Part II

of an ancient Latin hymn of the 6th or 7th century beginning: “_Urbs beata Hierusalem_.” The author is not known. The first verse reflects Ephesians 2:20-21: “And are built upon the foundation of the apostles and prophets, Jesus Christ himself being the chief cornerstone; in whom all the building fitly framed together groweth unto an holy temple in the Lord.”

The hymn is often used at the dedication of churches, stanzas 3 and 4 being especially appropriate for that purpose.

Dr. Neale’s translation of the hymn, in nine stanzas, appeared in his _Medieval Hymns_, 1851. Our hymn is a selection of stanzas 5, 6, 7, and 8, of his translation, with some changes in the words. The Latin of our first three stanzas is as follows:

Angularis fundamentum lapis Christus missus est Qui compage parietis in utroque nectitur, Quem Sion sancta suscepit, In quo credens permanet.

Hoc in templo, summe Deus, exoratus adveni, Et clementi bonitate precum vota suscipe; Largam benedictionem his infunde iugiter.

Hic promereantur omnes petita adquirere Et adepta possidere cum sanctis perenniter, Paradisum introire, translati in requiem.

For comments on John M. Neale see Hymn 67.

_MUSIC._ REGENT SQUARE. For comments on this tune see Hymn 81.

THE HOUSE OF GOD

278. Lord of our life, and God of our salvation _Philip Pusey_, 1799-1855 _Based on Matthäus von Löwenstern_, 1594-1648

One of the “songs of the night,” the original of which was written out of the bitter experiences of the Thirty Years’ War in Germany. It tells of the peril to which the Reformed Church was then exposed but expresses confidence that the church, founded upon the Rock, will prevail against evil.

Matthäus Apelles von Löwenstern, son of a saddler, had musical and business ability which won him recognition and employment by the Duke of Münsterberg and the Emperors Ferdinand II and his son Ferdinand III. He wrote about 30 hymns and set them to melodies of his own composition. His hymn, named “Sapphic Ode. For Spiritual and Temporal Peace,” in 1644, is as follows:

Christe, du Beistand deiner Kreuzgemeine, Eile, mit Hilf’ und Rettung uns erscheine; Steure den Feinden, ihre Blutgerichte Mache zunichte!

Streite doch selber für uns arme Kinder, Wehre dem Teufel, seine Macht verhinder’; Alles, was kämpfet wider deine Glieder, Stürze danieder!

Frieden bei Kirch’ und Schulen uns beschere, Frieden zugleich der Obrigkeit gewähre, Frieden dem Herzen, Frieden dem Gewissen Gib zu geniessen!

Also wird zeitlich deine Güt’ erhoben, Also wird ewig und ohn’ Ende loben Dich, o du Wächter deiner armen Herde, Himmel und Erde.

The English version by Pusey is not a translation of the German but rather a free paraphrase. Philip Pusey, brother of Edward Pusey, the famous leader in the Oxford Movement, was educated at Oxford. After graduating he settled on his estate and devoted himself largely to agriculture. He wrote extensively on agricultural subjects and was one of the founders of the Royal Agriculture Society. Later he became a member of Parliament. He wrote this hymn to portray the state of the Church of England at the time, which he described as being “assailed from without, enfeebled and detracted from within, but on the eve of a great awakening.”

_MUSIC._ INTEGER VITAE. For comments on this tune see Hymn 59.

279. Dear Shepherd of Thy people _John Newton_, 1725-1807

A hymn composed for a prayer meeting.

John Newton and William Cowper, the English poet, instituted prayer meetings at Olney where the two labored together in a famous ministry, Newton as minister of the church, and Cowper as his voluntary assistant. The prayer meetings were attended in such large numbers that it became necessary to move the services into a large room. For the first meeting in this new room, each of the men prepared a special hymn, the one by Newton being our hymn, with his first, third, and seventh stanzas omitted.

For further comments on John Newton see Hymn 274.

_MUSIC._ DURHAM appeared in _Ravenscroft’s Psalter_, 1621, set to Psalms 28 and 76, and marked as a “Northern Tune.” The _Scottish Psalter_ of 1635 includes it among the Common Tunes.

280. Again, as evening’s shadow falls _Samuel Longfellow_, 1819-92

“Vesper Hymn” is the title which this hymn bears in the author’s volume, _Vespers_, 1859, a small book of songs prepared for use in evening services. In a letter dated Feb. 11, 1890, Longfellow wrote, “My two favorites among my hymns are the vesper hymn, ‘Again, as evening’s shadow falls,’ and the one beginning, ‘I look to Thee in every need’” (244).

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ GERMANY. For comments on this tune see Hymn 222.

281. We love the place, O God _William Bullock_, 1798-1874 _Henry W. Baker_, 1821-77

Based on Psalm 26:8: “Lord, I have loved the habitation of thy house, and the place where thine honor dwelleth.” The hymn was written by William Bullock, then a young sailor-missionary, for the dedication of a mission chapel at Trinity Bay, Newfoundland, in 1827. Seventy years later, when a new church located on the same site was dedicated, this hymn as revised by H. W. Baker, was once more sung. The sermon preached by Bullock at the opening of the chapel was read to the people.

Wm. Bullock was educated at Christ’s Hospital and then entered the Royal Navy. While on a survey of the coast of Newfoundland, he decided to devote himself to missionary work in that colony. He did this and served 32 years under the Society for Propagating the Gospel. He became Dean of Nova Scotia at Halifax. In 1854, he published _Songs of the Church_ which, he said, were “written amid the various scenes of missionary life, and are intended for the private and domestic use of Christians in new countries deprived of all public worship.”

For comments on Henry W. Baker, reviser of the hymn see Hymn 143.

_MUSIC._ QUAM DILECTA was composed for this hymn in _Hymns Ancient and Modern_, 1861.

The composer, Henry L. Jenner, 1820-98, was a curate in the Anglican Church. After serving various churches in England, he was consecrated first Bishop of Dunedin, New Zealand, 1866. He was one of the Cambridge group which revived interest in ecclesiology, ancient hymnology, plainsong, etc.

282. Unto Thy temple, Lord, we come _Robert Collyer_, 1823-1912

A hymn describing the church as the home of “rich and poor, bond and free, great and small.” It is suitable for the general worship service and especially for the dedication of a church.

Information concerning the author, Robert Collyer, has not been traced. _Julian’s Dictionary_ notes a William Collyer, 1782-1854, eminent English evangelical preacher who was ordained for a small church of ten communicant members. He is described as a man of “amiable disposition, polished manners, Christian courtesy, and popular with rich and poor alike; who labored in the church with great success and honor until his death.” He wrote numerous hymns. Was our hymn written by a son brought up with his father’s noble conception of the church?

_MUSIC._ MENDON. For comments on this tune see Hymn 211.

THE LORD’S DAY

283. The dawn of God’s dear Sabbath _Ada Cross_, 1844-?

A hymn on the Sabbath, picturing the day as a time when weary souls may turn from daily toil to refresh themselves with the water of life drawn from the wells of salvation.

Ada Cross was born in England, November 21, 1844, the daughter of Henry Cambridge. She married an Australian, the Rev. George F. Cross, and spent most of her life in Australia where her husband was minister of the Anglican Church in Coleraine, Victoria. She was interested in the liturgy of the Church and issued several collections of hymns.

_MUSIC._ ENDSLEIGH is credited to Salvatore Ferretti, 1817-74, concerning whom no information has been traced. The arrangement was made by James Turle, 1802-82, an English teacher of music, a distinguished organist, and composer of hymn tunes, chants, and anthems. For sixty-three years he was connected with Westminster Abbey in London. He was endowed, it is said, with unusually large hands so that he could easily span an octave and a half with one hand. His sole musical interest was in serving the church.

284. Safely through another week _John Newton_, 1725-1807

This hymn was composed by Newton for use on Saturday evening. To give it wider usefulness, the verses were slightly changed to make them suitable for the Sunday morning service.

For comments on John Newton see Hymn 274.

_MUSIC._ SABBATH was written for this hymn in 1824.

For comments on the composer, Lowell Mason, see Hymn 12.

285. O day of rest and gladness _Christopher Wordsworth_, 1807-85

A hymn which serves to keep vividly before us the meaning and value of the Lord’s Day. It appears as the opening hymn in the author’s _The Holy Year_, 1862, where it is entitled “Sunday.” It is based on Psalm 118:24: “This is the day which the Lord hath made; we will rejoice and be glad in it.”

For comments on Christopher Wordsworth see Hymn 174.

_MUSIC._ MENDEBRAS was written for this hymn in 1839. It is an arrangement by Lowell Mason of a German folk song.

For comments on Lowell Mason see Hymn 12.

286. Again returns the day of holy rest _William Mason_, 1725-97

The author of this Lord’s Day hymn was the Rev. William Mason, an English Episcopalian, born at Kingston-on-Hull. He graduated with honors from St. John’s College, Cambridge; received ordination, served as one of the chaplains of King George III, and at the time of death he had been for 32 years the Precentor and Canon of York. A man of high literary attainments, and a friend of Thomas Gray, he edited that poet’s works in 1775 and later wrote the memoirs of Gray. The latter was done in the gossiping style, imitated later by Boswell when he wrote the _Life of Samuel Johnson_. Mason wrote four volumes of poetry and won recognition from Johnson as one of the British poets.

The present hymn, by which the author is best remembered, is found at the end of Volume I of the _Works of William Mason, M. A., Precentor of York and Rector of Aston_, 1811.

Our author is not to be confused with his contemporary of the same name, 1719-91, who succeeded Toplady in the editorship of _The Gospel Magazine_ and who was also a minister and hymn writer.

_MUSIC._ ELLERS. For comments on this tune and its composer, Edward J. Hopkins, see Hymn 43.

287. This is the day of light _John Ellerton_, 1826-93

A worshipful Sabbath day hymn, breathing the spirit of rest, light, and peace, written in 1867.

For comments on the author, John Ellerton, see Hymn 43.

_MUSIC._ FRANCONIA. For comments on this tune see Hymn 205.

288. Break Thou the bread of life _Mary A. Lathbury_, 1841-1913

This gem, entitled, “Study Song,” was written for the Chautauqua Literary and Scientific Circle and for Bible Study groups, but it also has a wider use. Dr. G. Campbell Morgan used this hymn every Sunday for many years immediately before the sermon. It is not a communion hymn although it is often used for that purpose. The breaking of bread refers to the feeding of the multitude beside the Sea of Galilee and not to the Last Supper; and the “bread of life” is the teaching of Jesus.

For comments on Mary Lathbury see Hymn 31.

_MUSIC._ BREAD OF LIFE is a popular American tune, sincere and simple in style, written for this hymn and indissolubly associated with it.

For comments on the composer, William F. Sherwin, see Hymn 31.

THE HOLY SCRIPTURES

289. O Word of God Incarnate _W. W. How_, 1823-97

A hymn addressed to Christ, the Word of God Incarnate, setting forth in a succession of beautiful figures—a lantern, the golden casket, a banner, a beam, chart and compass—the value of the written word, and the duty of the Church to carry the light of God’s word, both as incarnate and written, to the nations. It was written in 1867, headed by the text Prov. 6:23: “For the commandment is a lamp; and the law is light; and reproofs of instruction are the way of life.” The author himself was a living witness to the power of the Word. His definition of a minister shows the high ideal he had of the preacher of the Word, and, incidentally, is an accurate description of his own life:

A man pure, holy, and spotless in his life; a man of much prayer; in character meek, lowly, and infinitely compassionate; of tenderest love to all; full of sympathy for every pain and sorrow, and devoting his days and nights to lightening the burdens of humanity; utterly patient of insult and enmity; utterly fearless in speaking the truth and rebuking sin; ever ready to answer every call, to go wherever bidden in order to do good; wholly without thought of self; making himself the servant of all; patient, gentle, and untiring in dealing with the souls he would save; bearing with ignorance, wilfulness, slowness, cowardice in those of whom he expects most; sacrificing all, even life itself, if need be, to save some.

For further comments on W. W. How, see Hymn 144.

_MUSIC._ MUNICH, “one of the most beautiful and perfectly constructed of tunes,” is of German origin and is known in Germany as “Königsberg Choral.” It appeared first in _Lobsingende Harffe_, 1682. The composer is unknown. Mendelssohn used the tune as the basis for his fine chorale, “Cast thy burden on the Lord,” in his oratorio, _Elijah_.

290. Thy Word is like a garden, Lord _Edwin Hodder_, 1837-1904

The metaphors used in this hymn to describe the Word of God are very suggestive: “a garden,” “a deep, deep mine,” “a starry host.”

Edwin Hodder was born in England but migrated at 19 years of age to New Zealand where he was one of a pioneer group of idealists who introduced progressive sociological ideas for which that country is noted. He returned to England where he was engaged in the civil service from 1861 until his retirement in 1897. Hodder wrote biographies and devotional works, and in 1863 issued _The New Sunday School Hymn Book_ which contained twenty-seven of his own hymns, including this one.

_MUSIC._ FOREST GREEN is an arrangement of an English folk song called, “The Ploughboy’s Dream.” R. Vaughan Williams, 1872-, who arranged the tune is England’s leading living composer. He has collected and edited for publication many folksongs and carols, written several symphonies for the orchestra, and has composed numerous choral works.

Some good hymnals use this tune as the setting for Phillips Brooks’ popular Christmas carol, “O little town of Bethlehem.”

291. The heavens declare Thy glory, Lord _Isaac Watts_, 1674-1748

Here is an unusual rendering of Psalm 19, which Watts entitled, “The Books of Nature and of Scripture.” In the Psalm itself we find the Book of Nature in the first half and the Book of Scripture in the second half of the psalm. Instead of following this order, Watts sets the one over in couplets against the other, so that the first two lines of each stanza have to do with nature, the last two with Scripture.

For comments on Isaac Watts, see Hymn 11.

_MUSIC._ UXBRIDGE. This tune is by the American composer and teacher of music, Lowell Mason. The psalm tune “Burford” (228) is also named “Uxbridge” in some books.

For comments on Mason see Hymn 12.

292. Lord, Thy word abideth _Henry W. Baker_, 1821-77

A hymn on the Scriptures, written for _Hymns Ancient and Modern_, 1861.

For comments on Henry W. Baker see Hymn 143.

_MUSIC._ RAVENSHAW is from _Ein Neu Gesangbüchlein_, 1531, the earliest German hymn book of the Bohemian Brethren, edited by Michael Weisse. The melody is older and was associated with a Latin hymn, _Ave Hierarchia, coelestis et pia_. The present arrangement is by William H. Monk. For comments on Monk see Hymn 40.

For a note on the Bohemian Brethren and Michael Weisse see Hymn 544.

THE MINISTRY

293. Shine Thou upon us, Lord _John Ellerton_, 1826-93

A hymn for teachers.

For comments on John Ellerton, see Hymn 42.

_MUSIC._ BROUGHTON. For comments on the composer of this melody, Thomas Hastings, see Hymn 120.

294. O still in accents sweet and strong _Samuel Longfellow_, 1819-92

The author’s title of this hymn is, “Behold the Fields are White.”

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ BELMONT. For comments on this tune see Hymn 197.

295. Pour out Thy Spirit from on high _James Montgomery_, 1771-1854

Written in 1833 for the Rev. J. Birchell, clergyman in the Church of England, who published it in his _Selection of Hymns_. It was printed in the same year in Edward Bickersteth’s _Christian Psalmody_. For comments on Bickersteth see Hymn 256. The hymn’s original title was, “For a Meeting of Clergy.” It is not intended to be sung by a body of people as a prayer for ministers but as a prayer hymn to be sung by ministers themselves.

For comments on James Montgomery see Hymn 62.

_MUSIC._ MELCOMBE. For comments on this tune see Hymn 22.

296. Lord, speak to me, that I may speak _Frances R. Havergal_, 1836-79

“A Worker’s Prayer” is Miss Havergal’s title of this hymn and the text associated with it is Rom. 14:7: “None of us liveth to himself and no one dieth to himself.” It was composed April 28, 1872, at Winterdyne.

For comments on Frances Havergal see Hymn 126.

_MUSIC._ CANONBURY, a favorite tune found in nearly all hymn books, is from Robert Schumann’s _Nachtstücke_, Op. 23.

