As a result, the entire city suffered from famine and disease.
In a great pestilence swept through the area, resulting in the death of some eight thousand persons, including Rinkart's wife. At that time he was the only minister in Eilenberg because the others had either died or fled. Rinkart alone conducted the burial services for people, sometimes as many as 40 or 50 a day!
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During the closing years of the war, Eilenberg was overrun or besieged three times, once by the Austrian army and twice by the Swedes. On one occasion, the Swedish general demanded that the townspeople make a payment of 30, thalers. Martin Rinkart served as intermediary, pleading that the impoverished city could not meet such a levy; however, his request was disregarded.
Turning to his companions the pastor said, 'Come my children, we can find no mercy with man; let us take refuge with God.
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We may well ask why all this dramatic experience and difficulty is not reflected in Rinkart's hymn. Had the good pastor seen so much stark tragedy that he had become insensitive to human needs and problems?
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Of course not. He simply had come to believe that God's providence is always good, no matter how much we are tempted to doubt it. Now thank we all our God With heart and hands and voices, Who wondrous things hath done, In whom His world rejoices; Who, from our mother's arms, Hath blessed us on our way With countless gifts of love, And still is ours today.
O may this bounteous God Though all our life be near us, With ever joyful hearts And blessed peace to cheer us; And keep us in His grace, And guide us when perplexed, And free us from all ills In this world and the next. Desktop Backgrounds Click on picture to view full-size.
Now Thank We All Our God | Clearnote Songbook
Thus the hymn moves seamlessly. The structures of the poem and of the tune to which it is always joined, NUN DANKET , lend the hymn a sonic and rhythmic coherence to match the coherence of ideas we have just outlined. In the first quatrain of every stanza, the rhetoric, poetic meter, and music all share a certain expository balance.
The opening lines introduce a topic what God has done, what we pray he will do, and the Trinity to be developed later in the stanza. The seven-syllable poetic rhythms of lines 2 and 4 with feminine ending counterbalance the open-ended six-syllable rhythms of lines 1 and 3.
Hymns / Music :: Now Thank We All Our God
The reader may feel how this works by reciting the following aloud:. The repetition of the musical setting of lines 1—2 measures 1—4 in the setting of lines 3—4 measures 5—8 extends the balance heard metrically over two lines to a higher level of perception heard musically, and in the rhyme scheme, over four lines—as usual in bar form, melodic repetition coincides with the first rhyme in the poem.
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All this calmly, but firmly, sets forth the materials of a discourse that really takes off in the second half of the stanza. In the first half, every two-measure melodic unit begins on the fifth scale-degree, ends on either the fifth or the first, and begins and ends with tonic harmony. We get our second wind.
Now Thank We All Our God
This melody in line 5, so familiar and yet now so energized, leads in line 6 not to a descending melodic unit, as in lines 2 and 4, but to an ascending one—in six syllables no feminine end-rhythm! This, in turn, leads in line 7 not to repetition, as in lines 3 and 5, but to continued development the first two measures of the tune compressed into three notes. The God who would make a world where such musical and verbal structures are possible—the God who would put us in such a world and then give us so much to sing about—is truly faithful in his love. Welcome Biblical Model Introduction 1.