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Person Results

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Jean Janzen

b. 1933 Author of "How Lovely Is Your Dwelling" in The New Century Hymnal Jean Janzen was born on December 5, 1933, the seventh of Henry Peter Wiebe and Anna Schultz Wiebe's eventual eight children (Three Mennonite Poets 5). For the first five years of her life, Janzen lived in Dalmeny, Saskatchewan (A Cappella 25). In 1938, she moved to Mountain Lake, Minnesota when her schoolteacher father began his second ministry as a pastor (“Coming into Voice”). A year later, the family moved to Kansas (“Coming into Voice”). Janzen says she cannot remember when she wrote her first poem, but the first evidence of her work is a handwritten book of five poems that she made in third or fourth grade, which was saved by her mother through the family’s many moves (E-mail Interview). She had very little exposure to poetry and literature as a child, except for hymns and Bible stories. She values these elements of her childhood and “treasure[s] the artful rhythms of the King James [Bible]” (E-mail Interview). Janzen attended Meade Bible Academy, Tabor College, and Grace College (A Cappella 25). It was in college that she had her first real exposure to literature. She was “thrilled, and became a literature major.” She remembers being “enamored” with Emily Dickinson and writing papers about her whenever given the chance. However, she never considered writing poetry as a possible career (E-mail Interview). Janzen--then Jean Wiebe--married Louis Janzen, a medical student, and the couple moved to Chicago where she worked as a medical secretary while taking courses at Northwestern University (Hostetler, A Cappella 25). Janzen cites this period of her life as the beginning of her love for visual art, calling the Chicago Art Institute the “open gate” for her and her husband where they “became hooked” (Mennonite Life Interview). In 1961, they moved to Fresno, Cal., where Louis worked as a pediatrician in a private practice. Here they raised their two daughters and two sons. When her youngest child was in school, Janzen “joined a writer’s group at the encouragement of [her] husband and nephew after they read some poems [she] had written as a gift to [her] husband” (E-mail Interview). As her children became older, Janzen went back to college, earning a BA in English from Fresno Pacific College and an MA in Creative Writing and English from California State University at Fresno in 1982. There she studied with poets Peter Everwine, Philip Levine, and C.G. Hanzlicek. Janzen says that after one semester of writing poetry in college, she took the work “seriously” and “imagined the possibility of growing into a poet,” but it took her several years “to be willing to say that out loud” (E-mail Interview). Rudy Wiebe, a Mennonite novelist, served as a mentor who influenced Janzen's writing career. She received a grant from the National Endowment for the Arts in 1995 (“Coming into Voice”). Janzen grew up in the Evangelical Mennonite Brethren Church and many of her relatives, including her father, were pastors (“Coming into Voice”). This strong connection with the church has had a significant influence on her poetry. Music has also played an important role in Janzen’s life. Her mother loved music and music was an important part of worship in her church. She learned to play the piano when she was young, later studying music in college and teaching piano for many years (“Coming into Voice”). Janzen finds harmony between the religious and artistic elements of her life, integrating them in a way that enriches both. She also uses her gifts in the church, serving as a minister of worship at the College Community Mennonite Brethren Church in Clovis, Cal., as well as writing hymn texts, which have been set to music and are included in several hymn books. Other prominent themes in her work include art, history, family, the earth, and her Russian Mennonite ancestors (“Coming into Voice”). Janzen says that “the sensual and spiritual are inevitably intertwined” (Mennonite Life Interview) and it is this element of her work that has attracted the most attention from critics and readers. She emphasizes “the presence of spirit in the flesh,” using rich description of physical objects to reveal deeper emotions and truths. Janzen has taught poetry writing at Fresno Pacific University and Eastern Mennonite University in Virginia. --www.goshen.edu/mennonitepoetry/

John Caspar Mattes

1876 - 1948 Person Name: John C. Mat­tes Author or translator v. 5 of "Lo, How a Rose E'er Blooming" in The Cyber Hymnal Born: November 8, 1876, Easton, Pennsylvania. Died: January 27, 1948. Educated at the Theological Seminary at Mount Airy, Philadelphia, Pennsylvania, Mattes pastored in Trenton, New Jersey (1901-15), and Scranton, Pennsylvania (1915-38), and was a professor of theology at Wartburg Theological Seminary, Dubuque, Iowa (1939-48). Translations: Lo, How a Rose E’er Blooming O Spirit of Life http://www.hymntime.com/tch/bio/m/a/t/mattes_jc.htm

St. Germanus

634 - 733 Author of "A great and mighty wonder" in Anglican Hymns Old and New (Rev. and Enl.) See Germanus I, Patriarch of Constantinople, d. ca. 733

James S. Anderson

1853 - 1945 Person Name: James Smith Anderson (1853-1945) Adapter of "ES IST EIN ROS' ENTSPRUNGEN" in Church Hymnary (4th ed.)