Robert Schumann, 1810-56, greatest of the early German Romantics, was born in Zwickau, Saxony. He wrote symphonies and chamber music but is known best for his amazingly fine piano works and songs. His wife, Clara Wieck Schumann, one of the greatest piano players the world has produced, was devoted to him, as were also his children. Schumann became mentally ill, attempted unsuccessfully to drown himself in the Rhine, and was cared for in a hospital for two years before his death. He had a gift for journalism and wrote books and magazine articles on music.

297. Thou who Thyself didst sanctify _George Rawson_, 1807-89

An appropriate hymn for use in ordination to the Christian ministry or dedication to other forms of Christian service.

George Rawson, an English Congregational layman, was born at Leeds where he practiced law many years. He had a considerable knowledge of music and was a gifted hymn writer. He rendered valuable assistance to his own denomination as well as to the Baptists in the preparation of hymn books for use in the church. A shy, retiring man, of sincere piety, he at first published his hymns, a considerable collection, anonymously, but later had to acknowledge his identity. About 50 of his hymns are still in use.

(The name is misspelled “Dawson” in the Hymnary.)

_MUSIC._ DUNDEE (or FRENCH) is one of the twelve Common Tunes appearing in the _Scottish Psalter_, _The CL Psalms of David, &_, Edinburgh, 1615, where it is named “French Tune.” Its first appearance in an English Psalter is in Ravencroft’s _Whole Book of Psalms_, 1621, where it is called “Dundy.” It is one of the best known of the psalm tunes and its smooth, flowing melody has enjoyed great popularity.

For comments on the _Scottish Psalter_ see Hymn 575.

CONSECRATION OF CHILDREN

298. Gracious Savior, gentle Shepherd _Jane Eliza Leeson_, 1807-1882 _John Keble_, 1792-1866

A hymn for the children’s consecration service, evolved by John Keble from three hymns—“Shepherd in thy bosom, folded,” “Loving Shepherd of Thy sheep” (429), and “Infant sorrow, infant weakness,” written by Jane Eliza Leeson. Keble took the main ideas of these hymns and rewrote them into a hymn of five stanzas, two of which are omitted here.

Jane Eliza Leeson was born in London and died there. She had rare gifts in writing for children, and published several books of hymns—_Infant Hymnings_, and _Hymns and Scenes of Childhood_—specially for children. Very little is known of her life, except that she was a prominent figure in the Catholic Apostolic Church and that some of her hymns were supposedly “prophetical utterances,” prompted by the Holy Spirit, at public services, which she “delivered slowly with short pauses between the verses.” Late in life she united with the Roman Catholic Church.

For comments on John Keble, see Hymn 22.

_MUSIC._ MANNHEIM is from the source mentioned in the note on Hymn 174. The present form of the melody is much altered from the original.

299. All hidden lie the future ways _Frederick L. Hosmer_, 1840-1929

A lyrical phrasing of the emotions that arise in the hearts of parents as they contemplate the faring forth of little children into the hidden future.

For comments on the author, Frederick L. Hosmer, see Hymn 72.

_MUSIC._ NUN SICH DER TAG GEENDET HAT is a tune set to various hymns in the _Gesangbuch mit Noten_.

For comments on the composer, Aaron Williams, see Hymn 269.

300. A little child the Savior came _William Robertson_, 1820-64

A Scotch Presbyterian minister, William Robertson, contributed this hymn to the Church of Scotland’s _Hymns for Public Worship_ in 1861. The author, keenly interested in hymnody and Scotch psalmody, was a member of the Hymnal Committee of the Church of Scotland in 1851, 1853, and 1857.

_MUSIC._ ALSTONE was composed by C. E. Willing, 1830-1904, for the children’s hymn, “We are but little children weak,” in _Hymns Ancient and Modern_, Appendix, 1868. Willing was chorister of Westminster Abbey and held various responsible positions as organist and choral conductor in England.

BAPTISM

301. Come, Father, Son, and Holy Ghost _Charles Wesley_, 1707-88

The original poem of six stanzas is from _Hymns and Sacred Poems_, 1749, where it was entitled, “At the Baptism of Adults.”

Wesley’s second line of the first stanza read

“Honor the means injoin’d by Thee,”

which was changed to “ordained by Thee” for the _Collection_ of 1780. The awkward expression, “Effectuate now the sacred sign,” Wesley’s second line of stanza 3, was changed to “Effectual make the sacred sign,” by the editors of the hymn book in 1849.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ SO LANGE JESUS BLEIBT DER HERR is a familiar melody, of unknown origin, from the _Gesangbuch mit Noten_.

302. I’m not ashamed to own my Lord _Isaac Watts_, 1674-1748

This hymn is based on II Timothy 1:8-12.

James Moffatt writes that when Henry Drummond was on his death bed, Nov. 7, 1897, his friend, Dr. Hugh Barbour, played several hymn tunes to him without gaining any response. Then he tried the Old Scots melody of “Martyrdom” to which Drummond beat time with his hand and joined in the words, “I’m not ashamed to own my Lord.” When the hymn was done, he said, “There’s nothing to beat that, Hugh.”

For comments on Isaac Watts see Hymn 11.

_MUSIC._ DEDHAM. The tune is attributed to William Gardiner, 1770-1853, an Englishman of whom nothing much of importance is known except that he published _Sacred Melodies_ in 1812, a collection of excellent tunes, which was expanded to six volumes published in 1815.

THE LORD’S SUPPER

303. Here, O my Lord, I see Thee face to face _Horatius Bonar_, 1808-89

Entitled by the author, “This Do in Remembrance of Me.”

It is a famous communion hymn, emphasizing, in keeping with the Reformed tradition, the thought that Christ Himself presides at His Table. All His followers are therefore welcome.

Three members of the Bonar family became eminent ministers in the Free Church of Scotland (Presbyterian)—Andrew in Glasgow; John in Greenock; and Horatius in Edinburgh. Horatius was accustomed to visit his brother John once a year at the communion service. Hymns were still not permitted to be sung in the church, but an original poem was invariably read after the communion. This hymn was written by Horatius Bonar at the request of his brother John for the occasion of such a visit in October, 1855. It has become a widely used communion hymn in all churches.

For further comments on Horatius Bonar see Hymn 129.

_MUSIC._ LANGRAN, known in England as “St. Agnes,” is named after the composer, James Langran, 1835-1909, London organist and composer, who wrote this music for “Abide with me” (40). It was published separately in 1861 and two years later appeared in _Psalms and Hymns adapted to the services of the Church of England, with accompanying tunes selected and revised by John Foster_.

The hymn is also sung to “Ellers” (See 43 or 286).

304. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826

“A quiet communion hymn full of loveliness and warm reality of faith.”—Reeves.

This popular communion hymn by Bishop Heber was published posthumously with the title, “Before the Sacrifice.”

For comments on Reginald Heber see Hymn 1.

_MUSIC._ EUCHARISTIC HYMN, a tune “beautiful in its simplicity,” has always been associated with this hymn by Heber. The composer, John Sebastian Bach Hodges, 1830-1915, son of the illustrious organist, Edward Hodges, was born in Bristol, England, but came to America when eight years old. He received his education at Columbia University and General Theological Seminary, New York City, and became a noted minister in the Protestant Episcopal Church. He had excellent musical knowledge and founded in Baltimore the earliest choir school in the United States. He also did much work on the various revisions of the Episcopal hymnal.

305. According to Thy gracious word _James Montgomery_, 1771-1854

One of the best-loved and most useful of communion hymns, profound, yet simple. It appeared first in Montgomery’s _Christian Psalmist_, 1825, and has since passed into the hymn books of all denominations of evangelical Christians. The words of Luke 22:19 furnish the scriptural basis of the hymn: “This do in remembrance of me.”

For comments on James Montgomery see Hymn 62.

_MUSIC._ ST. JOHN, more properly called “St. John’s, Westminster,” was composed by James Turle, 1802-82.

For comments on James Turle see Hymn 283.

306. Bread of the world, in mercy broken _Reginald Heber_, 1783-1826

The _Church Hymnary_, London, 1927, has the following practical note at the bottom of the page where this hymn appears:

As this hymn consists of one verse only, it is suggested that it be sung twice over: once by the choir alone, and again by choir and people in unison. It may also be used as a short motet for unaccompanied singing by the choir.

For further comments on this hymn see No. 304.

_MUSIC._ RENDEZ À DIEU was composed or adapted by L. Bourgeois for the _French Genevan Psalter_, where it was set to Psalm 118. In the _Scottish Psalter_ of 1564, the tune was again used to John Craig’s version of the same Psalm. It is described in _Songs of Praise Discussed_ as being “in some ways the finest of all the early psalm tunes ... perfectly proportioned ... a tune which gives the true ‘spinal thrill’; of its kind it is unsurpassed.”

For comments on L. Bourgeois see Hymn 34.

307. Come, risen Lord, and deign to be our guest _George W. Briggs_, 1875—

Based on the account of the supper at Emmaus, Luke 24:28-31:

And they drew nigh unto the village, whither they went: and he made as though he would have gone further. But they constrained him saying, Abide with us: for it is toward evening, and the day is far spent. And he went in to tarry with them. And it came to pass, as he sat at meat with them, he took bread, and blessed it, and brake, and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight.

It stresses the doctrine that Christ Himself is the celebrant at the Lord’s Supper.

George Wallace Briggs is a Cambridge scholar, an outstanding preacher, educator, writer, and editor in the Anglican church. He has composed a number of hymns (See 570) and hymn tunes.

_MUSIC._ BIRMINGHAM is from F. Cunningham’s _A Selection of Psalm Tunes_, 2d ed., 1834, where it is set to the words, “Come, gracious Spirit, heavenly dove.” Cunningham published an earlier collection of psalm tunes in 1826.

308. I hunger and I thirst _John S. B. Monsell,_ 1811-75

A simple, tender, communion hymn which ought to have a wider use.

John Samuel Bewley Monsell was educated at Trinity College, Dublin; labored for a number of years in the church in Ireland; and then became vicar of Egham in the Diocese of Worcester, England, and finally rector of St. Nicholas, Guildford. His home life at Guildford is described as having been “full of the beauty of holiness, with genial brightness and gaity playing like sunshine over all the troubles of life.” His life came to a tragic end when he fell from the roof of the church while it was being rebuilt. He composed about 300 hymns and is the author of many other poetic works.

_MUSIC._ MAINZ (MARIA JUNG UND ZART) originally appeared in a Catholic book, _Ausserlesene Catholische, Geistliche Kirchengesänge von Pfingsten, biss zum Advent_, Cologne, 1632. It was slightly changed and printed in its present form in _Psalteriolum Harmonicum Sacrarum Cantilenarum_, 1642.

309. Author of life divine _Charles Wesley,_ 1707-88

This fine communion hymn is from _Hymns on the Lord’s Supper_, 1745, by John and Charles Wesley. It is attributed in many hymnals to Charles, but there is no conclusive evidence to show which of the two brothers wrote it. The thought of the hymn is said to be in full accord with John’s teaching concerning the Holy Communion.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ WESLEY. The original source of this tune has not been traced. In the _English Hymnal_ it is set to the words, “Behold a little child.” The tune should not be confused with Lowell Mason’s of the same name (See 332).

310. By Christ redeemed, in Christ restored _George Rawson_, 1807-89

Written in 1857 and published first in a Baptist book, _Psalms and Hymns_, 1858.

Julian comments: “It is a hymn of more than usual excellence and has attained to a greater position in modern hymnals than any other of the author’s numerous compositions.”

The refrain, “Until He come,” is reminiscent of I Cor. 11:26: “For as oft as ye eat this bread and drink this cup, ye do shew forth the Lord’s death, till he come.”

For comments on George Rawson see Hymn 297.

_MUSIC._ IN MEMORIAM. For comments on the composer of this tune, Frederick Charles Maker, 1844-1927, see Hymn 112.

311. Bread of heaven, on Thee we feed _Josiah Conder_, 1789-1855

The hymn appeared in the author’s _Star of the East_, 1821, as “Bread of heaven, on Thee I feed.” The first person singular was altered to the plural throughout, and other changes made, improving the original.

For comments on Josiah Conder see Hymn 247.

_MUSIC._ ALETTA is by the American composer of popular church and Sunday school music, William B. Bradbury, 1816-68. For further comments on Bradbury see Hymn 103.

Conder’s hymn may also be sung to “_Nicht so traurig_” (538).

MARRIAGE

312. O perfect Love, all human thought transcending _Dorothy Blomfield Gurney_, 1858-1932 _Doxology added by John Ellerton_, 1826-93

A singularly appropriate hymn for a Christian wedding. The author, Dorothy Gurney, born near London in 1858, was the daughter of Rev. Frederick Blomfield, a minister of the Anglican Church. She married a minister’s son, Gerald Gurney, and with her husband, united with the Roman Catholic Church in 1919. Mrs. Gurney has given the following account of the writing of this popular hymn for holy matrimony:

We were all singing hymns one Sunday evening and had just finished “O Strength and Stay,” the tune to which was an especial favorite of my sister’s, when someone remarked what a pity it was that the words should be unsuitable for a wedding. My sister, turning suddenly to me, said: “What is the use of a sister who composes poetry if she cannot write me new words to this tune?” I picked up a hymn-book and said: “Well, if no one will disturb me, I will go into the library and see what I can do.” After about fifteen minutes I came back with the hymn, “O perfect Love,” and there and then we all sang it to the tune of “Strength and Stay.” It went perfectly, and my sister was delighted, saying that it must be sung at her wedding. For two or three years it was sung privately at many London weddings, and then it found its way into the hymnals. The writing of it was no effort whatever after the initial idea had come to me of the twofold aspect of perfect union, love and life; and I have always felt that God helped me to write it.

It is the most popular wedding hymn extant.

For comments on John Ellerton, who added the third stanza, see Hymn 42.

_MUSIC._ PERFECT LOVE is from an anthem composed by Joseph Barnby for the marriage of Princess Louise of Wales to the Duke of Fife, July 27, 1889. The anthem has been sung at many subsequent royal weddings.

For comments on Joseph Barnby see Hymn 21.

BURIAL OF THE DEAD

313. Safe in the arms of Jesus _Fanny J. Crosby_, 1820-1915

Written April 30, 1868, at the request of W. H. Doane, composer of the tune to which it was to be sung. The hymn and tune were published first in _Songs of Devotion for Christian Associations_, 1870. It is a tender lyric which has given peace and satisfaction to many who have faced death and especially to mothers who have lost children.

Fanny Crosby, born in Putnam County, N. Y., became blind when six weeks old as the result of an application of a warm poultice to her eyes. She was educated in the New York (City) Institute for the Blind and there served as a teacher for a time. In 1858, she was married to Alexander van Alstyne, a blind musician. Miss Crosby began writing verses when a child of eight years and throughout her long life showed a marvelous facility for expression in poetry, which resulted in the writing of nearly 6,000 hymns besides many secular poems. Many of her hymns were written for W. H. Doane, Robert Lowry, Philip Phillips, Ira Sankey, and others who were editors of evangelistic song books. She is best known by her maiden name but also wrote under her married name and 216 _noms de plume_. She was a member of the Methodist Episcopal Church. Ten of her hymns are in the _Hymnary_.

_MUSIC._ SAFE IN THE ARMS, also known as “Refuge,” was composed by William Howard Doane, 1832-1916, a manufacturer of wood-working machinery in Cincinnati, Ohio. He was a member of the Baptist Church and served many years as superintendent of the Sunday school in his church. A music enthusiast, he published 35 collections of song books and composed numerous hymn tunes, anthems, and cantatas. In 1875, Denison University, Granville, Ohio, conferred on him the degree of Doctor of Music.

314. Asleep in Jesus.... _Margaret Mackay_, 1802-87

Written by Margaret Mackay, wife of a distinguished officer in the English army. She composed numerous hymns and poems, but none is so widely known as this tender lyric so often used as a funeral hymn, which she entitled, “Burial of the Dead.” The hymn was suggested by an inscription she saw on a tombstone in the burying ground of Pennycross Chapel, a rural spot in Devonshire:

“Sleeping in Jesus.”

One stanza, the fifth, has been omitted. It reads:

Asleep in Jesus: time nor space Debars this precious “hiding place.” On Indian plains or Lapland snows Believers find the same repose.

The hymn was first published in _The Amethyst_, 1832, in Edinburgh.

_MUSIC._ REST. For comments on the composer, William B. Bradbury, see Hymn 103.

315. Now the laborer’s task is o’er _John Ellerton_, 1826-93

Written for _Church Hymns_, 1871, by John Ellerton, distinguished hymnist of the Church of England. His biographer has written concerning this hymn:

We now come to the loveliest and most loved of Mr. Ellerton’s hymns. It has been sung and will continue to be sung at the graveside of princes, divines, statesmen, poets, artists, authors, as well as many a Christian labourer of humble life.

