The unusual figures in this Passion Hymn have prevented its receiving in English-speaking countries the wide popularity attained by "O Haupt voll Blut und Wunden."¹⁸⁴¹⁸⁴Cf. p. 86 ff. Yet because of its dealing with a theme that appealed so strongly to Gerhardt and its being so characteristic of his piety and simplicity, a glimpse into the treatment accorded it by English translators should not be without interest. With hardly less depth of feeling than in "O Haupt voll Blut und Wunden" but with stranger imagery Gerhardt portrays the passion of Christ and reflects upon its significance, and the comfort the Christian derives from it.

The Moravian Hymn Book contains Gambold's translation in Gerhardt's metre of nine of the ten stanzas; the seventh, which abounds in metaphors, he has omitted. Mention has elsewhere¹⁸⁵¹⁸⁵Cf. pp. 18 and 89. been made of Gerhardt's familiarity of tone in addressing the Savior. Gambold equals his master in this respect; witness stanza 5:

The figure in the concluding stanza of the bride clothed in purple is rather spoiled by Gambold by the baldness of the couplet:

Nor have we in the German anything to suggest the final lines:

Russell's short version of two stanzas presents an effective paraphrase of the last three lines of Gerhardt's stanza IV:

Under the title "The sin-bearing Lamb" Dr. Guthrie gives in his Sacred Lyrics perhaps the most readable English translation, as it combines Gerhardt's beautiful piety and spiritual simplicity; it is also unique among translations from the German, in that it introduces more of the direct address than is usual, translators preferring as a rule to render quotations in the indirect form:

"Give me," he says, "the wreath of thorn," etc.

Stanza 7, which Gambold omitted entirely, is the beginning of a hymn in Reid's Praise Book. It is a cento taken from Mrs. Charles' very free translation (1858) and is cited here to illustrate the liberties often taken by translators. Here, of course, the free paraphrase is reasonably justifiable: