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Winterfeld says that it is and will always remain a gem among the spiritual songs of the Evangelical Church. e., Johann Georg, Churfrst zu Sachsen, and in Line 6 the full motto is repeated as uttered by the Elector.

Our English translation was rendered by Miss Winkworth in her Chorale Book for England, stanzas 1, 2, 3, 6, 7, and 10 of the original have been included. The hymn is an acrostic on the dying words of Johann Georg, Elector of Saxony, October 8, 1656. Though Stanza 6 is omitted in the English text, it is given above for the purpose of showing the acrostic formation. It is based on John : Yet a little while, and the world seeth me no more: but ye see me: because I live, ye shall live also.

It has been translated into many languages, even into Latin. Bingham, Omnibus in terris, Dominus regnabit Jesus, published in 1871.

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It may also be of interest to mention that the famous painter, Julius Schnorr, of Carolsfeld, made an illustration for this hymn as his last work, and this hymn was sung at his funeral. The Latin original, of which there are a number of texts dating from the fourteenth century upward, begins:2d edition, 1749, the modern English version appeared. The hymn appeared for the first time in Crger-Runges Gesangbuch, 1653; it consisted of 10 stanzas and had no authors name attached. 157) who, during the time of trial for Paul Gerhardt in Berlin, took his part and sought to help him, labored with great zeal to improve congregational singing.

The first stanza of the first translation was slightly changed, and new Stanzas 2 and 3 were added. Then in Lord Selbornes Book of Praise, THIS beautiful hymn is based upon Job -27: But as for me I know that my Redeemer liveth, and at last He will stand forth upon the earth: and after my skin, even this body, is destroyed, yet out from my flesh shall I see God. Luise Henriette of Brandenburg, the wife of the elector, Friedrich Wilhelm, was for a long time considered by German writers as the author of this hymn. For this purpose she published a hymn book in which were included the best of Luthers hymns and later productions.

Our present hymn has a long history, which, however, would scarcely interest the majority of the readers of this work.

The writings of the ancient church fathers have often been the source of inspiration to the older German and English hymn writers: It is thought that this hymn is based upon an old Latin hymn by Cardinal Damiani, Ad perennis vitae fontem, and, since this is found in the so-called Augustines Meditations, Coburg, 1626.

Lauxmann is of the opinion that she did compose this hymn as she, at the age of 22, lost her first-born child.

The hymnologist Rambach recognized in this hymn a masterpiece of Christian poetry.

In the British Museum there is a manuscript of the late sixteenth or early seventeenth century, containing a poem of the twenty-six stanzas, entitled A Song Mad(e) by F. He served as curate of Eckington, Derbyshire, where he died in 1826.

A still later form, published in 1795, in the Eckington Collection, has been attributed to James Montgomery but is very likely the work of the editor of the collection, Joseph Bromehead. We have been unable to trace the origin of Stanza 6.

This work contained four sermons preached by Meyfart at Coburg on Death, Judgment, Eternal Life, and Eternal Punishment.

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