For comments on John Ellerton see Hymn 42.

_MUSIC._ REQUIESCAT was written for this hymn. It appeared first in _Hymns Ancient and Modern_, 1875. For comments on the composer, John B. Dykes, see Hymn 1.

316. O Lord of life, where’er they be _Frederick L. Hosmer_, 1840-1929

This hymn, a source of comfort and courage to many mourners, was composed by Hosmer in 1888 for the Easter service in his own church in Cleveland, Ohio.

The note of triumph runs throughout the hymn, each stanza ending with a jubilant “Allelujah.” It was written to be sung with Palestrina’s tune, “Victory.”

For comments on Frederick Hosmer see Hymn 72.

_MUSIC._ VICTORY. For comments on this tune see Hymn 116.

BURIAL OF THE DEAD

317. For all the saints _William W. How_, 1823-97

The original, in eleven stanzas, was published in 1864 in _Hymns for Saints’ Days_, by a layman, Lord Nelson. One of the omitted stanzas reads:

For the Apostles’ glorious company Who, bearing forth the Cross o’er land and sea, Shook all the mighty world, we sing to Thee.

For comments on William How see Hymn 144.

_MUSIC._ SARUM. The tune was composed for the _Sarum Hymnal_, 1869, for these words by Bishop How. It is also known as “St. Philip” and “For All the Saints.”

For comments on the composer, Joseph Barnby, see Hymn 21.

318. We cannot think of them as dead _Frederick L. Hosmer_, 1840-1929

Written in 1876 after the death by drowning of a young member of the church of which the author was minister.

For comments on the author, Frederick L. Hosmer, see Hymn 72.

_MUSIC._ ST. FLAVIAN is from the _English Psalter_ of 1562 which was printed by John Day in London. The present is the first half, with some alterations, of the tune set to Psalm 132.

319. Come, let us join our friends above _Charles Wesley_, 1707-88

The first of a group of _Funeral Hymns_, published in 1759. It sets forth the assurance that friends gone before are not lost to those who mourn,

For all the servants of the King In earth and heaven are one.

This hymn, one of Wesley’s greatest, has had wide use throughout the English speaking world in times of sorrow and loss of loved ones. It is an exposition of the words of the ancient Creed, “I believe in the communion of saints.”

The third and fourth verses, containing the idea of One Church, are among the finest in the whole range of hymnody.

The hymn was a great favorite of John Wesley. It so happened that he gave it out to be sung at a service he was conducting, at the very hour of the death of his brother Charles, giving the hymn a peculiarly pathetic interest.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ DUNDEE. For comments on this tune see Hymn 297.

CHURCH UNITY

320. In Christ there is no East or West _John Oxenham_, 1852-1941

A poem of human brotherhood, carrying a fine missionary message much needed in our day. It is written in the spirit of St. Paul—“where there is neither Greek nor Jew, circumcision nor uncircumcision, Barbarian, Scythian, bond nor free: but Christ is all and in all,” Col. 3:11. It stands in striking contrast to Kipling’s more narrow nationalism in his “East is East, and West is West, and never the twain shall meet.”

This hymn which has now found its way into most modern hymn books was written for a missionary pageant, _The Pageant of Darkness and Light_, which the London Missionary Society asked the author to write, for use in connection with a great missionary exhibition in London, an affair which ran for a month and did much to stimulate interest in missions in all the churches. Oxenham wrote the _libretto_ and planned the scenes for the pageant. The composer of the music, Hamish MacCunn, sent to him in a hurry one day for a few verses to fill in a gap. To this request Oxenham responded with the beautiful, simple lines, “No East or West.”

John Oxenham, English publisher, poet, and novelist, was born in Manchester. He wrote this poem in 1908; and in 1939 sent the hymn, “Peace in our time” (357) with a personal letter to the editors of the _Hymnary_. The name John Oxenham is a _nom de plume_ for William Arthur Dunkerley. For some years Dunkerley was engaged in business, in the interest of which he travelled extensively in Europe and Canada, and lived in France and the United States. He once investigated the possibilities of cotton growing and sheep raising in the Southern States but decided against the venture. He began writing as a relief from business, and then, later, dropped business in favor of writing.

_MUSIC._ ST. PETER, also known as “St. Peter’s, Oxford,” was composed for Psalm 118, by Alexander R. Reinagle, 1799-1877, distinguished organist for thirty-one years in St. Peter’s-in-the-East Church, Oxford. The tune derives its name from the church which the composer served so long. It appeared in _Psalm Tunes for the Voice and the Pianoforte_, published by Reinagle in 1830. It is a majestic tune and should be sung in moderate time with strong rhythmic accent.

321. Jesus, Lord, we look to Thee _Charles Wesley_, 1707-88

Four simple, lovely stanzas setting forth the unity of believers in Christ.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ MÜDE BIN ICH, GEH ZUR RUH. For comments on this tune see Hymn 254.

322. All praise to our redeeming Lord _Charles Wesley_, 1707-88

A favorite and appropriate hymn for use at religious reunions and conference gatherings. Wesley entitled it, “At meeting of Friends.”

For comments on Charles Wesley see Hymn 6.

_MUSIC._ ARMENIA was composed by Sylvanus Billings Pond, 1792-1871, Albany, N. Y., a piano manufacturer. Billings wrote many fine tunes and in 1841 issued the _United States Psalmody_, in which this tune appeared.

323. How sweet, how heavenly is the sight _Joseph Swain_, 1761-96

A beautiful hymn of Christian love, suggesting lines by Alice Carey:

He who loves best his fellowman Is loving God the holiest way he can.

It appeared in the author’s _Walworth Hymns_, 1792, entitled, “The Grace of Christian Love.”

Joseph Swain, English Baptist minister and hymn writer, lost his parents early in life and was apprenticed to an engraver. He led a careless, frivolous life until his conversion at the age of twenty-two, when he became a fervent Christian. He qualified for the Baptist ministry and began serving as minister of a congregation in East Street, Walworth, in 1791. His poetic gifts, formerly given worldly and superficial expression, were now turned with great effect to his evangelistic appeals. His short ministry of five years, cut off by a lamented early death, was very successful.

_MUSIC._ REMEMBER ME. For comments on Asa Hull, composer of the tune, see Hymn 232.

MISSIONS

324. The morning light is breaking _Samuel F. Smith_, 1808-95

A great missionary hymn, though a little too optimistic. It was written in 1832 while the author was a student in Andover Theological Seminary. After reading an inspiring account by Adoniram Judson of his great missionary work in Burma, Smith put his enthusiasm for missions into these verses, now sung in all the churches.

Rev. Samuel F. Smith, Harvard graduate in the class with Oliver Wendell Holmes, became the foremost American Baptist hymn writer of the 19th century. He is the author of numerous hymns but is best known by “My country, ’tis of thee” and the present hymn. His desire to be a missionary himself was never fulfilled, but his son volunteered for the service and became the successor to Judson in the great work in Burma. “The morning light is breaking” has been translated into many tongues. In a letter dated March 17, 1883, the author said of this hymn: “I have heard versions of it sung in Karen, Burman, Italian, Spanish, Portuguese, Swedish, German, and Telegu.” Dr. Smith was a great linguist. He taught modern languages for a time in Colby College and had a familiarity with no less than fifteen languages. It is said that at the age of 86 he was seeking a suitable textbook to use in the study of the Russian language. He served as minister of Baptist churches at Waterville, Me., and Newton Center, Mass., and was secretary of the Baptist Missionary Union for 15 years.

_MUSIC._ WEBB. For comments on this tune and its composer, George J. Webb, see Hymn 65.

325. Far and near the fields are teeming _J. O. Thompson_

A popular missionary hymn based on Luke 10:2: “The harvest truly is great, but the laborers are few: pray ye therefore the Lord of the harvest, that he would send forth laborers into his harvest.”

No information has been found concerning the author, J. O. Thompson, or the composer of the tune, J. B. O. Clemm. The song appeared in _The Epworth Hymnal_, edited by John H. Vincent, afterward a Bishop, and published by Phillips and Hunt, Methodist Publishers, New York, in 1885. It was copyrighted by them as of that year.

326. Father, whose will is life and good _Hardwicke Drummond Rawnsley_, 1851-1920

A prayer for the sick, and for physicians engaged in medical missionary work.

The hymn first appeared in _A Missionary Hymn Book_, 1922, published by the Society for the Promotion of Christian Knowledge, in London. The author, Rev. Hardwicke Drummond Rawnsley, was an influential minister and educator in the Church of England. He spent much of his life in the Lake District in northern England, and, being a man of public spirit and a lover of nature, he championed the rights of the people in securing for public use in perpetuity many beautiful tracts of the Lake District and other parts of the country. His friends remembered him as one “who, greatly loving the fair things of nature and of art, set all his love to the service of God and man.”

_MUSIC._ “TALLIS,” says William H. Havergal in _Notes on Certain Tunes_, is “simplicity itself. A child may sing the tune, while manly genius will admire it.”

For comments on the composer, Thomas Tallis, see Hymn 33.

327. Christ for the world we sing _Samuel Wolcott_, 1813-86

The author of this hymn, Samuel Wolcott, born at South Windsor, Conn., graduated from Yale at 20, spent two years in Syria as a missionary, and then, on account of failing health, returned to the United States where he served as pastor in various Congregational churches. The hymn was suggested to him by a motto, “Christ for the World and the World for Christ,” made from branches of evergreen, in a Cleveland church where a Y.M.C.A. convention was held. One night, walking home from the convention to which he was a delegate, the words of the hymn took form. Yankton College, South Dakota, has adopted it as the opening hymn for each term of school.

_MUSIC._ MALVERN. For comments on this tune and its composer, John Roberts, see Hymn 131.

328. O Zion, haste, thy mission high fulfilling _Mary A. Thomson_, 1834-1923

One of the strongest and most useful missionary hymns in the English language.

Mary Ann Faulkner was born in London but came to this country as a girl and became the wife of John Thomson, Librarian of the Free Library, in Philadelphia. A member of the Protestant Episcopal Church, her hymns, about forty in all, were published in _The Churchman_, New York, and in _The Living Age_, Chicago.

Of the origin of this missionary hymn, Mrs. Thomson has written:

I wrote the greater part of the hymn, “O Zion, haste,” in the year 1868. I had written many hymns before, and one night, while I was sitting up with one of my children who was ill of typhoid fever, I thought I should like to write a missionary hymn to the tune of the hymn beginning, “Hark, hark, my soul, angelic songs are swelling,” as I was fond of that tune; but as I could not then get a refrain I liked, I left the hymn unfinished, and about three years later I finished it by writing the refrain which now forms part of it. By some mistake 1891 is given instead of 1871 as the date of the hymn in the (Episcopal) _Hymnal_. I do not think it is ever sung to the tune for which I wrote it. Rev. John Anketell told me, and I am sure he is right, that it is better for a hymn to have a tune of its own, and I feel much indebted to the composer of the tune TIDINGS for writing so inspiring a tune to my words.

She was mistaken in the last sentence, for Walch’s tune, strangely enough, was composed for the words “Hark, hark my soul” (260).

_MUSIC._ TIDINGS was written, as stated above, for the hymn, “Hark, hark my soul! Angelic songs are swelling” (260), by James Walch, 1837-1901, an English composer and organist. The tune was never accepted for that hymn, because there already were several good tunes for it in use. In the providence of God, it found this hymn. The union was favored from the beginning and continues so today.

329. Word of Life, most pure, most strong _Jonathan F. Bahnmaier_, 1774-1841 _Tr. Catherine Winkworth_, 1829-78

One of the best and most useful hymns for foreign missions.

The original poem has six stanzas, our hymn comprising the last three, translated by Catherine Winkworth. The German text is found at No. 551, the hymn there being a free translation by Percy Dearmer.

For comments on Catherine Winkworth see Hymn 236.

Jonathan F. Bahnmaier was born at Oberstenfeld where his father, J. C. Bahnmaier, was town preacher. He received his education at Tübingen and became assistant, in 1798, to his father. Later he had an appointment as Professor of Education and Homiletics at Tübingen but resigned in 1819 to become dean and town preacher at Kirchheim-unter-Teck, a post he held until his death. Bahnmaier was greatly interested in education, missions, and Bible societies and was on the committee which compiled the _Württemberg Gesangbuch_, published after his death in 1842. One other of his hymns, “_Jesu als du wiederkehrtest_,” entitled, “Prayer after School,” has been translated into English.

_MUSIC._ MOZART is adapted from the “Kyrie” of the _Twelfth Mass_ by the famous composer, Wolfgang Amadeus Mozart, 1756-91.

For comments on Mozart see Hymn 179.

330. O Spirit of the living God _James Montgomery_, 1771-1854

One of the greatest missionary hymns in the English language. It was composed for a missionary service held in Leeds, England, June 4, 1823, and was entitled, “The Spirit Accompanying the Word of God.” Its lyric beauty, its burning passion for the spread of the gospel, combined with its dignity and healthy-mindedness make it an extraordinarily useful hymn. Setting forth and emphasizing the relation of the Holy Spirit to the work of missions, it fills an important place in the _Hymnary_.

For comments on James Montgomery see Hymn 62.

_MUSIC._ ALSTONE. For comments on this tune see Hymn 300.

331. Fling out the banner! let it float _George W. Doane_, 1799-1859

A stirring missionary hymn entitled, “Missions, Home and Foreign.”

It is based on Psalm 60:4: “Thou hast given a banner to them that fear thee, that it may be displayed because of the truth.”

The hymn was written in response to a request from the young women at St. Mary’s Hall, Burlington, N. J., a girls’ college founded by Bishop Doane, to be sung at a flag raising. The author, writing what has become a widely known hymn, gave the occasion a far wider significance than the girls had foreseen.

Bishop George Doane, a zealous advocate of missions, was known in his own church as “the missionary bishop of America.” The modern missionary movement arose and spread in his lifetime. The hymn reflects Doane’s enthusiasm and aggressive missionary leadership.

For further comments on the author see Hymn 36.

_MUSIC._ WALTHAM—also known as “Doane” and “Camden”—was written by John Baptiste Calkin, 1827-1905, English pianist and organist, professor of music, and composer of church music, both instrumental and vocal. The tune with its martial swing lends itself well for use as a processional.

332. Hail to the brightness of Zion’s glad morning _Thomas Hastings_, 1784-1872

A missionary hymn written in 1832, at the beginning of the modern missionary movement. It was first published in _Spiritual Songs for Social Worship_, 1833, a volume compiled jointly by Hastings and Mason, set to the present tune by Lowell Mason. _Spiritual Songs_ was a notable volume, publishing for the first time such well-known hymns as “The morning light is breaking,” “My faith looks up to Thee,” and introducing in America, Toplady’s famous “Rock of Ages.”

For comments on Thomas Hastings see Hymn 120.

_MUSIC._ WESLEY, also called “Hail to the Brightness,” was written by Lowell Mason for this hymn. It is a simple, straightforward melody, whose merit as a hymn tune is unquestionable.

For comments on Lowell Mason see Hymn 12.

333. From Greenland’s icy mountains _Reginald Heber_, 1783-1826

One of the most famous missionary hymns ever written. An interesting story is attached to its origin, a detailed account of which was written by Thomas Edgeworth on the fly-leaf of a facsimile of the original manuscript as follows:

On Whitsunday, 1819, the late Dr. Shipley, Dean of St. Asaph, and Vicar of Wrexham, preached a sermon in Wrexham Church in aid of the Society for the Propagation of the Gospel in Foreign Parts. That day was also fixed upon for the commencement of the Sunday evening lectures intended to be established in the church, and the late Bishop of Calcutta (Heber), then rector of Hodnet, the Dean’s son-in-law being together in the vicarage, the former requested Heber to write “something for them to sing in the morning”; and he retired for that purpose from the table where the Dean and a few friends were sitting to a distant part of the room. In a short time the Dean enquired, “What have you written?” Heber having then composed the three first verses, read them over. “There, there, that will do very well,” said the Dean. “No, no, the sense is not complete,” replied Heber. Accordingly he added the fourth verse, and the Dean being inexorable to his repeated request of “Let me add another; oh, let me add another!” thus completed the hymn of which the annexed is a facsimile and which has since become so celebrated. It was sung the next morning in Wrexham Church the first time.

