own religious life. But the feeling has been growing that in hymns, at
any rate, life is more than dogma; and we have now some collections of
hymns that come pretty near being books of poetry. The improvement in
this department of literature within the past twenty-five years has
been marked. There is still, indeed, in many hymnals, and especially
in hymnals for Sunday schools and social meetings, much doggerel; but
large recent contributions of hymns which are true poetry, many of the
best of them from American sources, have made it possible to furnish
our congregations with admirable manuals of praise.

The indebtedness of religion to poetry which is thus expressed in
the hymnology of the church is very large. Probably many of us
are indebted for definite and permanent religious conceptions and
impressions quite as much to felicitous phrases of hymns as to
any words of sermon or catechism. Our most positive convictions of
religious truth are apt to come to us in some line or stanza that
tells the whole story. The rhythm and the rhyme have helped to fix it
and hold it in the memory.

This is true not only of the hymns of the church but of many poems
that are not suitable for singing. English poetry is especially rich
in meditative and devotional elements, and of no period has this
been more true than of the nineteenth century. Cowper, Wordsworth,
Coleridge, the Brownings, Tennyson and Matthew Arnold, on the other
side of the sea, with Bryant, Longfellow, Emerson, Whittier,
Lowell, Holmes, Lanier, Sill and Gilder on this side--these and many
others--have made most precious additions to our store of religious
poetry. The century has been one of great perturbations in religious
thought; the advent of the evolutionary philosophy threatened all the
theological foundations, and there was need of a thorough revision