Louis Monastier-Schroeder

1871 - 1953 Person Name: L. Monastier Translator (into French) of "Lo, How a Rose E'er Blooming" in Voices United

Harriet Reynolds

Person Name: Har­ri­et Rey­nolds Krauth Translator v. 3 & 4 (from German) of "Lo, How a Rose E'er Blooming" in The Cyber Hymnal

Pauline Martin

Translator (French) of "Es ist ein Ros' entsprungen" in Cantate Domino

Sondra Tucker

Arranger of "ES IST EIN ROS" in The United Methodist Hymnal Music Supplement II

Brother Conrad

Person Name: Brother Conrad of Mainz Author (attributed to) of "Lo, How a Rose E'er Blooming" in The Worshipbook

Richard Wilbur

1921 - 2017 Author of "A Stable Lamp Is Lighted" in Rejoice in the Lord Richard Wilbur was born in New York City on March 1, 1921. He graduated with a B.A. from Amherst, where he was editor of the college newspaper, in 1942. Youthful engagements with leftist causes caught the attention of federal investigators when he was in training as a U.S. Army cryptographer, and he was demoted to a front-line infantry position where he saw action in the field in Italy, France and Germany. (When the cryptographer in Wilbur’s unit was killed, Wilbur also took over that function.) After demobilization, he continued his studies at Harvard where he obtained an M.A. in 1947, the year his first book was published. He was a member of the prestigious Harvard Fellows and taught there until 1954, when he moved to Wellesley and then to Wesleyan University. At Wesleyan he was instrumental in the founding of the acclaimed Wesleyan University Press poetry series that, from 1959 onward, featured new work by such important young poets as Robert Bly, James Wright, James Dickey, and Richard Howard, as well as such already-established writers as Louis Simpson and Barbara Howes. From Wesleyan he went to Smith as writer-in-residence. In 1987 he was named the second Poet Laureate of the U.S., following Robert Penn Warren. In the postwar years, when poets born between 1920 and 1935 often underwent dramatic changes in their writing styles, Wilbur remained someone who mastered a style early and continued to work within it. It is a style in a direct line of descent from Wallace Stevens: unabashedly rich in its diction, urbane in its metrical sophistication, and remarkably light-hearted and playful. His first and second books, The Beautiful Changes (1947) and Ceremony (1950), were influential volumes, and Wilbur was widely regarded in the 1950s as a poet no less important than Robert Lowell. His third collection, Things of This World (1956), was awarded the Pulitzer Prize. Advice to a Prophet (1961) was followed by Walking to Sleep (1969), which was charlee.jpg (42846 bytes)awarded the Bollingen Prize. The Mind-Reader was published in 1976, and a New and Collected Poems in 1987 (with twenty-four new poems). "The typical ghastly poem of the fifties was a Wilbur poem not written by Wilbur," wrote Donald Hall in 1961, "a poem with tired wit and obvious comparisons and nothing to keep the mind or the ear occupied." Hall added presciently: "It wasn’t Wilbur’s fault, though I expect he will be asked to suffer for it." Wilbur’s poetry has not, as Hall predicted, retained the high value it had accrued in the postwar years. Although his fame as a translator has continued to grow – his blank verse rhymed-couplet versions of several plays by Moliere have received wide praise – his poetry is often cited as an example of the formalism and the apolitical timidity that is associated with the 1950s. "Wilbur is still admired," Robert von Hallberg notes in his contribution to the Cambridge History of American Literature (1996), "but really as the best poet of the 1950s." Even though he is an outstanding example, he excels in a debased category. Among minor poets he is allowed to be most major, but among major poets he is not even considered the most minor. A Wilbur poem reads so easily that it can dispel close scrutiny, as if the poem just as it is says all that needs to be said and withholds nothing. (As a result, Wilbur’s work has rarely attracted the attention of the skillful critic.) In fact, the smooth surface of the Wilbur poem can successfully distract us from recognizing how unusual and unexpected are the twists and leaps that structure the poem’s narrative. Many poems by Wilbur, while striking a superficial "balance," implicitly celebrate, while demonstrating, the virtues of a wit that is elaborately playful. --www.english.illinois.edu/maps/poets/s_z/wilbur/bio.htm He died on October 14, 2017, at a nursing home in Belmont, Massachusetts. --Wikipedia

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