The tune to which it was sung was “’Twas when the seas were roaring,” from _The Beggar’s Opera_—a fine but somewhat incongruous selection.

The words of the hymn reflect the enthusiasm and zeal of consecrated youth, eager, like Livingstone, to go out to a distant people needing help and to sacrifice life for the cause. Greatly interested in missions, Heber was offered the Bishopric of Calcutta and accepted it against the advice of his friends. After three years of strenuous, devoted labor, he was stricken with apoplexy and found dead in his bath on the evening of a busy day in which he had baptized forty-two native converts.

The much-discussed second stanza, omitted in the _Hymnary_ because of its seeming low estimate of man, is as follows:

What though the spicy breezes Blow soft o’er Ceylon’s isle; Though every prospect pleases And only man is vile; In vain with lavish kindness The gifts of God are strown; The heathen in his blindness Bows down to wood and stone.

The hymn is widely used among German speaking people in the following translation made by Dr. Ch. G. Barth, 1799-1862:

Von Grönlands eis’gen Zinken, China’s Korallenstrand,— Wo Ophirs Quellen blinken, Fortströmend goldnen Sand,— Von manchem alten Ufer, Von manchem Palmenland Erschallt das Fleh’n der Rufer: “Löst unsrer Blindheit Band!”

Gewürzte Düfte weben Sanft über Ceylons Flur; Es glänzt Natur und Leben Schlecht sind die Menschen nur. Umsonst sind Gottes Gaben So reichlich ausgestreut; Die blinden Heiden haben Sich Holz und Stein geweiht.

Und wir, mit Licht im Herzen, Mit Weisheit aus den Höh’n, Wir könnten es verschmerzen, Dass sie im Finstern geh’n? Nein, nein! das Heil im Sohne Sei laut und froh bezeugt, Bis sich vor Christi Throne Der fernste Volkstamm beugt!

Ihr Wasser sollt es tragen, Ihr Winde, führt es hin, Bis seine Strahlenwagen Von Pol, zu Pole ziehn; Bis der versöhnten Erde, Das Lamm, der Sünderfreund, Der Herr und Hirt’ der Heerde In Herrlichkeit erscheint!

_MUSIC._ MISSIONARY HYMN, like the hymn to which it is sung, was written in a few minutes time. Miss Mary W. Howard of Savannah, Ga., read the words in the American edition of _The Christian Observer_, of February, 1823, and was so impressed with them that she requested a young bank clerk who had gone to Georgia from New England, to write a tune for them. He complied, and in a half hour handed her the tune which is now sung all over the world. The clerk was Lowell Mason. For further comments on Mason see Hymn 12.

334. We have heard the joyful sound _Priscilla Jane Owens_, 1829—c. 99

A missionary hymn written for the anniversary of a Sunday school in Baltimore in which the author had been a worker for many years.

Priscilla Jane Owens, of Scottish and Welsh descent, was born and died in Baltimore where she was a public school teacher and an untiring worker in the Sunday school. Most of her hymns were written for children’s services.

_MUSIC._ JESUS SAVES was composed by William J. Kirkpatrick, 1838-1921, a native of Duncannon, Pa. He was a regimental musician during the Civil War and was skilled as an organist, gospel singer, and composer, and was editor and publisher of gospel songs.

335. We’ve a story to tell to the nations _Colin Sterne_, 1862-1928

A popular missionary hymn, breathing the spirit of Christ’s great commission: “Go ye therefore, and make disciples of all nations, baptizing them into the name of the Father and of the Son and of the Holy Spirit: teaching them to observe all things whatsoever I commanded you: and lo, I am with you always, even unto the end of the world.”

The message of the hymn, in which lies the hope of the nations, is summarized in the chorus.

The words and music are by the same person, Henry Ernest Nichol, who was born at Hull, England, December 10, 1862. He always signed his correct name to a tune, and the anagram “Colin Sterne,” to a hymn. Oxford University gave him his degree in music. His compositions, many of them for the church, have the simplicity and directness of the folk song. The tune here forms a splendid musical setting for the words and may be sung variously, as a solo, duet, all the voices in unison, or in four parts.

336. On the mountain top appearing _Thomas Kelly_, 1769-1854

Based on Isa. 52:7: “How beautiful upon the mountains are the feet of him that bringeth good tidings.” The hymn was written after the good news came from the island of Tahiti that the first little band of mission workers sent there by the London Missionary Society, was kindly received by the natives, their message heard and welcomed, and that there was every prospect for the success of the mission. Hearing the news, Rev. Thomas Kelly wrote this hymn, entitling it, “On the Good News from Tahiti.” The London Missionary Society met soon afterward for an enthusiastic gathering where this hymn was first sung.

For comments on Thomas Kelly see Hymn 119.

_MUSIC._ ZION. This tune is also used with the hymn, “Guide me, O Thou great Jehovah,” but it is better suited to the present hymn.

For comments on the composer, Thomas Hastings, see Hymn 120.

337. Ye Christian heralds, go proclaim _Bourne H. Draper_, 1775-1843

A hymn, originally of four stanzas, written as a farewell to missionaries.

The author, Rev. Bourne H. Draper, was born of a Church of England family, near Oxford, England. He joined the Baptist Church while employed as a printer’s apprentice at the Clarendon Press, Oxford. He trained himself for the Baptist ministry and became pastor of the Baptist Church at Chipping-Norton. A man of great piety and poetic gift, he wrote numerous books for children as well as devotional works and volumes of sermons.

_MUSIC._ MISSIONARY CHANT appeared in the composer’s _American Harp_, 1835, where it was identified with this hymn. Concerning the composition of the tune, Zeuner said: “I was sitting on one of those seats on Boston Commons on a most beautiful moonlight evening, all alone, with all the world moving about me, and suddenly ‘Missionary Chant’ was given me. I ran home as fast as ever I could and put it on paper before I should forget.”

Charles Heinrich Christopher Zeuner, 1795-1857, a native of Germany, came to America at the age of 29 and settled in Boston. His musical ability was soon recognized, and he was made president of the Handel and Haydn Society, and later its conductor. He published a book, _American Harp_, of nearly 400 pages of tunes, in 1832, mostly his own compositions. He moved to Philadelphia where he served as organist of St. Anne’s Episcopal Church and later of the Arch Street Presbyterian Church. Due to harsh criticism of his playing, he became despondent and took his own life one November day at a lonely spot in the woods. Zeuner was never married and had no relatives in this country.

338. How are Thy servants blest _Joseph Addison_, 1672-1719

A hymn of the Christian traveller, particularly descriptive of the experience of many Christian missionaries. It is known as the “Traveller’s Hymn” and has been found useful as a part of the daily devotions by Christians journeying in foreign lands.

It appeared in ten stanzas in the _Spectator_ for September 20, 1712, at the end of an article on “Greatness,” with special reference to the greatness and awesomeness of the sea. The hymn was “made by a gentleman upon the conclusion of his travels.” Returning in 1700 from the terrors of a voyage on the Mediterranean Sea, Addison gives here, years afterwards, a picture of his own trying experiences. The second stanza describes some of the hardships through which he passed. The omitted stanzas (3, 4, 5, 7, 8) of the hymn picture the storm at sea, its subsidence, and the traveller’s trust in God. They are as follows:

3. Thy mercy sweetened every soil, Made every region please: The hoary Alpine hills it warmed, And smoothed the Tyrrhene seas.

4. Think, O my soul, devoutly think How with affrighted eyes Thou sawest the wide-extended deep In all its horrors rise!

5. Confusion dwelt in every face, And fear in every heart; When waves on waves, and gulfs on gulfs, O’ercame the pilot’s art.

7. When by the dreadful tempest borne High on the broken wave, They know Thou art not slow to hear, Nor impotent to save.

8. The storm is laid, the winds retire, Obedient to thy will; The sea, that roars at thy command, At thy command is still.

For comments on Joseph Addison see Hymn 50.

_MUSIC._ KILMARNOCK appeared in England as a Psalm tune in _Parochial Psalmody: a New Collection of the Most Approved Psalm Tunes.... By J. P. Clark, Second Edition_, 1831.

The composer, Neil Dougall, 1776-1862, son of a shipwright, went to school until he was 15, then took to the sea. Three years later he met with an accident which resulted in the loss of his eyesight and his right arm. He then took up the study of music and for 45 years was a successful teacher of singing classes. He wrote about 100 psalm and hymn tunes.

339. See how great a flame aspires _Charles Wesley_, 1707-88

A rousing missionary hymn which Wesley wrote after preaching to the coal miners at Newcastle. The imagery of the great flame was suggested by the night scene—the glow in the sky from the blazing fires connected with the mines. The climax of the hymn, stanza 4, was inspired by an incident in the life of Elijah. When his servant returned the seventh time from looking toward the sea from the housetop, he reported: “Behold there ariseth a little cloud out of the sea like a man’s hand!... And it came to pass in the meantime that the heaven was black with clouds and wind, and there was a great rain” (I Kings 18:41-45).

For comments on Charles Wesley see Hymn 6.

_MUSIC._ BENEVENTO is an adaptation from a motet on the words, “_Tibi omnes angeli_” by Samuel Webbe, 1740-1816, a London organist and composer.

340. The whole wide world for Jesus _J. Dempster Hammond_, 1719-83

The watchword, “the whole wide world for Jesus,” brings to mind the motto, “The evangelization of the world in this generation,” which served to inspire the Student Volunteer Movement in the days of John R. Mott, Robert E. Speer, and Sherwood Eddy. Two world wars have shaken the foundations of the missionary enterprise, but those closest to the movement still declare the motto to be both a possibility and an obligation. The missionary forces are making resolute plans for giving the Gospel to the entire world.

No information is at hand concerning the author, J. Dempster Hammond.

_MUSIC._ THE WHOLE WIDE WORLD. The composer, John H. Maunder, was born in Chelsea, England, in 1858, and died in 1920. He received his musical education at the Royal Academy of Music in London; held various musical appointments and became a well-known and popular accompanist for vocalists. As a composer, he was widely known for his anthems, cantatas, and services which have met with wide approval. His _A Song of Thanksgiving_, a cantata, has been quite popular in this country, as have several of his anthems. In the secular field he has written much excellent choral music, one of the best being his “The Song of Thor.”

341. Jesus shall reign where’er the sun _Isaac Watts_, 1674-1748

Founded on the last part of Psalm 72, this is the earliest of the great English hymns on missions. It is sung by all Christian congregations in the homelands and has probably been translated into a greater number of languages and dialects than any other English hymn.

Watts did not hesitate to use the name of Jesus in interpreting the Psalm. On this point, he wrote in the preface to his Psalms:

Where the original runs in the form of prophecy concerning Christ and his salvation, I have given an historical turn to the sense; there is no necessity that we should always sing in the obscure and doubtful style of prediction, when the things foretold are brought into the open light by a full accomplishment.

“Peculiar honors” in stanza 5 means honors appropriate to the various peoples who bring them.

For comments on Isaac Watts see Hymn 11.

_MUSIC._ DUKE STREET. This is a psalm tune by John Hatton (d. 1793), a native of Warrington, England, of whom little is known. The tune appeared first in _A Select Collection of Psalm and Hymn Tunes_, Glasgow, 1793. It has long been associated with this hymn, although other tunes—“Old Hundredth,” “Warrington,” and “Truro”—have also been used with it.

342. Lord of light, whose name outshineth _Howell Elvet Lewis_, 1860—

Based on the petition, “Thy will be done on earth as it is in heaven.”

The hymn was written for the _Congregational Hymnary_ (England), 1916. A note by the author explains his purpose in the hymn:

The hymn was written to declare that in doing God’s will, active co-operation is as much needed as humble resignation. Charlotte Elliott, in her hymn, “My God and Father, while I stray,” had expressed the latter thought beautifully. My hope was to supplement her hymn as best I could.

(Miss Elliott’s hymn is found at No. 245).

Howell Elvet Lewis, of Welsh birth, became an influential leader in English Congregationalism. He served as minister of the Welsh Tabernacle, King’s Cross, London, and was at one time chairman of the Congregational Union of England and Wales. He is the author of a number of volumes of poems and biography.

_MUSIC._ HAST DU JESU RUF VERNOMMEN appears anonymously in the _Gesangbuch mit Noten_, set to a missionary hymn beginning with these words. By repeating the first four lines of the first stanza of the present hymn the refrain was made possible.

The tune was written by John R. Sweney, 1837-99, a native of West Chester, Penna., who received his degrees of Mus. Bac. and Mus. Doc. at the Pennsylvania Military Academy, Chester, Penna. Sweney was a skilled choir leader, violinist, and pianist. He collaborated with Wm. J. Kirkpatrick in the production and publishing of numerous gospel hymn tunes and hymnals. After the Civil War, he taught music in the school from which he received his degrees and became well known as a song-leader at summer religious assemblies, especially at Ocean Grove, N. J.

NATIONAL AND INTERNATIONAL LIFE—THE NATION

343. O beautiful for spacious skies _Katharine Lee Bates_, 1859-1929

A beautiful poem expressing genuine love for America and faith in human brotherhood. The historical accuracy of the second and third stanzas may be questioned. To one familiar with New England theocracy, it is clear that the Pilgrims were not, as the poet suggests, the champions of freedom of thought and religion. On the contrary, they were intolerant of any form of opposition, whether religious or political.

The hymn is less limited to the New England landscape than “My country, ’tis of thee,” and probably for that reason has overshadowed the latter as a popular national hymn.

Katharine Lee Bates, born in Falmouth, Mass., was educated at Wellesley College where she later became Professor of English. She is the author of many books.

A folder published by the author, giving the exact title and words of the hymn, also contains interesting data concerning its origin and history:

_America the Beautiful_ was written in its original form, more literary and ornate than the present version, in the summer of 1893. I was making my first trip west. After visiting at Chicago the World’s Fair, where I was naturally impressed by the symbolic beauty of the White City, I went on to Colorado Springs. Here I spent three weeks or so under the purple range of the Rockies, which looked down with surprise on a summer school. This had called to its faculty several instructors from the east, Dr. Rolfe coming from Cambridge to teach Shakespeare, Professor Todd from Amherst for lectures on Astronomy, Professor Katharine Coman from Wellesley for a course in Economics. My own subject, which seemed incongruous enough under that new and glowing sky, was English Religious Drama.

We strangers celebrated the close of the session by a merry expedition to the top of Pike’s Peak, making the ascent by the only method then available for people not vigorous enough to achieve the climb on foot nor adventurous enough for burro-riding. Prairie wagons, their tail-boards emblazoned with the traditional slogan, “Pike’s Peak or Bust,” were pulled by horses up to the half-way house, where the horses were relieved by mules. We were hoping for half an hour on the summit, but two of our party became so faint in the rarified air that we were bundled into the wagons again and started on our downward plunge so speedily that our sojourn on the peak remains in memory hardly more than one ecstatic gaze. It was then and there, as I was looking out over the sea-like expanse of fertile country spreading away so far under those ample skies, that the opening lines of the hymn floated into my mind. When we left Colorado Springs the four stanzas were pencilled in my note-book, together with other memoranda, in verse and prose, of the trip. The Wellesley work soon absorbed time and attention again, the note-book was laid aside, and I do not remember paying heed to these verses until the second summer following, when I copied them out and sent them to _The Congregationalist_, where they first appeared in print July 4, 1895. The hymn attracted an unexpected amount of attention. It was almost at once set to music by that eminent composer, Silas G. Pratt, and re-published with his setting, in _Famous Songs_, issued in 1895 by the Baker and Taylor Company. Other tunes were written for the words and so many requests came to me, with still increasing frequency, to permit its use in various publications and for special services that, in 1904, I re-wrote it, trying to make the phraseology more simple and direct.

The new form first appeared in the _Evening Transcript_ of Boston, November 19, 1904. After the lapse of a few years, during which the hymn had run the gauntlet of criticism, I changed the wording of the opening quatrain of the third stanza. The hymn as printed above is the final version, of which I retain the copyright, not as a matter of money-making, for I have given hundreds, perhaps thousands, of free permissions for its use, but in order to protect it from misprints and conscious alterations.

