John Mason

John Mason (c. 1645–1694)

John Mason was a significant 17th-century clergyman and poet whose work represents a vital bridge between the metrical psalmody of the Reformation and the modern English hymn. Educated at Clare Hall, Cambridge, Mason served as the Rector of Water-Stratford in Buckinghamshire for over two decades. He was regarded by his contemporaries, including the great Richard Baxter, as a man of profound humility and "heavenly spirit." Baxter famously referred to him as "the glory of the Church of England," noting that his discourse on spiritual matters possessed a "delightful air" that charmed all who heard him.

Mason’s primary contribution to hymnody, "Spiritual Songs; or, Songs of Praise to Almighty God" (1683), was a landmark publication. At a time when the Church of England almost exclusively sang metrical psalms, Mason’s original compositions were among the first "hymns of human composure" used in public worship. His style influenced a young Isaac Watts, who admired the "Select Remains" of Mason published posthumously. Mason’s verses are characterized by a vigorous, "experimental" (experiential) spirituality and a rhythmic clarity that allowed them to pass through twenty editions, a testament to their deep resonance with the English laity.

The conclusion of Mason's life was marked by a period of intense mystical experience and local sensation. In the early 1690s, he claimed to have seen a vision of Jesus Christ wearing a glorious crown. This experience led him to preach his famous sermon, "The Midnight Cry," in which he proclaimed the immediate Second Advent of Christ. The report sparked an apocalyptic fervor; crowds from surrounding villages descended upon Water-Stratford, filling every corner of the village with singing and dancing in anticipation of the end. Though the excitement was high, Mason remained peaceful, dying in 1694 with the final words, "I am full of the loving kindness of the Lord."

Today, Mason is remembered for several hymns that remain staples of the Anglican and broader Protestant tradition. His "How Shall I Sing That Majesty" is often cited as one of the finest hymns of praise in the English language, noted for its awe-filled approach to the divine. Other works, such as "Blest Day of God! Most Calm, Most Bright," helped establish the tradition of hymns specifically for the Lord's Day. While his later apocalyptic focus is often viewed as a historical curiosity, his earlier poetic output secured his place as a foundational architect of English congregational song.