I’ve been comparing two metrical paraphrases of Psalm 19.1-4, one by the poet and writer Joseph Addison, and one by the poet and hymnodist Isaac Watts. It’s instructive to see how two different hymnodists handle the exact same subject.
First, they use two different meters: Addison’s version is in Long Meter Doubled (L.M.D.) which is somewhat easier to find a tune for, while Watts’ version is in 18.104.22.168.8.8. Second, both take liberties with the original text, adding imagery, emphasizing and de-emphasizing what appeals to them. Third, they reflect different theological stances: Watts begins with the straightforward phrase “Great God,” while Addison prefers to use more oblique references like the “great Original”, “Hand” and “Creator”, and Addison also refers to “Reason” which since it is capitalized is personified. Fourth, Watts’ hymn directly addresses God, while Addison’s hymn speaks about God and God’s works. Fifth, while both are enjoyable hymns to sing (considered in terms of the rhymes, rhythms which aren’t too herky-kerky, “mouth-feel”, etc.) Watts’ verse is sturdy, bold, and tends towards the ecstatic; Addison’s verse is more nuanced, lower-key, and feels more subtle. Finally, and perhaps most importantly, both hymns are worthy of being called poetry — I don’t cringe when I sing them, and they’re worth singing more than once.
This kind of comparison is helpful for those of us who want to think about how to evaluate new hymns written by religious liberals hymnodists — and/or for those who may want to take a stab at writing new liberal religious hymns. Not that we should imitate Addison or Watts (although that may be a good idea), but we should start thinking about articulating criteria about what makes a good or poor hymn text.
I’ll include the full text of both hymns, plus the text from the King James Bible from which the hymns were drawn, after the jump. Update: I’ve added the Scottish Psalter’s metrical paraphrase of this same text at the very end of this post. Continue reading