But here comes a difficulty. Over sixty original settings, some of them by distinguished musicians, have been written for the hymn, which thus suffers from an embarrassment of riches. It is associated with no one tune. The original setting which has, thus far, won widest acceptance is that of the former Municipal Organist of Portland, Will C. MacFarlane (sold by Cressey and Allen, 534 Congress Street, Portland, Maine). His tune, which is played on the city chimes of Springfield, Mass., he has made the theme of a spirited march, _America the Beautiful_, arranged for band music. In an octavo published by Oliver Ditson Company are included four settings, one by Clarence G. Hamilton, professor of music at Wellesley College, and another by W. W. Sleeper, formerly pastor of the Wellesley Congregational Church. Both these settings have found favor with choruses and made their way into various hymnals. This octavo carries, also, settings by William Arms Fisher, musical editor of the Boston house of Ditson. Other tunes that have a strong following are those of the celebrated composer, Horatio W. Parker (in the _Methodist Sunday School Hymnal_), Charles S. Brown (in _Junior Carols_, Society of Christian Endeavor), John Stainer (in the _Pilgrim Hymnal_), J. A. Demuth, professor of music at Oberlin (in _Oberlin’s Favorite Hymns_, published by Arthur P. Schmidt), and Herbert G. Peabody of Fitchburg, Mass., (published by H. W. Gray Company of New York). Other attractive settings, published, privately printed or yet in manuscript, have their special circles, and the words have been fitted to various old tunes, as those of _Auld Lang Syne_, _The Harp that Once through Tara’s Halls_, _The Son of God goes forth to War_ and _O Mother Dear Jerusalem_. To this last, Materna, by S. A. Ward, in many hymnals and well known throughout the country, _America the Beautiful_ is at present most often sung.

That the hymn has gained, in these twenty odd years, such a hold as it has upon our people, is clearly due to the fact that Americans are at heart idealists, with a fundamental faith in human brotherhood.

Katharine Lee Bates

(Quoted by permission.)

_MUSIC._ MATERNA (Mother) was composed for “O mother dear, Jerusalem.” The composer, Samuel Ward, 1847-1903, resided at Newark, N. J., where he operated a successful music business and was for 14 years the director of the Orpheus Club. The tune has by popular preference become inseparably associated with the words.

344. My country, ’tis of thee _Samuel F. Smith_, 1808-95

The best loved of our patriotic hymns, widely used, and deeply imbedded in the American soul.

His Harvard classmate, Oliver Wendell Holmes, saluted Smith in a poem written for their class reunion on the 30th anniversary of their graduation as follows:

And there’s a nice youngster of excellent pith— Fate tried to conceal him by naming him Smith: But he shouted a song for the brave and the free— Just read on his medal, “My country,” “of thee.”

The inspiration for this hymn came from the reading of a German patriotic poem sent him by Lowell Mason (See 348). The author, then a young student at Andover Theological Seminary, says:

I instantly felt the impulse to write a patriotic hymn of my own, adapted to the tune. Picking up a scrap of waste paper which lay near me, I wrote at once, probably within half an hour, the hymn, “America,” as it is now known everywhere. The whole hymn stands today as it stood on the bit of waste paper.

The hymn was first sung at a children’s festival in Park Street Church, Boston, July 4, 1832.

For comments on the author, Samuel F. Smith, see Hymn 324.

_MUSIC._ AMERICA is also the tune used with the national anthem of Britain, “God save the king.” The melody is of obscure origin. It has been known in England for several centuries. In Denmark it was used toward the end of the 18th century for a national hymn, “_Heil dir dem liebenden_,” and in Germany it was widely used in Prussian and other northern states to patriotic words. In earlier days in the United States, the words, “Come Thou Almighty King,” were sung to this tune. The tune has thus nearly come to be an International Anthem.

Henry Carey, 1692-1743, an English musician of considerable ability, known as the composer of the song, “Sally in Our Alley,” is sometimes credited with this tune but the evidence is disputed. He wrote songs and poems for light and burlesque operas but always with regard for decency and good manners. His life was ended by suicide.

345. Judge Eternal, throned in splendor _Henry Scott Holland_, 1874-1918

A prayer for the nation.

The hymn was written with the English Empire in mind, but its message and concern for the removal of national evils are such as to make it appropriate for use nearly everywhere.

Henry Scott Holland had a distinguished career at Oxford and attained to numerous positions of responsibility in the Church of England. He was Professor of Divinity at Oxford and later Canon of St. Paul’s Cathedral. The two chief interests of his fruitful life were social reform and missionary work, both of which are embodied in this, his only hymn. The poem was published in July, 1902, in _The Commonwealth_, a Christian social magazine which Dr. Holland edited, and was included in the _English Hymnal_ in 1906.

_MUSIC._ SICILIAN MARINERS. For comments on this tune see Hymn 45.

346. Once to every man and nation _James Russell Lowell_, 1819-91

A powerful hymn of national righteousness, taken from Lowell’s poem called “The Present Crisis,” 1845, the crisis being the war with Mexico which the author held to be unjust and would only result in enlarging the area of slavery. To make the meter of the poem regular enough to be sung, some alteration was inevitable.

James Russell Lowell graduated from Harvard in 1838 and was admitted to the bar two years later. He succeeded Longfellow as Professor of Modern Languages and Literature in Harvard, in 1855. From 1857 to 1862 he edited the _Atlantic Monthly_ and the nine years following that he was editor of the _North American Review_. In 1877 he was appointed minister to Spain, and in 1881, to England, remaining at the latter post four years. He wrote various volumes of poetry and was a prominent anti-slavery writer both in verse and prose.

_MUSIC._ TON-Y-BOTEL, also known as “Ebenezer,” is a “solemn tune, of very simple structure, being formed, throughout, of imitations of the first bar.” A letter from the copyright owners, W. Gwenlyn Evans and Son, Caernarvon, Wales, written by A. Vaughan Evans, throws interesting light on this tune and the origin of the fictitious story which gave rise to the name TON-Y-BOTEL. It reads, in part:

... We have pleasure in granting permission to use the tune Ebenezer (Ton-Y-Botel) free of charge in the Mennonite Hymn Book.... It is an original Welsh composition by T. J. Williams ... and was part of a Memorial Anthem ‘_Goleu yn y Glyn_’ (Light in the Vale) in memory of a friend of the composer....

You will have noticed above that the correct name of the tune is Ebenezer and it may be of interest to learn how it acquired the ‘nickname’ Ton-Y-Botel (the bottle tune). Not long after the Welsh Revival of 1904 the tune spread all over Wales and then England and Scotland ‘by ear.’ There were no written or printed copies of it. A crowd of young men were singing it on a hilltop just outside this town of Caernarvon and the usual questions were asked: Who was the composer, etc., when a lad for a joke said the tune had been found in a bottle washed up by the tide on the beach at Dinas Dinlle (a small bathing place in the Irish Sea near here). Ever since the tune has been called by the Welsh equivalent of “Bottle Tune.” One of the young men made a written copy of the music as it was sung all over the country, and brought it to us to print. The demand was enormous and we published hundred of thousands of copies.... We purchased the copyright and now the tune appears in hymnals all over the world—except in Wales, the country of its origin. I do not think it is a case of the prophet being without honour in his own country, but rather that the popularity was so great that it was sung everywhere—in taverns and public houses, non-religious words were sung to it, etc.—with the result that the tune was regarded as not quite ‘respectable’ by the generation which produced it. No doubt it will be valued by later generations of Welsh people. This has happened with several of the best-known Welsh hymns as many of them 200 years ago were of secular origin.

I am giving the above details so that something of its history may be on record in the United States, and hope they may be of interest.

347. God of our fathers, whose Almighty hand _Daniel C. Roberts_, 1841-1907

A hymn of broadminded patriotism, called forth by the “Centennial” Fourth of July celebration in 1876, held at Brandon, Vt. It was published in various papers at the time and included in the _Hymnal_ of the Protestant Episcopal Church in 1894. Since then it has appeared in a number of other church hymnals.

The hymn was written by Daniel C. Roberts, a graduate of Kenyon College, and a clergyman in the Episcopal Church.

_MUSIC._ NATIONAL HYMN was used at the Columbian celebration service at St. Thomas’ Church, New York City, Sunday morning, October 9, 1892. It is one of the finest processional tunes in the hymn book. The trumpet introduction and the interludes, making it unique among hymn tunes, gives it a quickening martial rhythm yet without losing its spirit of sanctity and reverence.

The composer, George William Warren, 1828-1902, was an American organist, born at Albany, N. Y. Though self-taught, he held responsible positions as organist in Albany and then at Holy Trinity and St. Thomas’ churches in New York.

348. God bless our native land _Siegfried A. Mahlmann_, 1771-1826 _Stanza 3, William E. Hickson_, 1803-70

The first two stanzas are a free translation of Stanzas 1 and 3 of the following patriotic song for Saxony:

1. Gott segne Sachsenland, Wo fest die Treue stand In Sturm und Nacht! Ew’ge Gerechtigkeit, Hoch überm Meer der Zeit, Die jedem Sturm gebeut, Schütz uns mit Macht!

2. Blühe, du Rautenkranz In schöner Tage Glanz Freudig empor! Heil, Friedrich August, dir! Heil, guter König, dir! Dich, Vater, preisen wir Liebend im Chor!

3. Was treue Herzen flehn Steigt zu des Himmels Höh’n Aus Nacht zum Licht. Der unsre Liebe sah, Der unsre Tränen sah, Er ist uns huldreich nah, Verlässt uns nicht.

A fourth stanza, identical with the first, follows.

It was written by the German song writer, Siegfried Augustus Mahlmann, and published in G. W. Fink’s _Musikalischer Hausschatz_, 1842. The hymn was first sung Nov. 13, 1815, in the presence of the King of Saxony. The hymn was also the inspiration for Samuel F. Smith’s, “My country ’tis of thee.”

The translation was made in 1834 by Charles T. Brooks, while a student at the Divinity School at Cambridge, Mass. It was revised by John Sullivan Dwight, 1813-93, to form our version. Dwight was a graduate of Harvard Divinity School and became a Unitarian minister in Northampton, Mass., but gave up the ministry to devote himself to literature and music. For thirty years he owned and edited Dwight’s _Journal of Music_.

The third stanza, raising the hymn above any narrow patriotism, was added by William E. Hickson, an English shoe manufacturer who retired from that business to pursue literary and philanthropic interests. Much interested in the musical culture of his people, he published various books on music and composed numerous musical works of merit. For a time he was editor of the _Westminster Review_.

_MUSIC._ DORT. For comments on the composer of this tune, Lowell Mason, see Hymn 12.

349. Great God of nations, now to Thee _Alfred A. Woodhull_, 1810-36

Entitled “Thanksgiving Hymn,” this poem was written in 1828 when the author was only eighteen years old. It was published in the Presbyterian _Psalms and Hymns_, 1829, Princeton, N. J. There have been many alterations of the lines.

Alfred Alexander Woodhull, son of a Presbyterian minister, graduated from Princeton at 18 years of age, and then took a medical course at the University of Pennsylvania. He began the practice of medicine at Marietta, Pennsylvania, then moved to Princeton where within a year he contracted a fever which occasioned his death. Known as a fine Christian man as well as a skilled physician, his early death was greatly lamented. He was a member of the Presbyterian Church.

_MUSIC._ MENDON. For comments on this tune see Hymn 211.

WORLD FRIENDSHIP AND PEACE

350. O God, we pray for all mankind _Howard J. Conover_, 1850-1925

A prayer for all the nations.

The author, Howard J. Conover, was born in New Jersey, the son of devout Christian parents. He was educated at Pennington Seminary, Pennington, N. J., and Dickinson College. He took up the ministry and was known to be a studious, devout, and thoroughly faithful pastor, serving a number of churches in his native state. A nephew, Elbert M. Conover, is the director of The Interdenominational Bureau of Architecture, with offices in New York City, serving twenty-five denominations.

_MUSIC._ ORTONVILLE. For comments on this tune see Hymn 120.

351. God the All-Merciful _Henry F. Chorley_, 1808-72

A touching cry for peace, based on the Russian national hymn by Chorley. This paraphrase was written by John Ellerton, in 1870, during the Franco-Prussian War. It was published in _Church Hymns_ in 1871.

Henry F. Chorley, an English man of letters, received his education at the Royal Institution, Liverpool. He was a literary and music critic and a friend and great admirer of Charles Dickens. For 34 years he was on the editorial staff of the _Athenaeum_, published in London.

_MUSIC._ RUSSIAN HYMN was composed for the words, “God save the Czar,” the national Russian anthem written in 1833. It is a stately, powerful tune which most congregations love to sing, especially after it has been used often enough to overcome certain of its difficulties. It was written at the command of the Czar who ordered it adopted for the army. But there is nothing about the tune itself to render it inappropriate for the churches. In his _Memoirs_, Lwoff says that in composing this tune he “felt and fully appreciated the necessity of accomplishing something which would be robust, stately, stirring, national in character, something worthy to reverberate either in a church, through the soldiers’ ranks, or amongst a crowd of people, something which would appeal alike to the lettered and the ignorant.”

The composer, Alexis T. Lwoff, 1799-1871, was an eminent Russian musician, succeeding his father in St. Petersburg as head of the imperial choir where he not only maintained the traditions of that great organization, but raised it to still greater heights of eminence. He composed violin concertos, operas, and church music. Lwoff had a thorough understanding of the canonical services of the Russian Church, and his collection of ritual chants is still considered authoritative.

352. O God of love, O King of peace _Henry W. Baker_, 1821-77

An ardent prayer for universal peace. This noble hymn was contributed by the author to _Hymns Ancient and Modern_, London, 1861, a notable book of which Baker was chief editor.

For comments on the author, Henry W. Baker, see Hymn 143.

_MUSIC._ QUEBEC. For comments on this tune and its composer see Hymn 171.

353. Let there be light, Lord God of hosts _William Merrill Vories_, 1880—

A good peace hymn.

The author, William Merrill Vories, was born in Leavenworth, Kansas. He is the founder of an independent mission in the province of Omi, Japan. Vories published the present poem February, 1909, in the _Advocate of Peace_. Since that time, it has found a place in a number of hymn books. The copyright, appropriately enough, is held by the American Peace Society.

_MUSIC._ PENTECOST, a dignified tune, simple in structure, was first used with the hymn, “Veni Creator,” and appeared in _Thirty-two Hymn Tunes, Composed by Members of the University of Oxford_, 1868. It was revised by Arthur Sullivan who set it to Monsell’s hymn, “Fight the good fight with all thy might,” for the tune lends itself to spirited rendition as well as the more devotional and contemplative as required by the present hymn.

The composer, Rev. William Boyd, 1847-1928, was born in Jamaica and educated at Oxford where Baring-Gould was his tutor. The latter asked him to compose a tune to “Come, Holy Ghost, our souls inspire,” for a meeting of Yorkshire coal miners on the Day of Pentecost. The result was this tune to which he gave the name PENTECOST. Boyd was ordained priest in 1882 and from 1893 until his retirement in 1918, he was vicar of All Saints, Norfolk Square, London.

354. Father eternal, Ruler of creation _Laurence Housman_, 1865—

One of the hymns of our time in which, characteristically, the international note is struck. It was written at the request of the Rev. H. R. L. (Dick) Sheppard, minister of St. Martin’s-in-the-Fields, London, for the Life and Liberty movement after World War I. The bitter experiences of that war, with the subsequent fear and distrust among the nations, had intensified the longing for the realization of the petition in the Lord’s Prayer, “Thy will be done in earth, as it is in heaven.” This hymn gives utterance to that longing.

Laurence Housman is an English artist known chiefly for his book illustrations, but he is also known as a writer of poetry and prose of merit. A contemporary wrote of him: “He has the heart of compassion for the little ones of the earth, the dumb and the helpless, that ought to be, but is not always, an essential part of poetry. His is the true Franciscan spirit.”

_MUSIC._ OLD 124TH is from the _Genevan Psalter_, 1551, where it is set to Psalm 124. It is commonly attributed to L. Bourgeois (See 34). The tune has always been popular in England with the non-conformist churches and is one of the few surviving tunes from the _Old Version Psalter._

355. Not alone for mighty empire _William Pierson Merrill_, 1867—

A hymn of thanksgiving and of the higher patriotism, glorying not in empire nor in battleship and fortress but in the things of the spirit which have made America great. It was first printed in _The Continent_, a Presbyterian paper, now defunct, published in Chicago.

Concerning the origin of the hymn, Dr. Merrill wrote in a letter dated April 18, 1947:

The occasion for the writing of this hymn was a Union Thanksgiving Service in Chicago, where Jenkin Lloyd Jones made a prayer, in which he thanked God more for spiritual values in our national life than for any temporal ones. That prayer inspired my hymn.

