious expressions are born through him. The force of his Alexandrine stanzas, which otherwise might have developed into bombast and empty pathos, has in his hymns been combined with the most elegant grace.” As Grundtvig, the famous hymn writer, once expressed it, “He effected a combination of sublimity and simplicity, a union of splendor and fervent devotion, a powerful and musical play of words and imagery which reminds one of Shakespeare.” But the chief characteristic of his work is to be sought in the manner in which he brought out the true hymn spirit and gave it a deeply religious expression. For this reason he has been called, “Salmisten i det danske kirkekor” (The Psalmist of the Danish Church Choir). Personally he was of a very excitable and even impassionate temperament, and thus would have been able to picture varying moods of stress and trial in the deeply religious soul, but in his hymns he does not often dwell on the subjective moods. His hymns are always tempered by experience, experience supported by and interwoven with the everlasting thoughts and facts of a living Christianity. For that reason his hymns are truly church hymns. Of course, rationalism did not appreciate his Christianity nor his hymns, but when this movement receded, in the 19th century, Kingo again was restored to his place of honor. Bishop Skaar says: “Among the finest hymns in Spiritual Songs must be mentioned the morning and evening hymns with their accompanying prayers, and the table and communion hymns. His hymns based upon the Gospel and epistle lessons, especially, express in striking phrases the thoughts that stir the hearts of Lutheran believers as they behold the life of the Savior upon earth; His lowly birth, suffering, death, resurrection, and ascension. These hymns, which generally end with an appeal to lift the heart unto God in prayer and thanksgiving, have always been cherished by those who have learned to know them.” [Dahle, Library of Christian Hymns]

KINGO, Thomas Hansen (1634-1703), Denmark’s first great hymnist, was born in Slangerup, Denmark, December 15, 1634. His grandfather had emigrated from Scotland to Denmark. Thomas spent his boyhood in Slangerup and Fredriksborg, where he attended the Latin school. He completed his course for the ministry in 1658, and from then until 1668 he served as tutor and assistant pastor, when he became pastor in Slangerup. He possessed unusual poetic gifts and early attracted attention with his secular poetry, especially his popular “Chrysillis.” 1673 marked the first appearance of his religious poetry Spiritual Songs, First Part (Aandelig Sjungekors förste Part), which made a great impression, and he was duly rewarded with the bishopric of the diocese of Fyen. He dedicated his Spiritual Songs to Christian V, and in his dedication address he championed the cause of true Danish hymnody over that of foreign peoples, for the Danes used many hymns of foreign origin in their worship. His hymns have exceptional vigor and beauty, and his value as a poet was gradually being realized. As further reward he was made a member of the Danish nobility in 1679 and created doctor of theology in 1682. The second part of his Aandelig Sjungekors appeared in 1681 and was dedicated to Queen Charlotte. In his dedication address he praised her heroic efforts to master the Danish language before coming to Denmark to be its queen, at the same time referring to certain foreign courtiers who spent thirty years in that country without endeavoring to learn thirty Danish words. Many of his hymns were sung to Danish folk songs, while he supplied melodies for some of them. At this time King Christian V desired to have a new hymnal to replace the one which had been in use since the year 1569. On March 27, 1683, Kingo was ordered to prepare this book, with certain specifications: He should include some of his own hymns, was to make very few changes in the old traditional hymns; and not to alter the meaning of Luther’s hymns in any way. In 1689 the first part of the hymn-book appeared, containing 267 hymns, of which 136 were Kingo’s own. It had been prepared at Kingo’s expense, but was now rejected because he had not followed the prescribed method of procedure. The task was turned over to Sören Jonassön, dean of Roskilde, and his book appeared in 1693, containing not a single one of Kingo’s hymns. This was consequently disapproved, and a commission was appointed under Kingo’s direction to try again. The new hymn-book was approved and introduced into all the churches of Denmark in 1699. Only eighty-five of Kingo’s hymns were contained in the book. However, he never recovered from the indignity and humiliation he had received in connection with these various controversies. He died October 14, 1703. His immortal fame rests on his religious rather than on his secular poetry. His morning hymns are among the finest songs of praise in existence and are truly church-hymns. Of his works Bishop Skaar says: “Among the finest hymns in Spiritual Songs must be mentioned the morning and evening hymns with their accompanying prayers and the table and Communion hymns. His hymns based upon the Gospel and Epistle lessons, especially, express in striking phrases the thoughts that stir the hearts of Lutheran believers as they behold the life of the Savior upon earth: His lowly birth, suffering, death, resurrection, and ascension. These hymns, which generally end with an appeal to lift the heart unto God in prayer and thanksgiving, have always been cherished by those who have learned to know them.” [Handbook to the Lutheran Hymnal]

Comment by Matthaeus Glyptes on June 24, 2008 at 10:57pm

It is interesting that Kierkegaard apparently thought little of singing Kingo's hymns: "For a good hymn, I insist on altogether simple and to a certain extent insignificant words (in this respect htere are many in the evangelical hymnbook which are outright excellent, quite as they should be, and which it would be impossible for the impetuous Grundtvig to write) and then one of those fervent melodies. I know Kingo's hymns by heart, but they are not all suitable for singing, the whole expression is too strong, the lyrics far too pretentious. Such hymns are read at home for one's own upbuilding."

http://books.google.com/books?id=pLQP3Uu9SosC&pg=PA218&lpg=PA218&dq=kingo's+hymns&source=web&ots=v4Jz51BPsv&sig=Ud4gmA5q6gxqUHe-7Ey_HYwXLTw&hl=en&sa=X&oi=book_result&resnum=2&ct=result

Comment by Matthaeus Glyptes on September 22, 2008 at 9:01am

BTW last time I was in Denmark, I visited Slangerup. A friend I made while in the States actually grew up in Hillerød. I'm sorry that I did not know of Kingo's relationship to the area at the time. There is indeed a very nice little church there. The Slangerup coat of arms has an interesting snake (slange) device as well.

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