THEIR AUTHORS AND ORIGIN. 137
as the Lest explainers of the gospel of Christ. But we are now convinced that we therein greatly erred, not knowing the Scrip tures, neither the power of God."
In Charles Wesley s verses we trace the influence of his careful classical training, though this is less manifest than we might have expected. Hynm 570
" 0, Thou who earnest from above,"
may be taken as an illustration. ]t is a hymn worthy of Addison, hut with a more decidedly Christian character than he would have given it. We notice in it for commendation, the unity of the whole, and the varied and appropriate imagery employed to illus trate the different aspects of thought introduced. There is a classical finish in this and other pieces, wanting in the hymns of Dr. Watts. Wesley also owed something to the influence of the Moravian Christians, with whom he had much spiritual inter course. They are thought to have influenced John s system ; they certainly influenced Charles s spiriiual songs. For proof of this, we may refer to Hymns 503 and 548, but we will especially refer to No. 302
" 0, Love Divine, how sweet tliom art ! "
This is one of Wesley s best hymns. For its delight in interior spiritual blessedness, and its warm impassioned expressions of desire after the love of God, it may be compared with the best productions of Saint Bernard. Aided by his spiritual German friends, Wesley has here reached a strain of thought and expres sion we should in vain search for in the writings of Watts. And Wesley is free from the minor blemishes of Dr. Watts bad rhymes or rhymes omitted where they are required. Nor would our view of Charles Wesl"y as a hymn-writer be complete if we did not recognize in some of his hymns the presence of decided genius, giving tlic;n a place amongst the best productions of the muses. Hymn 631
" Come on, my partners in distress,"
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