Howard Chandler Robbins, Professor of Pastoral Theology in the General Theological Seminary, New York City, says: “On Thanksgiving Day we all ought to be singing Dr. Merrill’s great Thanksgiving hymn, one of the greatest national hymns in the English language.”

For comments on William Pierson Merrill see Hymn 183.

_MUSIC._ IN BABILONE. For comments on this tune see Hymn 122.

356. Thy Kingdom come! O Lord, we daily cry _Henry W. Hawkes_, 1843-1917

One of our few hymns on the petition, “Thy Kingdom come.” It is an earnest prayer for social righteousness and peace. The hymn was written by Henry Warburton Hawkes, an English Unitarian.

No further information is at hand concerning the author.

_MUSIC._ FFIGYSBREN. For comments on this tune see Hymn 183.

357. Peace in our time, O Lord _John Oxenham_, 1852-1941

A beautiful prayer for the peace which is “based upon Thy will and built in righteousness.” The author, having learned that a new hymnary was to be published, and aware of the Mennonite position on war and peace, sent this hymn from England for inclusion in this book with the request that it be used with the tune “Diademata.”

For comments on the author, John Oxenham, see Hymn 320.

_MUSIC._ DIADEMATA. For comments on this tune and its composer, George J. Elvey, see Hymn 118.

THE CHRISTIAN HOME AND FAMILY

358. O happy home, where Thou art loved the dearest _Carl J. P. Spitta_, 1801-59 _Tr. Sarah L. Findlater_, 1823-1907

O selig Haus, wo man dich aufgenommen, Du wahrer Seelenfreund, Herr Jesu Christ; Wo unter allen Gästen, die da kommen, Du der gefeiertste und liebste bist; Wo aller Herzen dir entgegenschlagen Und aller Augen freudig auf dich sehn; Wo aller Lippen dein Gebot erfragen Und alle deines Winks gewärtig stehn!

O selig Haus, wo Mann und Weib in _einer_, In deiner Liebe _eines_ Geistes sind, Als beide _eines_ Heils gewürdigt, keiner Im Glaubensgrunde anders ist gesinnt; Wo beide unzertrennbar an dir hangen In Lieb’ und Leid, Gemach und Ungemach, Und nur bei dir zu bleiben stets verlangen An jedem guten wie am bösen Tag!

O selig Haus, wo man die lieben Kleinen Mit Händen des Gebets ans Herz dir legt, Du Freund der Kinder, der sie als die Seinen Mit mehr als Mutterliebe hegt und pflegt; Wo sie zu deinen Füssen gern sich sammeln Und horchen deiner süssen Rede zu Und lernen früh dein Lob mit Freuden stammeln, Sich deiner freun du lieber Heiland, du!

O selig Haus, wo du die Freude teilest, Wo man bei keiner Freude dein vergisst! O selig Haus, wo du die Wunden heilest Und aller Arzt und aller Tröster bist, Bis jeder einst sein Tagewerk vollendet, Und bis sie endlich alle ziehen aus Dahin, woher der Vater dich gesendet, Ins grosse, freie, schöne Vaterhaus!

Based on Luke 19:9: “This day is salvation come to this house,” the poem originally bore the title, “Salvation is come to this house.” It is probably the best hymn ever written on the Christian home.

The author of the hymn enjoyed a singularly happy and peaceful home life, not only under the parental roof, but also after he was married and had established his own home. Carl Spitta, Lutheran minister and greatest German hymn writer of the nineteenth century, was born in Hannover. His father came from a Huguenot family that fled France during the Catholic persecutions and died when Carl was only four years old. His mother was a Christian Jewess whose loving care no doubt inspired the son to write this hymn on the home. After completing his theological studies in 1824, Spitta taught school for four years and then was ordained in 1828 to the Lutheran ministry. He passed through a deep spiritual experience about this time which resulted in the composition of his finest hymns. “In the manner in which I formerly sang,” he wrote a friend in 1826, “I sing no more. To the Lord I dedicate my life, my love, and likewise my song. He gave to me song and melody. I give it back to Him.”

His hymns were received with enthusiasm and held in the same esteem in Germany as Keble’s _Christian Year_ in England. His collection of hymns, _Psalter und Harfe_, first published in 1833, passed through more than 50 editions and a second collection printed in 1843 had by 1887 passed through 42 editions.

Spitta had a family of seven children, one of whom became Professor of New Testament Exegesis and Practical Theology in the University of Strassburg, and another, John August Spitta, wrote the monumental four-volume work on the life of J. S. Bach.

The translator of the hymn, Sarah Findlater, also knew the blessings of a happy home. Her daughter wrote concerning her mother:

Her home life with my father was almost idyllically happy, in the small manse at Lochearnhead, where there never was enough of money, yet where my parents exercised unceasing hospitality—almost foolish hospitality. They were both great readers, and used to read aloud to each other for hours. My mother was an excellent linguist, and her German translations were a great pleasure to her. That simple little hymn of hers which begins “O happy home,” is really an epitome of her home life with my father—they were so single-eyed in their longing to serve God: it came first with them always.

For further comments on Sarah Findlater, see comments on her sister, Jane Borthwick, Hymn 54.

_MUSIC._ O SELIG HAUS is a popular German melody written in 1854 by Edward Niemeyer. Information concerning the composer has not been traced.

359. Thou gracious God, whose mercy lends _Oliver Wendell Holmes_, 1809-94

Written by Oliver Wendell Holmes in 1869 to be read or sung at the annual meeting of the 1829 college class of Harvard University, of which he was a member. The famous class included in its membership J. Freeman Clarke, founder of the Disciples, and Samuel F. Smith, author of “America.” The forty years of retrospect, mingled with sunshine and shadow, are touched here with tenderness and grace.

For comments on Oliver W. Holmes see Hymn 172.

_MUSIC._ ES KAM DIE GNADENVOLLE appears in the _Gesangbuch mit Noten_ to the words, “Früh Morgens da die Sonn’ Aufgeht.”

The composer, Johann Heinrich Egli, 1741-1810, was born in Seegräben, Switzerland. He was a pupil of Pastor Schmiedli at Wetzikon, and became a music teacher in Zurich, where he died. His compositions for voice, both sacred and secular, won great popularity in Switzerland.

360. There is beauty all around _John H. McNaughton_, 1863

A tender lyric in praise of the home where love dwells. Especially fine are the lines,

All the earth is filled with love When there’s love at home,

for it recognizes the wide influence of the home, the primary social institution where the first lessons of the Christian life are learned. A nation’s peace and prosperity is rooted in the quality of life found in its homes.

The words and music are by John Hugh McNaughton, who was born 1829, in Caledonia, N. Y., of Scottish parentage. His lyrics have some literary qualities and Henry W. Longfellow once wrote to McNaughton: “Your poems have touched me very much.” He composed many popular songs, including “The Blue and the Gray,” and “Faded Coat of Blue,” which sold by the hundreds of thousands of copies. He is the author of a _Treatise on Music and Onnalinda_, a metrical romance.

361. Happy the home when God is there _Henry Ware_, Jr., 1794-1843

One of the strongest hymns on the Christian home. It first appeared in _Selections of Hymns and Poetry_, Boston, 1846, compiled by Mrs. Herbert Mayo, where it was entitled, “The Happy Home.”

For comments on the author, Henry Ware, Jr., see Hymn 13.

_MUSIC._ ST. AGNES. For comments on this tune see Hymn 155.

362. Bless the four corners of this house _Arthur Guiterman_, 1871-1943

A poem for use in the dedication of a Christian home, first printed in _House and Garden_ magazine about thirty years ago. Since then it has become widely known both here and abroad. Its first use as a hymn was in the _Methodist Hymnal_ of 1935, edited by Dr. Robert McCutchan.

The author, Arthur Guiterman, was a writer, poet, and speaker. He was born in Vienna, Austria, November 20, 1871, of American parents, his mother being a native of Ohio. Most of his education was received in New York City, his college course having been completed in the City College. Guiterman was a frequent contributor to _Harper’s Magazine_, _The Saturday Evening Post_, _The Youth’s Companion_, _Ladies Home Journal_, and other leading magazines. His poetry is written on a large variety of subjects. Joyce Kilmer characterized him as “the most American of poets.”

_MUSIC._ ICH SINGE DIR is a familiar melody in the _Gesangbuch mit Noten_ where it appears anonymously, set to the words, “_Ich singe Dir mit Herz und Mund_,” by Paul Gerhardt.

363. Lord of life and King of glory _Christian Burke_, 1859—

A mother’s prayer, written by Miss Burke in December, 1903, and published the following February in _The Treasury_, where it was headed, “Prize Hymn for Mothers’ Union Service.” It was included in _The English Hymnal_, 1906.

Miss Christian Burke was born in London. She contributed poems to various periodicals and in 1896 published a collection of her poetic writings, with the title, _The Flowering of the Almond Tree_.

_MUSIC._ The tune was found in _St. Basil’s Hymnal_, published by the Basilian Fathers, Chicago, 1918. It bears no name and the composer is not identified. The hymn is also sung to the tune “Silician Mariners” (45).

MOTHER’S DAY

364. Motherhood, sublime, eternal _J. S. Cutler_, 1856-1930

Suitable for Mother’s Day.

The hymn and tune are found in _Hymns of the Spirit_, published in Boston, 1937.

Julian Stearns Cutler, born at Thomaston, Maine, graduated from Tufts Theological School, Tufts College, Mass., in 1885, and served Universalist churches in Marblehead, Melrose, and Orange, Mass., 1896-1904; in Little Falls, N. Y., 1904-10; and in Pawtucket, R. I., 1910-26. He wrote a good deal of occasional verse published in newspapers, especially in the _Boston Transcript_, and his collected poems were privately printed under the title, _Songs of Cheer_, about a year after his death. His hymn, “Motherhood, sublime, eternal,” written about 1910, was adapted for use in Universalist hymn books and in slightly altered form in _Hymns of the Spirit_, 1937. It was taken from the latter for use in the _Hymnary_.

_MUSIC._ MOTHERHOOD. No information has been traced concerning the origin of this tune or its composer, Willis A. Moore, except that Moore was a member of the Universalists but left their fellowship some years ago. The Universalist Publishing House, Boston, from whom inquiry was made, has no further information at hand.

FAREWELL SERVICE

365. God be with you till we meet again _Jeremiah E. Rankin,_ 1828-1904

Written for the purpose of a Christian good-by.

The author, Jeremiah E. Rankin, was pastor of the First Congregational Church in Washington, D. C., when he wrote this hymn. Later, in 1889, he became president of Howard University, a Negro institution in the same city. He was always a friend of the colored people and did what he could for their advancement.

He has given us the origin of the hymn as follows:

Written in 1882 as a Christian good-by, it was called forth by no person or occasion, but was deliberately composed as a Christian hymn on the basis of the etymology of “good-by,” which is “God be with you.” The first stanza was written and sent to two composers—one of unusual note, the other wholly unknown and not thoroughly educated in music. I selected the composition of the latter, submitted it to J. W. Bishoff (the musical director of a little book we were preparing), who approved of it but made some criticisms which were adopted. It was sung for the first time one evening in the First Congregational Church in Washington, of which I was then the pastor and Mr. Bishoff the organist. I attributed its popularity in no little part to the music to which it was set. It was a wedding of words and music, at which it was my function to preside; but Mr. Tomer should have his full share of the family honor.

_MUSIC._ FAREWELL was composed by William G. Tomer, 1832-96, an American journalist who made music his avocation. In early life he taught school, later becoming the editor of the _Hunterdon Gazette_ at High Ridge, New Jersey. The hymn he helped make famous was sung at his funeral by a large assembly of friends and neighbors.

OUR FOREFATHERS

366. Uplift the song of praise _Frederick L. Hosmer,_ 1840-1929

A hymn of praise for God’s leading of our forefathers. The author traced his own descent from the Pilgrim Fathers, one of his ancestors, James Hosmer, having come to Concord in 1635. In writing the hymn, he had the Pilgrims in mind, but his words are fully as applicable to other immigrant groups such as the Mennonites who came at different times from Europe to settle here in “lands untrod.”

For comments on Frederick L. Hosmer see Hymn 72.

_MUSIC,_ LEONI (Yigdal). For comments on this tune see Hymn 14.

367. O God, beneath Thy guiding hand _Leonard Bacon_, 1802-81

Written for the 200th anniversary of the founding of New Haven, Conn., celebrated April 25, 1833, in Center Church where the author was pastor. Dr. Bacon delivered the main historical address on this occasion and used the theme of the sermon for the basis of this hymn.

Leonard Bacon, son of missionaries to the Indians at the then frontier trading post of Detroit, graduated from Yale and Andover Theological Seminary. He was minister of the Center Congregational Church, New Haven, for the forty-one years from 1825 to 1866 and professor and lecturer at Yale Divinity School from 1866 till his death in 1881. Always interested in sacred music, he rendered a great service to the church by the hymns he wrote as well as his compilations of hymns.

_MUSIC._ DUKE STREET. For comments on this tune see Hymn 341.

368. In pleasant lands have fall’n the lines _James Flint_, 1779-1855

A fine memorial hymn.

The author, James Flint, was born in Reading, Mass. After graduating from Harvard, he served as pastor of the Unitarian Church at East Bridgewater, Mass., 1806-1821, and at the East Church, Salem, Mass., from 1821 until his death in 1855. His hymns were published in his _Collection of Hymns for the Christian Church and Home_, 1840, the present being the single one which survives today.

_MUSIC._ WAREHAM. For comments on this tune see Hymn 208.

369. Eternal One, Thou living God _Samuel Longfellow_, 1819-92

A hymn of the Church Universal, the great company of faithful souls of every age and land. The God who led our fathers, still leads His people into new truth and sets before them new goals.

For comments on Samuel Longfellow see Hymn 28.

_MUSIC._ WINCHESTER NEW. This tune is also used extensively with Milman’s hymn, “Ride on! Ride on in majesty” (101). It was set to the hymn, “_Wer nur den lieben Gott lässt walten_,” in the _Musikalisches Handbuch_, printed in Hamburg, 1690. The earlier history of the tune is obscure, and its composer is unknown. It appeared in various collections under the name “Frankfurt” and “Crasselius.” In a volume published in Glasgow, 1762, entitled, _The Psalm-Singer’s Delightful Pocket Companion_, it was used in long meter and named “Winchester.” It should not be confused with “Winchester Old” (191).

HOSPITAL SUNDAY

370. Thou to whom the sick and dying _Godfrey Thring_, 1823-1903

A hospital hymn written in 1870 under the text, “And they brought unto Him all sick people ... and He healed them” (Matt. 4:24).

It was first published in _Hymns for the Church Service_, 1871, by W. H. Hutton. Later it was revised for the author’s _Hymns and Sacred Lyrics_, 1874.

For comments on Godfrey Thring, see Hymn 89.

_MUSIC._ WALTHAM. The tune appears with its original name, “Gott des Himmels und der Erden,” at Hymn 573, which see for comments on the tune and the composer. The original form of the melody is in triple time. Bach thought enough of the tune to use it in his _Christmas Oratorio_.

TEMPERANCE SUNDAY

371. Now to heav’n our pray’r ascending _William E. Hickson_, 1803-70

A crusading hymn full of assurance that the cause of right, though delayed by its foes, will surely succeed in God’s own time.

For comments on the author, William E. Hickson, see Hymn 348.

_MUSIC._ GOD SPEED THE RIGHT is attributed to Ernst Moritz Arndt, 1769-1860, a German preacher, editor, professor of history, and writer of sacred and secular songs. Julian speaks of him as a “man of learning, a true patriot, a distinguished poet ... a man of deep religious feeling, and a true-hearted and earnest witness of the Evangelical Faith.” The _Dictionary_ notes a number of his hymns but makes no mention of musical compositions.

LABOR DAY

372. Jesus, Thou divine Companion _Henry van Dyke_, 1852-1933

A fine hymn on the dignity of labor, holding up the ideal of Christian service.

For comments on the author, Henry van Dyke, see Hymn 10.

_MUSIC._ HYFRYDOL. For comments on this Welsh tune see Hymn 69.

373. O Son of Man, Thou madest known _Milton S. Littlefield_, 1864-1934

A hymn on the sacredness of work, connecting Jesus with the labor of mankind. The emphasis on the social aspect of religion in terms of our common life is a dominant note in twentieth-century hymnody.

The author, Milton S. Littlefield, was born in New York City; educated at Johns Hopkins and Union Theological Seminary; and became an honored and prominent Presbyterian minister. Recognized as an authority in the field of hymnology, he edited two hymn books and was elected president of the American Hymn Society, 1927-28. Besides the present hymn, he wrote another beginning with the line, “Come, O Lord, like morning sunlight.” Both are serviceable hymns, and it is singular that neither found its way into the Presbyterian _Hymnal_, 1933.

_MUSIC._ BROOKFIELD. This tune first appeared in the _Congregational Church Hymnal_, London, 1887, edited by Dr. E. J. Hopkins (See 43). The

## book contained the best hymn tunes for congregational singing then

available.

The composer, Thomas Bishop Southgate, 1814-68, received his musical education under Sir John Goss and Samuel S. Wesley. For many years he was organist at St. Anne’s Church, London.

374. Though lowly here our lot may be _William Gaskell_, 1805-84

A hymn on the dignity of all work which is done through faith and trust in Christ.

The author, William Gaskell, studied at Glasgow University and Manchester College, York, and became a Unitarian minister. His one and only charge was Cross Street Chapel, Manchester. He became Professor of English History and Literature in Manchester New College and was an influential leader in the community in the promotion of education and culture. His denomination bestowed upon him its highest honors. Mrs. Gaskell, a woman of brilliance and unusual literary gifts was encouraged by her husband to engage in literary work to distract her mind from the grief caused by the death of their little son. She turned out to be a popular writer, publishing works of fiction and the life of Charlotte Brontë. A memorial to her bears testimony to her genius, and to the “tenderness and fidelity” with which she adorned the minister’s home. Gaskell, a pioneer in social reform, wrote this hymn sometime before 1860.

_MUSIC._ ABRIDGE is also known as “ST. STEPHEN” (See 266 and 590).

For comments on the tune see Hymn 266.

HARVEST AND THANKSGIVING

375. We plow the fields, and scatter _Matthias Claudius_, 1740-1815

This is one of the finest harvest hymns.

In 1783 Claudius wrote a sketch called, “Paul Erdman’s Feast,” in which there is an interesting picture of a harvest thanksgiving celebration in the home of a North German farmer. The farm folk gather at the house of Erdman and as they do so they sing:

Wir pflügen und wir streuen Den Samen auf das Land, Doch Wachstum und Gedeihen Steht nicht in unserer Hand. Alle gute Gabe Kommt oben her, von Gott Vom schönen blauen Himmel herab.

Matthias Claudius, son of a Lutheran pastor in Germany, became distinguished in journalism and literature. He studied theology with a view of entering the ministry; but through the influence of the rationalistic teachings in Germany at the time, he lost interest in religion and decided to take up journalism. Later, stricken with a critical illness, he realized the spiritual emptiness of the life he had been living, and again turned to his childhood faith. In the lyrics he wrote, though not composed as church hymns, there may be observed a transition from the spiritual impoverishment of the rationalistic period to a new type of religious poetry giving expression to a turning once more to the rugged faith of evangelicalism.

The hymn was translated by Jane Campbell, 1817-78, a successful teacher of music to children. She published a _Handbook for Singers_ in which are found the musical exercises the author used in her work with London children. The original hymn is in 17 four-line verses.

_MUSIC._ WIR PFLÜGEN appeared in _Lieder für Volksschulen_, a collection of melodies for public schools, published, 1800, in Hannover. It was set to an arrangement of verses 3-10 of Claudius’ song, with the chorus sung by peasants, altered to suit the melody. The hymn has ever since been extraordinarily popular throughout Germany. “The tune, in spite of its wide compass, has become one of the best known and favored of all hymn tunes, and fully deserves its popularity.”

376. Thank the Lord _G. N. Fischer_, 1748-1800 _Tr. C. E. Krehbiel_, 1869-1948

Based on Jeremiah 33:11,

Give thanks to the Lord of hosts, For the Lord is good, For his kindness endures forever. (Am. Trans.)

Dankt dem Herrn! mit frohen Gaben Füllet er das ganze Land! Alles, Alles, was wir haben, Kommt aus seiner Vaterhand.

Dankt dem Herrn! er giebt uns Leben Giebt uns Nahrung und Gedeihn. O wer wollt ihn nicht erheben Und sich seiner Güte freun!

Dankt dem Herrn! vergisz, O Seele, Deines guten Vaters nie! Werd ihm ähnlich und erzähle Seine Wunder spät und früh.

The author, Gottlob Nath. Fischer, was born at Graba, near Saalfeld. At the time of his death he was head master of the cathedral school and counselor of the consistory at Halberstadt.

The translation was made by C. E. Krehbiel, Mennonite minister and editor who was born at Summerfield, Ill., the son of Rev. Christian and Susanna Ruth Krehbiel. After completing his education at the Presbyterian Theological Seminary, Bloomfield, N. J., 1898-99, and in Berlin University, Germany, 1899-1901, Krehbiel became a member of the business firm, The Herald Publishing Co., Newton, Kansas, serving in the editorial and business offices for a period of 20 years. He served as editor of _Der Christlicher Bundesbote_, 1930-46, and as president of the General Conference of Mennonites for the two trienniums, 1935-41. Krehbiel was also a member of the committee that compiled the _Hymnary_.

_MUSIC._ RINGE RECHT. For comments on this tune see Hymn 563.

377. Come, ye thankful people, come _Henry Alford_, 1810-71

A popular and widely used hymn at harvest festivals, especially in England. It was first published under the title “After Harvest,” in 1844. In 1867, it was revised by the author, the form here being this revised version.

For comments on Henry Alford see Hymn 152.

_MUSIC._ ST. GEORGE’S WINDSOR has long been associated with these words, to which it is well suited in every way. Originally, however, the tune was set to the hymn “Hark! the song of jubilee.”

For comments on the composer, George J. Elvey, see Hymn 118.

378. To Thee, O Lord, our hearts we raise _William Chatterdon Dix_, 1837-98

A popular thanksgiving hymn, written in the author’s most facile and musical style. The hymn was published in St. Raphael’s _Hymns for the Service of the Church_, Bristol, 1864.

For comments on the author, William Chatterdon Dix, see Hymn 78.

_MUSIC._ ST. GALL is from _Katolisches Gesangbuch zum Gebrauch bei dem öffentlichen Gottesdienste_, 1863, the revised edition of the old hymn book used in the Benedictine Monastery founded in 614 A.D. by the Irish monk, St. Gall. It is a fine tune with a good swinging rhythm when sung at a fairly lively tempo.

NEW YEAR

379. Ring out, wild bells _Alfred Tennyson_, 1809-92

From Sec. 106 of the poem “In Memoriam” (See 149).

After tracing his grief through successive Christmas celebrations, the poet bursts into this song of confident faith in God at the opening of the new year. The poet turns from the past and rises above his private grief to sing of the future and its hopes for mankind.

For comments on Alfred Tennyson see Hymn 149.

_MUSIC._ WILD BELLS was written for this poem by Henry Lahee, 1826-1912, organist at the Holy Trinity Church, Brompton, England, for about 30 years. Lahee, a versatile composer, won many prizes for his glees, madrigals, and part songs.

The tune is very effective but too difficult for ordinary congregational singing. It was included in the _Hymnary_ for use by singing groups preparing for special celebrations of New Year.

380. Another year is dawning _Frances Ridley Havergal_, 1836-79

A prayer for the New Year, hailing its advent as another opportunity for progress, service, and training in close fellowship with God.

The poem was written in five stanzas of four lines each as the text of a New Year’s card and distributed by Miss Havergal among friends under the title, “A Happy New Year! Ever Such May It Be!”

The omitted fifth stanza reads:

Another year is dawning Dear Father, let it be On earth, or else in heaven Another year for Thee.

For comments on Frances R. Havergal see Hymn 126.

_MUSIC._ CRUCIFIX, of anonymous composition, was taken from the _Hymns of the Spirit_, Boston: Beacon Press, 1938, where it is used as a second tune to Miss Havergal’s hymn.

381. Another year of setting suns _John W. Chadwick_, 1840-1904

This poem came from the Unitarian stream of hymnody which was so strong during the middle of the nineteenth century. Chadwick, born at Marblehead, Mass., graduated from Harvard in 1864 and the following 40 years served as minister of the Second Unitarian Church in Brooklyn. He wrote biographies of Channing and Parker and is the author of considerable poetry. It has been noted that many of his hymns possess the simplicity and spirit of the writings of Whittier, the Quaker poet, and might easily pass for his.

_MUSIC._ HOLY CROSS. The source of this tune is not clear. It is ascribed in various hymnals to Thomas Hastings, to Mendelssohn, to John Stainer, and to Mozart. James Love, who was well informed on English hymn tunes, says that it was adapted from an anonymous organ “Andante” which was said to be based on a theme by Mozart. The tune, in 3-4 time, appears in the _Methodist Hymnal_, 1935, the arrangement credited to James C. Wade, an organist and conductor of choral groups, born in Staffordshire, England, 1847.

382. The year is gone beyond recall _Latin_ _Tr. F. Pott_, 1832-1909

From a Latin hymn, _Lapsus est annus_, found in a Breviary of Meaux, 1713 and 1734. It was used for compline after the first vespers of the Festival of the Circumcision, which is the last office sung on December 31. The original reads as follows:

Lapsus est annus: redit annus alter: Vita sic mutis fugit acta pennis: Tu, Deus, cursum moderaris, unus Arbiter, aevi.

Gens tuis plaudit cumulata donis: Te simul votis Dominum precatur, Servet intactum fidei verendae Patriae munus.

Supplices poscunt alimenta cives: Finibus morbos patriis repellas: Larga securae referas, benignus Commoda pacis.

Postulant culpas venia relaxes: Limites arctos vitiis reponas; Past graves pugnas tua dat salubrem Dextera palmam.

Noxiae vitae maculas perosi Cor, Deus, nostrum tibi devovemus: Da bonos annos, facilemque Patris Indue vultum.

Dum dies currunt, redeunt et anni, Et gradu certo sibi saecla cedunt, Debitas laudes Triadi supremae Concinat orbis.

Text from Daniel, H. A., _Thesaurus hymnologicus_, 5 vols.; Lipsiae: 1855-1856, IV, 319.

The translation was made by Francis Pott, M. A., Curate of Ticehurst, Sussex, and one of the editors of _Hymns Ancient and Modern_, London, 1861. The original form of Pott’s translation appeared first in a hymnal compiled by him, _Hymns Fitted to the Order of Common Prayer, etc._, London, 1864. It reads as follows:

The year is gone beyond recall; ’Tis gone—with all its hopes and fears, With all its joys for those new born, With all its troubled mourners’ tears.

We thank Thee, Lord, for countless gifts, For dangers we have passed unscathed; We thank Thee for Thy Church preserved; Oh! seal to us her ancient Faith.

Again we ask Thy goodness, Lord; The coming year in mercy bless; Guard Thou our land from pestilence; And give us grace and plenteousness.

Forgive this nation’s many sins; Destroy the strength that sin has gained; And give us grace with sin to strive; And give us crowns through strife attained.

We hate the sins that stain the past; We would henceforth from them be free; O grant us peaceful years, good Lord; And we will spend them all to Thee.

We would that our good Father’s eye Should look on us—but not in wrath; And we, Thy children, year by year, A purer song of praise pour forth. Amen.

When the hymn was selected for _Hymns Ancient and Modern_, the translation was altered into its present form. The last stanza is omitted in the _Hymnary_. The English and Latin are published in _Hymns, Ancient and Modern_, Historical Edition, London, Clowes, 1909.

_MUSIC._ TALLIS, also called “Tallis’ Ordinal,” is from _The Whole Psalter translated into English Metre, which contayneth an hundreth and fifty Psalmes_, a work by Matthew Parker, Archbishop of Canterbury, printed about 1561. At the end of the book are nine tunes in four parts by Thomas Tallis. This is the last of the nine and is set to the version of _Veni Creator Spiritus_, which appears in the _English Prayer Book Ordinal_. The tune was evidently derived by Tallis from a 15th-century English carol tune, “This endris Nyght”—for it is an adaptation to common time of the first two lines of this carol melody.

For comments on Thomas Tallis, see Hymn 33.

383. Great God, we sing that mighty hand _Philip Doddridge_, 1702-51

A New Year’s hymn from the posthumous edition of Doddridge’s _Hymns founded on various texts in the Holy Scriptures_, 1745, where it is headed, “Help obtained from God. Acts 26:22. For the New Year.”

It is based on Acts 26:22: “Having therefore obtained help of God, I continue unto this day, witnessing both to small and great, saying none other things than those which the prophets and Moses did say should come.”

Most of Doddridge’s hymns were composed for use in his own congregation in connection with his sermons. None of them were published during his life time.

For further comments on Doddridge see Hymn 56.

_MUSIC._ GERMANY. For this tune see Hymn 222.

WINTER

384. ’Tis winter now _Samuel Longfellow_, 1819-92

A “delicately etched winter hymn” which appeared in _Hymns of the Spirit_, 1864, by Samuel Longfellow and Samuel Johnson.

For comments on the author, Samuel Longfellow, see Hymn 28.

_MUSIC._ MELROSE. For comments on the composer, Frederick C. Maker, see Hymn 112. This combination of hymn and tune was made by the editors of the _Hymnary_.

SPRING

385. The glory of the spring, how sweet _Thomas Hornblower Gill_, 1819-1906

Based on Psalm 104:30: “... thou renewest the face of the earth,” and Ephesians 4:23: “... be renewed in the spirit of your mind.”

It is an exquisite lyric, expressing not only the glory of the springtime with its newborn life, but depicting also, with rare beauty and power, the renewal of life which God works in the soul—a new birth of faith and love, prayer and song. The author himself wrote that, as a result of the study of the New Testament, “truth upon truth brake upon my gaze and God put a new song into my mouth.”

Thomas Hornblower Gill, born in Birmingham, England, was brought up a Unitarian, but, unsatisfied with the Unitarian view of the person of Christ, he withdrew from that church and joined the Evangelical party in the Church of England. One of the major influences leading him to this decision was his study of the hymns of Isaac Watts. He saw “the contrast between their native force and fulness and their shrunken and dwindled presentation in the mutilated version in Unitarian hymnbooks.” Gill published a number of books of poems which R. W. Dale, in compiling a hymnbook for his congregation at Carr’s Lane, Birmingham, found “a very mine of wealth.”

_MUSIC._ KING’S LANGLEY, “a delightfully gay tune,” is an arrangement of a traditional English May-day carol. It appeared in the _English Hymnal_ of 1906. The arrangement is by Miss L. E. Broadwood, an English lady of considerable musical talent.

SUMMER

386. Summer suns are glowing _William W. How_, 1823-97

One of the most welcome of the hymns of the changing year. It was written for _Church Hymns_, 1871.

The author wrote a hymn for each of the four seasons, another appearing at No. 387.

For comments on W. W. How see Hymn 144.

_MUSIC._ RUTH, composed by Samuel Smith, privately printed in 1865, was set to the present hymn in 1874 by Arthur Sullivan when he was editing the music for _Church Hymns_.

Samuel Smith, 1821-1917 (not to be confused with the author of “My country, ’tis of thee”), was an English organist, serving Trinity Church, Windsor, for 34 years. He succeeded Sir George Elvey as conductor of the Windsor and Eton Choral Society.

AUTUMN

387. The year is swiftly waning _William W. How_, 1823-97

A hymn for the autumn season. Like No. 386, it was written for the author’s _Church Hymns_, 1871.

For comments on W. W. How see Hymn 144.

_MUSIC._ WAS KANN ES SCHÖN’RES GEBEN is from the _Gesangbuch mit Noten_ where it appears anonymously, set to a hymn by Philipp Spitta, “Was kann es schön’res geben.”

SCHOOLS AND COLLEGES

388. Father of men, in whom are one _Henry Cary Shuttleworth_, 1850-1900

A deeply sympathetic Christian hymn, written for the Friendly Societies of the Church of England, but may appropriately be used for many occasions of a more general character. It is especially useful in the life of a college campus.

The author, Henry Cary Shuttleworth, was educated at Oxford for the Anglican ministry. He was a minor canon in St. Paul’s Cathedral, 1876-84, and rector of St. Nicholas Cole Abbey, London, from 1883. Concerned for the poor and down-trodden of London, Shuttleworth became a prominent member of the Christian Social movement. For a time he was Professor of Pastoral and Liturgical Theology in King’s College, London. An able musician, he wrote many carols and hymns and published a book, _The Place of Music in Public Worship_. The present hymn appeared in the St. Nicholas Cole Abbey _Hymnal Appendix_, 1897, and in the _Church Monthly_, 1898, with music by the author.

_MUSIC._ ST. LO is a unique melody, constructed on three phrases of three measures each. It is a simple, diatonic tune, moving within the pitch range of a sixth, with the third phrase a repetition of the first. It should be sung in a quiet manner, and is well adapted for unison singing. The tune, an old Breton melody, appeared in _School Worship_, London, 1926, from whence it was introduced into the _Presbyterian Hymnal_ of 1935 and from thence to the _Hymnary_.

389. O grant us light that we may know _Lawrence Tuttiett_, 1825-97

A prayer for the light from God to illuminate the mind in its search for truth.

The author wrote many of his hymns on returning from visiting the sick and bereaved, expressing in them thoughts of consolation for families in sorrow and trouble. That this hymn may have had a similar origin is indicated by the omitted Stanzas 4 and 5, which are as follows:

O grant us light, in grief and pain, To lift our burdened hearts above, And count the very cross a gain, And bless our Father’s hidden love.

O grant us light, when, soon or late, All earthly scenes shall pass away, In Thee to find the open gate To deathless home and endless day.

Lawrence Tuttiett, son of a surgeon in the English Royal Navy, at first intended to follow his father into the medical profession, but, after studying at Christ’s Hospital and King’s College, London, he decided to become a minister. He was ordained in 1848 and devoted his life to the Episcopal Church, ministering in various parishes in England and Scotland. His publications include _Hymns for Churchmen_, 1854; _Hymns for Children of the Church_, 1862; and _Gems of Thought on the Sunday Services_, 1864. The present hymn appeared in the last-named publication.

_Music._ CANONBURY. For comments on this tune see Hymn 296.

390. Almighty Lord, with one accord _Melancthon Woolsey Stryker_, 1851-1929

“A College Hymn” was the title given this poem, first printed in _The New York Evangelist_, February 27, 1896. It was included in _The College Hymnal_, New York, the same year and in the _Methodist Hymnal_ of 1905.

The author, Melancthon Woolsey Stryker, a prominent Presbyterian minister, was educated at Hamilton College, New York, and Auburn Theological Seminary. After serving churches in Auburn and Ithaca, New York; Holyoke, Mass.; and Chicago, Ill., he became president of his Alma Mater, Hamilton College. A student of hymnology, he compiled several hymnals and books of sacred songs.

The hymn is appropriately used for commencement programs at Christian colleges. On such occasions it is often sung to the familiar tune “Azmon” (397).

_MUSIC._ PATTEN was written for this hymn for use in _The Methodist Hymnal_, 1905. The composer, Peter C. Lutkin, 1858-1931, the youngest of six children, was born of Danish parents, at Thompsonville, Wis., March 27, 1858. He was only a lad when both his parents died, shortly after the family had moved to Chicago. His ability at the organ and his success as boy soloist at the Protestant Episcopal Cathedral in Chicago opened to him attractive opportunities for the study of music, and he advanced rapidly. After teaching piano at Northwestern University for several years, he left for Europe to study music in Berlin, Paris, and Vienna, returning after four years to Chicago where he held various positions as organist and choirmaster. In 1896, he organized the Northwestern University School of Music and was given the title of “Dean.” An authority in the field of church music and hymnology, Dean Lutkin did much through his teaching and writing to raise the standards of music throughout all the churches.

YOUTH

391. I feel the winds of God today _Jessie Adams_, 1863—

For many years the authorship of this hymn was unknown since the writer preferred to remain anonymous. It finally came to light that the lines were penned by Miss Jessie Adams, a member of the Society of Friends in England. She was a progressive teacher and a leader of the local Adult School at Frimley, England, where she long resided. Miss Adams wrote the hymn after a long period of service as teacher in which she felt a considerable measure of disappointment and failure, as if tugging and laboring at the oars of a boat without making much headway. She wrote:

If then, quitting the labors at the oars, we humbly believe that God’s Spirit still leads us aright, we shall pass the point of danger and helplessness. Some little act of kindness may be as the upturned sail which that spirit waits to fill, in spite of past and future.

The message of the hymn is for our time. Many in our day labor at the oars, in their own strength, only to find themselves worn and discouraged. Progress comes by lifting the sails and permitting the invisible power of God to carry life forward.

_MUSIC._ HARDY NORSEMEN is an anonymous Norse melody, the origin of which has not been traced. It is a popular tune among the Dutch Mennonites where it is often sung at their young people’s gatherings.

392. “Are ye able,” said the Master _Earl Marlatt_, 1892—

Written for a consecration service at Boston University School of Religious Education, in 1926, where the author was Professor of Religious Education.

It is based on Jesus’ question of James and John, and their answer: “Are ye able to drink of the cup that I shall drink of and to be baptized with the baptism that I am baptized with? They say unto Him, Lord, we are able” (Matt. 20:22).

The second verse came to the author’s mind as a result of seeing the Passion Play at Oberammergau, where he was greatly moved by the scene where the dying thief turned to Jesus and said, “Remember me when Thou contest into Thy Kingdom.” “As Anton Lang, playing the part of Christ, said, ‘Today, shalt thou be with me in paradise,’” the author writes, “Immortality suddenly became as real to me as the sunlight at that moment driving the clouds from the mountains, and I knew that nothing, nothing could ever shake my faith in that vision.”

The hymn was written for the tune “Beacon Hill.” The combination of words and tune was adopted as one of the school songs of Boston University School of Theology, whose students have carried it all over the world. It was incorporated into the _Methodist Hymnal_ of 1935, from whence it came into the _Hymnary_.

Earl Bowman Marlatt, son of a Methodist minister, was born at Columbus, Indiana. He graduated from De Pauw University and then studied at Boston University, Harvard, Oxford, and the University of Berlin, becoming Professor of Philosophy at Boston University in 1923 and later Professor of Religious Education in that institution.

_MUSIC._ BEACON HILL received its name from Beacon Hill, Boston, where Marlatt resided when he wrote the words for this tune. The composer, Harry Silvernale Mason, born in 1881, was a student at Boston University when he wrote the tune. He is now serving as instructor in Fine Arts in Religion at Auburn Theological Seminary, Auburn, N. Y.

393. Just as I am, Thine own to be _Marianne Hearn_, 1834-1909

A young people’s consecration hymn, contributed to _The Voice of Praise_, 1887, published by the Sunday School Union of London. Verses 5 and 6, omitted here, read as follows:

With many dreams of fame and gold, Success and joy to make me bold, But dearer still my faith to hold, For my whole life I come.

And for Thy sake to win renown, And then to take the victor’s crown, And at Thy feet to cast it down, O Master, Lord, I come.

It was written by an Englishwoman, Marianne Hearn (_nom de plume_, Marianne Farningham), who, in early life, was a teacher in the primary schools, and later became a successful writer of articles for various periodicals, including _The Christian Herald_, published by James Clarke and Co. For a time she edited the London _Sunday School Times_. Miss Hearn published a half dozen or more volumes of poetry and an autobiography, _A Working Woman’s Life_.

_MUSIC._ JUST AS I AM. For comments on the composer, Joseph Barnby, see Hymn 21.

394. Savior, while my heart is tender _John Burton, the younger_, 1803-77

A hymn of dedication to Christian service, suitable for use with young people’s groups.

The author, John Burton, usually called “the younger” to distinguish him from another English hymn writer of the same name, was born and died in Stratford, England. From his 15th to 25th year he suffered greatly from ill health but recovered sufficiently to spend the next 50 years in business as a cooper and basket-maker in his home town. A devout Congregationalist, he served as deacon in his church and as a Sunday school teacher for 27 years. While visiting a poor chimney sweeper, he contracted small pox and died of that disease. He published several volumes of religious works, including _One Hundred Original Hymns for the Young_, 1850, in which the present hymn is found.

_MUSIC._ LILLE is an old French melody, the origin of which has not been traced.

(Correction: second last soprano note in the first score should be on B, not A as in the earlier editions of the _Hymnary_.)

395. Savior, like a shepherd lead us _Dorothy Ann Thrupp_, 1779-1847

Published anonymously in the author’s _Hymns for the Young_, 1836. Dorothy Ann Thrupp was born and reared in London where she spent all her life. She had a special gift for writing hymns suited to the worship experiences of children. A modest person, always avoiding personal publicity. Miss Thrupp did not always receive full credit for her work. This hymn is sometimes wrongly credited to H. F. Lyte.

_MUSIC._ BRADBURY was written for this hymn and derives its name from the composer. It first appeared in a popular Sunday school book, _Oriola_, published in 1859 by W. B. Bradbury.

For comments on the composer, W. B. Bradbury, see Hymn 103.

396. O Son of man, our hero _Frank Fletcher_, 1870-1936

A hymn deeply sympathetic with the aspirations and needs of young Christians, and appealing to the heroism of youth.

Frank Fletcher was Head Master of Charterhouse School, Godalming, England, the first layman elected to such a position. He wrote these words in 1921, while on a motor drive between London and Charterhouse. After having been sung for some time in Charterhouse School, the poem was sent to a church newspaper, _The Challenge_, and from thence it found its way into the hymnals of England and America. The word “mate” in the last line comes from an explanation of the trinity given by a Bishop in answer to a working man’s question on that subject: “God our Father, God our Brother, God our Mate.” Fletcher heard the Bishop give this answer and the phrase stuck in his mind.

_MUSIC._ LONDONDERRY, the famous Irish traditional melody, is a tune which every congregation loves to sing. It rises gradually and skilfully to an effective climax near the end. The tune, unfortunately, has suffered at the hands of arrangers who have employed it, with various degrees of merit, for many different combinations of voices and instruments. Its appropriateness for church use is questioned only by those who have long associated it with secular words and occasions.

397. Lord in the fulness of my might _Thomas Hornblower Gill_, 1819-1906

A consecration hymn for young people, much used in schools and colleges. It was written by Gill in 1855 and published in his _Golden Chain of Praise_, 1869, under the title, “Early Love. ‘How good it is to close with Christ betimes!’ Oliver Cromwell.” The original poem has eight stanzas.

For comments on Thomas Hornblower Gill see Hymn 385.

_MUSIC._ AZMON. For comments on this tune see Hymn 12.

398. Shepherd of eager youth _Clement of Alexandria_, _c._ 170-_c._ 220 _Tr. Henry M. Dexter_, 1821-90

A hymn to Christ, based on a Greek poem attributed to Clement of Alexandria, beginning with the line

Στόµιον πώλων ἀδαῶν.

The poem is one of two which Clement attached to his book, _The Tutor_. Some say it is the earliest Christian hymn extant. (But see comments on Hymn 34).

Titus Flavius Clemens, known as St. Clement of Alexandria, _c._ 170-_c._ 220, remains something of an enigmatic figure in church history. It is not known where or exactly when he was born. He was a pagan philosopher in his younger days. After his conversion to Christianity, he became head of the Cathedral School at Alexandria, then the center of Christian scholarship. Here he remained until A.D. 203 when he was driven out by persecution under Septimus Severus. Clement then became a wanderer and nothing is known of his later life.

Henry Martyn Dexter was a graduate of Yale and Andover Theological Seminary, a Congregational minister and editor. He translated the text of Clement’s hymn into prose and then made a free rendering of it into verse, in 1846. The hymn was written for use in a service in Dexter’s church in which he preached on the text, Deut. 32:7: “Remember the days of old,” his sermon topic being, “Some Prominent Characteristics of the Early Christians.”

Hymnbook editors have made a few changes in the text: “eager youth” for “tender youth” in the first stanza; and “let all the holy throng” for “infants and the glad throng” in Stanza 4. The third stanza, omitted here, reads as follows:

Thou art the great High Priest; Thou hast prepared the feast Of holy love; And in our mortal pain None calls on Thee in vain; Help Thou dost not disdain, Help from above.

_MUSIC._ KIRBY BEDON was composed by Edward Bunnett, 1834-1923, a prominent English organist and composer of church music. The tune first appeared in _The Congregational Hymnary_ of the Congregational Union of England and Wales.

399. Lead on, O King Eternal _Ernest W. Shurtleff_, 1862-1917

Written upon request of the author’s classmates at Andover Theological Seminary, as a hymn for their graduation in 1887. It has come into wide use as a processional and a recessional on baccalaureate and other occasions.

Ernest W. Shurtleff, graduate of Harvard University and Andover Theological Seminary, held Congregational pastorates in Massachusetts and at Minneapolis, Minn. He then went to Frankfurt, Germany, where he did his finest work as founder and pastor of the American Church at that place. He also served as spiritual counselor to a large group of American students in Paris. During the first World War, he and his wife were active in relief work in Europe. Besides his gifts as preacher, and pastor, Shurtleff also possessed ability as musician and writer, and published several volumes of poetry.

_MUSIC._ LANCASHIRE. For comments on this tune see Hymn 115.

400. Give of your best to the Master _Howard B. Grose_, 1851—

A challenge to youth to give heart and strength to the service of the Master.

The author, Howard B. Grose, was born in Millerton, N. Y. After graduating from the University of Rochester, he served successively as pastor of the First Baptist Church, Poughkeepsie, N. Y., the First Baptist Church, Pittsburgh, Pa.; president of the University of South Dakota; and teacher of history in the University of Chicago. In 1910 he became editor of the Baptist magazine, _Missions_. He was a leader in the Christian Endeavor movement and wrote this hymn for a Christian Endeavor hymnal that he was then editing.

_MUSIC._ BARNARD was composed by Charlotte A. (Mrs. Charles C.) Barnard, 1820-69, an Englishwoman who after her marriage in 1851 began composing songs and ballads under the pseudonym of “Claribel.” These were very popular in their day. She composed a hymn tune, “Brocklesbury,” which is widely used with the hymn, “Jesus, tender Shepherd, hear me.”

The descant was written by Professor W. H. Hohmann, head of the music department of Bethel College. The “descant” is an old variation in the use of tunes. It consists of a second melody over that of the tune and is to be sung by a few sopranos. It is only an embellishment and should be no more than audible, otherwise it will detract from the melody which should remain as the main center of interest.

401. Father in heav’n who lovest all _Rudyard Kipling_, 1865-1936

“The Children’s Hymn,” in Kipling’s _Puck of Pook’s Hill_, published in 1906. It was written for boys, but is suitable also for adults. Permission to use the hymn in the _Hymnary_ was granted by Mrs. Kipling on condition that all eight stanzas, unaltered, be used.

Rudyard Kipling, famous English writer, was born in Bombay, India, and died in Sussex, England. After receiving his education in England, he returned to India to engage in journalism and became widely known for his short stories, novels, children’s books, histories, and books of travel. The Nobel Prize for Literature was awarded him in 1907, and he received honorary degrees from universities all over the world. His _Jungle Book_, _Just-So Stories_, _Puck of Pook’s Hill_, _Rewards and Fairies_ made him beloved of all children. His writings extol the virtues of clean living and manly duty which make a nation great. However, his passionate patriotism made him pen the unfortunate lines:

“O East is East and West is West And ne’er the twain shall meet”

a prophecy completely discredited by the world events of recent years.

_MUSIC._ HEBRON. For comments on Lowell Mason, the composer of this tune, see Hymn 12.

402. Lord, through changing days, unchanging _W. Russell Bowie_, 1882—

This hymn was written originally for the hymn book of the Hill School, of Pottstown, Pa., from which the author graduated as a boy in 1900, and where he afterward taught for a year. The motto of the school is “Whatsoever things are true” (Phil. 4:8). The hymn is built around that theme.

W. Russell Bowie was born in Richmond, Va. After taking an A.B. and an A.M. at Harvard and teaching for a year at the Hill School, he spent most of three years at the Theological Seminary of Virginia, near Alexandria, graduating with the B.D. degree in 1908. Part of his senior year was spent in special study at Union Theological Seminary in New York. For many years he was rector of Grace Church (Episcopal) in New York, a post he resigned in 1939 to become Jesup Graduate Professor of Practical Theology and Dean of Students at Union Seminary. He is the author of a number of books, the most widely known of which is the _Story of the Bible_, published by the Abingdon-Cokesbury Press. Among his other volumes are _The Children’s Year_, _The Inescapable Christ_, _The Master: A Life of Christ_ (1928) and _Which Way Ahead_ (1943). In the late 1920’s he was elected Bishop Coadjutor of Pennsylvania, but did not accept.

_MUSIC._ REGENT SQUARE. For comments on this tune see Hymn 81.

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